Labors of Fear: The Modern Horror Film Goes to Work, coedited with Jason Middleton, University of Texas Press, 2023.
Impossible Ghosts: Material Culture at the Limits of Evidence (in progress).
The Racial Hand in the Victorian Imagination, Cambridge University Press (September 2015)
Horror after 9/11 World of Fear, Cinema of Terror. Volume on the politics of the horror film, co-edited with Sam J. Miller, University of Texas Press (November 2011)
"The Deceivers: Art Forgery and Identity in the Nineteenth Century", Cornell University Press (2006)
Journal Articles and Book Chapters:
"The Terror of Very Small Words: Hereditary and the Miniature Scales of Horror." Forthcoming in Discourse.
"Ride-Sharing with Little Nell: The Gig Economy of Charles Dickens's The Old Curiosity Shop." Novel 55.2 (2022): 240-262.
“Ghost Speed: The Strange Matter of Phantom Vehicles.” Victorian Literature and Culture 50.3 (20-22): 1-28.
“Live Burial: Jordan Peele’s Get Out and the Sunken Places of the Female Gothic.” Narrative 29.3 (2021): 297-320. Winner of the James Phelan Award for Best Essay in Narrative, 2021.
"Hands at a Séance: Manual Evidence in Victorian Spiritualism and the Ghost Story," Victorian Hands: The Manual Turn in Nineteenth-Century Body Studies, eds. Peter Capuano and Sue Zemka (Columbus: Ohio State Press, 2020), pp. 90-106.
“Devil in the Details: The Uncanny History of Robert Eggers’s The Witch.” Film & History, 49.1 (2019) 4-20.
“Transmedia Adaptation and Writing in the Margins: A Graphic Expansion of George Romero’s Night of the Living Dead,” Comics and Pop Culture: Adaptation from Panel to Frame, eds. Barry Keith Grant and Scott Henderson (Austin: University of Texas Press, 2019), pp. 265-78.
“Materiality.” Victorian Literature and Culture, 46.3-4 (2018): 757-59.
“Familiar Things: Snow Ball ’84 and the Problem of Straight Nostalgia,” “Stranger Things and Nostalgia Now, Post45.
“Freaks of Furniture’: The Useless Energy of Haunted Things.” Victorian Studies 59.2 (Winter 2017): 209-34.
“Parenting through Horror: Reassurance in Jennifer Kent’s The Babadook (2014).” Camera Obscura 95 (2017): 1-27.
“The Art Forger’s Innocence,” Fake—Fälschungen, wie sie im Buche stehen, ed. Henry Keazor, Universität Heidelberg, 2016.
“Spectral Matter: The Afterlife of Clothes in the Nineteenth-Century Ghost Story.” Victorian Review 41.1 (Spring 2015): 67-88.
“Rules of Digital Attraction: The Lure of the Ghost in Joel Anderson’s Lake Mungo.” Quarterly Review of Film and Video.
"Mickey Horror: Escape from Tomorrow a nd the Gothic Attack on Disney," Film Quarterly 68.4 (Summer 2015): 36-43.
The Men Who Knew Too Much: Henry James and Alfred Hitchcock (Oxford UP, 2012).
“The Potter’s Thumb/The Writer’s Hand: Manual Production and Victorian Colonial Narratives,” Novel 42.2 (2009): 253-60.
“Cosmetic Tragedies: Failed Masquerade in Wilkie Collins’s The Law and the Lady,” Victorian Literature and Culture 37 (2009): 463-81.
“What Some Ghosts Don’t Know: Spectral Incognizance and the Horror Film,” Narrative 17.1 (Jan. 2009): 95-108.
“Take Me: The Rhetoric of Donation,” The Anatomy of Body Worlds: Critical Essays on Gunther von Hagens’ Plastinated Cadavers, eds. T. Christine Jespersen, Alicita Rodríguez, and Joseph Starr (Jefferson, NC: McFarland, 2008).
“Hands of Beauty, Hands of Horror: Fear and Egyptian Art at the Fin de Siècle,” Victorian Studies 50.2 (2008): 263-71.
"Monsters and Critics," Film Quarterly 61.3 (2008).
"Christina Rossetti," Encyclopedia of British Literary History, Oxford University Press.
"Tautological Crimes: Why Women Can't Steal Jewels," Novel 37.1/2 (2004)
Review of Mighall, Robert, A Geography of Victorian Gothic Fiction (Oxford: Oxford University Press, 1999). Nineteenth-Century Contexts 25.3 (2003).
"Illusory Idols/Sacred Objects: The Fake in Freud's 'The Moses of Michelangelo,'" American Imago 60.1 (2003). To be reprinted in a collection by Cambridge Scholars Press.
"'How much did you pay for this place?': Fear, Entitlement, and Urban Space in Bernard Rose's Candyman," Camera Obscura 37 (1997). Co-authored with Sianne Ngai. Reprinted in The Horror Film Reader, eds. Alain Silver and James Ursini (New York: Limelight Editions/Proscenium Publishers, 2000).