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some of my projects

The Impossible Costs More

 

2026

The Impossible Costs More is a chapbook containing nine poems written between 2025 and 2026 (originally for a class called The Freedomways Workshop, taught by Suzanne Gardinier, to whom the chapbook is dedicated) concerning the dialectics between oppression and liberation, imperialism and anti-imperialism, legality and illegality, and colonization and decolonization. Its title derives from a translated quote of former President of Uruguay and revolutionary José Alberto "Pepe" Mujica Cordano: “The impossible costs a little more, and the only ones defeated are those who put down their arms and surrender.” The last six poems in this chapbook are part of a larger untitled project which tells the story of New York City in poetic vignettes from pre-colonization to the current day. 

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Blowback: Politics and Culture in the Creation of Conspiracy Theories 


2025


A litany of studies have been done into the psychological profile of the ‘conspiracy theorist,’ someone who (apparently) can be defined entirely along the lines of the ‘conspiracy theories’ they believe in. Psychologists have argued for specific neurological patterns and behaviors that lead to ‘conspiratorial’ thinking, and these findings have been published in major media outlets like the New York Times. What if that isn’t the whole story? How do we account for when those who are apparently psychologically predisposed towards conspiratorial thinking turn out to be right? What do we do when a conspiracy theory stops being a theory and becomes history? These are questions posed and answered in this paper, which I wrote for a class called Perspectives on 9/11: Religion, Politics, and Culture, taught by Kristin Sands.

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The Vague Dream: Personal and Collective Memory in the Poetry of Mao Zedong

2026


Most American and British scholarly work on the poetry of Mao Zedong has claimed that Mao’s poetry concerned, more or less, the collective political experience of China during his lifetime, rather than reflecting on his own personal memories. In this paper, I refute the idea that Mao’s writing was more collective than personal, arguing instead that his poetry experiences and recounts personal memories through the collective experience of China, which does not diminish the personal nature of his poetry. 

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