English

Dr. David Lavery

Professor, Director of Graduate Studies

Member, Graduate Faculty and Honors Faculty

David Lavery

 

Ph.D. (1978), University of Florida; MA (1973), St. Cloud State University; BSED (1971), Clarion University of Pennsylvania; First Year at MTSU: 1993

Office: PH 316A; Phone/Voice Mail: 898-5648

Lavery Books

Dr. David Lavery is Professor and director of Graduate Studies in English at MTSU (1993- ), where he won the University's 2006 Distinguished Research Award. The author of over one hundred and fifty published essays, chapters, and reviews, he is author / co-author / editor / co-editor of twenty two books, including Joss Whedon, A Creative PortraitFrom Buffy the Vampire Slayer to The Avengers, TV Goes to Hell: An Unofficial Road Map of Supernatural, The Essential Cult Television Reader, and The Essential Sopranos Reader. The co-convener of international conferences on Buffy the Vampire Slayer and the work of Joss Whedon and on The Sopranos, co-founder of the Whedon Studies Association, and founding co-editor of the journals Slayage: The Online International Journal of Buffy Studies and Critical Studies in Television, he has lectured around the world on the subject of television (Australia, Turkey, the UK, Portugal, New Zealand, Ireland, Germany) and has been a guest/source for the BBC, NPR, the Australian Broadcasting Corporation, The New York TimesA Folha de Sao Paulo (Brazil), Publica (Portugal), Information (Netherlands), AP, The Toronto Star, USA Today. From 2006-2008, he taught at Brunel University in London.

David Lavery's Homepage
David Lavery's CV

 

Composite Bibliography (Books are in bold)

Abbott, Stacey and David Lavery, eds. TV Goes to Hell: An Unofficial Road Map of Supernatural. Toronto: ECW Press, 2011.

Byers, Michele and David Lavery, eds. Dear Angela: Remembering My So Called Life. Lanham, MD: Lexington Books, 2007.

Byers, Michele and David Lavery, eds. On the Verge of Tears: Why the Movies, Television, Music, and Literature Make Us Cry. Cambridge: Cambridge Scholars Publishing, 2010.

Diffrient, David Scott, with David Lavery, ed. Screwball Television: Critical Perspectives on Gilmore Girls. The Television Series. Syracuse, NY: Syracuse U P, 2010.

Hague, Angela and David Lavery, eds. Teleparody: Predicting / Preventing the TV Discourse of Tomorrow. London: Wallflower Press, 2002.

Karpovich, Angelina and David Lavery. Life on Mars Symposium: A Report. Critical Studies in Television 3.2 (2008).

Lavery, David.“24: Jumping the Shark Every Minute.” Flow 4.11 (September 8, 2006) http://jot.communication.utexas.edu/flow/?jot=view&id=1957.

___.“Aesop After Darwin: The Radical Anthropomorphism of The Far Side.Studies in Popular Culture 28.1(October 2005): 71-83.

___.“Afterword. Reading 24: TV Against the Clock. Edited by Steven Peacock. London: I. B. Tauris, 2006: 209-212.

___.“Afterword: Rereading Seinfeld After Curb Your Enthusiasm”(with Marc Leverette). Seinfeld, Master of Its Domain 203-19.

___.Wilcox, Rhonda V. and David Lavery. “Afterword: The Depths of Angel and the Birth of Angel Studies.” Reading Angel: The TV Spinoff with a Soul. Ed. Stacey Abbott. London: I. B. Tauris, 2005: 221-29.

___.“The Allusions of Television.Flow 3.10 (January 2006) <http://jot.communication.utexas.edu/flow/?jot=view&id=1391>.

___.“Apocalyptic Apocalypses: The Narrative Eschatology of Buffy the Vampire Slayer. Slayage: The Online International Journal of Buffy Studies, Number 9 (2003). http://www.slayageonline.com/essays/slayage9/Lavery.htm.

