New PhD Student, Heather J. Macpherson, awarded EGRA

Heather J. Macpherson is a first-year PhD student in Literature in the English department with interests in Poetry, Animal Studies, Modernism, and Creative Nonfiction. Her writing, mostly essays and/or poetry, have appeared in Pearl, Spillway, Clare Literary, The Broken Plate, Parlour, Niche, Gravel and other fine places. She has thrice been features editor for The Worcester Review. Heather’s poem “Sestina Lot #41994” was nominated for a Pushcart Prize in 2016 by RadiusLit.

Heather received an Enhancement of Graduate Research Award (EGRA) this fall to work on a project regarding Marianne Moore. The EGRA is offered by the Provost, the Vice President of Research and Economic Development, and the Dean of the Graduate School at URI to to support research, creative or artistic projects. These awards, of up to $1000, are competitive and offered only once a year. In addition to the application, graduate students applying for the EGRA must include a proposal and budget for their project as well as a letter of support from a faculty member (Heather is working with Dr. Mary Cappello on this project). The applications are then reviewed by an interdisciplinary committee based on the writing, benefit to the student conducting the research, and the anticipated benefit of the research to the field and wider community.

We asked Heather a bit more about how she found out about and applied for the EGRA and to tell us more about her project.

How did you learn about the EGRA?
I first learned about the Enhancement of Graduate Research Award (EGRA) at our graduate orientation. Faculty members from the science department presented a workshop on proposal and grant writing with a focus on the EGRA; this particular award has, or had, a fall deadline so there was about six weeks, I think, between the workshop and the proposal deadline.

What is your current project and how did you come to this topic?
When I was a Master’s in English student at Worcester State University, I focused my thesis on the relational discourse in three pairs of animal poems by Elizabeth Bishop and Marianne Moore. During that time I was fortunate to receive university grant funding to do archival research at the Rosenbach Museum and Library in Philadelphia. My current project stems from those interests.
As I continued studying and reading Moore’s poetry and letters, I became intrigued by the influence of animal studies and biology in her work. I saw the EGRA as a great opportunity to further explore Moore’s visits and research at the American Museum of Natural History in New York. My aim is to create a sound essay replicating aspects of her July 5th, 1932 visit to the museum when she was writing her poem, “The Jerboa.”

We look forward to hearing more about Heather’s project as it comes to fruition!

Professor Spotlight: Ryan Trimm

Dr. Ryan Trimm has been in the English department at URI since 2001. During his tenure here, he has served as the department chair and the director of graduate studies. He currently has a joint appointment in Film Studies and serves on the board for the Center for the Humanities on campus. Trimm received his PhD from the University of North Carolina at Chapel Hill and worked at Florida International in Miami before coming to URI. His main area of research is contemporary British literature and film, including postcolonial theory and literature. He recently published Heritage and the Representation of the Past in Contemporary Britain, which uses a broad range of British film, television, literature, as well as political theory and historic conservation texts. We had the chance to talk to him at the start of this spring semester to hear more about his recent book, other projects, and his current graduate seminar, Cultural Capital and Financial Fiction.

Continue reading “Professor Spotlight: Ryan Trimm”

A Conversation with Laura Marie Marciano

Laura is a 4th year PhD student working on a creative dissertation in Poetry in the English department at the University of Rhode Island. She came to pursue her PhD having completed an MFA in Performance and Interactive Media from CUNY Brooklyn. Laura is involved both on-campus and off in fostering a creative writing community, as well as teaching and publishing her own poetry and that of others. She curates Gemstone Readings in the NYC area, incorporating performance elements in non-traditional venues and heads the Literary Arts Committee at URI, which hosts readings among other projects focused on students pursuing the creative dissertation option. [br]

We reached out to her to talk more about her work and specifically LAMM presents at Artbook @ MoMA PS1, an exhibition series she is co-curating, which premiers Sunday, December 10 at 4pm at MoMA PS1.

