2016-2019 Queens’ College, University of Cambridge, Junior Research Fellow (post-doc)


2016 Queen Mary University of London, PhD in English, passed without corrections

2012 University of Cambridge, Queens’ College, M.Phil. (Distinction)

2007–2011 University of Cambridge, Magdalene College, and Johannes Gutenberg-Universität, Mainz, Germany, BA equiv.


2014-2016 New York University, Visiting Scholar

2014-2015 Princeton University, Digital Archivist, Blue Mountain Project

2013-2014 Columbia University, Visiting Scholar



  • Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital (Stanford University Press, 2019). Some of the magazines and publishing communities I discuss: 291, The Blind Man, Others, The Little Review, 0 to 9, some/thing, Big Deal, The Difficulties, L=A=N=G=U=A=G=E, Paper Air, Soup, Poetry Flash, HOW(ever), HOW2, Chain, Raddle Moon, M/E/A/N/I/N/G, Troll Thread, Gauss PDF, Triple Canopy, ON: Contemporary Practice, among many others.


  • Literary Live Art, a trade book on performance art, poetry readings, and lecture performances.
  • Lessons of Decal, a book of lyric essays about difficult forms, teachers of reading, abstraction and autobiography, alternative modes of learning and relating, pinched nerves, visibility, vulnerability, getting lost,   slickness, serious copying and necessary (even inexorable) repetition.


  • ‘The Politics of the Forum in Feminist Avant-Garde Magazines after 1980’, Journal of Modern Literature, 42.1 (Fall 2018), pp. 163-182.
  • Contribution to ‘New Narrative: A Collective Interview’, ed. by Kasia Boddy and Diarmuid Hester, Textual Practice (2019) [forthcoming]
  • ‘Enclosing “Rape” in Peter Larkin’s “Five Plantation Clumps Near Twopence Spring”’, in Were X a Tree: Glosses on Larkin, ed. by Amy Cutler (Dec 2018), open-access creative-critical publication, online at Poetry at Warwick.
  • ‘The Blind Man Sees the Fountain: An Introduction’, introductory essay to centenary facsimile reprint of The Blind Man (UDP, Fall 2017). Named one of the Best Art Books of 2017 in the New York Times.
  • ‘Thinking the Unprintable in Contemporary Post-Digital Publishing’, Chicago Review, 60.4 (Fall 2017), 175-194.
  • ‘Tom Raworth’s Little Magazines: Outburst, Before Your Very Eyes!, and Infolio‘, Critical Quarterly, 59.2 (Summer 2017), 11-33.
  • ‘Lodging & Dislodging the Little Magazine: A Google Document Conversation in Fifteen Parts’, commissioned essay, co-written with Danny Snelson, for the print and digital magazine Hotel (April 2017).
  • ‘Translator’s Afterword’ to i mean i dislike that fate that i was made to where (Wonder, 2015) and Subsisters: Selected Poems (Brooklyn: Belladonna, 2017).
  • Co-written statement for a forum on ‘Sexism and Sexual Assault in Literary Communities’: ‘No Manifesto’ (pp. 221-232), and a hand-out from the NYC-based feminist collective Enough is Enough (pp. 201-203), in Chicago Review, 59.1 (2015).
  • ‘On Peter Larkin’, unAmerican Activities, 1 (New York, May 2013), 4 pages.
  • ‘The Ethics of Attention in Peter Larkin’s “Leaves of Field”’, Cordite Review, 44 (Summer 2013), online. [peer-reviewed open access publication]

book chapters

  • ‘Experimental Translations and Translingual Poetics’, in Reading Experimental Writing, ed. by Georgina Colby (Edinburgh University Press, 2019) [forthcoming] [peer-reviewed, sent to two readers].
  • Co-authored with Irmtraud Huber, ‘Authentic Simulacra, or, The Aura of Repetition: Experiencing Authenticity in Tom McCarthy’s Remainder’, in The Aesthetics of Authenticity: Medial Constructions of the Real, ed. by Wolfgang Funk and Irmtraud Huber (Transcript, 2012). My contribution: 50%

as editor

  • Centenary facsimile reprint of The Blind Man and rongwrong (Brooklyn: Ugly Duckling Presse, 2017). The boxed set includes The Blind Man 1 + 2, rongwrong, a letterpress foldout of The Ridgefield Gazook, and an offset printed poster for The Blind Man’s Ball, a booklet of translations from the French, and an essay.
  • Introductory essay to a digital reissue of the Canadian feminist magazine Giantess: The Organ of the New Abjectionists, ed. by Lisa Robertson, Christine Stewart, and Susan Clark, for Jacket2 Reissues. [forthcoming]
  • Cordite Review: A British & Irish Issue, co-edited with Matt Hall, 49.1 (March 2015).


