B.A. English, University of California Los Angeles
M.A. English Literature, University of Southern California
Ph.D. Literature and Creative Writing, University of Southern California
Mailing: Box 358530, 18115 Campus Way NE, Bothell, WA 98011-8246
In all of my classes, we focus on the materials through which meaning is made, encompassing form, content, and medium in order to gain a larger sense of a given work. From close reading poems to considering the cultural implications of writing technologies, I encourage students to consider why writing takes the form it does and how it is, in turn, influenced by the form it takes. My aim in the classroom is to encourage a sense of community in order to facilitate risk-taking and experimentation, and I ask my students to approach our subjects with an open mind and generous spirit, treating one another’s work with the same respect we give to published pieces.
Recent Courses Taught
BISIA 483 Chapbooks and Artists' Books
BISIA 401 Literary and Arts Journal: Clamor
BIS 208 Experimenting through the Arts
BISIA 207 Introduction to Creative Writing
BISIA 310 Creative Writing: Poetry
BCWRIT 501 Between Fact & Imagination
My work as a scholar and poet is united by a focus on textual materiality—from the surface of the page to the surface of language. My poetry is highly attuned to the texture of words, their resonances and slippages, often drawing on etymology and language play. I rely on collaboration to supplement my individual writing practice and keep me connected to a larger writing world. My collaborative projects include a collaborative translation, with Gabriela Jauregui, of Oulipo poet Paul Braffort, and a performance/interactive book hybrid, created with Kate Durbin and Zach Kleyn, among other works.
In my scholarly work, I am currently completing a monograph that examines the conspicuous foregrounding of mediation in poetry by Gertrude Stein, Blaise Cendrars, and H.D., which alerts the reader to a physical intervention between poet and page. Read alongside the rise of graphic design, which placed what Walter Benjamin called “the upright script” on billboards, in newspapers, and on movie screens, these poems engage the dialogue surrounding media between the wars that promised access to language and images beyond the page.
Books and Chapbooks
Pomegranate Eater, Kore Press. 2016
Abra, in collaboration with Kate Durbin. 1913 Press. 2016.
As We Know, in collaboration with Andy Fitch. Subito Press. 2014.
Handiwork, Slope Editions. 2012.
Between Page and Screen, in collaboration with Brad Bouse. SpringGun Press. 2016.
Tonal Saw, The Song Cave. 2010.
“Abra: Expanding Artists’ Books Into the Digital Realm.” With Kate Durbin and Ian Hatcher. Gramma: Journal of Theory and Criticism 22, “Digital Literary Production and the Humanities,” Tatiani Rapatzikou and Philip Leonard, Eds. Forthcoming.
“Opening a Worl in the World Wide Web: The Aesthetics and Poetics ofDeletionism.” Media-N 11.1, Special Issue: The Aesthetics of Erasure,” Paul Benzon and Sarah Sweeney, Eds. (Spring 2015).
“Towards an Auto-Destructive Poetics.” The Force of What's Possible: Writers on Accessibility & The Avant-Garde. Lily Hoang and Joshua Marie Wilkinson, Eds. (Nightboat Books, 2015).
“Afterword,” Sixty Morning Talks by Andy Fitch. Ugly Duckling Presse, 2014.