Books

• The New Oxford Shakespeare, Complete Works: Critical Reference Edition, gen. ed. Gary Taylor, John Jowett, Terri Bourus, Gabriel Egan (Oxford, 2017).
• The New Oxford Shakespeare, Authorship Companion, ed. Gary Taylor and Gabriel Egan (Oxford, 2017).
• The New Oxford Shakespeare, Complete Works: Modern Critical Edition, gen. ed. Gary Taylor, John Jowett, Terri Bourus, Gabriel Egan (Oxford, 2016).
• Buying Whiteness: Race, Culture, and Identity from Columbus to Hip Hop (Palgrave, 2005).
• The Oxford Shakespeare: The Complete Works, Second Edition. Oxford University Press, 2005.
• Castration: An Abbreviated History of Western Manhood. New York and London: Routledge, October 2000.
• Cultural Selection. New York: Basic Books, 1996. Rpt. (paperback ed.) 1997.
• Shakespeare Reshaped 1606-1623. With John Jowett. Oxford: Oxford U P, 1993. Rpt. 1997.
• Reinventing Shakespeare: A Cultural History from the Restoration to the Present. New York & London: Weidenfield & Nicholson, 1989. Rpt. ( Oxford U P paperback ed.) 1991.
• William Shakespeare: A Textual Companion. With Stanley Wells, John Jowett and William Montgomery. Oxford: Oxford U P, 1987. Rpt. (paperback ed.) New York: W. W. Norton, 1997.
• Moment by Moment by Shakespeare. London and New York: MacMillan, 1985. Published in the United States as To Analyze Delight.
• Modernizing Shakespeare's Spelling with Three Studies in the Text of Henry V. With Stanley Wells. New York & London: Oxford U P, 1979.

Books Edited

• The Creation and Re-Creation of Cardenio: Performing Shakespeare, Transforming Cervantes, ed. Terri Bourus and Gary Taylor (Palgrave, 2013).
• The Quest for Cardenio: Shakespeare, Cervantes, Fletcher, and the Lost Play, ed. David Carnegie and Gary Taylor (Oxford, 2012)
• The Oxford Handbook of Thomas Middleton, ed. Gary Taylor and Trish Thomas Henley (Oxford, 2012)
• The Collected Works of Thomas Middleton, Oxford University Press, 2007.
• Thomas Middleton and Early Modern Textual Culture: A Companion to The Collected Works, Oxford University Press, 2007.
• John Fletcher, The Tamer Tamed, Revels Plays, 2006, co-edited with Celia R. Daileader.
• The Norton Shakespeare: Based on the Oxford Text. New York: W.W. Norton, 1997.
• Macbeth. Edited and annotated for CD-ROM edition. With Jim Bride. New York: Bride Media, 1997.
• Romeo and Juliet. Edited and annotated for CD-ROM edition. With Jim Bride & Celia Daileader. New York: Columbia University Press, 1997.
• Shakespeare's Editors from Rowe to Alexander. Ed. with Stanley Wells. Ann Arbor: University Microfilms International, 1988.
• The Complete Works, William Shakespeare. Gen. Ed. with Stanley Wells. New York & London: Oxford U P, 1986. Rpt. on Compact Disc (Oxford, 1989); Rpt. in paperback (Oxford, 1994); Rpt. in three-volume paperback (Oxford, 1994).
• The Complete Works: Original Spelling Edition, William Shakespeare. Gen. Ed. with Stanley Wells. Oxford U P, 1986.
• The Division of the Kingdoms: Shakespeare's Two Versions of King Lear. New York & London: Oxford U P, 1983. Rpt. in paperback edition, 1986.

Articles and Essays (1995-)