  • ‘A “Xerox Coup d’Etat”:  Sophie Seita Interviews Kevin Killian about Editing Mirage and Mirage #4/Period[ical]’, Poets House (15 Oct 2018), online; originally published by CLMP: Front Porch Commons (September 2015).
  • ‘On Alembic’, Interview with Ken Edwards and Robert Hampson, Mimeo Mimeo, 9 (2014); online in a slightly edited version and with colour scans on Jacket2 (January 2018).


  • Review of RoseLee Goldberg’s Performance Now (Thames & Hudson, 2018), Times Literary Review (Dec 2018) [forthcoming].
  • ‘Mistakes Like Passport Stamps’, a commissioned review of Eric Bulson’s Little Magazine, World Form (Columbia University Press, 2017), in Times Literary Supplement (16 Feb 2018), p. 16.
  • Review of Gabriel Rockhill’s Radical History & The Politics of Art (2014), inModernism/modernity, 22.4 (November 2015).
  • ‘Grace Notes for Bernadette’, review of Bernadette Mayer’s republished Sonnets (Tender Buttons Press, 2014), Lemonhound (March 2015), online.
  • ‘A Review of Marc James Léger’s Brave New Avant Garde: Essays on Contemporary Art and Politics’, Studies in Theatre and Performance, 33.3 (September 2013).


  • 2019-2020: SOUND/TEXT, funding for a new seminar at Harvard’s Mahindra Center, co-organised with Alexander Rehding.
  • 2019: Arts and Humanities Impact Fund Award, for a solo exhibition of My Little Enlightenment Plays.
  • 2018-19 CRASSH Grant for the ‘Re’ Interdisciplinary Network, asking how and why we repeat, revive, re-enact, reframe, remember, and refer. With Clare Foster.
  • 2018-2019 Raven Row, London, in-kind support for four R&D workshops and events, for GORGONIA. With Emma Attwood, Celine Lowenthal, and Nisha Ramayya.
  • 2019 Trelex Writing Residency, Paris.
  • 2018 Vice-Chancellor’s Public Engagement Award (Winner). University of Cambridge. For My Little Enlightenment Plays.
  • 2018 Smuts Grant for conference co-organisation, Race, Poetry & Poetics in the UK.
  • 2018 Lambeth City Council, production grant for Art Night London.
  • 2018 Cambridge Humanities Research Grant Emilia Galotti’s Colouring Book of Feelings.
  • 2018 Research Fund, Queens’ College, for Research & Development workshops for Emilia Galotti’s Colouring Book of Feelings; and my second book on performance.
  • 2017-18 Public Engagement Starter Fund, Cambridge, for two R&D workshops and a performance of Emilia Galotti’s Colouring Book of Feelings.
  • 2017 Judith E. Wilson Grant for a Cambridge performance of my play Les Bijoux Indiscrets, or, Paper Tigers.
  • 2017 Cambridge Humanities Research Grant for My Little Enlightenment Plays.
  • 2017 Weil Fund, Queens’ College, Cambridge.
  • 2016-17 Judith E. Wilson Fund, for the curation of poetry readings.
  • 2016 Asymptote Close Approximations Translation Contest.
  • 2016 Artist Residency (invited), for SoundEye Poetry Festival and The Guesthouse, Cork, Ireland (July 2016).
  • 2015 New York University. Professional Development Grant.
  • 2015 PEN American Center. PEN/Heim Translation Award, to translate Subsisters: Selected Poems by Uljana Wolf.
  • 2015 Princeton University. PU Library Research Fellowship.
  • 2014 Yale University. Visiting Graduate Student Fellowship, Beinecke Rare Book & Manuscript Library.
  • 2014 Queen Mary University of London. Two grants for ‘unAmerican Activities Transatlantic Reading Series’, Postgraduate Research Initiative Fund, and QMUL Arts and Culture Fund.
  • 2014 Wonder Book Prize, New York, for translating i mean i dislike that fate that i was made to where, by Uljana Wolf.
  • 2013-16 New York Public Library. Wertheim Scholar.
  • 2013 SUNY Buffalo. Charles D. Abbott Library Fellowship, Poetry Collection.
  • 2013-15 University of Cambridge. Judith E. Wilson Fund. For ‘unAmerican Activities Transatlantic Reading Series’.
  • 2013 Columbia University. Two grants for ‘unAmerican Activities Transatlantic Reading Series’, Arts Initiative/The Gatsby Charitable Foundation.
  • 2012-15 Queen Mary University of London. Principal’s Studentship, fully-funded PhD studentship.
  • 2012 University of Cambridge. Joint winner of ‘The John Kinsella and Tracy Ryan Poetry Prize 2012’.
  • 2011-13 Scholar of Studienstiftung’s Interdisciplinary Humanities Research Consortium; group project: ‘Making Of: An Introduction to Contemporary Cultural Studies Based on the Observation, Description and Aestheticisation of Production Processes’.
  • 2011-12 Studienstiftung des deutschen Volkes (German National Academic Foundation). Excellence Scholarship for M.Phil. at Cambridge.
  • 2010-11 Studienstiftung des deutschen Volkes. Hölderlin Scholarship for Academic Excellence.
  • 2009-10 DAAD (German Academic Exchange Service) scholarship to study at Cambridge.
  • 2008-12 Studienstiftung des deutschen Volkes. Fully-funded undergraduate degree studentship.



