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- Future Tense: *Dead Europe* and Viral Anti-SemitismEssay1 November 2008
- Adapting Australian Novels for the Stage: La Boite Theatre’s Version of *Last Drinks*, *Perfect Skin*, and *Johnno*Essay1 October 2008
- Manifesto of the Senses: Blind Sightedness in Christina Stead’s *For Love Alone*Essay1 October 2009
- Valerie Solanas and the Limits of SpeechEssay1 November 2009
- Review of *The Colonial Kangaroo Hunt* by Ken Gelder and Rachael WeaverReview30 April 2021
- Writing the Irish-Australian Self: Life-Writers and Irish Stereotypes, 1870-2000Essay30 September 2021
- English Studies in Australia: Repositioning the SubjectEssay1 June 2013
- Delight and Revolution: Literary Studies, Aesthetics and IdeologyEssay1 June 2013
- Disciplined Action? The Challenges of English at Canterbury and BeyondEssay1 June 2013
- Amanda Lohrey's *Vertigo*: An Australian PastoralEssay30 June 2015
- Irish-Australian Literature: Ghosts, Genealogy, TraditionEssay30 September 2021
- Parliamentary Medievalism: The Australian Magna Carta as Secular RelicEssay1 November 2011
- *The Mystery of a Hansom Cab* as Spatial Artefact: Exploring Class and the Spatial Unconscious in Nineteenth-Century Australia’s Favourite WhodunnitEssay19 December 2024
- Reading *The Electrical Experience* in *Cold Light*: Labour Politics and Narrative Form in Frank Moorhouse, Then and Now.Essay10 August 2016
- ‘The Young Man Will Go Far’: Educational Mobility and Christina Stead’s Compositional Practice in the Early 1930sEssay7 December 2016
- The Children’s Chorus: Sibling Soundscapes in *The Man Who Loved Children*Essay7 December 2016
- Charles Rowcroft: An Unpublished MemoirEssay1 October 1967
- Review of *Christina Stead* by R. G. GeeringReview1 October 1970
- Review of *Henry Lawson, Letters 1890-1922* edited by Colin RoderickReview1 May 1971
- The Imagination of John Shaw NeilsonEssay1 May 1971