___.Appendix C: “Intertextual Moments and Allusions on The Sopranos.This Thing of Ours 235-55.

___.Appendix D: “The Sopranos: A Family History.This Thing of Ours 255-56.

___.“The Audition of History and the Vocation of Man: Reflections on Extinction and Destiny.” Michigan Quarterly Review 24 (1985): 345-67 (in a special issue on “Science and the Human Image”).

___.“Bad Quality: Breaking Bad as Basic Cable Quality TV.” Telegenic. Critical Studies in Television (September 2010) <http://www.criticalstudiesintelevision.com/index.php?siid=13805>.

___.“Big Fish.” Telegenic. Critical Studies in Television (May 2011) <http://cstonline.tv/telegenic-6>.

___.“Billy Jack.” The Encyclopedia of American Indian Literature. Ed. Alan R. Velie and Jennifer McClinton-Temple. Detroit: Facts on File, 2007. 54.

___.“Buffy the Vampire Slayer. 50 Key Television Programmes. Ed. Glen Creeber. London: Arnold, 2004. 31-35.

___."’The Catastrophe of My Personality’:Frank O’Hara, Don Draper, and the Poetics of Mad Men." Reading Mad Men, ed. Gary Edgerton, Reading Contemporary Television Series, I. B. Tauris, 2010. 131-44.

___.“Climate Change: Television Books, The Series.” “Aerial View: Debating Television.” Special Issue of Critical Studies in Television: Scholarly Studies on Small Screen Fictions 1.1 (Spring 2006): 97-103.

___.“Coming Heavy: Intertextuality, Genre, and The Sopranos.PopPolitics.com (March 2001): http://www.poppolitics.com/articles/2001-03-03-heavy.shtml.

___.“Coming Heavy: The Significance of The Sopranos.” Prologue to This Thing of Ours: Investigating The Sopranos: xi-xviii.

___.“Creative Work: On the Method of Howard Gruber.” The Journal of Humanistic Psychology 33 (1993): 101-21.

___.“The Crying Game: Why Television Brings Us to Tears.” Flow 5.9 (March 9, 2007) <http://jot.communication.utexas.edu/flow/?jot=view&id=2085.>

___.“Curb Your Enthusiasm.” The Essential HBO Reader. Edited by Gary R. Edgerton and Jeffrey P. Jones. Lexington: U P of Kentucky, 2007: 204-13.

___, with Robert J. Thompson. “David Chase, The Sopranos, and Television Creativity.” Television Quarterly 33.2-3 (Summer-Fall 2002): 10-16.

___, with Robert J. Thompson. “David Chase, The Sopranos, and Television Creativity.” This Thing of Ours: Investigating The Sopranos 18-25.

___.“A Deadwood Encyclopedia.” Reading Deadwood 203-22.

___.Deconstruction at Bat: Baseball vs. Critical Theory in Northern Exposure’s ’The Graduate.’”Quirky Quality TV: RevisitingNorthern Exposure.” Critical Studies in Television 1.2 (Autumn 2006): 33-38. Republished in Baseball/Literature/Culture: Essays. Ed. Ronald E. Kates and Warren Tormey. Jefferson, NC: McFarland, 2008: 98-104.

___.“Delicious Progress: Whiteness as an Atavism in Conrad Aiken’s ‘Silent Snow, Secret Snow.’“ Psychoanalytic Review 70 (1983): 235-39.

___, Angela Hague, and Marla Cartwright, eds. Deny All Knowledge: Reading The X-Files. The Television Series. Syracuse: Syracuse U P, 1996. Published in the United Kingdom by Faber and Faber.

___.“Departure of the Body Snatchers, or the Confessions of a Carbon Chauvinist.” The Hudson Review 39 (1986): 383-404. (Nominated for a Pushcart Prize in Non-fiction.)

