The Whole Machinery: The Rural Modern in Cultures of the U.S. South, 1890-1946 (University of Georgia Press, 2019).
“An Aesthetics of Fusion: David Bryant Fulton’s Hanover and the Wilmington Massacre,” The 1898 Wilmington Massacre: Critical Explorations on Insurrection, Black Resilience, and Black Futures, ed. Tiffany Gilbert and Lynn Mollenauer (Louisiana State University Press, forthcoming.
“Notes on the Altered States of Virginia: Jocelyn Nicole Johnson’s My Monticello,”&Բ;Mississippi Quarterly (forthcoming.
“The Ends of the Cosmopolitan: Go Down, Moses, Rurality, and Faulkner’s Americanity,” Faulkner's Modernisms, ed. Jay Watson and James Thomas (University Press of Mississippi, forthcoming.
“Huck Finn, Land Pirate,” Studies in American Fiction 47.1 (2020): 47-70.
“The Plantation Countermelodies of Dunbar and Du Bois: Writing Agropolitical Subjecthood in the Nadir,” American Literature 91.3 (2019): 557-86.
“Fields of Progress: The Mechanization of Agriculture in Days of Heaven,” American Studies 57.1/2 (2018): 79-102.
“Astonishing Byblows: Rurality, Snopesism, and Populist Modernization in Faulkner’s Frenchman’s Bend,” Modern Fiction Studies 64.2 (2018): 286-310.
“‘No kind of place’: New York City, Southernness, and Migratory Modernism,”&Բ;Faulkner’s Geographies, ed. Jay Watson and Ann A. Abadie (University Press of Mississippi, 2015), 50-64.
“The Magical Real and the Rural Modern in Cinema Novo: Vidas Secas and Black God, White Devil,” South Central Review 31.1 (2014): 55-73.
“M辱Բ The Democratic Forest: The Postsouthern Spaces of William Eggleston,” Southern Cultures 17.2 (2011): 37-54.
“Looking Over the Country Again: Rusticity and the Urban/Rural Spatiality of The Orchard Keeper and No Country for Old Men,” Cormac McCarthy Journal 9.1 (2011): 1-16.
“Raised in the Country, Working in the Town: Spatial and Temporal Modernisms in Bob Dylan’s ‘Love and Theft,’ ” Popular Music and Society 32.2 (2009): 199-210.
