❧ ABOUT ☙

Tiffany Troy is the author of Dominus (BlazeVOX [books]). She is Managing Editor at Tupelo Quarterly, Associate Editor of Tupelo Press, Book Review Co-Editor at The Los Angeles Review, Assistant Poetry Editor at Asymptote, and Co-Editor of Matter.

Ms. Troy is a 2024 Queens Art Fund New Work Grant recipient from the New York Foundations of the Arts. Her literary criticism, translation, and creative writing are published or forthcoming in literary journals like The Adroit Journal, BOMB Magazine, Bennington Review, Brooklyn Rail, Colorado Review, Compulsive Reader, The Cortland Review, EcoTheo Review, Full Stop, Guernica, Heavy Feather Review, Hong Kong Review of Books, Latin American Literature Today, Los Angeles Review of Books, Poetry Northwest, Poetry Society of America, Rain TaxiRHINO Poetry, The Rumpus and World Literature Today as well as anthologies like Constellation: Latin American Voices in Translation (Sundial House, Columbia University Press), The Ecopoetry Anthology: Volume II (Trinity University Press) and Trespassing in the Archive: Poetry in Conversation with History (Rowan & Littlefield Publishing Group). Her work has been translated into French and Spanish. She edited the special issue, Ni de aquí, ni de allá: Stories of Migration, Belonging, and Saudade for Portales, the Undergraduate Research Journal of the Latin American and Iberian Cultures Department at Columbia University.

❧ Dominus ☙

Slide
Slide
Slide
Slide
previous arrow
next arrow

Finalist, Changing Light Award. Livingston Press, the University of West Alabama.

If logos, the law of the father, could be personified, the “Master” of Tiffany Troy’s devastating debut collection Dominus is its Hegelian sine qua non. It follows the journey of a “Baby Tiger” whose lyric powers and canonical, mythic transmutations (of Dostoevsky, Whitman, Machiavelli, Montaigne, and the epic Greeks) evince the apprenticeship of a genius. Is it wrong to “want life to matter” amid a wasteland of toxic positivity, double whoppers, trains, and “fathers beyond reproof”? If work involves subjection, rage, and shame, is poetry—the “Lyrical I” of a “shredded soul”—a higher legislature capable of revolt? Darkly funny, virtuosic, and formally ingenious, Dominus offers a cathartic transcendence from paternalist and systemic oppressions, via a symbiotic power dynamic whose pathos rivals Cordelia and Lear. What Troy forges in this trial by fire isn’t “corporate professional” compliance but a soul: the Nietzschean transformations of her speaker move through “the light Blake calls experience” to arrive at sublimity: “the golden center of the heart.”

      —VIRGINIA KONCHAN, AUTHOR OF BEL CANTO

To walk through the world of Tiffany Troy’s astonishing debut collection, Dominus, is to honor the scalding “month that leaves like a lamb” and to acknowledge the “shimmering lunacy” of our world divided by labor, “Google Calendar,” “QuickBooks season,” human brutality, and “how evil always justifies itself through mundaneness / and bureaucracy.” Dominus is origin story: “In the beginning, all we could do was eat, shit, and money. / Deposit and spend money in takeout places where we died.” The speaker is often Cassandra swirling within and against her tragic consequence of speaking the truth-utterance in the face of any cost: the Doctor’s threat of exile, or “She can no longer look herself in the mirror,” or “Knife in hand… ‘To Hell with God.’” The most profound truth Troy impresses is a blueprint to interrogate the inferno of our everyday lives, lyre in hand, each “horrid spring” without compromising the music which survives us, as to never “kill the love in [our] hearts,” and face with dignity the Master and “myopic god who’s fuming.”

