AN INFERNO: AN ADDRESS TO NO ONE
The inspiration for the book came from Maggie Nelson's Bluets, a love letter to the color blue. AN INFERNO's color is red.
The chapbook is broken up into five sections, each with nine subsections.
I bound the book using book binding thread and glue to bind the pages together and cardboard and fabric tape for the covers. The text on each of its 27 pages was typed and printed, then torn out and glued. I embraced the ink and glue smudges and burned the edges of the book pages to give it a rugged look.
Read the PDF here.
FAMOUS WRITERS' TINDER PROFILES
Originally posted on Odyssey Online while I spent freshman year of college selling my good ideas to the devil in exchange for weekly Facebook posts, I'm now expanding this series for my own entertainment. I created these profiles to channel my frustration over online dating and love for literature. Age listed is when they died and "last active" is how long they've been dead. Location is whatever I felt was most appropriate. (For example, Virginia Woolf's location is River Ouse, and I'm not even sorry.)
Read the full article here.
DECEMBER 6th, 2015 IN MANHATTAN, NEW YORK
This series of letters to my father was inspired by C.A. Conrad's (Soma)tics. The challenge was to make up an activity and then write about it. For my activity, I took a picture of my dad and me around to some places in New York I wished he could be with me. I used my phone so that I could send each of them to him with no context. (Unsurprisingly, because my dad is a dinosaur when it comes to technology, he didn't reply.) Then, for each picture and each place, I wrote him a letter.
The collection contains three of those letters: one for the Upper East Side, Museum Mile, and Central Park.
Read the PDF here.
LIFE CYCLES OF IMMORTAL THINGS
This project is the brainchild of my slight obsession with Nabokovian symbolism (see: Lepidoptera) and experimentalism. I created a table of contents outlined using a timeline á la Georges Perec's Species of Spaces rather than a page numeration. Then, I wrote five of fourteen sections in that table of contents.
I chose to use the life cycle of a moth as my table of contents, breaking each "chapter"down to specific points in that cycle. The culmination of all the points comes together at the end, when the final full chapter ("A D U L T") discusses three specific genres of creative writing (fiction: Vladimir Nabokov, poetry: Elizabeth Bishop, and memoir: Bill Clegg), all of which at one point or another use moths as symbols.
Read the PDF here (WIP).
This poem is a love letter to Olivia Kane, a wildly-talented friend of mine who lives in Brooklyn. Here, she wrote out the last four lines for a calligraphy project.
MISCELLANEOUS ACADEMIC WORKS (WIPs)
"A Character Study in Three Parts: Humbert Humbert's Multiple Identities in Vladimir Nabokov's Lolita"
This piece is adapted from my high school senior thesis, "'This Tangle of Thorns': Reading Nabokov Without Guilt," which argues for a less judgmental reading of Humbert. "A Character Study," which I started working on my sophomore year of college, narrows this thesis to a singular argument.
"'The Regular People, the Ones Who Get Saved': Emotion, Narrative, and Connectedness in Rob Simonsen’s Film Scores"
Originally written as the final paper for my Artistry in Film class in spring 2017, this piece compares/contrasts Rob Simonsen's film scores for "Wish I Was Here" and "Seeking a Friend for the End of the World."
"Facing Them: Double Meanings in Yusef Komunyakaa's 'Facing It'"
This piece is a critical analysis essay written for my fall 2017 Literary Studies class. I did a close reading of Komunyakaa's poem considering only the text itself, not any information (historical/biographical, for the most part) from outside sources.
"Conveying One Thing in Two Ways: the Coens, McCarthy, and No Country for Old Men"
In this piece, written as the final paper for my summer 2017 class Masterpieces of the Cinema, I outline the similarities between the book and film versions of No Country for Old Men and why it's important for film and film adaptations as a whole.