___.“Detached Retinas: ‘Camera Man’ and the Private Eye Movie.” To-Wards 3.1 (Fall 1987): 26-31.

___.“Dissertations as Fictions.” College English 31 (1980): 675-79.

___.“Dollhouse: An Introduction.” Reading Joss Whedon 201-204.

___.“Dreaming Nothing.” Parabola 5.2 (1980): 18-23.

___.“Dropping the Body: The X-Files, Popular Culture, and Exosomatic Evolution.” Mythen der Kreativitaet. Das Schoepferische zwischen Innovation und Hybris. Frankfurt: Verlag Otto Lembeck, 2003. 282-97.

___.“The Emigration of Life on Mars: Sam and Gene Do America.” Life on Mars: From Manchester to New York, Ed. Steve Lacey and Ruth McElroy. Chicago: University of Chicago Press, 2012. 145-152.

___.“’Emotional Resonance and Rocket Launchers’: Joss Whedon's Commentaries on the Buffy the Vampire Slayer DVDs.” Slayage: The Online International Journal of Buffy Studies, Number 6 (2002). http://www.slayageonline.com/essays/slayage6/Lavery.htm.

___.“Entitled Television: Notes and Queries.Telegenic. Critical Studies in Television (October 2011) <http://cstonline.tv/telegenic-12>.

___.“The Ephebe of Television.” Telegenic. Critical Studies in Television (October 2010) <http://criticalstudiesintelevision.com/index.php?siid=13873>.

___.“Epigraphs: Notes Toward a Theory.” Kentucky Philological Review. Bulletin of the Thirteenth Annual Meeting of the Kentucky Philological Association, March 7 and 8, 1986, Western Kentucky University: 12-18.

___, ed. The Essential Cult TV Reader. Essential Readers in Contemporary Media and Culture. Lexington: U P of Kentucky, 2009.

___, Douglas Howard, and Paul Levinson, eds. The Essential Sopranos Reader. Essential Readers in Contemporary Media and Culture. Lexington: U P of Kentucky, 2011. Nominated for the Society for Cinema and Media Studies Best Edited Collection Award (2011).

___.“Everything is Trying to Hide Us: Rilke’s Poetics of Mimicry.” The Journal of Evolutionary Psychology 5.1 (1987): 63-78.

___.“The Eye as Inspiration in Modern Poetry.” New Orleans Review 8 (1981): 10-13.

___.“The Eye of Longing.” Re-Vision 6.1 (1983): 22-33.

___ and David Bianculli, eds. Finale: Considering the Ends of Television Shows (forthcoming from Syracuse U P).

___.“Foreword” to Buffy Goes Dark: Essays on the Final Two Seasons of Buffy the Vampire Slayer on Television, ed. James South, Elizabeth Rambo, and Lynne Edwards. Jefferson, NC: McFarland and Company, 2008: 1-3.

___.“From Cinespace to Cyberspace: Zionists and Agents, Realists and Gamers in The Matrix and eXistenZ.The Journal of Popular Film and Television 28(2000): 150-57.

___, ed. Full of Secrets: Critical Approaches to Twin Peaks. Contemporary Film and Television Series. Detroit: Wayne State U P, 1994. Nominated for the Kraszna-Krauz Book Award (for the best book of the year on the moving image).

___.“Functional and Dysfunctional Autobiography: Hope and Glory and Distant Voices, Still Lives.” Film Criticism 15.1 (1990): 39-48.

___, Angela Hague, and Marla Cartwright. “Generation X: The X-Files and the Cultural Moment.” Deny All Knowledge: Reading The X-Files. Ed. David Lavery, Angela Hague, and Marla Cartwright. The Television Series. Syracuse: Syracuse U P, 1996: 1-21.

___.“The Genius of Joss Whedon.” Afterword to Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer. Boulder, CO: Rowman and Littlefield, 2002: 251-56.

___.“The Genius of the Sea: Wallace Stevens’ ‘The Idea of Order at Key West,’ Stanislaw Lem’s Solaris, and the Earth as Muse.” Extrapolation 21 (1980): 101-105.

