The intent of this project is to study the use of multiple narrators who occupy the same space over a spread of time. While the subject matter has been one of intense study over the years, the approach to implore this technique of fiction has opened the characters, plot, and story to greater exploration.

Deeply concerned with body politics, sexual slavery, identity, and technology, this work takes a serious and brutally honest route through the close perspectives of those living it moment by moment. With influences from science fiction, horror, weird, and literary fiction, the untitled novel blends genres for a disturbing account. This novel also plays with constraints in the spirit of many constraint-based writing movements, without the inclusion of names, few identifying markers, and in publication the removal of title, chapter numbers, page numbers, and author name.

Inspired heavily by the Virginia Woolf's novel, The Waves, Dirty Girls tells the story of four girls coming of age in coastal Texas. Told through interior monologues, Dirty Girls explores themes of adolescent girlhood from the various perspectives of those who live it. Carmel has always been on the outside looking in, envious of the prettier, thinner, blonde girls who seem to own everything and everyone. Christina protects her, attempting to straddle the line between sexual awakening and childhood innocence. Lauren grapples with her lesbian sexuality in a time and place where such an identity is forbidden. And Taylor suffers the consequences of her grown-too-fast flashy ways. All four girls overlap and change, though through their interiority the reader comes to realize no girl is spared the struggle of the patriarchy.

A New World, At Last is set on a distant colony world, many thousands of years into the future. The path there has not been direct or bloodless. The humans who colonized this New World are the descendants of an Earth that has suffered cataclysmic climate change, collapse, and a subsequent millennia-long reconstruction. They stand on the shoulders of giants, uncovering and exploiting the technology of the Old Earth in order to ensure that such a collapse, once discovered, can never happen again. These new people, Colonials, set about making the New World in the image of their own. A scant hundred years after they settle the world, the Ecumene arrive. The Ecumene are humans as well, our own descendants, refugees who packed onto massive, life-sustaining generation ships that left Old Earth, burning a slow and steady path towards distant, potentially habitable worlds. The journey for the Ecumene took nearly a thousand years; in this time, a cult of destiny and destination fomented aboard a ship they began to see as their ark. They follow The Path, the way to the promised land of the New World, known to their distant ancestors as their ultimate destination. Due to the realities of space travel, time passed differently for the Ecumene than it did for the Colonials. What was a thousand year journey on the ship translates to a more than six thousand year period of time back on Earth. The massive gulf in time and experience makes for a difficult reunion between these two disparate relatives. Tensions arise as the Colonial Administration attempts to process these sudden arrivals and to integrate them into their system to prevent a complete collapse of their nascent biome. They hold the revelatory memory of a world subjected to poor stewardship and shy away from continuing down that path again. They see themselves as outnumbered and unfairly burdened, the sudden caretakers of a vast population of the children of the humans who sent the Old Earth into a long, terrible dark age. The bulk of A New World, At Last takes place thirty years after the arrival of the Ecumene ark, the Armstrong. A New World, At Last follows Edison Moss, the young son of a Colonial farmer ("agrineer"). Ed has recently discovered that he was adopted illegally; he is undocumented, from an unwanted class. In an act of rebellion, he leaves home on a quest of discovery, only to find that the answers he gets are not necessarily the answers to the questions he wanted to ask. His decade-long journey takes him from the heart of the colony to the frontier; along the way he befriends an agent of the Ecumene's more violent resistant group and becomes a participant in the movement. A New World, At Last also follows the story of an artist contemporary with Ed's time. Victor James Custodio, famous sculptor and crafter of prosthetic bodies for the rulers of Earth, flees to the New World in a quest to outrun a fate that has been chasing him through all of his lives. Victor's story parallels Ed's in a sense as both are, ultimately, pilgrimages; attempts to ask and have answered that ultimate question: who am I, where do I belong, and what do I do about it?

This is a collection of essays that reflects on ideas pertaining to family, politics, the environment, and identity.

This is a collection of short fiction in two parts. The first is a history, a Wikipedia-esque examination of the land swath that happens to be Sturgis, Michigan. The second looks at the lives of the uncomfortable who happen to live in this swath, those who don't fit nicely into Sunday best button ups or easily defined sexual orientations or a food pyramid that lacks Mountain Dew. Like a cleaning woman who loves her lizards but isn't sure she knows how to love another human. Like a son who knows how to beat a video game but not how to handle the complicated love and hate he feels for his mom after her death. Like a young man who knows he wants a pierced nipple but little else. Sturgis, Michigan, Notable explores the nuances that get glossed when discussing flyover states.

This novella focuses on the lives of Walter, his mother Sabine, and his would-be love Bernadette. Walter is an awkward, unemployed thirty-year-old that still lives at home with his mother pressed into the pursuit of love by an obsession with romance novels. Walter is an outstanding cook and dishwasher but has no other notable talents. He eventually finds a job and manages to lose his virginity but changes little otherwise. The narrative is interested in the failures of family, love, and traditional societal expectations. It is interested in seeing and being seen. It is interested in a path around the conventional plot arc. Walter's Rules for Getting By wishes to disrupt the expected and the roles we often feel forced into.

My novel, "Nine Times Out of Ten, You Don't Die," is the story of Layla Wisnewski and her quest to write a book about her famous father. In the 1970s, "Big Dan" Wisnewski was a motorcycle stuntman who broke more bones than anyone living. He jumped cars and buses and rivers atop a white Harley Davidson. Big Dan was considered an American Hero. Fast forward forty years, Big Dan has been dead for decades, and his daughter Layla is writing a book about his life. While researching the book, she learns she was kidnapped as a baby. This triggers a domino effect that leads Layla on a trail to uncover the many ways in which she has been lied to over the years and just how dangerous her family really is.

Thesis (Ph. D.)--Columbia University, 1936. / Vita. Published also without thesis note. Bibliographies: p. 164-256.

Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 256-269).