As a compositionist and cultural rhetorician who theorizes how discourse is produced and taught, my research is mixed methods, holistic, and historical, and engages scholarly as well as popular texts. You can find my published research on my Google Scholar Profile.
My dissertation, “SCHOOLED: Hiphop Composition at the Predominantly White University,” interrogates and contextualizes hiphop teaching and writing in college writing classrooms at predominantly white institutions (PWIs). Comprising classroom, survey, and historical research, this mixed-methods dissertation investigates how hiphop pedagogy and colorblind, primarily-white academia have accommodated themselves to one another. The dissertation advocates race-conscious writing pedagogy that foregrounds students’ and teachers’ identities in classroom discussions of language, genre, and power, and argues that institutional whiteness have historically and are currently limiting the reach of such pedagogies.
Two articles have emerged from my dissertation. The first, What Else Do We Know? Translingualism and the History of SRTOL as Threshold Concepts in Our Field, historicizes the Writing About Writing movement to position it as a colorblind, neoliberal response to consolidation around translingual and multilingual approaches to writing instruction and theory. Another, “‘Let the People Rap!’: Cultural Rhetorics Pedagogies and Practices Under CUNY Open Admissions, 1968-1978,” forthcoming from the Journal of Basic Writing, recovers the pedagogies of basic writing instructors Adrienne Rich, June Jordan, and others, as well as student work, to locate hiphop’s birth at the end of a decade of radical and fully funded public higher education.
My interests in women’s rhetorical history, critical whiteness studies, and social media come together in my article “Constellating White Women’s Cultural Rhetorics: The Association of Southern Women for the Prevention of Lynching and Its Contemporary Scholars,” published in Peitho in Spring 2018. This piece offers a re-reading of the archives of the ASWPL, a 1920s whites-only advocacy group based in the U.S. South, to argue that evasions of the ASWPL’s debts to Black organizers like Ida B. Wells, perpetuated by both the group itself and contemporary white women scholars, violate principles of fair use and constitute a cultural rhetorics practice we can recognize (or constellate) as plagiarism.
My work as a rhetorical analyst and cultural critic has also been featured on my blog, as well in other publications, including LARB, Hyperallergic and The American Reader. As a transplant to Silicon Valley, I am also interested in the cultural scripts that occlude the real costs of consumer technology, which I consider in my essay “This Post Burns Coal.”
The header image on this website was taken in spring of 2014 when I spoke at “You Are Hair,” a live event for the women in film podcast “Bonnie and Maude.” See me in action below.