Welcome! My name is Shannon Draucker [she/her/hers]. I am Assistant Professor of English at Siena College, where I teach courses on gender and sexuality studies, Victorian literature, and the novel. In May 2019, I received my PhD in English Literature from Boston University, where I also earned a Graduate Certificate in Women's, Gender, and Sexuality Studies and a Graduate Certificate in Teaching Writing.
My research focuses on the intersections among Victorian literature; music; the history of science; and gender, sexuality, and queer theory. My first book, Sounding Bodies: Acoustical Science and Musical Erotics in Victorian Literature (under contract with SUNY Press), argues that nineteenth-century scientific discoveries about music's effects on the body fundamentally transformed how Victorian writers imagined pleasure, desire, and intimacy. My research has appeared in Victorian Literature and Culture, Nineteenth-Century Gender Studies, Victorian Periodicals Review, BRANCH, Hybrid Pedagogy, The Journal of Interactive Technology and Pedagogy, and The Eudora Welty Review.
I also love to write public-facing pieces, especially about classical music and television (often together!). My work has appeared in Public Books, Literary Hub, the Los Angeles Review of Books blog (BLARB>), and the Journal of Victorian Culture Online. My passion for music stems from my twenty years of training as a classical clarinetist.
Please visit the tabs above to learn more about my research, teaching, writing, and music.
What happens to our bodies when we play or listen to music? This was the question that preoccupied nineteenth-century acoustical theorists—and, I argue, many Victorian writers. Sounding Bodies argues that nineteenth-century discoveries in musical science fundamentally shaped Victorian literary representations of the body. While eighteenth-century and Romantic thinkers often hailed music as an ineffable, transcendent entity, mid-nineteenth-century acoustical theorists like Hermann von Helmholtz and John Tyndall began to think of music as a patently embodied art form—a physical force that penetrates the ear canal, tickles the nerve fibers, and excites the muscles. This new musical science, which I call music physiology, offered rich imaginative possibilities for late-Victorian writers looking for new ways to depict fleshly sensations. From canonical figures like George Eliot and Thomas Hardy, to lesser-known writers like Bertha Thomas and M.E. Francis, to the anonymous authors of underground pornography, Victorian writers drew upon emerging theories of sonic vibration and nervous arousal to describe performers and listeners who convulse, cry, and sweat in the concert hall. As late-Victorian Britain witnessed a burgeoning public musical culture—marked by the explosion of concert halls, music conservatories, and symphony orchestras across the nation—scientists and writers alike became fascinated by how sound could ignite the senses.
Music physiology enabled Victorian writers not only to explicitly describe their characters' bodies, but also to imagine new possibilities for their gendered and sexual lives. Across realist novels, New Woman fiction, ghost stories, and pornographic works, the language of music physiology enables depictions of players and hearers who harness their bodily strength, locate new sources of physical intimacy, and achieve as-yet-unrealized instances of erotic contact. When, for instance, the female violinist in Grand's The Heavenly Twins engages her arm muscles to perform, she displays a sense of bodily power rarely available to her in a male-dominated musical sphere that deemed women incapable of such invigoration. When the male concertgoer in Teleny experiences an orgasm in response to a male virtuoso's piano performance, he accesses an erotic encounter otherwise forbidden to him in a society that criminalized the "love that dare not speak its name." When the folk fiddlers in Hardy's Under the Greenwood Tree quiver and writhe together while playing at a Christmas dance, they achieve a moment of profound physical intimacy entirely outside of nuclear kinship structures. Though often considered a bastion of conservatism and exclusion, in the context of music physiology, the classical concert hall became one of the queerest spaces in Victorian literature.
In 2022, this project was awarded a National Endowment for the Humanities (NEH) Summer Stipend. The book is now under contract with SUNY Press.
"Prioritizing Pedagogy in Victorian Studies." Co-authored with Kimberly Cox, Riya Das, Ashley Nadeau, Kate Nesbit, and Doreen Thierauf. Victorian Literature and Culture, vol. 51, no. 2 (Summer 2023): 307-325.
