Script Culture and the American Screenplay. Detroit: Wayne State University Press, 2008.
An Interpretive Commentary on Virginia Woolf’s The Waves. Lewiston: Mellen Press, 1998.
Chaos Theory and the Interpretation of Literary Texts: The Case of Kurt Vonnegut. Lewiston: Mellen Press, 1997.
At Millennium’s End: New Essays on the Work of Kurt Vonnegut. New York: State University of New York Press, 2001.
Reading the Sea: New Essays on Sea Literature. New York: Fort Schuyler Press, 1999.
“Ethics and Capitalism in the Screenplays of David Mamet.” Literature/Film Quarterly 39 (2011).
“The Screenplay, Imagism, and Modern Aesthetics.” Literature/Film Quarterly 36.4 (2008): 259-271.
“Episteme-ology of Science Fiction.” Rpt. Anatomy of Science Fiction. Ed. Donald Morse. Cambridge Scholars Press, 2006: 10-25.
“Heroes, Metanarratives, and the Paradox of Masculinity in Contemporary Western Culture.” Journal of Men’s Studies 13.3 (Spring 2005): 301-312.
“Men and the Nostalgia for Violence: Culture and Culpability in Chuck Palahniuk’s Fight Club.” Journal of Men’s Studies 11.3 (2003): 267-276.
“Episteme-ology of Science Fiction.” The Hungarian Journal of English and American Studies. (2001) and Journal of the Fantastic in the Arts 2.4 (2001): 359-74. (joint European and American publication)
“The Poetics and the Screenplay: Revisiting Aristotle.” Creative Screenwriting . 8.3 (2001): 67-79.
“In Defense of John Carpenter’s Thing.” Creative Screenwriting. (1999): 66-74, 44.
“Publishing Group Projects: Decentering the Writing Classroom.” Teaching English in the Two-Year College. 26.3 (March 1999): 262-268.
“Dialogue, Discourse, and Dialectics: The Rhetoric of Capitalism in David Mamet’s Glengarry Glen Ross.” Creative Screenwriting. 5.3 (1998): 50-57.
“In Debt to Dashiell: John Huston’s Adaptation of Hammett’s The Maltese Falcon.” Creative Screenwriting. (Summer 1997): 99-115.
“Scripting Gender: Writing Difference.” Creative Screenwriting. 4.1 (Spring 1997): 107-123.
“Stoning Tarantino: Oliver Stone’s (re)Vision of Quentin Tarantino’s Natural Born Killers.” Creative Screenwriting. 1.4 (Winter 1994): 84-99.
“Temple Defiled: The Brainwashing of Temple Drake in Faulkner’s Sanctuary.” Faulkner Journal 6.2 (Spring 1993): 33-50.
“Vertical Analysis of Word Choice.” Teaching English in the Two-Year College. 20 (February 1993): 53-56.
“Trailing the Zombie through Modern and Contemporary Anglophone Literature.” Written Dead. Ed. Kyle Bishop. McFarland. (forthcoming)
“The American Renaissance: 1968-1980.” Behind the Silver Screen: Screen Writing and Story Telling. Ed. Andy Horton. Rutgers UP. (2014)
“Temporal Cohesion and Disorientation in Slaughterhouse-Five: A Chronicle of Form Cuts and Transitional Devices in the Novel.” Literary Criticism Series Volume on Kurt Vonnegut. Ed. Leonard Mustazza. New York: Salem Press/EBSCO, 2011.
“The Zombie as Other: Mortality and the Monstrous in the Postnuclear Age.” Extended version of Monstrous IV article. Better Off Dead: The Evolution of the Zombie as Post-human in Literature, Film, and Culture. Ed. Sarah Juliet Lauro. New York: Fordham UP, 2011.
“The Zombie as Other: Mortality and the Monstrous in the Post-Modern Age.” The Horrid Looking Glass: Reflections on Monstrosity. Ed. Paul Yoder and Peter Mario Kreuter. Oxford: Inter-Disciplinary Press, 2010: 3-13.
“Ontological Anxiety Made Flesh: The Zombie in Literature, Film and Culture.” Monsters and The Monstrous. Ed. Niall William Richard Scott. Amsterdam: Rodopi, 2007: 33-43.
“Gilbert Sorrentino: Cataloging The Imaginative Qualities of Actual Things.” Review of Contemporary Fiction. 23.1 (January 2003): 108-125. Rpt. Studies in Modern and Contemporary Fiction: Imaginative Qualities of Actual Things, by Gilbert Sorrentino. Ed. David Andrews. Series Ed. Robert McLaughlin. Dalkey Archive Press. Rpt. (Fall 2003).
“Vonnegut Films.” (With David Pringle). At Millennium’s End: New Essays on the Work of Kurt Vonnegut. State University of New York Press, 2001. 167-196.
See current c.v. for complete list.