  • ‘Vulva’s School’: A F*cking Didactic Talk on Experimental Feminist Performance Art, or, How to Read’, Faculty Research Seminar, University of Cambridge, Nov 2018.
  • ‘Drawing a Line in Poetry and Performance: Paper, Pencil, Metaphor’, a lecture performance for The Drawing School, London, 7 Nov, 2018.
  • ‘Translating the “Blur-Print” in Uljana Wolf’s Translational Poetics’, talk, workshop, reading, German Department, KCL, London, 17 Oct 2018.
  • Artist talk on My Little Enlightenment Plays, at SAAS Fee Summer Institute of Art, Berlin, 16 Jul 2018. This year’s theme was ‘Art and the Poetics of Practice in Cognitive Capitalism’.
  • ‘“I see, said the blind man”: An Evening of Readings and Discussion’, at Anita Rogers Gallery, New York, 8 May 2018.
  • ‘Marcel Duchamp, The Blind Man, and New York Dada: Institutional Critique and Editorial Practices’, Center for the Humanities, CUNY, New York, 24 Apr 2018.
  • ‘Translating Experimental Poetry’, for an event on ‘Multilingual Writing’, British Library, at the invitation of Jen Calleja, Translator-in-Residence, 16 Apr 2018
  • Launch event for The Blind Man at Printed Matter, NYC, 12 Jan 2018
  • Panel on Duchamp, with David Joselit, at  CUNY Grad Center / Center for Humanities, NYC, Apr 2018 (date and details tbc)
  • ‘Translating the “Blur-Print” in Uljana Wolf’s Translational Poetics’, talk, workshop, reading, German Department, KCL, London, Oct 2018 (date tbc).
  • ‘The Politics of Translation, Queens’ College, University of Cambridge, 5 Mar 2018.
  • ‘Vulva’s School’: A F*cking Didactic Talk on Experimental Feminist Performance Art, or, How to Read’, Faculty Research Seminar, University of Cambridge, 7 Mar 2018.
  • Contribution to a roundtable for a symposium on Kevin Killian, for Poets & Critics, Universités Paris 7 & 8, 18-19 Dec 2017.
  • ‘Marcel Duchamp and the New York Dada Scene’, for the Dalí / Duchamp Exhibition, Royal Academy of Arts, London, 10 Dec 2017.
  • ‘A Century of Avant-Garde Little Magazines: An Introduction’, Centre for Material Texts, University of Cambridge, 5 Jun 2017, 3pm, Faculty Board Room (English Fac).
  • ‘Translating Uljana Wolf’s Multilingual Poetics’, for a panel on ‘Translation and Poetry/Poetry in Translation’, NeMLA, Baltimore, MD, 25 Mar 2017.
  • ‘Thinking the Unprintable’, panel on ‘materialities’, at Literary Criticism and the Small Press conference, University of Westminster, London, 1 July 2016.
  • ‘The Lengevitch of Uljana Wolf: Literature and Migration’, Goethe-Institut New York, 31 Mar 2016.
  • Invitation to participate in a ‘hackathon’ for the Blue Mountain Project and Modernist Journals Project, with other periodical and digital humanities scholars, Princeton University, 5-6 Feb 2016.
  • ‘People You May Know: Feminist Literary Communities in Print and Online’, talk and poetry reading at New Jersey Institute of Technology, Feb 2015.
  • ‘Self-Theorisation, Gendered Rhetoric, and Community-Formation in 1970s Avant-Garde Little Magazines’, lecture at New York Public Library, Jul 2014.
  • ‘Two 1960s New York Little Magazines: 0 to 9 and some/thing as Examples of Proto-Avant-Gardes’, talk and seminar, at Contemporary Innovative Poetry Research Seminar, Institute of English Studies, London, Mar 2014.
  • ‘Formal Outliers: The Heterogeneity of the Avant-Garde Little Magazine’, talk at Poetry Collection, SUNY Buffalo, Nov 2013.


