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- Brereton, the *Bulletin*, and A.G. StephensEssay1 June 1963
- All the Way to Cape Grimm: Reflections on Carmel Bird’s FictionEssay1 May 2004
- ‘The Slaughterman of Wagga Wagga’: Imposture, National Identity, and the Tichborne AffairEssay1 October 2004
- Reflecting the Detectives: Crime Fiction and the New Journalism in Late Nineteenth-Century AustraliaEssay1 May 2005
- Reading Kate Llewellyn’s Garden(Books)Essay1 October 2006
- ‘This Isn’t a Novel. It is a Life!’ : Dymphna Cusack and *Caddie: A Sydney Barmaid*Essay1 October 2006
- C. J. Brennan’s *A Chant of Doom*: Australia’s Medieval WarEssay1 May 2007
- Erocide Is Painless: Insensation in Les Murray’s *Fredy Neptune*Essay1 November 2008
- Future Tense: *Dead Europe* and Viral Anti-SemitismEssay1 November 2008
- Dear Daughter: Popular Feminism, the Epistolary Form and the Limits of Generational RhetoricEssay1 November 2009
- Imagining Transcendence: The Poetry of David MaloufEssay1 October 2005
- ‘Composing the Self’: Metaphors of Creativity in Henry Handel Richardson’s *Myself When Young*Essay1 October 2005
- Paternalism and Complicity: Or How Not to Atone for the ‘Sins of the Father’Essay1 May 2007
- The Traumas of Translation and the Translation of Trauma: Translation and Cultural Plurality in Fremd and YasbincekEssay1 October 2007
- Adapting Australian Novels for the Stage: La Boite Theatre’s Version of *Last Drinks*, *Perfect Skin*, and *Johnno*Essay1 October 2008
- Reading Institutional Women: A Nexus Approach to Bourdieu, *Summer Heights High*, and the Fiction of Elizabeth JolleyEssay1 October 2009
- Generations Lost and Found: Reading Women Writers TogetherEssay1 October 2009
- Valerie Solanas and the Limits of SpeechEssay1 November 2009
- Biopolitics and Eleanor Dark’s *Prelude to Christopher*Essay1 June 2011
- On the Genealogy of Democracy: Reading Peter Carey’s *Parrot and Olivier in America*Essay1 June 2012