SELECTED WRITING
Precious Vestiges of Something That Took Place: On Claire-Louise Bennett’s Big Kiss, Bye-Bye, Los Angeles Review of Books (October 2025): “Across all her books, Bennett has been interested in privately stowed boxes and the girl or woman who keeps them. She is always pursuing sentences, themselves another kind of box.”
Dispatch: Pack Animal and Midnight Mass present Shampoo Boy by Stevie Manning, Zona Motel (October 2025): “The mood was love poems and Gaza. The mood was the embarrassment of love poems and the humiliation of looking at Gaza starved on your phone. You could warm bread in me / all the love I’ve got. Then a shrug.”
As Long As I’m Happy: On Jean Pierre Léaud, a postcard from Marseille, In the Mood Magazine (July 2025): “But it matters that I’m writing on this huge, green Formica desk—itself a vacation, dream, or state of grace—and I’ve been told that it was once used in a movie set.”
Dispatch: a poetry reading at Zoème, a bookstore in Marseille, Zona Motel (July 2025): “The day began with a bolt out of bed to catch a boat to an island.”
Give Them Space: On Jacqueline Feldman’s Precarious Lease, Los Angeles Review of Books (February 2025): “Owing to its proximity to cliché, the subject position of a white, middle-class American girl trying to write something in Paris—just look at her, holding her little pen—nothing quite beats it, in terms of humiliation.”
“The Lover” at 40: A Virtual Roundtable, Public Books (October 2024): “A dream once offered me the title of a lecture called ‘The Durational Pasts of Marguerite Duras.’”
A Precarious, Provisional Order: On Daniel Saldaña París’s Planes Flying Over a Monster, Los Angeles Review of Books (September 2024): “If this were to be an ending to my review, or at least one version of an ending, I might attempt to assess whether, and to what degree, and with which tools, Saldaña París has melted himself autobiographically.”
“On Nathalie Granger; or, On the 10th of April, 1972,” In the Mood Magazine (July 2024): “The cigarette in Jeanne Moreau’s hand contains the memory of 31 cubic miles of ash: ‘completely disposed of, carried away, burnt’: April 10, 1972. For example.”
“What I’m Not Reading,” Womb House Books Review vol.1 (June 2024): “To offer a list of books I’m not reading might give you the wrong impression: it might suggest that my unit of not-reading is the single book. But I am drafting a theory of not-reading and its organizing unit is the stack.”
THERE IS NO SUCH THING AS JUST A READER (Type Books, April 2024): “On the occasion of Canadian Independent Bookstore Day, we are thinking about book spaces. We are thinking about public libraries, cafés, nightstands, living rooms, and the untranslatable role of independent bookstores among them.”
On Lisa Robertson’s The Baudelaire Fractal, in Handeslling: A Booksellers Book (Biblioasis, Indie Bookstore Day 2024): “It’s Canadian but also Parisian, a novel but also a theory of reading, an epistemology of girlhood. It’s a Baudelairean jacket while also being a soft piece of infinitely pleated fabric.”
“On Tone: Translating the Vibe of a Room”, Arcade (December 2023): “Translation begins in a room.”
On River in an Ocean: Essays on Translation, Literary Review of Canada (November 2023): “The literary translator perches between two […] texts. Depending on the languages involved, her eyes may travel from right to left or left to right; they may even close for a nap.”