• “Transeditions: Shakespeare’s two French English lessons,” Letras, v. 33, n. 67 (2024), 3-36
• “One Book to Rule Them All: ‘The King James Version’ of Shakespeare’s Plays”, Shakespeare, 19:4 (2024), 75-103:, doi.org/10.1080/17450918.2023.2251940
• “Oxford University Press and Digital Shakespeare, 1960s to 2020s”, Medieval and Renaissance Studies, No. 8 (Hangzhou: Zhejiang University Press, 2023), 85-103
• “The Changeling: Middleton, Rowley, Eliot, and the Sin of Synecdoche,” in 400 Anos de The Changeling (Thomas Middleton y William Rowley, 1622), ed. John D. Sanderson (Alicante: Universitat d’Alacant, 2023), 23-36.
• "Shakespearian Magnitudes," Shakespeare Quarterly 73 (2022), 246-79, https://doi.org/10.1093/sq/quac058
• "Playhouse Manuscripts, Vectors of Transmission, and Shakespeare's Henry V," PBSA 116 (2022), 343-78, doi.org/10.1086/721096
• • “Interface Design and Editorial Theory,” in The Routledge Handbook of Shakespeare and Interface, ed. Paul Budra and Clifford Werier (Routledge, 2022), 105-15 , DOI: 10.4324/9780367821722-10
• “Shakespeare's Early Gothic Hamlet”, in Shakespeare & The First Hamlet, ed. Terri Bourus (Berghahn, 2022), 7-34
• "Shakespeare, Arden of Faversham, and Four Forgotten Playwrights”, Review of English Studies 71:302 (2020), 867-95, doi:10.1093/res/hgaa005
• “Cry Havoc”, King Henry V, ed. Francois Laroque (Paris: Ellipses, 2020), 221-33
• "Death of an English Major," in The Best American Essays 2019, ed. Rebecca Solnit (Boston: Houghton Mifflin Harcourt, 2019)
• "Who Read What When?" in Early Shakespeare, 1588-94, ed. Rory Loughnane and Andrew Power (Cambridge University Press, 2020), 284-301
• "Finding Anonymous in the Digital Archives: The Problem of Arden of Faversham," Digital Scholarship in the Humanities (2019),DOI 10.1093/llc/fqy075
• "The Tamer Tamed: Dating Shakespeare's Interactions with Fletcher," Memoria di Shakespeare 5 (2018), 118-48, DOI 10.13133/2283-8759/14508
• Gary Taylor, John V. Nance, and Keegan Cooper, "Shakespeare and Who? Aeschylus, Edward III, and Thomas Kyd", Shakespeare Survey 70 (2017), 146-53
• “Fake Shakespeare”, in Journal of Early Modern Studies,5 (2016)
• "Collaboration," in Shakespeare 2016, ed. Dympna Callaghan and Suzanne Gossett (Bloomsbury/Shakespeare Association of America, 2016)
• “Shakespeare’s Illegitimate Daughter,” Memoria di Shakespeare, 2 (2015), 177-94
• Gary Taylor and John Nance, "Imitation or Collaboration? Marlowe and the Early Shakespeare Canon", Shakespeare Survey 68 (2015), 32-47
• "The Taming of the Thing," Washington Shakespeare Theatre (D.C.), 2015
• "Why Did Shakespeare Collaborate?" Shakespeare Survey 67 (2014),1-17
• "Empirical Middleton: Macbeth, Adaptation, and Micro-authorship", Shakespeare Quarterly, 35 (2014), 239-72
• Terri Bourus and Gary Taylor, "Measure for Measure(s): Performance-Testing the Adaptation Hypothesis," Shakespeare 10:2 (2014), 363-401
• "Middleton and Macbeth," in Macbeth: The Norton Critical Edition, ed. Robert Miola (Norton, 2014), 294-303
• "Sleight of Mind: Cognitive Illusions and Shakespearian Desire", Performing Shakespeare, Transforming Cervantes , ed. Taylor and Bourus (Palgrave, 2013), 125-68
• Gary Taylor and Stephen Wagschal, "Cervantes or Shelton? The Sources of Cardenio and Double Falsehood," Performing Shakespeare, Transforming Cervantes , ed. Taylor and Bourus(Palgrave, 2013), 15-29
• "History • Plays • Genre • Games", in The Oxford Handbook to Thomas Middleton, ed. Taylor and Henley (Oxford, 2012), 47-63.
• "A History of The History of Cardenio", in The Quest for Cardenio, ed. Carnegie and Taylor (Oxford, 2012), 11-61.
• "The Embassy, The City, The Court, The Text: Cardenio Performed in 1613," in The Quest for Cardenio, 286-307.
• "'White Like Us': Early Modern King Kongs and Calibans", in Race and Modernity, ed. Iris Wigger and Sabine Ritter (LIT-Verlag, 2011), 31-53.
• "In Media Res: From Jerome through Greg to Jerome (McGann)", Textual Cultures 4.2 (2009), 88-101
• "Historicism, presentism and time: Middleton's The Spanish Gypsy and A Game at Chess", SEDERI 18 (2008), 147-70.
• "Middleton, Shakespeare and Caravaggio", The Revenger's Tragedy (program), Royal National Theatre, June 2008 (reprinted as "A Mad World", Guardian, 7 June 2008)
• "Milton and Shakespeare: Battle of the Bards", Time (Europe), 15 May 2008
• "The Bawdy Bard", Time (Europe), 18 November 2007
• "Making Meaning Marketing Shakespeare 1623," in From Performance to Print in Early Modern England, ed. Peter Holland and Stephen Orgel, volume 3 of "Redefining British Theatre History" (Palgrave, 2006), 55-72.
• "Thomas Middleton, The Spanish Gypsy, and Multiple Collaboration," in Words That Count: Essays on Early Modern Authorship, ed. Brian Boyd (University of Delaware Press, 2004), 241-73.
• "Shakespeare's Mediterranean Measure for Measure," in Shakespeare and the Mediterranean: Selected Proceedings of the International Shakespeare Association World Congress, Valencia, 2001, ed. Tom Clayton, Susan Brock, and Vicente Fores (Newark: University of Delaware Press, 2004), 243-69.
• "The Cultural Politics of Maybe," in Region, Religion, and Patronage: Lancastrian Shakespeare, ed. Richard Dutton, Alison Findlay and Richard Wilson (Manchester UP, 2003), 242-58.
• "Middleton and Rowley-and Heywood: The Old Law and New Technologies of Attribution," Papers for the Bibliographical Society of America, 96 (2002), 165-218.
• "Shakespeare Plays on Renaissance Stages" in The Cambridge Companion to Shakespeare in the Theatre, ed. Stanley Wells and Sarah Stanton (Cambridge University Press, 2002), 1-27.
• "Power, Pathos, Character." in Harold Bloom and the Interpretation of Shakespeare, ed. Christy Desmet and Robert Sawyer (New York: Palsgrave, 2001), 43-64.
• "Thomas Middleton, The Nice Valour, and the Court of James I." Court Historian 6 (2001), 1-37.
• "Divine [ ] sences." in Shakespeare Survey 54 (Cambridge University Press, 2001): 13-30.
• "Gender, Hunger, Horror: The History and Significance of The Bloody Banquet." Journal of Early Modern Cultural Studies 1 (2001): 1-45.
• "Hamlet in Africa 1607." Travel Knowledge. ed. Ivo Kamps and Jyotsna Singh (New York: St. Martin's, 2000): 211-48.
• "Thomas Middleton, Thomas Dekker, and The Bloody Banquet." Papers of the Bibliographical Society of America 94 (2000): 197-233.
• "Theatrical Proximities: The Stratford Festival, 1998." Shakespeare Quarterly 50 (1999): 334-354.
• "Thomas Middleton, Lording Barry and The Family of Love," co-authored with Paul Mulholland and Mac D. P. Jackson. Papers of the Bibliographical Society of America 93 (1999): 213-242.
• "Afterword: The Incredible Shrinking Bard," in Shakespeare and Appropriation, ed. Robert Sawyer and Kristin McDermott (New York and London: Routledge, 1999), 197-205.
• "Feeling Bodies." Shakespeare in the Twentieth Century: Proceedings of the Sixth World Shakespeare Congress. Ed. Jonathan Bate et al. Newark: University of Delaware Press, 1998.
• "Judgement." New Texts, Old Texts: Papers on the English Renaissance Text Society. Ed. W. Speed Hill. Tempe, AZ: 1998.
• "What Is an Author [not]?" Critical Survey 7 (1995): 241-255.
• "Shakespeare and Others: The Authorship of 1 Henry VI." Medieval and Renaissance Drama in England 7 (1995): 145-205.

