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- Resisting Productionist Timescapes by Making Better Futures in the Present: Care for Country in Western Sydney LiteraturesEssay25 May 2024
- Defining and Redefining Popular Genres: The Evolution of ‘New Adult’ FictionEssay3 December 2018
- Teaching the Value of Literature (and Other Paradoxes)Essay30 October 2023
- The Children’s Chorus: Sibling Soundscapes in *The Man Who Loved Children*Essay7 December 2016
- Who is My Neighbour?: Tim Winton’s ‘Aquifer’ and the Ghosts of CloudstreetEssay26 February 2017
- ‘Odysseus from the Outback’: *Fredy Neptune* in German and Its Critical ReceptionEssay1 May 2005
- Historical Figures, Archives and Australian Disability Life Writing: Reading Jessica White’s *Hearing Maud* and Writing *Hysteria*Essay23 May 2022
- Irish Republicanism and the Colonial Australian Bushranger NarrativeEssay30 September 2021
- Introduction: The Uses of Irish-Australian LiteratureEssay30 September 2021
- ‘I Want a Mortgage and Comfort’: Consumption, Totality and Identity in Australian Gay FictionEssay18 December 2023
- Bibliographic Notes on Selected Irish-Australian WritersEssay30 September 2021
- Irish Protestant Colonialism and Educational Ideology in Australia:** **Hannah Boyd’s *Letters on Education* (1848)Essay30 September 2021
- An Absence of PartisanshipReview1 May 1997
- Patrick White’s Studies for *Voss*Essay30 September 2022
- ‘The Young Man Will Go Far’: Educational Mobility and Christina Stead’s Compositional Practice in the Early 1930sEssay7 December 2016
- **‘It’s Just Some Guy, Not a Monster’: Gendered Violence in Emily Maguire’s Recent Novels**Review28 October 2021
- Picturising Patois in *The Sentimental Bloke*Essay18 December 2023
- ‘In Every Story There Is a Silence’: Translating Coetzee’s Female Narrators into ItalianEssay25 February 2018
- Editors’ Statements [Douglas Stewart]Essay1 October 1981
- Review of *Strange Country: A Study of Randolph Stow*, by Anthony J. HassallReview1 October 1986