      —CARLIE HOFFMAN, AUTHOR OF WHEN THERE WAS LIGHT

Fusing post-confessional bildungsroman with an allegory of late-capitalist corruption, Dominus astounds me with its heat and light, from its earliest “hope for all workers / to receive what they deserve” to its ultimate dread that “You either cooperate / or starve.” Powered by the combustion that unfolds when a valiant creative spirit confronts the “hellish landscape” of one rigged system after another, Troy transforms her speaker’s manifold subjugation into a spectacle of lyric clap back and alchemical escape act—a performance in which even defeat, always at least partly inevitable, is rendered with such tenderness, wit, and truthfulness to human life, it takes on positive value: “Between being afraid and falling asleep, / I curl into a little ball on the wooden floor.” Championing our tired and our poor, the immigrant workers and the “huddled masses yearning to get to work on time,” the outsiders consigned to “a panorama of never belonging” and “every girl who ever thought / maybe she had wronged the world by existing,” Dominus is as insistent on justice as it is baffled by its own hope, and its indomitable, distinctive voice has a power unlike that of any debut collection I’ve ever read, or of any book in recent memory.

      —TIMOTHY DONNELLY, AUTHOR OF CHARIOT

❧ AN INTERVIEW BY MARY JO BANG IN POETRY SOCIETY OF AMERICA

Tiffany Troy’s debut poetry book, Dominus, moves continuously up and down Kenneth Koch’s “poetry thermometer,” descending from the lofty realm of Greco-Roman myth—where we encounter Aeneas, Odysseus, Dido, and others—to the YouTube animated BabyTiger children’s TV series. While Ilium burns, our heroine, a “Baby-Tiger” look alike who is also an attorney, makes her way across the city, fighting adversaries in court and gaining the necessary experience to not only endure but triumph in the troublesome world. The poems are filled with icons of pure goodness that act as talismans, among them Maria Goretti, one of the youngest canonized saints in the Catholic Church, stabbed to death at the age of eleven during an attempted rape by a neighbor. She forgave her attacker before her death and he, in time, became a Capuchin Franciscan brother. Behind the writing is the firm Blakean belief, expressed in his “Proverbs of Hell,” that “the road of excess leads to the palace of wisdom.”[Read more…]

❧ AN INTERVIEW BY JOHN REED  IN UIRTUS, A FULBRIGHT COMMISSION PUBLICATION BY UNIVERSITE DE LOME (ENGLISH) (FRENCH)

Tiffany Troy brings a monumental mythology to a beautifully succinct and profound twenty-first Century Ashdown forest. There is a quotidian heroism to the life of her characters, Master, Mama, Papa, and Baby Tiger, and the bringing to voice of the ongoing struggle to be oneself, as the world is, as time brings one catastrophe after another (the lost door key, the hour badly spent). Troy’s charisma and intelligence are only bolstered by her voluminous knowledge of poetry, and in Dominus, her debut collection (recently released by BlazeVox), she demonstrates all the command and casual laughter of a master poet.

❧ AN INTERVIEW BY MATT MAUCH IN THE COMPULSIVE READER

Tiffany Troy’s Dominus makes its verbal headway at the vanguard of stream-of-consciousness, its poems accumulating into portraiture, throwing their legs over the boundary of the already-spoken out of dire necessity to make meaning with what we’ve fucking got. The scenery and characters change as the speaker-being-painted-in-words navigates work, family, expectations, deadlines, daily drudgery, daily euphoria, as well as all the trappings of popular American culture. “I specialize in disappointing people I love” opens the poems “This,” which closes with “as I lay like a ragged doll / on white linen I hate for being washable / and hence salvageable,” the oil and water of the self failing to mix, Troy’s brutal honesty morphing for the reader into a mirror.[Read more…]