You have an experiential poetry event at MoMA PS1 this month, what are the aims of this event? In this vein, how does experiential poetry differ from a reading or other live event? [br] 

The event at MoMA PS1 and Artbook is part of a new venture project, LAMM, in which my long time friend and fellow poet, Monica McClure, and I explore what it is like to create immersive poetry events within an institutional space, and also, consider how capital, commerce, and popular culture can effect the way poetry is experienced.[br]
Monica and I came together through my project gemstone readings. We want to evolve from the project, and transition to a different model that negotiates with mainstream culture rather than resists it altogether. We both come from humble, down-home backgrounds, have an affinity for fashion and design, and share very similar aesthetic tastes, which make the project easier to navigate with little conflict.

Continue reading “A Conversation with Laura Marie Marciano”

Student Spotlight: Beth Leonardo Silva

IMG_5092Beth Leonardo Silva joined the English department in September 2013 as a Master’s student and hit the ground running. Last year, Beth received the Student Excellence in the Humanities award for all the work she does in research, teaching, and service. Currently a Ph.D. student, Beth is working on preparing for her comprehensive exams towards her dissertation. Focusing on Victorian literature, she is most interested in sibling and sibling-like relationships in novels. Alongside this work, she has published one article, “Rethinking the Familiar: Social Outsiders in Eliza Lynn Linton’s The Rebel of the Family and Rhoda Broughton’s Dear Faustina,” in Victorians Institute Journal and has two more under review. “Rethinking the Familiar” asks readers to reconsider the New Woman novel to see the outlier as the heteronormative male suitor, rather than the threatening woman, due to the sibling-like relationships that are offered at the conclusion of the novels. “Milking the System: How Breastfeeding Opens Up New Readings of Doctor Thorne and the Familiar Marriage Plot,” currently under review, considers the relationship between breastfeeding and social climbing, and “Between Siblings: Performing the Brother in Wilkie Collins’ The Woman in White and No Name,” also under review, looks more closely at potential incestous desire as a radical rewriting of the marriage contract.

Continue reading “Student Spotlight: Beth Leonardo Silva”

Investigating History through Archives and Interviews: A talk by Dr. Maury Klein

Dr. Maury Klein, a URI professor of history emeritus, offered his insights into to the world of historical research through archives and interviews this March at the CI. The event had a wonderful turnout with people from across disciplines at URI—from oceanography researchers to land trust stewards, English doctoral students to urban park managers—all coming out to learn how Dr. Klein makes the most of historical research and the stories it offers which can’t be found online, at the library, or in the field. Though Dr. Klein’s research is not within a scientific field, there were many takeaways for those looking to communicate science effectively to a broad public audience.

Histories Mysteries and Science’s Secrets – Disciplinary Detective Work

He opened by addressing the ways in which scientific and historical research are not so different—both seek answers like detectives in a mystery story—one in the material present, and the other in the recorded past. Though he has researched scientists, such as James Van Allen, he does not do research in labs or in the field. Or, rather, his lab and field lay elsewhere—in the interview room, library, internet, or archive—and most curiously—in the unsuspecting ways these sites overlap to lead him to obscure holdings. He has found key information that allowed him to tell the story of important histories in overlooked bookshelves of family cabins, centuries old train station warehouse dumpsters, or even as a result of a phone call from a stranger.

Nine Rules of Effective Research Learned from Five Decades of Successful Practice

Dr. Klein notes that research, regardless of discipline, shares many of the same characteristics. Keeping these characteristics in mind explicitly is his rule for producing the effective research that led to his nineteen books and numerous essays.