This essay argues that practical discussions about pedagogy in the field of Victorian studies warrant a regular place in major field-based conferences and journals as well as greater attention in graduate programs at large to maintain our discipline's viability. While conversations about and tools to help with teaching have become more prominent in digital projects like Undisciplining the Victorian Classroom and COVE, these topics continue to be minimized at conferences like NAVSA and are often relegated to special issues of Victorian studies journals. By "defamiliarizing" pedagogy, we ask the field of Victorian studies to reckon with the ways its systems of prestige and recognition sideline teacher-scholars working at teaching-intensive institutions, community colleges, high schools, and minority-serving institutions. We assert that, given the current state of the job market, more space must be dedicated to pedagogical research, and requirements for tenure/promotion need to recognize pedagogy as a viable field of research. Such attention to pedagogy will contribute to efforts to decolonize Victorian studies, attend more deeply to gendered and racialized labor politics, and mobilize for collective action.
"Ladies' orchestras and music-as-performance in _fin-de-siècle_ Britain." Nineteenth-Century Contexts, vol. 45, no. 1 (Spring 2023): 7-22.
This article traces the emergence of a curious musical phenomenon in fin-de-siècle Britain: the ladies' orchestra. As British music conservatories began to open to women in the 1870s and 1880s, and the violin gradually became a more "acceptable" instrument for women to play, ladies' orchestras offered female musicians – still excluded from the country's major symphony orchestras – opportunities to perform in public and sometimes even earn a living. Analyzing responses to ladies' orchestras in the British periodical press, this article shows that ladies' orchestras invited Victorian audiences to think about classical music in new ways. Ladies' orchestras, though niche, fundamentally shifted the sensual experience of the orchestra concert, transforming it from a staid, solemn event centered on "the music itself" to a multisensorial spectacle, complete with colorful costumes, dazzling stage settings, and dynamic displays of musical vigor and passion. Ladies' orchestras embraced what musicologists now call a "performance-based" approach, one that tunes into the spatial, temporal, sensory, kinesthetic, and affective dimensions of classical music.
"Music Physiology, Erotic Encounters, and Queer Reading Practices in Teleny." Victorian Literature and Culture, volume 50, no. 1 (Spring 2022): 141-172.
While music often appears as a "code" for sexual desire in Victorian literature, this article explores music's presence in a text for which no veiled language was needed: the anonymously-published pornographic novella Teleny. In its musical moments, Teleny offers an insistent defense of queer desire as a natural process rooted in the organic and often involuntary actions of the muscles and nerves — a particularly powerful intervention at a time when sexual "inversion" was most often denigrated as unnatural. In its use of biological science in the service of sexual representation — science that many twenty-first century queer theorists might deem “essentialist” — Teleny presents a compelling challenge to scholars grappling with conversations about normativity, resistance, utopian desires, and idealized cultural objects.
Special Issue of Nineteenth-Century Gender Studies: "'Teaching to Transgress' in the Emergency Remote Classroom," co-edited with Kimberly Cox and Doreen Thierauf, vol. 17, no. 1 (Spring 2021).
"Audible Networks: Podcasts and Collaborative Learning." Hybrid Pedagogy (16 July 2020).
This article discusses how podcast assignments can foster collaborative learning both in the undergraduate classroom and beyond its confines. I show how podcasting can enable students to form what I call “audible networks:” intimate, relational webs based on collaborating, listening, and sharing intellectual and affective ties.
"Alternative Corporealities in 'June Recital.' Eudora Welty's Queering of Virgie Rainey and Miss Eckhart." Eudora Welty Review, vol. 10 (Spring 2018): 69-87.
This essay presents a queer reading of Eudora Welty's 1947 short story "June Recital," a text in which Welty grants her female characters — namely, the piano teacher Miss Eckhart and her student Virgie Rainey — bodies that transgress normative formulations of gender, sex, ability, selfhood, and humanness. It argues that "June Recital" reflects not simply Welty's feminist resistance to Southern patriarchal ideals of womanhood (confinement, docility, respectability) but rather her more radical, queer imagining of bodies that resist identification or categorization altogether. This essay proposes that Welty in many ways anticipated the queer turn in modernist studies, as she imagined the pleasures and powers of alternative modes of embodied existence.
