The preface to this collection "Dust Clouding: Ambiguity and the Poetic Image," highlights the ways in which poets such as W.S Merwin and Donald Revell use ambiguity and the poetic image to strengthen their poems and encourage equality between reader and writer. Hand Amputees have an Altered Perception of Images at Arm's Length is a collection of poems and poem like adventures.

The following collection represents the critical and creative work produced during my doctoral program in English. The dissertation consists of Part I, a critical preface, and Part II, a collection of seven short stories and two nonfiction essays. Part I, which contains the critical preface entitled "What to Say and How to Say It," examines the role of voice in discussions of contemporary literature. The critical preface presents a definition of voice and identifies examples of voice-driven writing in contemporary literature, particularly from the work of Mary Robison, Dorothy Allison, and Kathy Acker. In addition, the critical preface also discusses how the use of flavor, tone, and content contribute to voice, both in work of famous authors and in my own writing. In Part II of my dissertation, I present the creative portion of my work. Part II contains seven works of short fiction, titled "Among Waitresses," "The Lion Tamer," "Restoration Services," "Hospitality," "Blood Relation," "Managerial Timber," and "Velma A Cappella." Each work develops a voice-driven narrative through the use of flavor, tone, and content. Also, two nonfiction essays, titled "Fentanyl and Happy Meals" and "Tracks," close out the collection. "Fentanyl and Happy Meals" describes the impact of methamphetamine addiction …

The collection concerns itself with race, gender, masculinity, marginalization, the act of violence as a means of self expression, identity and the performance of identity, love, and loss. The collection also uses historical events-more specifically, events that are central to black culture in Northeast, Ohio- to situate the characters and witness their response to these historical events. I strive to illustrate blackness as both political and fragmented with the characters in my collection. My characters believe that what they are doing-exacting violence, abusing women, disrespecting each other- is somehow the normative; that somehow what it is that they have learned is how they should perform black identity.

This creative nonfiction dissertation is a series of braided narratives that chronicle the author's career as a trombonist in the John Smith Ensemble. As an amateur trombonist, the author is shocked to be hired as a professional musician for an orchestra that plays on PBS and at Carnegie Hall. She quickly realizes, however, that the job requires her to play the trombone quietly in front of an unplugged microphone while a CD recording of another, more talented trombonist is blasted out toward an unknowing audience. The job also requires the author to tour around America. The scenes of from this tour are braided with scenes wherein she reflects on her life as a professional fake musician and her past failed attempts at getting a job.

Fourteen short stories, with five interspersed vignettes, describe the lives of gay people in the southwestern United States, centered around a fictional gay country-and-western bar in Dallas and a small town in Oklahoma. Various characters, themes, and trajectories recur in the manner of a short story cycle, as explained in the prefatory Critical Analysis, which focuses on exemplary works of James Joyce, Ernest Hemingway, William Faulkner, Shirley Jackson, Italo Calvino, Yevgeny Kharitonov, and Louise Erdrich.

This dissertation is a collection of poems preceded by a critical preface. The preface considers the major changes within the elegy from the traditional English elegy—the touchstone poems for this genre being Milton's "Lycidas," Shelley's "Adonais," and Tennyson's "In Memoriam"—to the contemporary elegy and argues that many of these changes showcase contemporary elegists' active refusal and reversal of the time-honored traditions of the form. The preface is divided into an introduction and three sections, each of which recognizes and explores one significant alteration—or reversal—to the conventions of the form as established by early English elegists. The first discusses the traditional elegiac tradition of consolation in which the speaker, after displaying a series of emotions in reaction to the death of a loved one, ultimately finds comfort in the knowledge that the deceased lives eternally in heaven. This convention is contrasted with a common contemporary rhetorical movement in which the speaker not only lacks comfort by the end of the poem, but often refuses any kind of consolation, preferring instead to continue his grief. The second recognizes and explores the traditional elegiac tradition in which the speaker, listing the virtues of the beloved, replaces the real, historical person with a symbol …