___.“Gnosticism in the Cult Film.” The Cult Film Experience: Beyond All Reason. Ed. J. P. Telotte. Austin: U Texas P, 1991: 187-99.

___.“God, Death, and Pizza: Supernatural and the Death of God.” Telegenic. Critical Studies in Television (August 2010) <http://www.criticalstudiesintelevision.com/index.php?siid=13794>.

___ and Sean Hockett.Heroes and Comic Book Aesthetics.” In Media Res 11 April 2007: <http://mediacommons.futureofthebook.org/videos/2007/04/11/heroes-and-comic-book-aesthetics/>.

___.“Home Movie : The Beerdrinkers Guide to Fitness and Filmmaking.” Post Script: Essays in Film and the Humanities 11.3 (1992): 47-53.

___.“The Horror Film and the Horror of Film.” Film Criticism 7 (1983): 47-55.

___.“How Cult Television Became Mainstream.” The Essential Cult Television Reader 1-6.

___.“How To Gut a Book.” Georgia Review 43 (1989): 731-44.

___.“’I wrote my thesis on you’: Buffy Studies as an Academic Cult.” Slayage: The Online International Journal of Buffy Studies, Numbers 13-14 (2004). http://www.slayageonline.com/essays/slayage13_14/Lavery.htm.

___.“The Imagination of Insurance: Wallace Stevens and Benjamin Lee Whorf at the Hartford.” Legal Studies Forum 24(3 & 4) (2001): 481-92.

___.“The Imagination Will Be Televised: Showrunning and the Re-animation of Authorship in 21st Century American Television.” Autorenserien: die Neuerfindung des Fernsehens (Auteur Series: The Rebirth of Television). Ed. Christoph Dreher. Stuttgart: Merz & Solitude, 2010. 63-112.

___.“Impossible Girl: Amy Sherman-Palladino and Television Creativity.” Screwball Television 3-18.

___.“Infinite Impossibilities?” Telegenic. Critical Studies in Television (March 2011) <http://cstonline.tv/telegenic-4>.

___.“Introduction” and “From Made Men to Mad Men: What Matthew Weiner Learned from David Chase.” The Essential Sopranos Reader 1-4; 17-22.

___ and Rhonda V. Wilcox. “Introduction.” Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer. Boulder, CO: Rowman and Littlefield, 2002: xvii-xxix.

___ and Cynthia Burkhead, “Introduction.” Joss Whedon: Conversations vii-xii.

___.(with Jimmie Cain). “Introduction.’” “Quirky Quality TV:RevisitingNorthern Exposure.” Critical Studies in Television 1.2 (Autumn 2006): 2-5.

___.“Introduction: David Milch, Deadwood, and Television Creativity." Reading Deadwood 1-7.

___.“Introduction: Can This Be the End of Tony Soprano?” Reading The Sopranos 3-14.

___.“Introduction: The Crying Game.” The Verge of Tears 1-5.

___.“Irony Irony: The Mission (Accomplished) of The Daily Show.Flow 3.6 (November 2005) <(http://jot.communication.utexas.edu/flow/?jot=view&id=1275>.

___. “The Island’sGreatest Mystery: Is Lost Science Fiction?” The Essential Science Fiction TV Reader. Edited by J. P. Telotte. Lexington: U P of Kentucky, 2008: 283-298.

___.“It's Not Television, It's Magic Realism: The Mundane, the Grotesque, and the Fantastic in 6 Feet Under.” Reading Six Feet Under: TV to Die For. Ed. Kim Akass and Janet McCabe. London: I. B. Tauris, 2005. 19-33.

___.“Johnny Carson.” American Icons: People, Places, and Things That Have Shaped Our Culture. Volume 1. Edited by Dennis and Susan Hall. Westport, CT: Greenwood Press, 2006: 114-119.

