I am a new media artist/scholar. My artistic and critical work is engaged with the literary and digital media arts, as well as the histories of women writers and characters. I am a new media artist that specializes in hybrid forms of fiction, such as digital storytelling, Arduino and electronic art, and graphic novels, and my work explores the intersections of gender, technology, and materiality. My scholarly and literary claims to fame are:
- Publishing an article in the same issue of Ada as Donna Haraway, my peer-reviewed article on my feminist new media theory: narrative transmography can be found here, “The Cyborg in the Basement Manifesto, or, A Frankenstein of One’s Own: How I Stopped Hunting for Cyborgs and Created the Slightly Irregular Definition of Cyborgean Forms of Storytelling.”
- The Spectral Dollhouse, my new media hybrid of fiction, nonfiction, poetry and digital storytelling was published by The New River in December 2013.
- I wrote the libretto to Light & Power: A Tesla/Edison Story, a chamber opera composed by Isaac Schankler. It was performed in Boston by the Juventas Music Ensemble in May 2011.
- Mary Karr judged a poetry contest and she chose my poem, “Zoology, No. 1” to be included in the poetry Flatmancrooked anthology.
I completed my Ph.D. in Literature and Creative Writing, as well as a certificate in Gender Studies, at the University of Southern California. During that time, I won three major competitive fellowships that funded the last years of my education: the Fisher Center Predoctoral Fellowship at Hobart and William Smith Colleges (nation wide), the English Dept Continuing Fellowship (dept wide), and a Dissertation Completion Fellowship from The Graduate School at USC (university wide).
While I wish I hadn’t wrapped my psychological issues up with my job, I don’t regret going to grad school. I had fabulous mentors (Aimee Bender, Susan McCabe, Joseph Dane, Alice Gambrell, Josh Kun, T.C. Boyle, Percival Everett, David St. John). My mind was opened and expanded and I learned more than I ever had in my life. Because I was in grad school at USC, I had the opportunity to fulfill a lot of dreams (a lot of these ended up with me hugging my literary and nerdy heroes like Francesca Lia Block, Robert Kirkman, David Mack, Jane Espenson, and Stuart Moulthrop).
The pedagogical approach I use combines creative practice, critical thinking, and issues of social justice in the classroom. I have developed experimental courses that model for students some of the ways that literary artists themselves approach the study of literature, histories, and contemporary social issues.
With a background in higher education, I have experience in writing budgets for grants that have been successfully funded. As the Fisher Center Predoctoral Fellow, I was pivotal to researching and selecting experts for the Speaker Series, as well as finding outside sources for funding the events.
In case you say that I have failed on the job market and that’s why I’m bitter, I assure you that I have not failed. I have gotten interviews and campus interviews in a time when a lot of other talented artist/scholars have not been able to even get requests for additional materials. But I seem to keep losing out to older, more “established names.” I think this is primarily because I do hybrid creative and critical work, so I have equal numbers of critical publications as creative publications–I like this about myself as a thinker, writer and teacher, but it makes it difficult making the first round of cuts for tenure-track creative writing jobs. I am told I give a stellar interview and that they wish they could hire us both. So, it’s hard to get mad about the situation: if both candidates have great campus visits, then all things being equal, the department might as well go with the established name. I have a hard time finding fault in that. It’s just that means: I am the silver medalist of campus interviews. And I’m still on WIC and Medicaid.
My work history includes commercial television production, where I was the office manager and pre-production web administrator for a company in Santa Monica. During my time there, I worked on background research for Chevy, Nissan, Toyota, Gillette Venus, and the U.S. Army commercial productions.
I originally started nerdslut.net in 2003: as far as I could tell, it was the first feminist-driven “web zine.” I like to think of it as Jezebel.com before Jezebel.com existed. At it’s height, I had 20-30,000k unique visitors to my site every month. I even won a “Best of the Web” award from Bust Magazine in August 2003. But when I went to grad school in 2005, I couldn’t handle managing the website, teaching for the first time, and all the coursework demands, so I shuttered nerdslut.net.
I find that when I was blog regularly, it frees my brain up to be more creative as well. So I am hoping that after all these years of conserving my “writing” energy for traditional publishing, I am finally ready to start blogging again–as a way to combat my depression, foster a community, and hopefully share and distribute knowledge. I plan on writing about my childhood, poverty, higher education, being a recovering academic, mistakes I made in grad school that I hope will help others to think about grad school differently, and my nerdy passions (I have aspirations on chronicling my Arduino projects and recapping things like The Walking Dead and doing narrative analyses of video games like Bioshock Infinite).