  1. Patience – the time and effort it takes to comb through all the sources you will need to view for a research project can be overwhelming. This can even seem like more than you can manage. His advice is, rather than think about the whole, to just continue to do the next thing.
  2. Persistence – even though you can only ever do the next thing, you must continue this effort even if the end is not in sight.
  3. Imagination – research is directed by the questions you ask. You don’t know what you don’t know, yet, with research you can’t find an answer without a question. You need to be able to imagine a question that reaches beyond what you already know.
  4. Proportion – knowing when, where, and how to cut off your research is key. Knowing how to limit the scope of a project is a first step towards this despite the imaginative leap that begins an endeavor. It is important to keep in mind that if you never finish the research, especially with something as large as a book or dissertation, it won’t matter since no one will ever see it. You need to be able to decide when to stop looking and start telling the story.
  5. Clear focus – it is difficult to read things and only look for what you are looking for, but you need to be able to do this or no amount of persistence and patience will turn your research into a story you can tell.
  6. Making Connections – the core of education is making connections between things you never saw before encountering them in close proximity. He shares how, as an undergraduate he had a common aha moment when he started to see that all the classes are connected despite their different ways of seeing the same things. It is the same at the research level. Things that seem inconsequential end up being connected, and even changing the direction of what you are doing entirely.
  7. Organization – his method for organizing his sources and notes appears to be almost archival in itself. The more stuff you have the more organized you need to be. You never want to be looking for something endlessly just in order to finish a sentence when you are finally telling the story.
  8. Style – style is about not just writing but finding a way for how you want to do the research and story drafting itself. This is a way of navigating stuff. The same system won’t work for everyone but everyone needs a system, even if it is of their own making.
  9. Judgment – you are constantly making decisions as a researcher in small ways—about where you will look, what you will address next, what is important, what the connections are. You also need to decide what will the source allow you to do, what the source tells you, how does it help you answer your question, what is the data telling you? It will not be self-evident. The more contextual and background information you know before you start, the easier it is to decide.

Though all this may sound overwhelming itself, he adds that research is fun if you like doing it. He always used to tell students who would ask: what can you do with a history major? – if you chose not to find a career doing what you like to do you’ll end up a miserable rich person. The research you do comes down to the size of what you are trying to accomplish – small projects will involve more targeted searching, and large ones comprehensive immersions – regardless of size however, you can’t control where the material takes you, and you must be willing to follow it to find the story you need to tell.

Plumbing the Archives

Here are Dr. Klein’s practical tips on doing archival work:

-Don’t take notes. You don’t know what you will need later. Always photocopy, scan, or photograph sources when possible.

-Don’t just look for primary sources, archival holdings of researchers materials also sometimes contain original documents from their own archival work, much of which may have become lost or is now even harder to access.

-You must do the initial leg work to find out where the holdings are which you need to access; this is not as straight forward as typical library searches.

-Go look at things yourself and don’t have someone do your research for you, they will make decisions for you and since you don’t know exactly what you are looking for until you find it, this can lead to missed opportunities.

-You need your own system of determining what is of interest.

-Companies that are around for a long time often hold on to centuries of records comprehensively. Many will allow you access if you ask and have the right connection.

-Large and/or important families often hang on to archival items until the death of the last surviving kin, often things get lost. Many will allow you access if you ask and have the right connection.

-A source on one thing will often convey information about something else; for example, he once found 19th century railway engineer notebooks that contain much flora and fauna notes about surrounding landscape which they were laying track through.

-Periodicals are a great source because they don’t know what is coming next so they are good for giving you the tone of the day.

Instigating Interviews

Dr. Klein notes that, often, there isn’t always enough direct primary source material to make a source driven story, so you may need to branch out. Interviews are both a good way to do this, and to find additional sources. He suggests asking people for introductions to other people you can interview to help you with your story, this often leads back to archival holdings you would not otherwise have found. Inventory who you know. Keep track of who they know. Ask around.

When there is a generation of people outgoing you can often convince a company or organization to debrief the outgoing staff and get a good story that would otherwise have been lost, or good leads. Hence, interviews often lead to unforeseen research directions, and will help you bring your story to life later, connecting it to real and present world. With contemporary history, interviews are more important often than the archival documents. Finally, and most importantly, Klein urges researchers to always record an interview, and back it up ASAP. If you do lose it, however, you can call back and say: I had some follow up questions. Use this call to clarify key information minimizing what is lost.