"Hearing, Sensing, Feeling Sound: On Music and Physiology in Victorian England, 1857-1894." BRANCH: Britain, Representation, and Nineteenth-Century History (June 2018).
This article focuses on new developments in the burgeoning field of acoustical science that emerged in the mid-to-late nineteenth century. During this time, sound science began to flourish in England, particularly through lectures by Hermann von Helmholtz and John Tyndall at the Royal Institution. The publications of Helmholtz's On the Sensations of Tone as a Physiological Basis for the Theory of Music (1863, trans. 1875) and John Tyndall's Sound (1867) also contributed to the growing mid-century interest in acoustical theory. This entry traces the reception of these scientific ideas in musical, medical, educational, and literary circles in Victorian England. Focusing especially on new discoveries about sound's capacity to incite physiological sensations, this essay argues that acoustical science fundamentally transformed the ways that Victorians conceptualized the relations between aesthetics and the body.
"A Claim in 140 Characters: Live-Tweeting in the Composition Classroom." The Journal of Interactive Technology and Pedagogy (Spring 2018).
This article argues that by live-tweeting course texts and class presentations, first-year composition students develop fundamental writing skills including thesis formation, evidence incorporation, and peer review.
"Performing Power: Female Musicianship and Embodied Artistry in Bertha Thomas's The Violin-Player." Nineteenth-Century Gender Studies , vol. 14, no. 1 (Spring 2018).
This essay proposes that Bertha Thomas's virtually unexamined novel The Violin-Player offers an alternative to literary conceptions of female performers as docile amateurs, self-important divas, domesticated performers, or failed professionals. By drawing on contemporary understandings of music's ties to physiology, Thomas imagines a performer whose musicality is so tied to her physical life that it cannot be relinquished, denied, suppressed, or ignored; Laurence must play, and others must listen. Laurence's embodied musicality grants her experiences of energy, vitality, and pleasure as well as the power to corporeally affect her listeners. By associating female musicality with the realm of the physiological and the organic, Thomas levels a critique against Victorian thinkers who described women's musicianship as unnatural, unacceptable, or impossible. Musicality, Thomas's novel suggests, exists apart from social codes, such as those based on gender, and is instead rooted in the brain, muscles, and nerves of the human body.
"'Vibrating through all its breadth:' Musical Fiction and Materialist Aesthetics in the Strand Musical Magazine. " Victorian Periodicals Review , vol. 51, no. 1 (Spring 2018): 1-17.
The aims of The Strand Musical Magazine (SMM) were largely practical in nature; articles and advertisements provided information about concerts, festivals, and other events in Victorian musical life. Yet, as this essay argues, the periodical also participated in key nineteenth-century aesthetic and scientific debates about music's ties to the human body. In several of the SMM's short stories, characters cry, sweat, throb, convulse, quiver, and sweat while playing or hearing music. These corporeal events correspond with emerging acoustical and physiological science that understood music in terms of sound waves and bodily vibrations. The SMM thus foregrounded a conception of music not as an intangible, transcendent phenomenon but as a material force rooted in the science of sound.
Winner of the 2017 Rosemary VanArsdel Essay Prize for the best graduate student essay investigating Victorian periodicals and newspapers.
Review of Fraser Riddell's Music and the Queer Body in English Literature of the Fin de Siècle. Nineteenth-Century Gender Studies, vol. 19, no. 1 (Spring 2023).
V21 Collations: Book Forum on Abigail Joseph's Exquisite Materials: Episodes in the Queer History of Victorian Style. V21 Collective (29 March 2021), with Julia Fuller and Kate Thomas.
"Eudora Welty and Productive Discomfort in the Classroom." (Review of Teaching the Works of Eudora Welty: Twenty-First Century Approaches , eds. Mae Miller Claxton and Julia Eichelberger). Eudora Welty Review , Vol. 10 (Spring 2018). Solicited.
Review of James Q. Davies and Ellen Lockhart, eds., Sound Knowledge: Music and Science in London, 1789-1851. Nineteenth-Century Music Review , vol. 16 (2019): 446-448.
