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The Monk and the Butterfly is a set of six fictional stories ranging in length, experimenting with different narrative structures and techniques, which examine and explore the idea of the human self as a fictional story. This creative work seeks to deliberately transgress the boundaries of genre within literature and evoke the sense of non-empirical, ecstatic, or poetic truth in the mind of the reader. In doing so it mingles and remixes ideas of dystopian and utopian, cyberpunk and zombies, fairy tales and scientific inquiry, multiphrenia and recursion, mythology and ontology, copyright and copyleft, media theory and queer theory, feminism and transhumanism, genderfuck and genrefuck, rejection of binaries and absence of identity. The stories range in subject matter including the larvae of the deathwatch beetle, a suicidal artificial intelligence, a woman made of bread, the eating of names, a global pandemic of sleep deprivation, and the end of the world. / February 2014

The purpose of this essay is to examine the sense of immediacy in fiction, i.e., the sense that the story is unfolding before one's eyes; the sense that the story is happening now. What it is and how it can be achieved is discussed in relation to the author's own stories; as well dealing briefly with some more general points in regard to what fiction is and how it seeks to achieve what it attempts.

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Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form. / Five short prose pieces. / 2031-01-01T00:00:00Z

Photocopy of typescript. / Digitized by Kansas Correctional Industries

This is a fictitious and interdisciplinary speculation on the signification of engendered subjectivities, engaging with concepts from art history, critical theory, philosophy, religious philosophy and iconography, science, visual art, fiction and poetry. The ‘actions’ in the work are mental processes involving durational perception in time. Narrative, if it appears at all, does not arrive, derive or result – rather it accumulates as consciousness. Operating as a zootrope, the work revolves around eight ‘openings’ in the body, chosen for their visceral, metaphysical and ideological permeabilities, which act as ‘Doors’ into each chapter: cleavage, the tiniest mappable distance in cell division; hymen, controversial site of female ‘virginity’; larynx, cleft ‘lips’ vulnerable to colonization and ‘possession’; ear, the uncloseable organ, always open to suggestion; blindspot, the gap in vision that allows vision to be processed; synapse, the tiny impulse-sensitive interval between neurons in the brain; navel, the point of absolute memory or uroboric continuity with the mother, a vampire’s memory, blood-permeable; cloaca, non-function specific passage, viscerally absent in humans, but ‘fissured’ into existence through desire. Each opening is ‘cloacal’, functioning simultaneously as both entry and exit point of/for experience. Linking the intervals of the ‘zootrope’ are passages of ‘Descent’ interspersed between openings. The descent into word is a continuum: a fall into hermaphroditic being. There is no arrival because word, being always flesh-held, is always only ever beginning. / Master of Arts (Hons) Writing

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Thesis (Ph.D.)--Ohio University, June, 2006. / Title from PDF t.p. Includes bibliographical references (leaves 93-96)

Texte remanié de: Dissertation--Göteborg--Universität, 2007. / Bibliogr. p. 223-243.