“Merritt’s Musical Memories: The Magnetic Fields’ ’50 Song Memoir’ and Autobiography” Response Vol. 3 No. 1 (Summer 2018)
“50 Song Memoir” by The Magnetic Fields is an exploration of songwriter Stephin Merritt’s autobiography. Throughout the album and in the 50 Song Memoir tour, Merritt investigates the connections between memoir and music, playing with the tropes of confessional songwriting and autobiographical performance as he relates the story of his life. As with much of Merritt’s work, 50 Song Memoir does not so much give us access to his life as exposes how he constructs it. Key to this construction is Merritt’s queering of confessional songwriting by emphasizing how autobiography is constructed. In this essay, I analyze how Merritt uses his live show and album to construct a version of himself for consumption by the audience generating intimacy in the face of Merritt’s stated opposition to autobiography.
“Capitalizing on Post-Hipster Cool: The Music that Makes Girls“ (published in HBO’s Girls and the Awkward Politics of Gender, Race, and Privilege, edited by Elwood Watson, Jennifer Mitchell, & Marc Edward Shaw)
Palabras: Dispatches from the Festival de la Palabra
co-edited with Yamile Silva
This anthology features short stories by authors, including Junot Diaz, Aurora Arias, and Mayra Santos Febres, from the Caribbean, Central and Latin America, Spain and Catalonia. Many of the stories in this collection are translated into English for the first time. Edited by Yamile Silva and Hank Willenbrink, this collection of new short fiction displays aesthetically diverse and remarkable voices from the Americas and Iberia.
“The Act of Being Saved: Hell House and the Salvific Performative” Theatre Journal Vol. 66 No. 1 (March 2014)
“The Geography of Disappearing: Meatyard, Butchertown, and Perspective in Naomi Iizuka’s At the Vanishing Point“, Contemporary Theatre Review Vol. 24 No. 2 (May 2014)
Abstract: Naomi Iizuka’s At the Vanishing Point weaves together physical and metaphysical landscapes to evince an understanding of Butchertown, a historic post-industrial neighborhood in Louisville, Kentucky, through the perspective of the influential experimental photographer Ralph Eugene Meatyard. In the article, I argue that Iizuka provides a nuanced way to interact with the industrial legacies of developed nations. Rather than obfuscating the past and the future, in At the Vanishing Point, Iizuka dramatizes a community’s beginning and possible end through space, time and interpersonal relationships. Utilizing a multivalent methodology, I explore this play by reading Meatyard’s biography and works, the geohistory of Butchertown, and theories of perspective against the play to illustrate how Iizuka brings her audience to inhabit a neighborhood while mediating on the moments before the death of its inhabitants and the possible demise of the geography as well.
“The Fantastical Reality in Pinkolandia“ TheatreForum Vol. 45
Abstract: Across the United States every Halloween season hundreds of evangelical Christian churches and church groups produce Hell Houses — a theatrical performance meant to scare their audience into accepting Christ. Hell Houses are the latest incarnation of saint plays or conversion dramas, which dramatize the conversion of a particular religious figure. However, instead of enacting the conversion of a historical figure, the producers of Hell House attempt to institute the conversion of their spectators. To accomplish this, the producers persuade the audience through the performance’s physical sermon, rhetoric, and gruesome theatrics. If persuaded to convert, an audience member utilizes a speech act called the theological performative to change their faith. In order to understand how this happens, I attended three religious Hell House performances and one secular performance. These productions illustrated how meaning and intention are tied to both the intentions of the producers as well as the understanding of the audience. Hell Houses are a particularly problematic aspect of contemporary performance due to their reliance on the beliefs of the producers and the attempt to convince the audience that these beliefs are true. This belief exchange and how the representation utilized in Hell House attempts to convince the audience of the validity of the producers beliefs is unique in the history of religious performance. Moreover, Hell Houses expose how a representation can be used to stand in for reality and convince others that the representation is “real.” The productions, I argue, must be read as a willing communion of belief, where the audience does not agree to suspend their disbelief, but the spectators agree to believe that what they see in the performance is “real.” It is through collapsing the distinctions between beliefs, reality and representation that the producers of Hell House attempt to persuade their audience into religious change.