Review of Benjamin Morgan, The Outward Mind: Materialist Aesthetics in Victorian Science and Literature. British Journal for the History of Science , vol. 50, no. 4 (2017): 734-5.
In all of my classes, I strive to create an environment in which students…
Please click the tabs above for sample syllabi, course materials, and student work!
Much of what we now think of as “science” — its practices, its disciplines, and even the term “scientist” itself (coined in 1833 by the British polymath William Whewell) — can be traced back to Victorian England (1837-1901). With the shift from an agricultural to an industrial economy came a growing urban population and an almost unprecedented need for rapid advancements in technology, medicine, and mathematics. As the middle classes gained more time for intellectual pursuits and educational reforms created a new population of readers, science found eager and curious audiences who attended lectures, read periodicals, and visited museums. The explosion and consolidation of new fields of study — from anatomy and biology, to geology and astronomy, to optics and acoustics — resulted largely from the Victorians’ desires to confront their changing world and better understand their place in it.
These new scientific developments incited delight, anxiety, and confusion. At the same time that brain scientists hailed the unique complexities of the human mind, evolutionary theorists discovered humans’ kinship to microscopic bugs and cells. At the same time that the new profession of the “doctor” emerged to heal the body, anatomists dissected corpses and severed limbs. At the same time that technologies of sight and sound were helping humans to see and hear, environmental scientists realized that industrial pollution and urban noise were ruinous to the senses.
In this course, we explore Victorian literary responses to this burgeoning scientific world. While we now often think of science and literature as disparate fields, these two disciplines were closely linked in the nineteenth century. Victorian writers found in science exciting new ideas and images to incorporate into their fiction and poetry. By the same token, scientists seeking to reach a wide, public audience used literary techniques (metaphors, images, analogies) to enhance the appeal and readability of their work. How did Victorian writers absorb, question, critique, or reject the new discoveries that pervaded their world? What did science explain that literature could not — and vice-versa? What might the Victorians tell us about the relationship between the humanities and the sciences — and the possibilities afforded by their intersection — today?
Full syllabus available upon request.
From nineteenth-century Verdian opera, to Helen Reddy’s 1971 feminist anthem “I Am Woman,” to Beyoncé’s 2016 sensation “Formation,” music has long fueled movements for social change. In this course, we explore how humans have mobilized sound and song to foster explorations of gender, sexuality, race, and class. We study a variety of musical genres, including classical, jazz, blues, soul, funk, folk, rock, punk, pop, hip-hop, and rap. Our course “texts” include audio recordings, song lyrics, music videos, stories and films about musicians, and readings about music’s historical connections to social and political projects. No prior expertise or knowledge of music is required.
We investigate some of the following questions: how does music differ or depart from other artistic media — i.e. literature, theatre, dance — in its radical potential? Is there something about music itself that makes it uniquely revolutionary? What gives music the potential for subversion — is it the music itself, the lyrics, the sounds, the performers, or something more intangible? Students also consider musical contexts with more complex or vexed relationships to progressive politics — the paucity of female conductors in the classical music world, the sexist lyrics that pervade a variety of genres, and the forms of cultural appropriation displayed in music videos and performances. We also examine instances in which songs not explicitly intended for protest are mobilized as vehicles for social change (“Over the Rainbow” as a gay anthem, for instance).
This course focuses on works of contemporary fiction by Caribbean, South American, East Asian, South Asian, African, and Middle Eastern writers. We explore narratives that interrogate normative gender codes (of both femininity and masculinity), forces of colonialism and imperialism, environmental racism, and other forms of marginalization and oppression. Topics of discussion include authors’ literary imaginations of various strategies of protest and modes of resistance — even those located in unexpected places. We interrogate the word “subversion” itself and attend to characters who deploy alternative modes of passive resistance or choose not to resist at all.