___ and Cynthia Burkhead, eds. Joss Whedon: Conversations. Jackson, MS: U P of Mississippi, 2011.

___. Joss Whedon, A Creative Portrait: From Buffy the Vampire Slayer to The Avengers. London: I. B. Tauris, 2013.

___.Late for the Sky: The Mentality of the Space Age. Carbondale: Southern Illinois U P, 1992.

___.“Like Light: The Movie Theory of W. R. Robinson.” In Seeing Beyond: Movies, Visions, and Values. Edited by Richard P. Sugg. New York: Golden String Press, 2001: 346-63.

___.“Lost and Long Term Television Narrative.” Third Person: Authoring and Exploring Vast Narratives. Ed. Pat Harrigan and Noah Wardrip-Fruin. Cambridge: Massachusetts Institute of Technology Press, 2009: 313-22.

___.“Lost in a Good Story: Serial Creativity on a Desert Island.” Flow 3.2 (September 2005) <http://jot.communication.utexas.edu/flow/?jot=view&id=939>.

___.“Major Man: Fellini as an Autobiographer.” Post Script 6.2 (1987): 14-28.

___.“Melville’s Moby-Dick and Hollywood.” Nineteenth Century American Fiction on Screen: An Anthology of Critical Essays. Ed R. Barton Palmer. New York: Cambridge U P, 2007: 101-12.

___.“The More Than Rational Distortion in the Poetry of Wallace Stevens.” The Wallace Stevens Journal 7 (1983): 1-7.

___.“’My So Called Life Meets The X-Files’: Winnie Holzman’s Influence on Joss Whedon.” Dear Angela: Remembering My So Called Life. Lanham, MD: Lexington Books,2007: 211-216.

___.“My Ten Years with Twin Peaks.” Wrapped in Plastic No. 46 (April 2000): 6-7.

___.“Nanook of the North.The Encyclopedia of American Indian Literature. Ed. Alan R. Velie and Jennifer McClinton-Temple. Detroit: Facts on File, 2007. 242.

___.“The Naughty, the Blasphemous, and American Television.” Telegenic. Critical Studies in Television (March 2011) <http://cstonline.tv/telegenic-naughty-blasphemous>.

___.“News From Africa: Fellini/Grotesque.” Post Script 9.1 & 2 (1990): 82-98.

___.“No Box of Chocolates: The Adaptation of Forrest Gump.“ Literature/Film Quarterly 25 (1997): 18-22.

___.“’No more unexplored countries’: The Early Promise and Disappointing Career of Time-Lapse Photography.” Film Studies (special issue on “Film and Time” ed. Sarah Cardwell). Issue 9, Winter 2006: 1-8.

___.“Noticer: The Visionary Art of Annie Dillard.” Massachusetts Review 21 (1980): 255-70.

___.“Now: The Road Ahead, or the Chapter at the End of This Book.” Epilogue to TV Goes to Hell: An Unofficial Road Map of Supernatural 245-52.

___.“O Lucky Man! and the Movie as Koan.” Literature/Film Quarterly 8 (1980): 35-40.

___.“Owen Barfield: A Readers Guide.” Seven 15 (1998): 97-112.

___.“’Part of Popular Culture’: The Legacy of Seinfeld” (with Sara Lewis Dunne), Preface to Seinfeld, Master of Its Domain 1-9.

___.“Photo-graphy-synthesis.” Georgia Review 34 (1980): 397-403.

___.“Poetry as Time-Lapse Photography.” Essays in the Arts and Sciences 17 (1988): 1-27.

___.“Preface: Five Incredible Years.” Investigating Alias. Edited by Stacey Abbott and Simon Brown. London: I. B. Tauris, 2007: xv-xviii.

___.“Preface.” Wrestling Nation: The Myth of the Mat in American Popular Culture by Marc Leverette. Lewiston, NY: Edwin Mellen, 2003. i-ii.