Fantasies about warrior women circulated in many forms of writing in early modern England: travel narratives such as Sir Walter Ralegh's The Discoverie of Guiana (1595) portray Amazon encounters in the New World; poems like Edmund Spenser's The Faerie Queene (1596) depict women's skill with a spear; and the plays of Shakespeare, John Fletcher, and others stage the adventurous feats of women on the battlefield. In this dissertation, I analyze the social anxieties that emerge when warrior women threaten gender hierarchies in the patriarchal society of early modern England. The battlefield has traditionally been a site for men to prove their masculinity against other men, so when male characters find themselves submitting to a sword-wielding woman, they are forced to reimagine their own masculine identities as they become the objects acted upon by women. In their experience of subjectivity, these literary warrior women often allude to the historical Queen Elizabeth I, whose reign destabilized ideas about gender and power in the period. Negative evaluations of warrior women often indicate anxiety about Elizabeth as an Amazon-like queen. Thus, portrayals of warrior women often end with a celebration of patriarchal dominance once the male characters have successfully contained the threat of the …

Richard Rodriguez's works create troubling situations for many scholars. Though numerous critics see him as the penultimate Chicano writer, many others see his writing as only pandering to the elite. However, all politics and controversies aside, he is a writer whose ideas upon language and public confession have been revolutionary. Throughout the thesis, I argue that Rodriguez's ideas upon language and identity are applicable to the social media landscape that we reside in currently, especially the public confession. Also, I use deconstructionism, along with postmodern criticism, to illustrate the changing arc of Rodriguez's confession from his first autobiography to his final one. In his first memoir, Rodriguez remains in the closet upon his sexuality, and the reader only catches glimpses of the 'real' character inside his work. In the second memoir, the reader sees a better glimpse because of his coming out; yet, even in this regard, he does not do so wholly and still leaves his confession unfinished. By the third, he applies themes and problems seen in his first and second works to discuss our browning nature, and how we are all sinners and that we desire to confess our sins. In my assessment of Rodriguez, I argue …

This study explores the depictions of technology and scientists in the literature of five writers during the 1960s. Scientists and technology associated with nuclear, computer, and space science are examined, focusing on their respective treatments by the following writers: John Barth, Kurt Vonnegut, Thomas Pynchon, Isaac Asimov, and Arthur C. Clarke. Despite the close connections between the abovementioned sciences, space science is largely spared from negative critiques during the sixties. Through an analysis of Barth's Giles Goat-boy, Vonnegut's Cat's Cradle, Pynchon's The Crying of Lot 49, Asimov's short stories "Key Item," "The Last Question," "The Machine That Won the War," "My Son, the Physicist," and Clarke's 2001: A Space Odyssey, it is argued that altruistic goals of space science during the 1960s protect it from the satirical treatments that surround the other sciences.

Women authors in mid to late nineteenth century American society were unafraid to shed the old domestic ideology and set new examples for women outside of racial and gender spheres. This essay focuses on the ways in which Elizabeth Stoddard's The Morgesons, Louisa May Alcott's Behind a Mask, and Elizabeth Keckley's Behind the Scenes, or, Thirty Years a Slave, and Four Years in the White House represent the function of fashion and attire in literature. Each author encourages readers to examine dress in a way that defies the typical domestic ideology of nineteenth century America. I want my readers to understand the role of fashion in literature as I progress through each work and ultimately show how each female author and protagonist set a new example for womanhood through their fashion choices.

This dissertation examines the role of aesthetic activity in the pursuit of political agency in readings of several of Shakespeare’s plays, including Hamlet (1600), A Midsummer Night’s Dream (1595), The Tempest (1610), the history plays of the second tetralogy (1595-9), Julius Caesar (1599), and Coriolanus (1605). I demonstrate how Shakespeare models political subjectivity—the capacity for individuals to participate meaningfully in the political realm—as necessitating active aesthetic agency. This aesthetic agency entails the fashioning of artistically conceived public personae that potential political subjects enact in the public sphere and the critical engagement of the aesthetic and political discourses of the subjects’ culture in a self-reflective and appropriative manner. Furthermore, these subjects should be wary auditors of the texts and personae they encounter within the public sphere in order to avoid internalizing constraining ideologies that reify their identities into forms less conducive to the pursuit of liberty and social mobility. Early modern audiences could discover several models for doing so in Shakespeare’s works. For example, Hamlet posits a model of Machiavellian theatricality that masks the Prince's interiority as he resists the biopolitical force and disciplinary discourses of Claudius's Denmark. Julius Caesar and Coriolanus advance a model of citizenship through the plays’ nameless …