From the cafés of nineteenth-century Paris to the streets of twenty-first- century Williamsburg, bohemianism has long represented a countercultural movement, an aesthetic fantasy, and an unconventional lifestyle based on “art for art’s sake,” elective poverty, and artistic community. In this course, we trace bohemianism’s origins in fin-de-siècle France to its modern-day iterations in hipster culture. We explore questions such as: when, where, how, and why do bohemian communities emerge? What dominant cultures do bohemian artists and thinkers resist? Are bohemians always quite as countercultural as we (or they) might think? Are they even countercultural at all? Who gets to take part in “la vie bohème,” and who gets left out?
Course texts include George Du Maurier's novel Trilby; Giacomo Puccini's opera La Bohème; Baz Luhrmann's film Moulin Rouge!; Joyce Johnson's memoir Minor Characters; Amiri Baraka's works "Short Speech to My Friends" and Autobiography of Le Roi Jones; Christopher Columbus's film Rent!; and the pilot of Lena Dunham's show "Girls."
How do writers write the erotic? How do literary works from a variety of genres capture experiences and sensations that are often private, taboo, or even illegal? What techniques and strategies do authors use to describe moments of desire, pleasure, arousal, and stimulation? What language is used to depict sexual experiences that are traumatic, painful, or violent? How do writers negotiate the slippages between sexual identities, acts, preferences, and performances? What can literary works tell us about the history of gender and sexuality across cultures and time periods?
Texts include David Henry Hwang's M. Butterfly; Alison Bechdel's Fun Home; Alice Walker's The Color Purple; Carmen Maria Machado's "The Husband Stitch," Octavia Butler’s "Bloodchild;" and poetry by June Jordan, Pat Parker, Chen Chen, and Danez Smith, among others.
Great Expectations Reading Journal and Reflection Essay
Goodreads Blurb for The Woman of Colour
In this class, we explore the novel from a range of historical, formal, thematic, and cultural perspectives. From Daniel Defoe’s adventure tale Robinson Crusoe (1719) to Marjane Satrapi’s graphic memoir Persepolis (2000), our course texts engage with one of the novel’s central preoccupations throughout time: the "coming-of-age" plot. In addition to exploring various engagements with this theme, we trace scholarly debates about the origins of the novel, read some of the earliest "novels," explore the novel's formal transformations throughout time, and read novels in a variety of formats (as serialized texts, as triple-decker stacks, and as audiobooks). We also consider the novel as a type of media — a technological invention and mode of communication. Some of our motivating questions might include: what makes a novel a novel? What stories make for good novels? Why is the "coming-of-age" plot so common? Why are some novels gripping "page-turners" and others painstaking slogs? How and why have people read novels throughout time, and how and why do we read them today?
In this class, we read novels such as the anonymously-published The Woman of Colour (1808), Charlotte Brontë's Jane Eyre (1847), Toni Morrison's Sula (1973), Kazuo Ishiguro's Never Let Me Go (2005), Marjane Satrapi's Persepolis (2007), and Angie Thomas's The Hate U Give (2017).
In this class, we study the formal, thematic, historical, cultural, and theoretical aspects of literary works. We read texts from a variety of genres, cultures, and time periods and encounter a range of diverse perspectives. This course is subtitled "Critical Voices." The word "critical" has several connotations. Most obviously, the writers we read are important figures in literary history due to their formal innovations, historical influence, or societal impact. Many of the writers on our syllabus are also "critical" in the sense that they advanced powerful critiques of their worlds, using literature as a medium to speak out against various forms of injustice. Finally, this course invites you to develop your own critical voices as you share your important ideas and enter scholarly conversations about literature. We will work together to help you build the thinking, reading, writing, revising, and communication skills you will use throughout college and the rest of your lives.
— bell hooks, Talking Back: Thinking Feminist, Thinking Black (1989), p. 6
In this course, we explore texts by female, trans, and non-binary writers who "touc[h] our world with their words." We explore works from a variety of genres by authors from a range of time periods, geographic locations, and literary traditions. Our focus is on texts whose authors dissent against various forms of injustice in their worlds, including sexism, classism, racism, xenophobia, homophobia, imperialism, colonialism, and transphobia.
We also ponder questions such as: what is "women’s writing?" Is "women’s writing" necessarily feminist writing? How do writers seek to capture "women’s experiences," if at all? How do these texts explore the intersections of gender with other vectors of identity, such as race, class, and sexuality? How might we put pressure on concepts of "womanhood" altogether?