___.“Prehistory.” Teleparody: Predicting / Preventing the TV Discourse of Tomorrow. London: Wallflower, 2002: 1-4.

___.“Putting Television on the Map” (Review of Television: Critical Methods and Applications by Jeremy G. Butler). The Review of Communication 3.1 (2003): 83-84.

___.“Read Any Good Television Lately? Television Tie-In Books and Quality TV.” Contemporary American TV Drama: The Quality Debate. Edited by Janet McCabe and Kim Akass. London: I. B. Tauris, 2007: 228-36.

___, ed. Reading Deadwood: A Western to Swear By. Reading Contemporary Television Series. London: I. B. Tauris, 2006.

___, ed. Reading The Sopranos: Hit TV from HBO. Reading Contemporary Television Series. London: I. B. Tauris, 2006.

___.“A Religion in Narrative: Joss Whedon and Television Creativity.” Slayage: The Online International Journal of Buffy Studies, Number 7 (2002). http://www.slayageonline.com/essays/slayage7/Lavery.htm.

___.“Remote Control: Mythic Reflections.” Journal of Popular Film and Television 18 (1990): 65-71.

___.“Remote Control: Mythic Reflections.” The Remote Control Device in the New Age of Television. Ed. James R. Walker and Rob Bellamy. New York: Praeger, 1993: 223-34.

___.“Response to Jonathan Gray.” Film-Philosophy 7.18 (July 2003): http://www.film-philosophy.com/vol7-2003/n18Lavery.

___.Review of Robert Kugelmann’s The Windows of Soul: Psychological Physiology of the Human Eye and Primary Glaucoma. Literature and Medicine (special issue on psychiatry) 4 (1985): 168-69.

___.Review of Action TV: Tough Guys, Smooth Operator and Foxy Chicks, eds. Bill Osgerby and Anna Gough-Yates London (Routledge 2001). Journalism & Mass Communication Quarterly (79.2) 2003: 467-468.

___.Review of Astrid Diener, The Role of Imagination in Culture and Society: Owen Barfield’s Early Work. Leipzig Explorations in Literature and Culture 6. Mythlore 91 (24.1) 2003: 79-81.

___.Review of Barbara Villez, Television and the Legal System (Routledge, 2010). Studies in Popular Culture 33.1 (Fall 2010): 138-39.

___.Review of Californication and Cultural Imperialism:Baywatch and the Creation of World Culture, edited by Andrew Anglophone. Teleparody: Predicting/Preventing the TV Discourse of Tomorrow. London: Wallflower, 2002: 40-45.

___.Review of Cogito Ergo Sum: The Life of René Descartes by Richard Watson. Georgia Review 62.2 (Summer 2003): 436-39.

___.Review of Donald Costello’s Fellinis Road. Post Script 3 (1984): 85-87.

___.Review of Inside Prime Time by Todd Gitlin and Teleliteracy: Taking Television Seriously by David Bianculli. Television Quarterly 32.1 (Spring 2001): 88-90.

___.Review of Nicholas Mirzoeff, Seinfeld (British Film Institute, 2007). Critical Studies in Television 4.2 (2009): 123-25.

___.Review of Owen Barfield: Romanticism Comes of Age, A Biography by Simon Blaxland-de Lange. Seven 25 (October 2008): 92-93.

___.Review of Robert Romanyshyn’s Psychological Life: From Science to Metaphor. Re-Vision 7.2 (1984): 104.

___.Review of The Television Genre Book, ed. by Glen Creeber. Television and New Media 4.3 (2003): 335-37.

___.Review of Television Histories: Shaping Collective Memory in the Media Age, ed. Gary R. Edgerton and Peter C. Rollins. Television Quarterly 32.2-3 (Summer-Fall 2001): 99-100.

___.Review of TV Creators: Conversations with America’s Top Producers of Television Drama, Volume Two, by James Longworth, Jr. Television Quarterly 33.4 (Spring 2003): 105-107.