❧ AN INTERVIEW BY ROSE DEMARIS IN RAIN TAXI

To open Dominus, Tiffany Troy’s full-length poetry debut, is to enter a world that is both recognizably earthly and potently mythic. Here, the epic, eternal essences hidden within the most prosaic acts (consuming ketchup), scenes (arguing in a courthouse), and relationships (familial or otherwise) are revealed through Troy’s alchemical mix of voice and form. The book’s speaker is an honest, sharp, and subjugated “I.” Sometimes she is “Baby Tiger” and sometimes a “tamed wolf without fangs” beaten down by the cruelties of capitalism, corporate America, and paternal masters both human and divine. An overworked attorney, she’s the daughter of an immigrant father and a faraway mother who, despite feeling at times like “every girl who ever thought / maybe she had wronged the world by existing,” retains a capacity for incisive observation, keen feeling, and adaptive mutability fueled in part by “life-affirming brekkie” and steaming cups of Earl Grey. Troy’s poems never hover delicately above despair; indeed, there is a deep and wondrous aesthetic refreshment in their refusal to do so. And it is precisely “through the thick residue of the window pane” that her lines reveal light, and become it. Baby Tiger is akin to one of autumn’s “frowning sunflowers burdened / by the weight of their golden mane” who “cannot help / but peek up and beam.” [Read more…]

❧ REVIEW BY FELIX TORRES IN  PASSENGERS JOURNAL

Tiffany Troy’s debut full-length poetry collection, Dominus, centers around finding openings in spaces of enclosure. 

Restraint takes on many manifestations in the collection, some of them material (“I am chained to the bottom of the sea”) and others ideal (“a Twin, a Wink, / a Key to our repressed psyche”) in an attempt to understand it from many perspectives, as if it were a site to be navigated through. The theme is so rigorously inspected that by the end of the collection the reader comes no closer to understanding who is responsible for restraining the poet: instead of assigning fault, Troy withholds it. [Read more…]

❧ CHARLES RAMMELKAMP ENDORSES TIFFANY TROY’S POETIC COMPLAINTS AGAINST INJUSTICE: A REVIEW IN LONDON GRIP

Expanding upon her chapbook, When Ilium Burns, Tiffany Troy develops the themes of justice and oppression, hope and futility, in her new full-length collection, Dominus. The title, a Greek word meaning “master” (or “owner” – of slaves), harks back to the oppressive character of “Master” who cruelly dominates the narrator of the chapbook. He’s back! Not all of the poems from When Ilium Burns (a clever self-reference as “Ilium” is another name for “Troy,” who burns with outrage as well as compassion), are included in Dominus, but the plight of the immigrant experience in America is at the heart of the collection. [Read more…]

❧ AN INTERVIEW BY JUAN PABLO MOBILI IN THE BANYAN REVIEW

If you are true to the calling of poetry, there are some inescapable steps: you take a deep breath, jump in its unpredictable ocean, vow to read the great poets of the past, and embrace the young poets who intend to carry the message forward. Reading Tiffany Troy’s Dominus, I knew I encountered someone whose work is serious, willing to share intimate truths but not enamored with self-significance, weaving a tapestry where others can find their lives as well.

Tiffany is a poet forged in two traditions: the legacies in the island of Formosa inherited from a stern father and Flushing, Queens, that bestowed, among many Western deities and ghosts, McDonald’s upon her palate. Her poems reflect how power washed ashore in our lives, her passion for the teachings of Greek mythology, and how being curious about being a human being, came to affirm her freedom as a particular self. [Read more…]

❧ ZORA SATCHELL, BROOKLYN POETS

In “Dominus,” Tiffany Troy’s debut, our narrative speaker “Baby Tiger” negotiates her own relationship to power and views herself as a contained power system within spaces of corporate corruption and late-stage capitalism. She depicts her relationship with the figure “the master,” against whom she struggles. This cruel master is determined to instill in her a ruthless self-hatred, intending to shape Baby Tiger into a worthy adversary driven purely by the logos of the law and a capitalistic ethos where “without money, there is no dignity.” However, Baby Tiger does not merely present herself as a passive villager vying for comfort over survival. Unlike her description in “When Ilium Burns,” where she is unable to move in the face of imminent destruction, throughout this collection she describes the grueling breakdown of trying to build oneself up to resist, only to be crushed once more under the “evil (that) always justifies itself through mundaness and bureaucracy” and wonders what’s so wrong with “wanting life to matter” in the face of brutal labor divisions. Dominus is a devastating debut that invites the reader along an illustrious journey synthesizing ancient Greek epics, Dostoeksy, and isekai misadventure, that highlights the baffling longing for and resilience of hope.

