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- Family and the Father in the Poetry of Les A. MurrayEssay1 May 1988
- A Fiction of Sisters: Christina Stead’s *Letty Fox* and *For Love Alone*Essay1 May 1989
- ‘Current History Looks Apocalyptic’: Barnard Eldershaw, Utopia and the Literary Intellectual, 1930s-1940sEssay1 October 1989
- Olivia and Chloe: Fictions of Female FriendshipEssay1 May 1989
- Price Warung: Some Bibliographical Details and a Checklist of the StoriesEssay1 October 1968
- Louisa and Henry and Gertie and the Drover’s WifeEssay1 May 1980
- Last Flight to Byzantium: *Memoirs of Many in One*Essay1 June 1991
- Gender, Genre, and Sybylla’s Performative Identity in Miles Franklin’s *My Brilliant Career*Essay1 October 1997
- Some Recent Australian Fictions in the Age of Tourism: Murray Bail, Inez Baranay, Gerard LeeEssay1 October 1993
- Enlarging Our Experiments with Narrative: John A. Scott’s Triology with AnnotationsEssay1 May 1992
- The Ethics of Abjection: Patrick White’s *Riders in the Chariot*Essay1 October 1997
- Australian Literary and Scholarly Publishing in Its International ContextEssay1 May 1999
- The Artful Man: Theory and Authority in Brian Castro’s FictionEssay1 May 2002
- The Literary Reputation of Adam Lindsay GordonEssay1 June 1963
- *Geoffry Hamlyn* and Its Australian SettingEssay1 June 1963
- Spatialising the Ghosts of Anzac in the Plays of Sydney Tomholt: The Absent Soldier and the War MemorialEssay1 May 2007
- Singing up Country in the Poetry of Judith Wright and Pablo NerudaEssay1 November 2008
- ‘What Would Civilisation Be without a Gun?’ The Resistant Land in Sarah Campion’s Burdekin TrilogyEssay1 October 2006
- The Modernist Sacred: Randolph Stow and Patrick WhiteEssay1 October 2007
- Biopolitics and Eleanor Dark’s *Prelude to Christopher*Essay1 June 2011