Area(s) of Interest: Philosophical and Geographical Spatial Theory, North American Poetry and Poetics, Canadian Literature
Dissertation title: "What is Here Now: Assembling Canadian Poetry After the Spatial Turn"
- Fortified Castles. Vancouver: Talonbooks, 2014.
- Why Poetry Sucks: An Anthology of Humorous Experimental Canadian Poetry. (With Jonathan Ball). Toronto: Insomniac, 2014.
- Fake Math. Montreal: Snare, 2007.
- (With Janey Dodd). “Interventing the Archive: Troubling the Practice of Community Formation in Calgary Small Press.” Forthcoming collection on contemporary Calgary poetry and poetics. Ed. Colin Martin. Edmonton: U of Alberta Press.
- “Does the city give us the poems? Or do the poems give us the city?: Robert Kroetsch’s Spatial Assemblages.” Forthcoming collection on Canadian poet Robert Kroetsch. Ed. Nicole Markotić. Toronto: Guernica Press.
- (With Susan Rudy). “‘ If everything is moving where is here?’ : Lisa Robertson’ s Occasional Work on Cities, Space and Impermanence.” British Journal of Canadian Studies 26.2 (2013).
- (With Susan Rudy). “‘ These marked spaces lie beneath / the alphabet’ : Readers, Borders, and Citizens in Erín Moure’ s Recent Work.” Canadian Literature 210-11 (2012).
In What is Here Now: Assembling Canadian Poetry After the Spatial Turn, I turn to a largely contemporary constellation of Canadian poets to examine the ways that they represent, participate in, reproduce, and even trouble spatial production in the 21st century. I work through the intersection point of two theoretical turns: the Marxism-inflected spatial turn and the subsequent non-dialectical threads of what might be called the "topological" turn. The work entangled in both these turns conceptualizes space as relationally productive - a result, in one way or another, of the ways varied actors productively assemble into space, working in concert, though not always in harmony. Within this frame, I consider three major spatial problematics in Canadian poetry - stability, encounter, and dislocation - to ask how the expressivity of poetry and language responds to and actively helps produce the primarily material assemblages of space.