PASSENGERS JOURNAL FEATURE AND INTERVIEW ABOUT VOICE, AMBIVALENCE, AND BELIEVING YOUR DAY WILL COME

❧ BROOKLYN POETS “POET OF THE WEEK” FEATURE

❧ A COLLABORATIVE INTERVIEW WITH MARY PACIFICO CURTIS IN COMPULSIVE READER

❧”ON CHARACTERIZATION AND PLACE: A COLLABORATIVE INTERVIEW WITH TENNISON BLACK” IN COMPULSIVE READER

FEATURE BY CARLOS BARRAGÁN FOR COLUMBIA NEWS & EVENTS

❧ When Ilium Burns ☙

Slide
Slide
Slide
Slide
Slide
Slide
previous arrow
next arrow

In Tiffany Troy’s vibrant chapbook, When Ilium Burns, classical references coalesce with the clutter, cacophony, and “million-dollar dreams” of the modern world. Recurring characters like Master and Baby Tiger lend the work an aura of bureaucratic satire, of bristling absurdist comedy. In tune with the current soul-crushing American zeitgeist, the speakers in her poems are wary and perpetually on the lookout for the crass and the counterfeit. The highest compliment I can pay this whip-smart debut is that Tiffany Troy’s work brings to mind the irreverence and snap-crackle-pop allusiveness of Alan Dugan’s Pulitzer-Prize-winning first book. I can’t wait to read a whole volume of her poems!

      —CYRUS CASSELLS, AUTHOR OF THE WORLD THAT THE SHOOTER LEFT US

Interwoven with Homeric narratives, Tiffany Troy crafts an epic landscape and cosmology of her own in When Illium Burns. The heroes of her poems are filled with desire, longing, doubt, fear, courage, and “million-dollar dreams” that represent the complexities of the human experience and what it means to be alive. The vivid cast of characters that form this cosmology (“Braised Snake,” “Master,” “The Friend,” “Nurse,” “Baby Tiger,” “Little Maria”) are at once both larger-than-life and intimately familiar in their rages and sorrows. The poetry collection deftly traverses boutique law offices, secondhand piano shops, courtrooms, the bottom of the sea, inviting us into its generous, kaleidoscopic imagination. “What for, this cruelty / as I touch the sphere under my neck / all swollen / with this mouth of mine?” Troy asks. The bright fire that illuminates the voices of her speakers and the poet herself is this very sphere, ballooning intensely throughout the collection and beyond its pages.

      —WENDY CHEN, AUTHOR OF UNEARTHINGS

I had never realized, viscerally, the havoc at the heart of piety nor felt, on my own flesh, the loving burden borne by Aeneas as he carried his father away from the burning towers, until I read these new poems by Tiffany Troy. Here is a poet beautifully competent to love’s furor and to its enduring fidelities. There is a new kind of heroism here, and it is thrilling.

      —DONALD REVELL, AUTHOR OF THE ENGLISH BOAT

We abandoned our homeland for bigger dreams” laments the speaker of Tiffany Troy’s chapbook, but the poetry here is made all the richer by the migratory quality of the text. What I enjoy most about this work is Troy’s willingness to allow the poem to find its own form. This text is all the more surprising and remarkable by its ranginess and generous flexibility. It’s a work you won’t forget!