Telling the Story

For Dr. Klein, how he organizes his notes and sources on archival documents and interviews corresponds to how he will write the story they tell. He picks what stories to tell several ways. Sometimes it is assigned to him – an opportunity presents itself from a publisher, educational organization, or even law firm, and he accepts it if it intrigues him. Other times he decides on his own to pursue something. In this case it is often something he wants to know more about – and what better way. The point is that you never know where a topic will come from. You never know where your research is going to take you or what further avenues it is going to open up for you. It used to always be important to answer the phone as the vanguard of career success, now it is never ignore an email, explore every opportunity. Klein explains one often blunders into things. He seems to say, however, that in order to do so, you must already be immersing yourself in an area, rather than researching narrowly or transactionally. You need to carve out the space to do exploratory work and the story will usually reveal itself. When thinking about how to tell a story – how to present information so that it does not overwhelm a reader, Dr. Klein explains the way you communicate will depend on how you approach the research. For him, this leads to a sort of condensed style. He likes to say as much as he can in as small a space as possible, this leads to succinct and dense sentences and necessitates using active verbs, the opposite of, say, a Victorian style.

Most importantly, you need to be able to see the scaffolding of the story the data will tell. When a story has not been told yet it isn’t usually because the facts aren’t known, so much as it is that researchers haven’t yet found a way to scaffold the information. The scaffolding – or organizational structure – emerges during the research stage, which you make explicit in your telling. When revising his stories, he follows the same style of condensation, rather than altering the scaffolding and reorganizing or removing whole sections. He goes page by page reducing each by an equal percentage. All of this – research and writing – are more achievable if you have regular work habits – a routine that you follow. For him, this is writing seven days a week, every morning at least. He doesn’t take vacations because his work is fun. Regarding the presentation of quantitative data, he suggests always writing at a level comprehensible by a non-technical reader. He also suggests not so much explicating the data as providing it alongside a qualitative narrative which emerged from it.

 

The Job Market: An Interview with Amy Foley

This past fall, Amy Foley went on the job market for the first time. She was kind enough to answer some questions about the process and give some advice to those of us who will one day have to go through the same process. Her interview is below.

First of all, congratulations on finishing your PhD in four years! That’s truly impressive. This last fall, you went on the job market for the first time, and, as something many of us are looking forward to and also dreading, thanks for letting us pick your brain!

1. Given the state of higher education and the cuts to permanent positions happening throughout the academy, how did you feel about the number of tenure track/full time jobs that were available in your area? Were there as many as you expected? Fewer? Were you forced to stretch your area to cover certain job calls?

