Other Writing


Some of the following links lead to whole articles, others to previews hidden by paywalls. Please write to me if there’s something you’d like to read in full.

Recently I’ve been writing about queer culture in Mexico:

“El Metro, vehículo de una literatura subterránea,” La Tempestad (2023).

“What is Queer Mexican Art?” POZ (2023).

“Radical Queer Mexico,” Les Nouveaux Riches (2023).

“¿Qué es el arte queer mexicano?” La Tempestad (2023).


The personal essay is one of my favorite genres! Here are a few about my passion for architecture, poetry, and working out at the gym:

“Buildings Were My Education,” Public Seminar (2018).

“#MedievalToo,” Inside Higher Education (2018).

“Let ‘Em See You Sweat,” Inside Higher Education (2017).

Beowulf among the Ruins,” Chronicle of Higher Education (2016).


One of My Favorites:

“Angela Lansbury versus the Nazis,” Avidly / LARB (2020).


W.H. Auden said that the desire to write poetry comes from a fetish for making lists:

“The Best Lists of 2016,” Inside Higher Education (2017).


This essay is dedicated to my beloved cat:

“Teacher’s Pet,” Chronicle of Higher Education (2016).


Teaching often inspires me to write:

“A Queer Confession,” Inside Higher Education (2016).

“The Consolation of Asceticism,” Chronicle of Higher Education (2015).

“Corporeality in the Classroom,” Glasgow Review of Books (2014).


As a teacher of historical linguistics, I’m entirely opposed to the standardization of grammar. This pair of essays provoked some serious hate-mail from right-wing creeps:

“Why We Need Greater Linguistic Diversity,” Inside Higher Education (2017).

“How to Cultivate Greater Linguistic Diversity,” Inside Higher Education (2017).


With this essay, I felt that I came close to truly realizing my vocation:

“Blood Orange & Saint Augustine,” The A-Line (2021)

I still stand behind the argument of this early essay:

“The Antigay Blood Ban and What It Means to be Gay,” The Advocate (2012)



As a poet-scholar, I’ve published on late-antique Latin, medieval French, and Middle English:

“Macrobius’s Foreskin,” Journal of Medieval and Early Modern Studies 46.1 (2016): 7-31.

“Sir Orfeo as a Critical/Liberal/Art,” post-medieval 6.4 (2015): 478-84.

“‘We Play at Paste’: Glossing Fytt XIII of the Pearl with Emily Dickinson,” Glossator 9 (2015): 251-63.

“Getting Medieval on Graduate Education,” Pedagogy 15.1 (2015): 119-38.

“‘In te consumere nomen’: The Politics of Naming in Ausonius’s Mosella,” Names 62.4 (2014): 189-201.

“Misogynists as Queers in Le Livre de la Cité des Dames,” Romanic Review 104.3-4 (2013): 251-71.


“Emails from Iceland,” in Decameron, ed. Macushla Robinson (New York: Yonkers International Press, 2020).

“Saint Augustine for Snowflakes,” in Queer Medieval Pedagogies, ed. Natalie Grinnell, New Queer Medievalisms series, Medieval Institute Publications (invited contribution, in progress).


My practice as a poet is often enriched by thrilling collaborations with artists, musicians, and film-makers:

Ransom 2, Instagram-specific collaborative exhibition, Brooklyn Wayfarers, 2019.

“Pastelería Ideal,” collaboration with Hugo Llanes, RÝMD Gallery, Reykjavík, 2019.

Can’t Get There from Here country-folk EP with music by David Hartung and short film directed by Keil Troisi, 2018.

“Mono Generation,” short film directed by Keil Troisi, winner “Best Documentary,” L.A. Experimental Forum, 2017.

Thebes, poetry and drawing exhibition with Harry Cushing and Juliana Merz, Brooklyn Wayfarers, 2015.


“Reforming Doctoral Education, 1990 to 2015: Recent Initiatives and Future Prospects” (contributing author), Andrew W. Mellon Foundation, 2016 (contributing author).