     —KYLE McCORD, AUTHOR OF REUNION OF THE GOOD WEATHER SUICIDE CULT

REVIEW BY CHARLES RAMMELKAMP IN LONDON GRIP

Given the names of the characters in Tiffany Troy’s poetry chapbook, When Ilium Burns – Master, Friend, Nurse, etc. – one is tempted to think of this collection as an allegory, like Everyman or like Bunyan’s The Pilgrim’s Progress, Orwell’s Animal Farm. If so, what is the moral, the lesson? What’s the hidden meaning? [Read more…]

“NOT ANOTHER GREEK TRAGEDY”:  REVIEW BY NICOLE YURCABA IN SAGE CIGARETTE

It’s a prayer, an incantation, of desire and return. It’s also a moment in which the speaker is truly comfortable with themself — a new experience for both the speaker and the readers of this collection. [Read more…]

“IN REVIEWBY SHANNON VARE CHRISTINE in VAGABOND CITY LIT

While reading Tiffany Troy’s When Ilium Burns the line “brain to dissociate, / and to upgrade itself into running faster and harder” jumped off the page for aren’t we all in a semi-constant state of dissociation? Multitasking at breakneck speed, instant messaging and downloads, always becoming more efficient and readily accessible. Within this constant state of more, it is increasingly more effortless than ever to disconnect from life, each other, and the world, to disappear into technology, work, and politics. [Read more…]

“I BRACE MYSELF WITH MY HANDS HELD UP: REVIEW BY JONATHAN FLETCHER in WHALE ROAD REVIEW

Tiffany Troy’s debut chapbook, When Ilium Burns, is nothing if not successfully ambitious and daring.  With titles like “Wedding-bound Million-Dollar Dream” and “Notes on the word ‘impossible,’” lines that effortlessly code-switch between English and Mandarin, and lineation, spacing, and stanzaic arrangement that defy expectation, oscillating between the traditional and the most contemporary (all the while varied with different points of view, sometimes multiple within a single piece), When Ilium Burns proves itself both self-aware and equally capable.  [Read more…]

INTERVIEW WITH LISA HASELTON

What I enjoy most about writing poems is following a character’s arc in reaching an epiphany. That epiphany more often than not does not resolve the underlying conflict, for want of power. Nevertheless, it sheds light upon the journey as an experience worthy of our consideration or contemplation. [Read more…]

INTERVIEW IN NEWTOWN LITERARY

My writing often draws from the sounds, cadences, and colors of Queens. Queens has grown to be more than home, as a way of being and thinking. Montages of sound and visual collages come to mind when I think of Queens. [Read more…]

INTERVIEW IN TUPELO QUARTERLY

The characters in When Ilium Burns struggle through what tradition has pinned them down as the holy trifecta of juvenile, woman, and alien. In that way, it’s not dissimilar from Alice’s Wonderland where the rules of the game ensure the characters’ defeat until the characters move outside of the rules, as the other. What makes the book interesting to write is how there is no fixed idea of social justice: no perfect protagonist or antagonist, but complicated human beings. [Read more…]

❧ Interviews & Reviews☙

Slide
Slide
Slide
Slide
Slide
Slide
Slide
Slide
Sheng Keyi Death Fugue Interview
Slide
Slide
Slide
Slide
Slide
previous arrow
next arrow

Kind Words

❧ Tiffany Troy brought energy, thoughtfulness and imagination to the interview process. Well-prepared and efficient (though I never felt rushed), she made our conversation a mutual exploration of ideas we cared about.

❧ As an avid reader of reviews and literary essays, I can say with confidence that is rare to see such an artful balance of critical rigor and generosity of spirit. Ms. Troy’s literary criticism is marked by a remarkable clarity with respect to the relationship between craft and affect, poetic technique and larger claims about culture and philosophy, and of course, literary citizenship and social justice.

❧ “‘alchemic / exchange / we fade bruises here’: Rajiv Mohabir on editing I Will Not Go: Translations, Transformations & Chutney Fractals,Asymptote (forthcoming);

❧ “The History Remains Unquiet: A Conversation with Brandon Shimoda about The Afterlife is Letting Go” Tupelo Quarterly;

❧ “The Moon Between Them: A Conversation about Grief, Love, and Ill-Fitting Shoes with Lauren Aliza Green, author of The World After Alice” Tupelo Quarterly;

❧ “A Conversation with Esteban Rodríguez about Lotería,” The Adroit Journal;

