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- Narrative Perspective and Cultural History in *Robbery Under Arms*Essay1 May 1973
- ‘The Orange Tree’ and the Limitations of PoetryEssay1 May 1978
- The Alienation of Alistair Cawdor in Randolph Stow’s *Visitants*Essay1 October 1980
- Reading the Signs of Michael Wilding’s ‘Knock, Knock’Essay1 June 1991
- Last Flight to Byzantium: *Memoirs of Many in One*Essay1 June 1991
- Assimilation or Appropriation: Uses of European Literary Forms in Black Australian WritingEssay1 October 1992
- 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
- Fringe Finds Focus: Developments and Strategies in Aboriginal Writing in EnglishEssay1 June 1991
- Harry Joy’s Children: The Art of Story Telling in Peter Carey’s *Bliss*Essay1 May 1994
- Two Answers to Every Question: Elizabeth Jolley’s Fiction, Ethics and CriticismEssay1 May 1995
- Janette Turner Hospital’s Radical Re-Writing: Oedipal CharadesEssay1 October 1996
- Gender, Genre, and Sybylla’s Performative Identity in Miles Franklin’s *My Brilliant Career*Essay1 October 1997
- Challenging History Making: Realism, Revolution and Utopia in *The Timeless Land*Essay1 May 1995
- Dramatising the Self: Beverley Farmer’s FictionEssay1 October 1995
- Still Life: Art and Nature in Vivian Smith’s PoetryEssay1 October 1995
- What Can Be Read and What Can Only Be Seen in Tim Winton’s FictionEssay1 October 1996
- The Fiction of Beverley FarmerEssay1 May 1990
- ‘Distant Voices, Still Lives’: The Correspondence Between H.H. Richardson and Her French Translator, Paul SolangesEssay1 May 1998
- Australian Literary and Scholarly Publishing in Its International ContextEssay1 May 1999