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- Impossible Coincidences: Narrative Strategy in Brian Castro’s *Birds of Passage*Essay1 October 1990
- The Novel as ‘Work in Progress’: Shirley Hazzard’s *The Transit of Venus*Essay1 June 1991
- Feral Symbolists: Robert Adamson, John Tranter, and the Response to RimbaudEssay1 May 1994
- Poetry and Politics in Oodgeroo: Transcending the DifferenceEssay1 November 1994
- ‘Greatness’ and Australian Literature in the 1930s and 1940s: Novels by Dark and Barnard EldershawEssay1 May 1995
- ‘Not a Good Forgetter’: H.H. Richardson’s Recasting of the Past in *Myself When Young*Essay1 May 1998
- Paris, Moscow, Melbourne: Some Avant-Garde Australian Little Magazines, 1930-1934Essay1 May 1993
- An Interview with Archie WellerEssay1 October 1993
- Terra Australis: Landscape as Medium in *Capricornia* and *Poor Fellow My Country*Essay1 May 1995
- Still Life: Art and Nature in Vivian Smith’s PoetryEssay1 October 1995
- A Reconsideration of Christina Stead at Work: Fact into FictionEssay1 May 1997
- Towards a History of Literary Programming on ABC RadioEssay29 October 2020
- The Ethics of Abjection: Patrick White’s *Riders in the Chariot*Essay1 October 1997
- Michael Wilding’s Three Centres of ValueEssay1 May 1998
- Les Murray: A Selective ChecklistEssay1 October 2001
- ‘Years Later’: Temporality and Closure in Peter Carey’s NovelsEssay1 October 1999
- Veronica Brady’s Biography of Judith WrightEssay1 October 1999
- *Geoffry Hamlyn* and Its Australian SettingEssay1 June 1963
- Reading (in/and) *Miranda*Essay1 May 2006
- Spatialising the Ghosts of Anzac in the Plays of Sydney Tomholt: The Absent Soldier and the War MemorialEssay1 May 2007