❧ “What Was Haunting Me Was Not Myself: A Conversation with Morgan Parker,” Los Angeles Review of Books;

❧ “John Reed with Tiffany Troy: The Other Orwell and his Bootlicking Lackeys,” Brooklyn Rail;

❧ “A Conversation with Dara Barrois-Dixon about Nine,” The Adroit Journal;

❧ “I have only ever wanted the red sky to turn blue: A Conversation with Mary Jo Bang about A Film in which I Play Everyone” Rain Taxi;

❧ “i strike where my cunning becomes feminine: A Conversation with India Lena González about fox woman get out!” Tupelo Quarterly;

❧ “Over time, the most foreign of sounds can feel natural in the mouth: A Conversation with Valerie Hsiung about To Love an Artist” Matter;

❧ “I bask, a fugitive from the confines of my own words: A Conversation with Margo Jefferson about Constructing a Nervous System Tupelo Quarterly;

❧ “She takes the open fifths into the choir of her heart: A Conversation with Marianne Worthington about The Girl Singer” Tupelo Quarterly;

❧ “to return to dying between two cupped hands: A Conversation with James Fujinami Moore about indecent hours Tupelo Quarterly;

❧ “Another Me Exists in a Cabin by the Lake: A Conversation with Andrew Grace about Sancta (with Emma O’Leary) Tupelo Quarterly;

❧ “Rubbing a pummeled sky: A Conversation with Yerra Sugarman about Aunt Bird” Tupelo Quarterly;

❧ “An Interview with Sean Singer about Today in the Taxi,” Compulsive Reader;

❧ “The cosmos in the daffodils: A Conversation with Translators Marci Calabretta Cancio-Bello and E.J. Koh about The World’s Lightest Motorcycle by Yi Won,” The Adroit Journal;

❧ “I want to visit what once was a God and became poetry, became shard: A Conversation with Aviya Kushner about Wolf Lamb Bomb,” EcoTheo Review;

❧ “The Sky Never Left the Sky: A Conversation with Mai Der Vang about Yellow Rain,” Heavy Feather Review

❧ “Rudderless in the samidare-rain: On Naoko Fujimoto’s Reinterpretation of Heian Period
Japanese Woman Poets in 09/09 Nine Japanese Female Poets / Nine Heian Waka Poems,Asymptote (forthcoming);

❧ “A Review of A Cha Chaan Teng That Does Not Exist by Derek Chung and translated from the Chinese by May Huang,” The Inflectionist Review;

❧ “A Review of 11 by Carlos Soto Román, Translated from the Spanish by Alexis Almeida, Daniel Beauregard, Daniel Borzutzky, Whitney DeVos, Jèssica Pujol Duran, Patrick Greaney, Robin Myers, and Edited and Translated by Thomas Rothe,” RHINO Poetry;

❧ “Review of Norman Finkelstein’s Further Adventures” The Colorado Review;

❧ “Review of Nancy Naomi Carlson’s Piano in the Dark” The Colorado Review;

❧”Tiffany Troy finds Daniel Magariel’s new novel an imperative, Delphic hymn to change: A review of Daniel Magariel’s Walk the Darkness Down,” Hong Kong Review of Books;

❧ “Review of Jennifer Franklin’s If Some God Shakes Your House” Hong Kong Review of Books;

❧ “Review of Triptychs by Sandra Simonds Rain Taxi, print, vol. 110;

❧ “A Review of Behind the Tree Backs by Iman Mohammed translated by Jennifer Hayashida” The Rupture;

❧ “A Review of Dear Diaspora by Susan Nguyen” The Rupture;

❧ “Hear them sing—flickering wings: A Review of Heidi Seaborn’s An Insomniac’s Slumber Party with Marilyn Monroe,” Tupelo Quarterly;

❧ “As far as a bird can fly: A review of Laurel Nakanishi’s Ashore,” Tupelo Quarterly/ vol. 24;

❧ “Finding Fruits in My Palms: A Review of Katie Farris’s A Net to Catch My Body in Its Weaving,” Heavy Feather Review;

