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- ‘A dozen rich and luscious phrases’: Speech as characterisation of the working-class women in Ruth Park’s *The Harp in the South*Essay3 October 2024
- ‘An Explosive Novel of Strange Passions’: Horwitz Publications and Australia’s Pulp ModernismEssay19 December 2019
- Bruce Dawe and the AmericansEssay1 October 1979
- Literary Festivals and Cultural ConsumptionEssay1 May 2009
- Reading Byron in Kororāreka: *The Journal of Ensign Best*Essay31 October 2015
- The Fortunate FlâneuseEssay1 November 2015
- Slessor’s ‘Five Visions of Captain Cook’Essay1 May 1969
- Asian Stereotypes in Recent Australian PlaysEssay1 May 1985
- A Fiction of Sisters: Christina Stead’s *Letty Fox* and *For Love Alone*Essay1 May 1989
- Pastoral Retreat and Green Texts: The 2009 Globe Production of *Love’s Labour’s Lost*Essay30 June 2015
- Ways of Seeing : Henry Lawson’s ‘Going Blind’Essay1 May 1980
- The Alienation of Alistair Cawdor in Randolph Stow’s *Visitants*Essay1 October 1980
- Topographies of the Self: Coming to Terms with the Australian Landscape in Contemporary Australian PoetryEssay1 June 1991
- ‘Not a Good Forgetter’: H.H. Richardson’s Recasting of the Past in *Myself When Young*Essay1 May 1998
- An Absence of PartisanshipReview1 May 1997
- A Reconsideration of Christina Stead at Work: Fact into FictionEssay1 May 1997
- Racism, the Realist Writers’ Movement and the Katharine Susannah Prichard AwardEssay1 October 1999
- ‘Does all Melbourne smell like this?’: The Colonial Metropolis in Marvellous MelbourneEssay1 May 2003
- Textual Phantasmagoria: Marcus Clarke, Light Literature and the Colonial UncannyEssay1 October 2003
- Excavating a Bonanza: Sarah CampionEssay1 May 2004