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- Meta-Medievalism and the Future of the Past in the ‘Australian Girl’ NovelEssay1 October 2011
- Representation and Particularity in Pastoral: Some Examples from *Walden*Essay30 June 2015
- Pastoral Retreat and Green Texts: The 2009 Globe Production of *Love’s Labour’s Lost*Essay30 June 2015
- Grant Watson and the Aborigine: A Tragic Voice in an Age of OptimismEssay1 May 1975
- Narrative Perspective and Cultural History in *Robbery Under Arms*Essay1 May 1973
- Alan SeymourEssay1 May 1974
- Recoil from Disorder: David Ireland’s *The Chantic Bird*Essay1 October 1978
- ‘realer than the Real’ : Francis Webb’s 'Ward Two'Essay1 May 1979
- Gossip and History in the Novels of Brian Penton and Thomas KeneallyEssay1 October 1990
- The Use of Names and Colours in Randolph Stow’s *Tourmaline*Essay1 October 1990
- Hal Porter, *The Tower* and the Quintessence of PorterismEssay1 June 1991
- Two Answers to Every Question: Elizabeth Jolley’s Fiction, Ethics and CriticismEssay1 May 1995
- ‘Roost High and Crow Low’: The Legacy of Barry AndrewsEssay1 May 2000
- Writers Behaving Badly: Stead, Bourdieu and Australian Literary CultureEssay1 May 2001
- Shopping at Last!: History, Fiction and the Anti-Suburban TraditionEssay1 November 1998
- Reading Carey Reading MalleyEssay1 October 2004
- ‘Are you weaker than a woman, weaker even than a mother?’: Abjection and Infanticide in *Dead Europe* and *Drift*Essay1 October 2007
- Singing up Country in the Poetry of Judith Wright and Pablo NerudaEssay1 November 2008
- Future Tense: *Dead Europe* and Viral Anti-SemitismEssay1 November 2008
- The Modernist *roman à clef* and Cultural Secrets, or, I Know that You Know that I Know that You KnowEssay1 November 2009