American Fiction of the Long 20thC @holy_cross WRITING OUR EXTINCTION @Stanfordpress; he/him/his
Worcester, MA
Joined October 2019
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I wrote about clipping. and looking vs. witnessing for the Mid Theory Collective! This was a fun one--thanks @mid_theory for helping me share it!
mid-theory.com/2026/10/23/th…
my colleague Nathan Likert wrote about why Nolan's Odyssey doesn't work--but also, more importantly, why it does:
mid-theory.com/2026/07/23/wh…
I hung out with Jeff and Mike on DDSWTNP! We chatted about trash, environmentalism, art, the Rolling Stones, and more, focusing on parts 3 and 4 of DeLillo’s 1997 magnum opus, UNDERWORLD. It was an honor to be on the podcast. podcasts.apple.com/us/podcas…
This is so fucking good I’m fucking shouting.
as promised I solved the discourse
defector.com/humanists-have-…
Does the public follow a statistically significant % of humanists on social media? Do they read departmental newsletters? What is the general public’s main source of higher ed info if not “MSM” and a cohort of ill-informed influencers? What are we even talking about?
This fall, I'll be starting as Asst. Prof in English at College of the Holy Cross, specializing in American Fiction of the Long 20th Century. I'm incredibly grateful to everyone who has encouraged and supported me, and excited to be joining such a tremendous department.
Context is only context, and text is only text. The autonomy of a work emerges through its dynamic relation to history. New critical moments of close reading are essential, as is considering what it means for a text to be about something (and what it means to do “close reading”).
“On his wise shoulders through the checkerwork of leaves the sun flung spangles, dancing coins.”
Happy Bloomsday
Tales from the Reddit Planet
"dreams on DHT, or stories in Dickens' writing" got me, just... for so many reasons.
Rewatched "No Country for Old Men" yesterday, and I am placing my head under the guillotine here by saying this, but making movies with ambiguous endings is terrible art because it shows the director's and writer's lack of decisiveness in making, defending and completing their point, and by “leaving it to the audience to guess what happens”, they absolve themselves of all moral responsibility. It's how dreams on DHT, or stories in Dickens' writing, despite the intense emotions and darkness, always end with satisfying conclusions.
Re. the ongoing kerfuffle about contemporary fiction, all I have to say is: READ MARTIN MACINNES DAMNIT
(and if anyone tells me “that’s genre fiction,” so help me…)