I was surprised that there were as many jobs as there were in the fall of 2016. I have very strong feelings about our use of the phrase “going on the market,” which reminds one of a nineteenth century debutante ball. This phrase is unnecessarily intimidating for many candidates and implies a level of importance in higher education that I think we could all do without.  Yes, our profession requires a level of preparation and a portfolio that some careers do not, but many other professions do require similar preparation or an even more rigorous application process, yet do not use this kind of simultaneously self-aggrandizing and debasing language. I did not feel disappointed about the number of jobs available since my attitude is that you only need one interested party, which is why I think candidates should apply to as many jobs as they can handle in a given time. I suppose that if you do not see the process as a coming out ball, then you will not feel rejected by a scarcity of suitors.
I was looking at primarily twentieth and twentieth first century literature positions. They were all in North America, though I will be expanding my search internationally in the future. I found some that were specific to one of my areas in global modernism. Roughly half of the ten full time positions to which I applied were in modernism. The others were more generalist or focused on specific topics that were of interest to me, such as environmental studies. I did not feel forced to apply to any jobs that were not of interest.
2. How did you prioritize which jobs to apply for?
 Since I was still writing the last two chapters of my dissertation while teaching, working as a research assistant, conferencing, and doing the service work (as we all do), I had limited time for applications this year.  I decided to apply to at least ten full time positions. As it turned out, that number somewhat matched the number of jobs I felt qualified to apply for or positions that seemed like a good fit. I am primarily interested in full time positions that require or allow me to pursue research and writing along with teaching, so I applied to the jobs that clearly facilitated both. All of the jobs to which I applied I discovered through the MLA Jobs List and HigherEdJobs. In the future, I plan to cast a much wider net.
3. What was the most time-consuming part of the process? The most difficult?
The most time-consuming part of the process was composing the first set of cover letters and any extra materials required by an application. I had not actually assembled my teaching portfolio beforehand and only one position required it. This was very time-consuming, and I would recommend putting it together earlier since it is not particularly difficult. It was also time-consuming to revise and edit one chapter of my dissertation as a writing sample since I had written it so recently and had not revised the dissertation yet. I knew it would be tough to write applications while in the middle of the dissertation and working toward a definite deadline, but I felt it was good for my own morale and experience.
4. If there was one thing you wish you’d done before you started applying to make the process easier, what would that be?
I wish I had known when I began teaching in different institutions nine years ago to hold onto student evaluations. I was very far from applying to full time positions then and did not know that those would be valuable later.
At this point, I do wish I would have applied to more postdoctoral positions, but I do not know when I would have done those on top of the work I was able to complete. Now that I am finishing my graduate career, I can focus more on postdoctoral jobs and full time applications. I would advise candidates to complete all materials that are not job-specific in the summer if possible. Teaching statements, writing samples, teaching portfolios, research statements, and dossiers can all be done ahead of time. Have as many faculty in your discipline and area as possible read your materials.
I stayed very organized throughout the process, keeping track of all descriptions and document submissions. I kept a list of jobs, descriptions, and deadlines, which I shared with my recommenders. I also gave them specific instructions for submitting letters for each job, which I think reduced chaos significantly. I wanted to make the process as painless as possible for my recommenders since these are the people supporting me the most.
5. Were you surprised by any part of the process, or was it about what you expected?
I was ABD at the time I applied. I did not receive any calls for interviews, which is exactly what I expected. I am not being self-disparaging. From everything I have read, the job market changes significantly for many candidates after having a doctorate in hand. I still consider it well-spent time, and now I have a greater advantage for my applications in the future.

Interview with Department Chair, Dr. Travis Williams

  1. What do you think are some of the challenges facing the department?

Numbers. We need more undergraduate and graduate enrollment, and we also need more full-time faculty hires. As usual, of course, we also need more funding at every level. These things all work together: the more undergraduates that are enrolled, the more teachers we can hire. Higher enrollment in the graduate program is also vital, especially completed degrees because that satisfies the University. In very basic ways, it provides the reasons for why we exist

  1. On the heels of that, do those challenges change in the wake of the recent election results?

Yes. We are very worried about the election results. Money for the humanities is already comparatively low and it could get even lower if the state does not receive the funding that it usually receives. There are three direct ways it could affect us: first, if there is a decrease in direct aid to students (in the form of grant aide, scholarship aide, and fellowship aide at every level); second, if student loans continue to be as expensive as they are in terms of interest rates, or it they get worse; third, if science funding really decreases. It is not an exaggeration to think that this may be a very anti-science administration and Congress. If funding for science is cut, then the University may feel the need to redistribute its funds, and that could mean that it would squeeze the humanities even more than it does already.

I am also worried about the revival of the kinds of culture wars of the late 80s with attacks on things like the National Endowment for the Arts and the National Endowment for the Humanities, which were really terrible and from which I don’t think we have yet properly recovered. I don’t see any positive change happening there either.

  1. What new things are being talked about in the department?

 Back to the numbers question. We are trying be more organized and deliberate about how we recruit students to our various programs at both the graduate and undergraduate level, how we retain them once they are here, and how we keep in touch with them once they’ve left us. And I think in various different ways – undergraduate to graduate— we are trying to re-conceptualize what these programs are really meant to be doing and how we present them and sell them, frankly, to the people we want to be participating in them. As we know, the issue at the graduate level is that there are many, many more PhDs than there are academic jobs and I don’t see that changing considering the last question concerning the federal situation. So, re-conceptualizing what one can do with a PhD in the humanities, something that Professor Davis is working really hard on right now, and that might lead to changes in the structuring of programs, the offerings available, different tracks within a degree that people might choose from. It is all very new so none of that is certain yet, but it is what we are talking about very seriously because it is a market world and we have to move with the market. We are no longer insulated, if we ever were, from these pressures.