___.Review Essay of Buffy the Vampire Slayer: The Monster Book by Golden, Bissette, and Sniegoski, Buffy the Vampire Slayer: The Watcher’s Guide, Vol. 2 by Holder, Mariotte, and Hart, and The Sopranos: A Family History by Alan Rucker. Television Quarterly 31.4 (Winter 2001): 89-92.

___.Review-Essay of Annie Dillard’s Teaching a Stone to Talk, Living by Fiction, and Encounters with Chinese Writers. Religion and Literature 17.2 (1985): 61-68.

___.“Rob Thomas and Television Creativity.” Investigating Veronica Mars: Essays on the Teen Detective Series. Ed. Rhonda V. Wilcox and Sue Turnbull. Jefferson, NC: McFarland and Company, 2011. 23-34.

___.“Rooted in the Absence of Place: The Odyssey of Loren Eiseley.” Art, Science, and Morality: Creative Journeys. Ed. Doris B. Wallace. New York: Plenum, 2005. 1-18.

___.“Same-o, Same-o: Eternal Recurrence in Groundhog Day.” Studies in Popular Culture XXII.1 (1999): 89-97.

___.“Sarah Palin Meets Seinfeld: Politics and American Television.” Telegenic. Critical Studies in Television (November 2010) <http://www.criticalstudiesintelevision.com/index.php?siid=13941>.

___.“’Secret Shit’: The Uncertainty Principle, Lying, Deviance, and the Movie Creativity of the Coen Brothers.” Post Script 27.2 (2008): 141-153.

___, with Sara Lewis Dunne, eds. Seinfeld, Master of Its Domain: Revisiting Television's Greatest Sitcom. New York: Continuum, 2006.

___.“Seinfeld Episode and Situation Guide.” Seinfeld, Master of Its Domain 232-54.

___.“The Semiotics of Cobbler: Twin Peaks’ Interpretive Community.” Full of Secrets: Critical Approaches to Twin Peaks. Detroit: Wayne State U P, 1994: 1-23.

___.“Serial’ Killer: Dexter’s Narrative Strategies.” Dexter: Investigating Cutting Edge Television. Ed. Douglas Howard. Investigating Cult Television. London: I. B. Tauris, 2009: 43-48.

___.“Series/Season/Show.” Telegenic. Critical Studies in Television (February 2011) <http://cstonline.tv/series-season-show>.

___.“The Sopranos.” 50 Key Television Programmes. Ed. Glen Creeber. London: Arnold, 2004. 188-92.

___.“The Soul of Andy Sipowicz: Depth of Character and the Depth of Television.” PopPolitics.com (March 2001): http://www.poppolitics.com/articles/2001-06-11-sipowicz.shtml.

___.“Space Boosters: Reflections on the Marketing of Unearthliness.” ETC.: A Journal of General Semantics 41 (1984): 388-97.

___.“The State of the American Sitcom (I): Community.Telegenic. Critical Studies in Television (May 2011) <http://cstonline.tv/telegenic-7>.

___.“The State of the American Sitcom (II): How I Met Your Mother.Telegenic. Critical Studies in Television  June 2011) <http://cstonline.tv/telegenic-8>.

___.“The State of the American Sitcom (III): The Big Bang Theory.Telegenic. Critical Studies in Television (June 2011) <http://cstonline.tv/telegenic-9>.

___.“The State of the American Sitcom (IV): 30 Rock.Telegenic. Critical Studies in Television (August 2011) <http://cstonline.tv/telegenic-10>.

___.“The State of the American Sitcom (V): Modern Family.Telegenic. Critical Studies in Television (September 2011) <http://cstonline.tv/telegenic-11>.

___.“The Strange Text of My Left Foot.” Literature/Film Quarterly 21.3 (1993): 194-99.

___.“The ‘Television is Better Than the Movies” Meme.” Telegenic. Critical Studies in Television (April 2011) <http://cstonline.tv/telegenic-5>.

