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- ‘A Depressed Amor’: Richardson’s ‘The Bathe: a Grotesque’Essay1 May 1992
- The Aboriginal Subject in Autobiography: Ruby Langford’s *Don’t Take Your Love to Town*Essay1 May 1993
- Short Story Anthologies and ‘the Solid Body of Australian Fiction’Essay1 May 2000
- *Fredy Neptune*: Metonymy and the Incarnate PrepositionEssay1 October 2001
- On Appropriation: Two Novels of Dark and Barnard EldershawEssay1 October 2002
- Some Versions of Manifold: Brisbane and the ‘Myth’ of John ManifoldEssay1 October 2003
- Demidenko/Darville: A Ukrainian-Australian Point of ViewEssay1 October 2004
- ‘Unexpected Effects’: Marked Men in Contemporary Australian Women’s FictionEssay1 October 2006
- The Literary Destruction of Canberra: Utopia, Apocalypse and the National CapitalEssay1 May 2009
- Reading and Writing Communities in the Trenches 1914-1918 (France and Italy)Essay1 October 2014
- A Politics of the Dreamtime: Destructive and Regenerative Rainbows in Alexis Wright’s *Carpentaria*Essay1 November 2008
- Ideas about the Thing, Not the Thing Itself: Impact and Other Abstractions and the Politics of Research Performance MeasurementEssay1 November 2013
- Words, Sticks and Stones: Keneally, Literature and Social ImpactEssay1 November 2013
- ‘War’s just one black foulness’: Jack Lindsay’s *The Blood Vote* and the Orthodoxies of AnzacEssay1 November 2015
- Composing *Rayuela*: The Musical Element in Julio Corrazar’s NarrativeEssay1 June 2014
- Defining and Redefining Popular Genres: The Evolution of ‘New Adult’ FictionEssay3 December 2018
- Shifting Timescapes and the Significance of the Mine in Alexis Wright’s *Carpentaria*Essay29 October 2020
- Apocalyptic Climate Fiction in the Third Media Revolution: Briohny Doyle’s *The Island Will Sink*Essay30 September 2022
- Sanctuary and Scars: Salt as a Landscape Element in the Novels and Non-Fiction of Tim WintonEssay2 May 2023
- ‘Doomed shapely ersatz thought’: Francis Webb, *Ward Two* and the Language of SchizophreniaEssay23 May 2022