The Drift is a great new magazine, and one of their sections I adore is Mentions, where writers offer reviews under 100 words. I have one in their latest issue on Kurt Vonnegut’s seasons, which you can read here.
I reviewed Gina Nutt’s fantastic essay collection Night Rooms for Heavy Feather Review. You can read it here.
I have a new essay/art/film criticism hybrid thing in the latest issue of Oyez Review. I look at each character in the 2019 film Knives Out for how they represent whiteness. I had a lot of fun with this one, and you can read/look at it here.
I have a new essay of film criticism in the latest issue of Postscript Magazine. In it, I examine Spring Breakers as a film that does or doesn’t interrogate whiteness, and how that ambiguity is too costly in light of the white American inability to see whiteness onscreen. You can read it here.
I have a new blog on Lunch Ticket that I am very proud of. I talk about my experience with therapy and how I wish for every person, especially men, to seek help. You can read it here.
I have a new review in the latest issue of Newfound. In it, I look at Jason Diamond’s book The Sprawl: Reconsidering the Weird American Suburbs in conversation with the 2017 film Suburbicon. You can read the review here, and better yet, you can read the entire issue.
Diamond’s The Sprawl is available through Coffee House Press.
It’s been a long time since I’ve written about my experiences in education, and the emotional weight of trying to access the feelings of this year kept me from making the effort. But for the Lunch Ticket blog, I wrote about what the pandemic has been like for teachers and students in Texas. It was difficult to reflect on a moment when it feels like education is low on the priority list, but I feel some small relief in sharing it with others who have related. Hopefully our elected officials will start making calls that work against this crisis, and for the sake of each other. You can read it here.
For Issue 13 of No Contact Mag, I wrote about the Texan fear—and my sustained hope—of “turning into” California and how Westerns prove there’s less space between the two than Texas and John Wayne might like. I’m thrilled to be in this magazine, which you can read here.
“The Lone Star” was previously shortlisted for The Forge Literary Magazine‘s Flash Competition. Their encouragement gave me the final push I needed to find this essay a home.