Intermental Units from the Perspective of the Semiological Model.” Style 45, no. 2 (2011): 344-48.
Introduction: Uneasy Pleasures.” Partial Answers 9, no. 2 (2011): 211-17.
Afterword: On Limitations (in Hebrew).” In Vladimir Nabokov, The Original of Laura, Hebrew Translation by Ronen Sonis, 277-81. Tel Aviv: Yediot Aharonot, 2010.
Ilia Zakharovic Serman (1913-2010).” Toronto Slavic Quarterly, no. 33 (2010): 534-36.
Review of Colin Jones, Josephine McDonagh and Jon Mee, eds., Charles Dickens, A Tale of Two Cities and the French Revolution.” Dickens Quarterly 27, no. 2 (2010): 154-57.
Review ofGene A. Plunka, Holocaust Drama: The Theater of Atrocity.” Recherche Littéraire / Literary Research 26, no. Summer (2010): 102-104.
Literary Texts and Archival Documents: Between Elision and Allusion.” Gulag Studies 2-3 (2010): 55-67.Abstract

Earlier Version: “Textes littéraires et documents d’archives: entre élision et allusion.” In Le Goulag en heritage: Pour une anthropologie de la trace. Ed. Elisabeth Anstett and Luba Jurgenson. Paris: Éditions Pétra, 2009, pp. 89–99. A slightly revised Russian Version, “Литература и документ: Опыт взаимопрочтения,” in Варлам Шаламов в контексте мировой литерптуры и Советской Истории, ed. S. M. Soloviev. Moscow: Litera, 2013, pp. 103-10.

Towards the Ethics of Form in Fiction: Narratives of Cultural Remission
Towards the Ethics of Form in Fiction: Narratives of Cultural Remission. Columbus, OH: Ohio State University Press, 2010.
Review of Leland de la Durantaye, Style Is Matter: The Moral Art of Vladimir Nabokov.” The Slavonic and East European Review (SEER) 87, no. 3 (2009): 535-37.
“Three on Autobiography”.” Partial Answers 7, no. 2 (2009): 343-48.
Introduction: An Eyewitness, a Pier.” Partial Answers 7, no. 2 (2009): 163-67.
Making the Unthinkable Thinkable: Language Microhistory of Politburo Meetings.” In The Lost Politburo Transcripts: From Collective Rule to Stalin’s Dictatorship, 135-64. Ed. Paul R. Gregory and Norman Naimark. New Haven: Yale University Press, 2008.
Знаки и символы Варлама Шаламова.” In Paths in Art: Symbolism and European Culture in the 20th Century, 380-90. Ed. D. M. Segal and N. M. Segal (Rudnik). Moscow: Vodolei, 2008.
О торможении скандала в «Египетской марке» Мандельштама.” In Семиотика скандала, 334-44. Ed. Nora Buhks. Moscow: Evropa, 2008.
Being Read byLolita.” In Approaches to Teaching Nabokov's Lolita, 152-57. Ed. Zoran Kuzmanovich and Galia Diment. New York: The Modern Language Association of America, 2008.
Belated Gulag Memoirs: Amending Contexts.” Gulag Studies 1 (2008): 1-26.Abstract

An earlier version published as “Les mémoires tardifs du Goulag ou l’amendement de contexts historiques.” Trans. Peter Henninger et Marielle Silhouette. In Mémoires du Goulag: Déportés politiques européens en URSS, ed. Anne-Marie Pailhès. Paris: Le Manuscript, 2004, pp. 97–129.

Toker, Leona, and Daniel Chertoff. “Reader Response and the Recycling of Topoi in Kazuo Ishiguro’s Never Let Me Go.” Partial Answers 6, no. 1 (2008): 163-80.
Samizdat and the Problem of Authorial Control: The Case of Varlam Shalamov.” Poetics Today 29, no. 4 (2008): 735-58.
The Semiological Model in the Teaching of Literature: Discussing the Title of Austen’s Mansfield Park.” Literatūra 50, no. 5 (2008): 91-97. Publisher's Version
Waysband, Edward, and Leona Toker. “A Text within a Text: Fyodor Tumansky’s "Bird" in Varlam Shalamov’s Story "Handwriting" (in Russian).” Slavic Almanach 14, no. 2 (2008): 138-51.