___.“The Tenth Symphony.” Georgia Review 35 (1981): 583-93. Finalist for the 1982 Pushcart Prize in Non-fiction. (Translated into Portuguese and republished in Brazil as “Decima Sinfonia” in Cultura, 1 August 1982.)

___.“Thinking Inside the Box: Heisenberg’s Indeterminancy Principle, the Paradox of Schrödinger’s Cat, and Television.” Telegenic. Critical Studies in Television (July 2010) <http://criticalstudiesintelevision.com/index.php?siid=13721>.

___, ed. This Thing of Ours: Investigating The Sopranos. New York: Columbia U P/Wallflower Press, 2002.

___.“The Top Ten Series on American Television, Part 1. Telegenic. Critical Studies in Television (November 2011) <http://cstonline.tv/telegenic-13>.

___.“The Top Ten Series on American Television, Part 2. Telegenic. Critical Studies in Television (November 2011) <http://cstonline.tv/telegenic-14>.

___.“(TV)antipathy: A Prolegomena to the Metaphysics of Television Hating,“ Part Two. Flow 4.6 (June 16, 2006) <http://jot.communication.utexas.edu/flow/?jot=view&id=1923>.

___.“(TV)antipathy: A Prolegomena to the Metaphysics of Television Hating,“ Part One. Flow 4.2 (April 14, 2006) <http://jot.communication.utexas.edu/flow/?jot=view&id=1725>.

___.“Twenty Years.” Critical Studies in Television (6.1) Spring 2011: 105-106.

___.“Twin Peaks.50 Key Television Programmes. Ed. Glen Creeber. London: Arnold, 2004. 222-26.

___."'W' Stands for Women, or is It Wisteria?: Watching Desperate Housewives with Bush 43.” Reading Desperate Housewives: Beyond the White Picket Fence. Edited by Janet McCabe and Kim Akass. London: I. B. Tauris, 2006: 21-36.

___.“What’s My Motivation?: The Method Goes Fantastic in Television Acting. Telegenic. Critical Studies in Television (March 2011) <http://cstonline.tv/telegenic-method>.

___.and Nancy Roche. “Who’s Afraid of Virginia Woolf?” Modern American Drama on Screen. Ed. Robert Bray and R. Barton Palmer. Cambridge: Cambridge U P, 2012. 187-202.

___.“The X-Files. 50 Key Television Programmes. Ed. Glen Creeber. London: Arnold, 2004. 242-46.

___.“The X-Files.Conspiracy Theories in American History: An Encyclopedia. Ed. Peter Knight. Vol. 2. Santa Barbara: ABC Clio, 2003. 743-45.

Maull, Ian and David Lavery, “Battlestar Galactica.” The Essential Cult Television Reader 44-50.

Porter, Lynnette and David Lavery. Unlocking the Meaning of Lost: An Unauthorized Guide. Napierville, IL: Sourcebooks, 2006, 2007.

Porter, Lynnette, David Lavery, and Hillary Robson. Finding Battlestar Galactica: An Unauthorized Guide. Napierville, IL: Source Books, 2008.

Porter, Lynnette, David Lavery, and Hillary Robson. Lost’s Buried Treasures: The Unofficial Guide to Everything Lost Fans Need to Know. Napierville, IL: Source Books, 2008, 2009, 2010. Translated into Portuguese and Russian.

Porter, Lynnette, David Lavery, and Hillary Robson. Saving the World: A Guide to Heroes. Toronto: ECW Press, 2007.

Wilcox, Rhonda V. and David Lavery, eds. Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer. Boulder: Rowman and Littlefield, 2002.

Wilcox, Rhonda V., Tanya Cochran, Cynthea Masson, and David Lavery. Reading Joss Whedon. The Television Series. Syracuse: Syracuse U P, 2014.

Wilcox, Rhonda V. and David Lavery. “Introduction.” Buffy the Vampire Slayer: Legittimare la Cacciatrice. Edited by Barbara Maio. Grandi Serie Televisive Americane. Rome: Bulzoni Editore, 2007: 27-41.