[1] Stevenson's most recent book is The Haunted North (Horror Stories from Viking Country), a collection of ten horror stories drawn from the extremes of Scandinavian history and culture, and spans the period from the Dark Ages to World War II.

[6] The Living Color featured Stevenson's interviews, most notably of John Waters, poems he received in the mail from Charles Bukowski, his own short fiction, and works by Jim Morton and William Sikorsky.

Pandemonium # 1 featured articles, correspondence, and interviews with Charles Bukowski, William S. Burroughs, Al Goldstein, and John Waters.

[9] Pandemonium #2 was more ambitious with a slick cover, and articles about and/or interviews with, Divine, Mary Woronov, Cookie Mueller, Rosa von Praunheim and many others.

[10] The third and final issue of Pandemonium, a "Freaks, Magicians & Movie Stars Special Edition" was published in 1989.

Again improved, the issue featured articles and interviews, including Mary Vivian Pearce, Kenneth Anger, George Kuchar, and Johnny Eck.

[12] Stevenson's first book, Desperate Visions: Camp America (1996), focused on the films of John Waters and the Kuchar Brothers.

[13] It had its launch party at the Lighthouse Cinema, in New York on June 12, 1996, kicking off the first ever major retrospective of the films of George and Mike Kuchar.

"[16] His book Dogme Uncut: Lars von Trier, Thomas Vinterberg, and the Gang That Took on Hollywood, was published in 2003.

Dogme Uncut accomplishes a worthwhile task in cataloguing almost every Dogme release and introducing the (often unknown) filmmakers behind them.”[17] Stevenson has authored 7 other books on subjects ranging from Tod Browning's film Freaks, to one on the Scandinavian silent film Witchcraft Through the Ages.

[22][23] Stevenson has been a regular contributor to the Bright Lights Film Journal with long form essays including George Kuchar: A First-Person Life[24] and Robert Cowan (1930-2011): Unsung Superstar of the Underground.

He brought Roy Frumkes to Chet's for a screening of Street Trash, Document of the Dead, and footage from The Last House on the Left.

[32] What their films lacked in production values and fluid narrative, they made up with spectacle and the offer of forbidden images.