Though I Know the River is Dry is a place-oriented collection of short fiction. The included stories follow female protagonists as they struggle with identity, relationships, and place in the world. The women in these stories frequently grapple with the fear of being loved in the wrong way, often unearthing a deeper examination of what it means to be tethered to a person or a place, along with the ramifications of these ties. All tangentially related to the island of Martha's Vineyard, place serves as a grounding element in this collection, as well as an entity with which the women interact.

Yellowstone Exodus, a novella, is a reminder of society's fragility in the wake of naturally occurring catastrophes. The first of three parts, Yellowstone Exodus is book one in a trilogy of novellas intended to entertain, inspire, and forewarn its reader. Beginning in Denver, Colorado, this story redefines brotherhood and friendship as two best friends, Clayton Rudd and Raymond Montero, set out on a journey to reach the Montero family home in Fort Gibson, Oklahoma. Obstacles awaiting them include a nightmarish environment caused by the Yellowstone super-volcanic eruption, hostile enforcement of state borders in a nation stripped of its federal government, and the prisons of their own physical, mental, and spiritual endurances. The struggle of these men dwells deeper than simply living during the time of the great American diaspora, as they will need to deal with addiction, PTSD, depression, and denial. Encounters with strangers, along their way, establish impressions and illuminate an understanding of a super-power nation's freshly dispossessed population.

In exploration of Millennial anxieties and the power of dreaming, The Gasoline Tree imagines a soundtrack for the revelations, defeats, and curiosities of leaving childhood behind. This is a collection of 40 poems that examines eating disorders, gender roles, physical abuse, sex, infidelity, loneliness, and the fear of losing one's parents. This collection also contemplates the brutalities and muted delights of what drives us all: love, in all of its forms. "The Gasoline Tree," "Wolf of Chocorua," and many other poems construct New England landscapes that pay homage to the pastoral uniqueness of Maxine Kumin and Galway Kinnell, while poems in the latter half of the collection, such as "Home Alone" and "Little Big Econ," rouse depictions of southern environments and intensify the narrator's budding sense of displacement. There are many voices within, but there are three particular voices that can be heard above the rest: the child struggles with the complexities of divorce and identity; the young woman struggles with the complexities of remorse and relationships; the woman struggles with reminiscence and loss. Yet, each voice works toward expressions of awareness and acceptance of the enduring captivation with impermanence and consequence in a disposition influenced by W.S. Merwin, Anne Sexton, Kay Ryan, and Louise Glück. Whether driving by a homeless man, staring at the ceiling fan, or lying awake late into the night, this collection examines the transient nature of everyday occurrences and the buried meanings that might govern them all.

Kidron Road and Other Stories is a collection of fiction that ranges from the soberly tragic to the magically real. The characters in each selection are molded by their choices, the choices of others, and the cruel whims of fate. I am fascinated by the way fatalism and free will intersect in the human experience. Therefore, my work often explores the paradoxical way lives are molded by past decisions while, at the same time, those decisions seem determined by outside forces.

Tethered is a cross-genre poetry and essay collection whose speaker explores topics of identity, racial injustice, mental health, and emotional abuse, while also tackling the speaker's chronic physical illness. The collection seeks to discuss discomfort in all its form with increasingly intimate and personal detail. Structured by theme, it ventures first into race, before delving into greater identity issues that intersect with sexism and the speaker's sexual identity, finally alighting on the speaker's health as it intersects with her upbringing. In poems like "On God," and essays including "Naming Conventions of the Mid Life Jamaican," the speaker considers how her familial relationships have informed her identity, driven her self-destructive behavior, and ultimately armed her to content with bigoted practices in her personal and professional life outside of the home. With poems like "My Best Friend's White Guilt," "imma be real," and "I Said What I Said," the speaker interrogates her own Blackness and her alternating complicity in, complacency with, and pushback against bigoted systems that seek to exclude and suppress minority voices. With a greater focus on non-white identities coming forth in the media, these pieces seek to emphasize the flawed complexity of the individual Black woman, for her own sake—not just for her entertainment value. Poems like "immolate," "A Fine Merlot," and "Elegy for St. Gertrude" illustrate feminine vulnerability as created by patriarchal hierarchy, and rail against this phenomenon with incisive language that seeks to weaponize the female body as that which consumes rather than is consumed, and by validating the emotional vulnerability commonly associated with the feminine.