This study explores intersections between performance, race and masculinity within a variety of expressive cultural contexts during and after the African American Civil Rights Movement. I maintain that the work of James Baldwin is best situated to help us navigate this cross section, as his fiction and cultural criticism focus heavily on the stage in all its incarnations as a space for negotiating the possibilities and limits of expressive culture in combating harmful racial narratives imposed upon black men in America. My thesis begins with a close reading of the performers populating his story collection Going to Meet the Man (1965) before broadening my scope in the following chapters to include analyses of the diametric masculinities in the world of professional boxing and the black roots of the American punk movement. Engaging with theorists like Judith Butler, bell hooks and Paul Gilroy, Underground Men attempts to put these seemingly disparate corners of American life into a dynamic conversation that broadens our understanding through a novel application of critical race, gender and performance theories. Baldwin and his orbiting criticism remain the hub of my investigation throughout, and I use his template of black genius performance outlined in works like Tell Me …

In this dissertation, I examine the influence of Pyrrhonist skepticism over Shakespeare’s sonnets. Unlike academic skepticism, which begins from a position of doubt, Pyrrhonist skepticism encourages an embrace of multiple perspectives that, according to Sextus Empiricus, leads first to a suspension of judgment and ultimately to a state of tranquility. The Pyrrhonian inflection of Shakespeare’s sonnets accounts for the pleasure and uncertainty they cultivate in readers. By offering readers multiple perspectives on a given issue, such as love or infidelity, Shakespeare’s sonnets demonstrate the instability of information, suggesting that such instability can be a source for pleasure. One essential tool for the uncertainty in the sonnets, I argue, is the figurative language they draw from a variety of fields and discourses. When these metaphors contradict one another, creating fragmented images in the minds of readers, they generate a unique aesthetic experience, which creates meaning that transcends the significance of any of the individual metaphors. In the first two chapters, I identify important contexts for Shakespeare’s sensitivity to the pliability of figurative language: Reformation-era religious tracts and pamphleteers’ debates about the value and function of the theater. In Chapter 3, I examine Shakespeare’s response to the Petrarchan tradition, arguing that he …

The stories in this collection represent an increasingly transcultural world by exploring the intersection of cultures and identities in border spaces, particularly the Mexican-American border. Characters, regardless of ethnicity, experience the effects of migration and deportation in schools, hometowns, relationships, and elsewhere. The collection as a whole focuses on the issues and themes found in Mexican-American literature, such as loss, separation, and the search for identity.

This project interrogates how religious performance, either authentic or contrived, aids in the quest for freedom for oppressed peoples; how the rhetoric of the Enlightenment era pervades literatures delivered or written by Native Americans and African Americans; and how religious modes, such as evoking scripture, performing sacrifices, or relying upon providence, assist oppressed populations in their roles as early American authors and speakers. Even though the African American and Native American populations of early America before the eighteenth century were denied access to rights and freedom, they learned to manipulate these imposed constraints--renouncing the expectation that they should be subordinate and silent--to assert their independent bodies, voices, and spiritual identities through the use of literary expression. These performative strategies, such as self-fashioning, commanding language, destabilizing republican rhetoric, or revising narrative forms, become the tools used to present three significant strands of identity: the individual person, the racialized person, and the spiritual person. As each author resists the imposed restrictions of early American ideology and the resulting expectation of inferior behavior, he/she displays abilities within literature (oral and written forms) denied him/her by the political systems of the early republican and early national eras. Specifically, they each represent themselves in three …

This dissertation contains two parts: Part I, "Self-Elegy as Self-Creation Myth," which discusses the self-elegy, a subgenre of the contemporary American elegy; and Part II, For the Ruined Body, a collection of poems. Traditionally elegies are responses to death, but modern and contemporary self-elegies question the kinds of death, responding to metaphorical not literal deaths. One category of elegy is the self-elegy, which turns inward, focusing on loss rather than death, mourning aspects of the self that are left behind, forgotten, or aspects that never existed. Both prospective and retrospective, self-elegies allow the self to be reinvented in the face of loss; they mourn past versions of selves as transient representations of moments in time. Self-elegies pursue the knowledge that the selves we create are fleeting and flawed, like our bodies. However by acknowledging painful self-truths, speakers in self-elegies exert agency; they participate in their own creation myths, actively interpreting and incorporating experiences into their identity by performing dreamlike scenarios and sustaining an intimate, but self-critical, voice in order to: one, imagine an alternate self to create distance and investigate the evolution of self-identity, employing hindsight and self-criticism to offer advice; two, reinterpret the past and its role in creating …

This creative nonfiction dissertation is a book of essays that explore the author's life and relationship to Upstate New York. The project also connects this experience to gender and trauma. Though the topics range from local history to cosmetic surgical procedures, the essays are collected by how they illuminate cultural tensions and universal truths. These essays are preceded by a critical preface that examines the differences between essays collections, books of essays, and argues for the recognition of narrative nonfiction as an artistic choice.

