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My dissertation is in postmodern American poetry. It argues that we (still) see the continuing development of imaginative New Critical-reminiscient aesthetic ideas in postmodern American poetry, even when figures like Harold Bloom and Walter Jackson Bate had effectively put an end to New Criticism in poetic circles. I demonstrate the isolated but highly inspired presence of these aesthetic beliefs in the (metapoetic) poetry, essays, and other writings of John Ashbery, A.R. Ammons, James Merrill, Rosmarie Waldrop, and Douglas Crase, in a period when New Criticism was presumed to be over, as a counterpoint, for instance, to the explicit reader-openness, self-conscious aesthetic looseness of the Language poetry movement in this period. (It's very much inspired by this article: )

I have one blind peer-reviewed article published with Textual Practice titled "To Decompose the Gender Possibilities of the Contemporary Sestina."