Anthologized WorK

• "Why Did Shakespeare Collaborate?" (chosen by Peter Holland in 2018 for an online Cambridge University Press anthology as one of 18 outstanding articles from his 18 years of editing the journal)
• “The Fortunes of Oldcastle”, rpt in Essays about Shakespearian Criticism, volume 120 (Gale, 2009)
• "Revising Shakespeare" in Shakespeare: An Anthology of Criticism and Theory 1945-2000, ed. Russ Mcdonald (Oxford: Blackwell, 2004).
• "The Fortunes of Oldcastle" and "The War in King Lear" in Shakespeare Criticism 1953-2003, ed. Sarah Stanton and Stanley Wells (Cambridge UP, 2003).
• "The Fortunes of Oldcastle" in 1 Henry IV, Norton Critical Edition, 3d. Ed., ed. Gordon McMullan (New York, 2003), 129-49.
• Excerpt from Reinventing Shakespeare ("Singularity") in Elizabethan Drama. ed. Laura K. Egendorf. Greenhaven Press Companion to Literary Movements and Genres (2000), 166-171.
• Excerpt from Reinventing Shakespeare ("1709") in Reception Study. ed. James L. Machor and Philip Goldstein (Routledge, 2000).
• Excerpt from Reinventing Shakespeare ("Present Tense") in A Shakespeare Reader: Sources and Criticism. ed. Richard Danson Brown and David Johnson, The Open University (Macmillan: Basingstoke, 2000), 305-11.
• "Textual and Sexual Criticism" rpt. in Shakespeare and Gender, ed. Stephen Orgel and Sean Keilen (New York: Garland, 1999), 305-335.
• "Revising Shakespeare" rpt. in Shakespeare and the Literary Tradition, ed. Stephen Orgel and Sean Keilen (New York: Garland, 1999).
• "Inventing Shakespeare" and "Folio Copy" reprinted in Shakespeare and the Editorial Tradition, ed. Stephen Orgel and Sean Keilen (New York: Garland, 1999), 124-43, 378-96.
• "Bardicide," rpt. in Julius Caesar: A Casebook, ed. Richard Wilson (MacMillan: 2001).