 At the undergraduate level, where we’ve lost 40 percent of our majors in the last eight years we need to allay fears that an undergraduate degree in English is a dead end where basically a productive career and financial security is not attainable. It certainly is not a dead end and there is plenty of evidence to show that, but that evidence has not yet caught up with the people who make larger, broader decisions at the University. And parents are still quite anxious about what a degree in English may or may not do for their children. So, representing ourselves, speaking more clearly and finding opportunities to make contact with these groups is something I am working very hard on as chair.

  1. How is the department talking about hot issues, such as adjuncts?

 Adjuncts are certainly not an ideal way to staff courses. Tenure track is always best. Here at URI we have gone from 28 to 17 tenure track positions since 2006 and we still offer so many classes. This is a poor labor and pedagogical model, especially when we think that the undergraduate needs to build relationships with the faculty. Also, tenure tracks are here for a long time, which is of course not the case with itinerant faculty. We also need to make more generous working conditions for adjuncts. We need to bring them in. We need to extend the invitation to participate. And we also need to increase morale among adjuncts.

  1. What are some goals that you have for the department? What are some of the things that you want to get done in your time as chair that you would like people to know about?

 As chair, I first want to keep things running smoothly. As for goals, we want to work on increasing numbers, which we have talked about. We need to fundraise for all kinds of reasons. We need to contact alumni. We need more general student support in the form of scholarships, fellowships, grants, etc. We also need to expand overseas activities and we need to draw more support for that. We need to grow our creative writing activities. We need to do more things like micro-scholarships to help poorer students. And we need more secure funding at the graduate level, especially in the form of endowed scholarships. That is more of a long-term goal. These are some of the things I will be working on.

Margo Jefferson: The conversation started at the URI OSSWC continues

In the third episode of the Rhode Island Council of the Humanities podcast celebrating the 100th anniversary of the Pulitzer Prize, Margo Jefferson considers the intersection of journalism, the humanities, and the environment. Topics in the interview cover the tension between scholars and journalists, the possibilities for the 21st century essay, and the cultural environments that inform Jefferson’s work. From the traditional essay published as a book to an online version scored to music, the possibilities for this “theater of the mind” have expanded greatly in this last century. A keynote speaker at this last year’s Ocean State Summer Writer’s Conference, the meeting of academics and creative writers is also given attention towards the end of this insightful conversation.

http://rihumanities.org/program/pulitzer/

Student Spotlight: Barbara Farnworth

Hi, my name is Barbara Farnworth and I am a 4th year Ph.D. candidate in the English Department. I completed my Qualifying Exams in April 2016 and am currently working on my dissertation proposal. I am examining humor in nineteenth-century British literature, more specifically, how women writers incorporate irony and satire in their fiction.  As I began examining humor in nineteenth-century fiction, I noticed that Jane Austen is the only nineteenth-century woman included in humor anthologies. When I developed my reading list for exams, my guiding question was: what happened to humor in women’s writing after Austen?  I discovered several non-canonical authors who included irony and satire in their works. I also explored canonical authors whose humor has not received a great deal of critical attention. For my dissertation proposal, I am concentrating on how these authors employed their narrators to communicate humor. Currently, I am reading narrative theory regarding free indirect discourse and its ability to express irony.

On the home front, my daughter, Chrissy, is in her senior year at Hampshire College majoring in either animal behavior or adolescent psychology, depending on when you ask her. This year she will complete her senior project which, at Hampshire, is similar to a master’s thesis. My husband Mike and I are known as the crazy dog people of the neighborhood. We have two golden retrievers, who are couch potatoes, and a black lab who is obsessed with retrieving tennis balls. Chrissy has a dog of her own, a black lab mix, so when she is home from college we have four (yes 4!) 70 pound dogs at our house.  Currently, Mike is attending a program with our youngest dog that will result in her becoming certified as a Pet Assisted Therapy dog.

