Dissertation Completion Fellow, Fox Center for Humanistic Inquiry,  Emory University

Ph.D. in English, Emory University, Atlanta, GA  (Expected 2018)
Graduate certificate in Women’s, Gender, and Sexuality Studies

B.A. in English and Creative Writing, Wellesley College (2008)

My research interests include poetry and poetics, British and American literature of the long twentieth century, and critical theory. I am especially interested in affect and emotion, ecology and posthumanism, and ethics and rhetoric. 


Dissertation: “Signs of Feeling Everywhere: The Posthuman Ethics of Lyric Emotion”

“Signs of Feeling Everywhere” argues that transatlantic lyric poetry from Emily Dickinson to Alice Oswald can help us imagine ecological ethics in the anthropocene. To make this argument, I foster an unlikely, yet vital, conversation between lyric poetics and posthumanism. As a theoretical orientation that critiques the idea that humans are bounded and coherent subjects governed by cognition, posthumanism is not often seen as compatible with lyric poetry, which has traditionally been read as a mode that is largely invested in humans. Ethical theories from a posthumanist perspective take this discord further, positioning lyric poems as irredeemably entangled with unethical systems of thought, such as anthropocentrism. I, however, argue that such entanglements make lyric an ideal resource for conceptualizing ethical engagement with life. “Signs of Feeling Everywhere” explores how figures in lyric that have long been associated with hierarchical world views—the self, giants, the ocean, birds and bees, and the universe—produce lyric subjects that are open, dynamic, and interactive. In so doing, they dramatize a gamut of human emotions regarding the environment. Although those emotions are often contradictory, for lyric subjects, those contradictions yield neither cognitive impasses nor foreclosures of ethics. Instead, they transform into a practice of forging meanings and relations with others. I thus contend that ecological ethics requires what lyric uniquely affords: a way for humans in modernity to reside within the classical ethical question, How is one to live?

Committee: Laura Otis (chair), Lynne Huffer, John Johnston, Walter Kalaidjian, and Katherine Hayles (external member, Duke University)


Academic Peer-Reviewed Articles

“Anthropocene Ethics and its Lapses: The Lyric Eros of Sylvia Plath’s Bees.” Under review. 

Much recent work in ecology studies draws upon the notion of the erotic as a fruitful way to rethink interspecies relations. As thinkers such as Cynthia Willett demonstrate, eros invites us to decenter the human subject and to imagine differently the meetings between humans, nonhumans, and things that comprise our world. Sylvia Plath’s bee poems in Ariel (1965) constitute such an imagining, suffusing scenes of interspecies encounters with multidirectional and multi-agential yearning and desire. Yet, in these poems, that same eros is intertwined with her speakers’ rhetoric of racial discrimination. To read Plath’s bee poems for an ethics of eros, therefore, is also to read their racism. This essay contends that Plath’s poems offer an opportunity to think through an interspecies ethics of eros insofar as they do not present an infallible, or even a good, model of relationality; rather, they unspool a discursive system that prompts readers to reside within the dangers that even ethics can yield, forcing us to confront our cruelties. Intervening in debates regarding the ethics of poetry and engaging the relationship between race and ecology, this essay argues that such a confrontation is particularly needed in the context of current discussions regarding the anthropocene, the most recent theorization of which links its origins to the genocides perpetrated by Western nations beginning in 1492.

 “Of New Calligraphy: Seamus Heaney, Planetarity, and Lyric’s Uncanny Space-Walk.” Cultural Critique (forthcoming 2018). 

In the middle of the twentieth century, the Western cultural imaginary transitioned between two formulations of the uncanny. Gayatri Chakravorty Spivak describes this shift as one “from vagina to planet”: due to the newfound view of Earth from space in the late 1960s, Freud’s conceptualization of the body of the cisgender, childbearing woman as an uncanny figure shifts to a pervasive sense that the uncanny signifier par excellence is in fact the planet Earth itself. This essay interrogates this shift and finds its most fruitful revision takes place in poetics. First, it reads the cultural moment in which both uncannies have vibrant and interdependent lives in print and media culture. To explore the critical potential of their interdependence, this paper then turns to the work of Seamus Heaney and finds that his poetry engages both figurations from the beginning to the end of his career. In his bog poems in particular—composed during a time that dovetails with the uncannies’ cultural lives while also inflected with his interest in bogs as ecological phenomena—Heaney collapses the distance between the uncannies, enmeshing them to explore poetry’s potential for creating uncanny estrangement, as well as the consequences of such estrangement on ideas of kinship. In turn, in his post-midcentury work, Heaney transforms both Freud’s argument that the uncanny is an aesthetic concern and Spivak’s claim that it is a hermeneutic one into a suggestion that it is a chief concern of poetry. Noticing that in his later work, Heaney incorporates the apostrophic “O” into his sense of the uncanny, the author suggests that Heaney’s work positions lyric as the ultimate uncanny space. His work thus calls upon us to re-envision the nature of lyric engagement with materiality and embodiment.


The image behind the overlay: Non je ne regrette rien by Wangechi Mutu. See it in full, and full color, here.