My interests, detailed in the CV linked at left, lie mostly in the spatial arrangement of texts on the page.
My firm belief in practice grounds my teaching philosophy. My discussion-based classes center around my students’ weekly 500-word seminar papers, due every Sunday evening via email and focusing on one of the upcoming week’s readings.
My Fall 2018 “English Composition I” course at Lehman College asked students to interrogate the author-art relation at the heart of plagiary. This debate, one New Critics and New Historicists have long been litigating, undergirded the course’s readings and assignments. From music sampling and art forgery to quotation, citation, and outright theft, the course’s muddied definition of “plagiary” asked students to sort attribution from the chaff of ambiguous authorship. This sorting raised some sticky lingering questions. Is Kanye West’s Amnesty sample in “Lift Yourself,” West’s controversial 2018 track, plagiary or prompt? Is it, in other words, blatant theft or targeted deployment of a cultural artifact? Does it make sense to say that Pontus Hulten’s Warhol Brillos are fakes when we know Warhol himself denied the originality of his own “““original””” Brillos? Threading their analytical needles through these thick unanswerables, my students achieved the course’s mandate to prepare students for college writing.