This linked short story collection follows the evolution of Bar Eugenia—a legacy restaurant once a staple in New York City's Southside—from the early 1920's to the present day. Each story explores the intersection of NYC's working-class roots and increasingly prevalent showbiz culture, presenting a cast of characters who find themselves out of place, with a better life visible just beyond reach. In the premier story, "Bar Eugenia," a man with a dream of entertaining entertainers receives the Bar Eugenia in a back-alley deal with the mysterious mobster Mr. C but soon finds himself caught in a feud between the Mafioso and silent-film star Buster Keaton. In "A Demon in the Dark," a desperate detective searches for a Southside serial killer among the cast of Sweeney Todd: The Demon Barber of Fleet Street. In "Lights, Camera, Action," an old war hero with a secret finds himself competing, appropriately, on a military-themed episode of the game show I've Got a Secret. Throughout each of the stories in the collection, characters are asked to reevaluate where they are, where they want to go, and how far they'll travel to get there.

In Charcoal Boys & Dreams of Igniting, themes of race, queerness, isolation, othering, fetishization, love and relationships are all explored. They are paired up against one another and questioned through the lens of creative writing. Experimental and traditional poetry, prose poetry and memoir are all incorporated to make this possible. Examining how pain can lead to beauty and working to strike up a discourse on societal preconceptions. This work is an attempt to jut open the silent discourse and provoke discussion of these subjects, to make the reader uncomfortable. For it is in our discomfort that we learn the most about ourselves.

Be Your Own Charlatan! is a collection of personal essays about the nature of violence, the intricacy of aspiration, and the labels we use to distinguish our identities and accomplishments. The essays explore how such labels can be limiting and frustrating while simultaneously useful for navigating what is expected of us. Essays such as "Hip Throw," "Fighting," and "Rolling: A Ladies' Guide to Brazilian Jiu Jitsu" use the lens of martial arts to examine femininity, the difference between perceived and actual violence, and the line between violence and sport. "White Homework" and "Couch Sitter" reflect upon ways of navigating the expectations of other people as well as self-invented parameters and limitations. "The Teacher Doesn't Jump in Front of the Bullet" and "Teacher Eavesdrops Thursday At the Diner" dissect the myth that teachers are selfless and patient nurturers. "I'm Not an Actor, But I Play One in This Essay," "Colorblind Casting," and "Anything and Everything" reflect upon life as a student, and how the enthusiasm expressed by various teachers can reshape long-held expectations and ideas about identity. Be Your Own Charlatan! tackles these ideas through humor that leads to introspection and introspection that unlocks the absurdity of the expectations we place on ourselves, those we meet, and the world around us.

Skin Baby is about the inevitability of decline and decay—what happens when we turn away from it, and what happens when we're forced to confront it head on. The essays in this collection focus on navigating a parent's devastating diagnosis of Parkinson's disease and the struggle to control its accompanying chaos. The collection interrogates identity, addiction, generational mental illness, and parent-child relationships. In "Home for the Holidays," illness is an invisible foe that shatters expectations. "Prologue to Revelations" and "This Too Shall Pass" consider rampant escapism and anesthetization. "The Druggist's Daughter" explores preconceived notions of family dynamic. Other essays focus on discoveries about inherited traits both physical and mental ("Things Unattended"), desperation for metaphysical and spiritual understanding ("Bruja," "Peripheries") and accepting the inescapable ("Skin Baby," "What is Owed," "Next Year in Jerusalem"). Parkinson's disease slowly robs people of their faculties as it progresses. Death ultimately occurs, but not before a long period of watching and waiting. Skin Baby explores what that watching and waiting looks like for one family.

This Might Get Heavy is a collection of essays which explores intersecting themes of body image, mental illness, and sexual identity. Through these personal essays, Mayer explores and interrogates the societal norms and tendencies that have formed the shape into which she has forced herself both mentally and physically. In essays such as "The Point System" and "Refraction," Mayer uses memoir to depict the origins of her struggles with body image and disordered eating. "Tara's Body Quiz and Answer Guide" and "How to Determine Your Sexuality: A Guide to Finding Your Letter in the Acronym" inhabit "hermit crab" forms to break through emotional barriers and question the need for conformity. Other essays, like "Green Tea and Giant Donuts" and "(Potentially Unwanted) Letters from Your Former Self," act as thematic bridges that explore the ways body image and sexuality can influence one another, ultimately helping Mayer to unearth previously undiscovered pieces of her identity. This Might Get Heavy uses several voices and forms to address and break away from the perceived expectations that have ruled the narrator's life. It is both a reflection on the ways in which a body is built and a rebellion against the binding that holds these parts together.