I write across different modes: the essay (creative writing), criticism and theory (scholarly writing), freelance reportage, and pedagogy blogging.
Leavetakings (November 2020, University of Alaska Press)
“A stunning debut.”—Jericho Parms, author of Lost Wax
My collection of essays, Leavetakings (November 2020, University of Alaska Press), is available for pre-order.
The essay is my form of choice because it invites hybridized encounters of lived experience, philosophy, poetics, inquiry, and sensory perception. Images of water often figure in to my writing. So does limestone. In one essay I write about a severed vagus nerve while pondering an origin story about ice. In another essay, I write about tweezing salmon otoliths, and in a third, I move between parabolas, asymptotes, swans, and squid.
- Fluid Places – a Leavetakings excerpt published in Anchorage Museum’s Chatter Marks
- The Far Places – Edible Alaska
I use academic modes of writing to participate in my field’s scholarly conversations. In one article, for example, I critique the convention of referring to narrators as speakers and draw from ethnomusicology to theorize narration as a mode of listening.
- Creative Nonfiction and Lived Experiences of Power – a talk for the 2020 UAS Power and Privilege Symposium
- Listening the Lyric Essay – New Writing: The International Journal for the Practice and Theory of Creative Writing
Examples: I write artist profiles for 49 Writers and the Rasmuson Foundation’s Artists of Alaska series, and my magazine feature on the Kohklux Map appears in the February 2020 issue of Yukon North of Ordinary.
- Species, Families + Faultlines – a review of Marie Tozier’s new poetry collection for Terrain.org
- A Clockwork for the Land in Beth Peterson’s “Cairns” – Essay Daily
I often contribute practical discussions of courses, assignments, and lessons to Pedagogy and American Literary Studies.