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- Man, Work and Country: The Production of Henry LawsonEssay1 May 1992
- ‘Distant Voices, Still Lives’: The Correspondence Between H.H. Richardson and Her French Translator, Paul SolangesEssay1 May 1998
- Remaking the Middle Ages in Australia: Francis Webb’s ‘The Canticle’ (1953)Essay1 May 1999
- Australian Literary and Scholarly Publishing in Its International ContextEssay1 May 1999
- Getting a Head: Dismembering and Remembering in Robert Drewe’s *The Savage Crows*Essay1 May 2003
- Subdivisions of Suburbia: The Politics of Place in Melissa Lucashenko’s *Steam Pigs* and Amanda Lohrey’s *Camille’s Bread*Essay1 November 1998
- Shit Creek: Suburbia, Abjection and Subjectivity in Australian ‘Grunge’ FictionEssay1 November 1998
- Criminal Transport: George Barrington and the Colonial CureEssay1 May 2002
- The Sun’s Fish Dreaming : The Poetry of Andrew TaylorEssay1 May 2004
- Reading Carey Reading MalleyEssay1 October 2004
- *Geoffry Hamlyn* and Its Australian SettingEssay1 June 1963
- All the Way to Cape Grimm: Reflections on Carmel Bird’s FictionEssay1 May 2004
- Reflecting the Detectives: Crime Fiction and the New Journalism in Late Nineteenth-Century AustraliaEssay1 May 2005
- Mid-Victorian Reading and the AntipodesEssay1 May 2006
- ‘Are you weaker than a woman, weaker even than a mother?’: Abjection and Infanticide in *Dead Europe* and *Drift*Essay1 October 2007
- Spatialising Experience : Gail Jones’s *Black Mirror* and the Contending of Postmodern SpaceEssay1 October 2007
- Adapting Australian Novels for the Stage: La Boite Theatre’s Version of *Last Drinks*, *Perfect Skin*, and *Johnno*Essay1 October 2008
- Manifesto of the Senses: Blind Sightedness in Christina Stead’s *For Love Alone*Essay1 October 2009
- You Are What You Eat: Rationalising Factory Farms in Don LePan’s *Animals*Essay1 June 2010
- Cloud-Borne Angels, Prophets and the Old Woman’s Flower-Pot: Reading George Eliot’s Realism alongside Spinoza’s ‘beings of the imagination’Essay1 October 2013