I’m happy to report that, after several months of sitting on my butt and eating junk food while studying for my exams, I am finally exercising again. This summer I expanded my exercise routine with spinning and Pilates classes. Spinning is so addictive that I am participating in the 8 a.m. class at the Fitness Center with the undergraduates.  Of course, I’m still eating the junk food!

 

Student Spotlight: Amy Foley

img_20160908_163433-1I am a fourth year PhD candidate at URI in Literature and Cultural Studies. I am currently in the process of writing my dissertation, entitled “Doorways to Being: Modernism and ‘Lived’ Architectures,” on phenomenology and architectural experience in select modernist fiction. My dissertation work began during the summer after my first year, when I began reading and rereading the writings of Walter Benjamin, Franz Kafka, William Faulkner, and Virginia Woolf. I was struck by the ways in which these texts narrate our everyday bodily experiences with our material environment and the modernist proposal of a new ontology and engagement. I continue to explore and reimagine how phenomenology intersects with cultural studies, particularly in the philosophies of Maurice Merleau-Ponty and Benjamin.

This fall, I will attend the International Merleau-Ponty Conference in St. Catharines, Ontario to introduce keynote speaker, Rudolf Bernet’s discussion on “A Portrait of the Writer as a Philosopher.” Much of my critical writing during the program has revolved around this very concern. I have presented on Rilke’s spiritual ideas and his philosophy of sound and silence in The Notebooks of Malte Laurids Brigge at NeMLA (Northeastern Modern Language Association). Also at NeMLA, I presented on Woolf’s temporal philosophy in Between the Acts. I continue to write on Woolf in a transatlantic, political, and philosophical context. In my long-term scholarship, the phenomenology of the body as it is philosophized in the modern novel is a burgeoning and ongoing concern; furthermore, I question to what extent fiction in its many forms instructs our “lived” motion in the world, borrowing language from Merleau-Ponty.

Modernism in a global and imperialist context is central to my research as well. In 2015, I won the URI Center for the Humanities Graduate Research Grant and the Hunt Scholarship from the Faulkner Society to study the architectures of Faulkner’s milieu in Oxford, Mississippi. While researching southern architectural history, I presented on Faulkner’s use of the mystery genre in relation to nineteenth century German southern mysteries at the annual Faulkner and Yoknapatawpha conference. In addition to the Global South, I have written on the fiction and non-fiction of Colm Tóibín in relation to Irish identity and the postcolonial collective consciousness. In my interview, “An Austere, Whispering Power: An Interview with Colm Tóibín,” I ask the author about short fiction genres in relation to Irish identity, as well as many other subjects such as family and sexuality as they exist in his writing.

I am also a writer of fiction. My stories are concerned with memory, the power of things, aloneness, permission and  the nebulousness of knowledge and events, the intersection of similarly and oppositionally politicized identities, and friendship. I am continually studying the relationship between my scholarly study of modernism and its effect on my fiction. My work has been published in The Journal of Popular Culture and Hotel Amerika, and is now under review with the Mississippi Quarterly and the Journal of Modern Literature.

I have enjoyed a range of teaching environments and experiences in my career. As an adjunct faculty person prior to my time at URI, I taught at the Rochester Institute of Technology, Monroe Community College, Roberts Wesleyan College, and at the U.S. Coast Guard in Rochester, New York. I have been fortunate to teach an array of courses at URI and elsewhere, such as Introduction to Literature, World Literature, The Short Story, Mythology, Ethnicity and Cultural Difference, Composition, and Advanced Composition. At URI, my role as Teaching Assistant Mentor allows me to regularly exchange pedagogical concerns with my graduate colleagues. The time I have spent with faculty and students at URI has been essential for my growth as a writer, scholar and teacher; I so look forward to another astonishing and stimulating year with everyone