❧ CREATIVE WRITING☙

"Sea Floor" in BOMB Magazine
"Crocodile State" in Passengers Journal, read by Hannah Newman

❧ “If I have grandchildren with this accent” by Ana Carolina Quiñonez Salpietro,” translated from the Spanish, Guernica (forthcoming);

❧ “My teenage room” by Ana Carolina Quiñonez Salpietro,” translated from the Spanish, The Queens Review (forthcoming);

“Bone Broth” and “Dead Horse Bay,” by Santiago Acosta, co-translated from the Spanish with the Women in Translation Project at University of Wisconsin-Madison and the author, Constellation: Latin American Voices in Translation (Sundial House, Columbia University Press) (forthcoming);

❧ “Never Surrender Your Heart to a Nuclear Power Plant,” by Santiago Acosta, co-translated from the Spanish with the Women in Translation Project at University of Wisconsin-Madison and the author, The Ecopoetry Anthology: Volume II (Trinity University Press) (forthcoming);

“Dead Horse Bay,” by Santiago Acosta, co-translated from the Spanish with the Women in Translation Project at University of Wisconsin-Madison and the author, World Literature Literature Today (March 2024);

“Son of a Policeman,” by Santiago Acosta, co-translated from the Spanish with the Women in Translation Project at University of Wisconsin-Madison and the author, Poetry Northwest;

❧ “Never Surrender Your Heart to a Nuclear Power Plant,” “In the Line of Fire,” and “Dead Horse Bay,” by Santiago Acosta, co-translated from the Spanish with the Women in Translation Project at University of Wisconsin-Madison and the author, Latin American Literature Today (English translation) (Spanish original);

“Atlas” and “Y2K” by Santiago Acosta, co-translated from the Spanish with the Women in Translation Project at University of Wisconsin-Madison and the author, On the Seawall;

“diamond & rust” (sections 1 and 2) by Catalina Vergara, translated from the SpanishInternational Human Rights Art Festival

❧ “On the Extraordinary,” Bennington Review;

❧ “Sea Floor,” BOMB Magazine;

❧  “Google” in Poet of the Week feature by Brooklyn Poets;

❧  “The Sky” in interview with Mary Jo Bang about Dominus, Poetry Society of America;

❧ “Train” and “Plus Ultra,” Matter;

❧ “I Smell Summer,”  The Banyan Review;

❧ “Crocodile State,” Passengers Journal;

“Telos,” “Bagel Oasis,” “My Mother as Wallpaper,” and “Spring Rhythm,”  New World Writing;

❧ “A Thank You Card,” and “Wedding-Bound Million-Dollar Dream,”  As It Out To Be;

❧ “Imagine the sky without twilight,” Moss Puppy;

“An Elegy to the Venus of Willendorf,” “When Angels Sing,” and “Aftermath at the Foot, Repenting,” Marbled Sigh;

“This,” “Valley of Ashes,” and “Shepherd of Troy,”  Encephalon Journal;

❧ “In the Spirit of Christmas,” Some Kind of Opening;

❧ “Hermione Granger” and “America in the Year of the Pig,” Mason Street;

❧ “We’ll play Symphony 40 in G Minor through the dark night,” The Minison Project Sonnet Collection Series;

❧ “A Familial Scene“, As It Ought to Be;

❧ “Shepherd Girl,”  Roi Fainéant;

❧ “Squirrel on an October Late Afternoon,” Moot Point;

❧ “What’s Left of the Majesty of Children,”  The Pine Cone Review;

❧ “Pretext,” Snakeskin

❧ TEACHING & EVENTS ☙

As an educator, I encourage my students to revise their work with a critical eye towards structure and the connection between meaning and content. My students have achieved national and regional accolades for writing developed in my seminars and workshops. As a public speaker, I hope to help my audience build towards a community with a deeper sensitivity to their surroundings and empathy within their communities.

For all inquires, kindly contact me using the mail icon at the top-left corner of the web page.