This dissertation is has two parts: a critical essay on the lyric subject, and a collection of poems. In the essay, I suggest that, contrary to various anti-subjectivists who continue to define the lyric subject in Romantic terms, a strain of Post-Romantic lyric subjectivity allows us to think more in terms of space, process, and dialogue and less in terms of identity, (mere self-) expression, and dialectic. The view I propose understands the contemporary lyric subject as a confluence or parallax of imagined and felt subjectivities in which the subject who writes the poem, the subject personified as speaker in the text itself, and the subject who receives the poem as a reader are each repeatedly drawn out of themselves, into others, and into an otherness that calls one beyond identity, mastery, and understanding. Rather than arguing for the lyric subject as autonomous, expressive (if fictive) "I,” I have suggested that the lyric subject is a dialogical matrix of multiple subjectivities—actual, imagined, anticipated, deferred—that at once posit and emerge from a space whose only grounded, actual place in the world is the text: not the court, not the market, and not a canon of legitimized authors, but in the relatively …

This dissertation consists of a literary novel. A preface deals with issue of introducing philosophical ideas into fictional works, with special emphasis on the techniques of ambiguity and destabilization of reality, as deployed in the novel.

Preface: A consideration of the New Sincerity movement in contemporary American poetics in the work of Tao Lin, Matt Hart, and Dorothea Lasky. Creative work: A three section book of poetry exploring elegy, form, and the intersection of strangeness and domesticity.

Charles Stewart Parnell was James Joyce's most significant political influence to a degree that has yet to be fully acknowledged or explored. This thesis proposes a "theory of Parnell" in Joyce's works up to the end of Ulysses, arguing that close attention to Parnell's evolution points to a significant shift in the evolution of Joyce's literary forms. In Joyce's juvenilia, political writings, and early fiction, Parnell always appears with a heroic, even Messianic, cast, which the most significant moments in the fiction pair with a strict adherence to dramatic forms. However, significant moments in both "Ivy Day in the Committee Room" and A Portrait of the Artist as a Young Man lay the groundwork for stylistic and representative transformations in Ulysses. In that novel, the myth of Parnell is deflated, even as Joyce appropriates its most essential qualities in the development of his panoply of styles. Episodes from "Telemachus" to "Wandering Rocks" critically examine the myth of Parnell even as they link it with the constraints of dramatic forms. Later episodes, most notably "Cyclops," "Circe," and "Eumaeus" attempt to make use of elements of "Parnellite" style, training a community of readers in acts of collective imagination that keep the Parnellite …

My dissertation, Letters from Jack and Other Cadavers, developed out of my interest in using persona, narrative forms, and historical details collected through thorough research to transform personal experience and emotions in my poems. The central series of poems, "Letters from Jack," is written in the voice of Jack the Ripper and set up as a series of poems-as-letters to the police who chased him. The Ripper's sense of self and his motivations are troubled by his search for a muse as the poems become love poems, contrasting the brutality of the historical murders and the atmosphere of late 19th century London with a charismatic speaker not unlike those of Browning's Dramatic Monologues. The dissertation's preface further explores my desire for a level of personal removal while crafting poems in order to temper sentimentality. Drawing on Wallace Stevens's notion that "Sentimentality is failed emotion" and Tony Hoagland's assessment that fear of sentimentality can turn young poets away from narrative forms, I examine my own poems along with those of Scott Cairns, Tim Seibles, and Albert Goldbarth to derive conclusions on the benefits distance, persona, narrative, and detail to downplay excessive emotion and the intrusion of the personal. Poems from the …

Love Poem with Exiles is a collection of poems with a critical preface. The poems are varied in terms of subject matter and form. In the critical preface, I discuss my relationship with poetry as well as the idea that we inherit poems, and that if we are inspired by them, we can transform them into something new.

Cognitive poetics, the recently developed field of literary theory which utilizes principles from cognitive science and cognitive linguistics to examine literature, is applied in this study to an exploration of the poetry of William Butler Yeats. The theoretical foundation for this approach is embodiment theory, the concept from cognitive linguistics that language is an embodied phenomenon and that meaning and meaning construction are bodily processes grounded in our sensorimotor experiences. A systematic analysis including conceptual metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is applied here to selected poems of Yeats to discover how these models can inform our readings of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of syntax in stanzaic development, his atemporalization through grammar, and the antinomies which converge in selected symbols from his poems.