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- Impossible Coincidences: Narrative Strategy in Brian Castro’s *Birds of Passage*Essay1 October 1990
- Is Phallocentricity a Sin? or a Peccadillo?: Comedy and Gender in Ethel Anderson’s *At Parramatta* and Patrick White’s *Voss*Essay1 June 1991
- Italian Immigrants in Australian Fiction 1900-1950Essay1 May 1993
- Writers Behaving Badly: Stead, Bourdieu and Australian Literary CultureEssay1 May 2001
- The Solitariness of Alex MillerEssay1 May 2004
- The Mysterious Case of Carter Brown, or, Who Really Killed the Australian AuthorEssay1 October 2004
- Who’s Who?: Mapping Hoaxes and Impostures in Australian Literary HistoryEssay1 October 2004
- Erocide Is Painless: Insensation in Les Murray’s *Fredy Neptune*Essay1 November 2008
- The Significance of Littoral in Beverley Farmer’s Novel *The Seal Woman*Essay1 November 2009
- Finding Home: The Poetry of Margaret ScottEssay1 October 2005
- Adapting Australian Novels for the Stage: La Boite Theatre’s Version of *Last Drinks*, *Perfect Skin*, and *Johnno*Essay1 October 2008
- The Significance of Littoral in Beverley Farmer’s Novel *The Seal Woman*Essay1 October 2009
- The Composition of *Geoffry Hamlyn*: The Legend and the FactsEssay1 October 1968
- Adam McCay and Sydney’s Literary Bohemia (1911-1947)Essay1 October 1984
- Cultural Pathology: What Ern Malley MeansEssay1 May 1995
- Nationalising the Author: The Celebrity of Peter CareyEssay1 October 1993
- Shifting Timescapes and the Significance of the Mine in Alexis Wright’s *Carpentaria*Essay29 October 2020
- **Connecting Guatemala, Australia and the World: Violence in Horacio Castellanos Moya’s *Senselessness* and Mark McKenna’s _Looking for Blackfellas’ Point_**Essay29 October 2020
- *My Brilliant Career* and FeminismEssay1 October 2002
- Shrouded Histories: Outlaw and Lawmaker, Republican Politics and Women’s InterestsEssay1 May 2003