  • ‘Against Literary Efficacy’, for a roundtable on ‘The Social Efficacy of Form’, Modernist Studies Association 19, Amsterdam, 10-13 Aug 2017.
  • ‘The Blind Man: A Centenary Facsimile Reprint’, Remaking the New: Modernism and Textual Scholarship Conference, Queen Mary University of London, 13-14 Jul 2017.
  • ‘Poetics of POD: Inscribing Digital Printedness’, Embodying Media: From Print to the Digital, University of Cambridge, 27 May 2017.
  • Militancy’, *Violence, Cruelty, Avant-Garde *, University of Sussex, 21 Apr 2017.
  • ‘Minimalist Procedures Against the Precious Poem’, Minimalism: Location Aspect Moment, University of Southampton/Winchester School of Art, 14-15 Oct 2016.
  • ‘“Must I go home filled | with a bad poem?”: Bad Poetry for the Revolution’, Modernist Studies Association 17, Nov 2015.
  • ‘Little Magazines 2.0: Electronic Communities, Audio Archives and Group Identities’, Modernist Studies Association 16, Nov 2014.
  • ‘Reading Modernist Poets in Late-Modernist Magazines: Stein, Riding Jackson, Loy’, British Association of Modernist Studies, London, Jun 2014.
  • ‘“What is “291”?’ The Little Magazine as Fetish, and the Archival Pilgrimage of the Critic’, Remediating the Avant-Garde: Magazines and Digital Archives, Princeton University, Oct 2013.
  • ‘“L’artiste nouveau proteste: il ne peint plus”: The Literary Circles of Dada—Publishing Ephemerality’, “But Is It Art?” Conference, New York University, Mar 2013.
  • ‘“To Dream’s More Violent Than To Act”: Kathy Acker’s Wilful Fakery of Experience’, World Picture Conference, University of Sussex, Nov 2012.
  • ‘Unfinished Business: The Making of The Fencing Project’, Performance: Arts Critique Experiment (P:ACE) Symposium, Central St Martin’s, London, UK, Oct 2012.
  • ‘Conceptual Bodies in Christine Brooke-Rose’s and Kathy Acker’s Anti-Memoirs’, ‘From Granite to Rainbow: Transmuting the Material into Text’ Conference, University of East Anglia, May 2012.
  • ‘Remaking a Life: The Author as Producer’, Humanities Research Conference, Studienstiftung des deutschen Volkes, Bautzen, Germany, Mar 2012.
  • ‘In process: The Music Box’, Performance and its Context, at Drama Research Seminar, Faculty of English, University of Cambridge, Mar 2012.


I have been interviewed about my scholarship and research-led creative practice for: (1) the Cambridge Festival of Ideas (2017); (2) for the Cambridge Public Engagement Office as an Engaged Researcher (2019); and (3) for Queer(y)ing the Curriculum at LGBTQ+@Cam (2019).

For a full CV, email me.