Course Feature in the SCoop
On June 5, 1981, the U.S. Centers for Disease Control and Prevention released its Morbidity and Mortality Weekly Report, which detailed the rare occurrence of Pneumocystis pneumonia (PCP) in otherwise healthy, young, "homosexual" men in Los Angeles. On July 3, 1981, The New York Times declared a "Rare Cancer Seen in 41 Homosexuals." However, infections caused by HIV and AIDS had been steadily increasing in the states as well as in Central Africa, Haiti, Canada, and Europe for almost a decade before these reports. AIDS activists sharply criticized the mainstream media, the federal government, and the medical community for their belated acknowledgment of and slow response to the disease.
While the lack of engagement with HIV/AIDS by the media, government, and medical world would long be (and still is) a common theme in discourses about the pandemic, HIV/AIDS immediately captured the passions of artists, poet, playwrights, novelists, filmmakers, and musicians. In this course, we explore representations of HIV/AIDS in literature and pop culture from the last 40 years. From Larry Kramer’s 1985 play The Normal Heart, which related some of the earliest activist efforts by the Gay Men’s Health Crisis in New York, to Danez Smith’s 2017 poetry collection Don’t Call Us Dead, which explores what it means to be black, queer, and HIV-positive in America today, the works we read allow us to consider HIV/AIDS from a variety of intersectional perspectives. We explore the linguistic, visual, and sonic tools that artists use to portray an illness that few understand and many stigmatize, consider how creators respond to threats from outside of—and fissures within—activist movements, and discuss the difficulties—and perhaps impossibilities—of fully "representing" an enduring global pandemic.
While we read some "canonical" works of AIDS literature (The Normal Heart, Tony Kushner’s Angels in America, Susan Sontag’s AIDS and Its Metaphors), we also use an intersectional lens to discuss representations of HIV/AIDS outside the spheres of white, middle- or upper-class gay men in U.S. contexts. We read works by female, trans, and non-binary writers of color from across the globe, including Sapphire’s Push, Jamaica Kincaid’s My Brother, Yan Lianke’s Dreams of Ding Village, and Masande Ntshanga’s The Reactive. We also consider the "here and now" of HIV/AIDS as they affect people in our own community; a major component of our course includes work with Albany’s Damien Center, supported by Siena’s Center for Academic and Community Engagement (ACE).
— "Manifesto of the V21 Collective", (2015)
The phrase "Victorian England" often conjures images of agonizingly long novels, dowdy monarchs, and prudish moral codes. While these associations are certainly valid (and we will certainly encounter all of them!), this semester, we will aim to think much more capaciously about the Victorian Period. After all, the years of Queen Victoria’s reign (1837–1901) witnessed some of the most exciting, salacious, terrifying, and troubling events in British and global history — from the invention of photography to the development of the railway system, from the Great Exhibition (1851) to the publication of Karl Marx’s Communist Manifesto (1848) and Charles Darwin’s Origin of Species (1859), from a burgeoning periodical press to a thriving underground pornography industry. Reading "Victorian literature" means reading Charles Dickens, Charlotte Brontë, and Thomas Hardy, yes, but it also means reading works by those on the margins of (and often marginalized by) Victorian society and the Victorian literary canon, including writers who published anonymously due to their class, race, gender, or sexuality (the authors of The Woman of Colour and Teleny, for instance); writers from British colonies who protested Britain’s rule over them (such as Mary Prince and Pandita Ramabai Sarasvati); and writers from the twentieth and twenty-first centuries who "write back" to critique long-held assumptions about the period (including contemporary feminist, postcolonial, and critical race theorists).
We explore this tumultuous time period through the lenses of gender, class, empire, race, and sexuality—discourses that were shifting profoundly during the nineteenth century (and of course remain especially urgent today). As Britain expanded its capitalist economy, colonized almost a quarter of the world, and instituted new laws about labor, marriage, disease, and intimacy, writers from a variety of genres, locations, and traditions found vital material for their literary works. One of our major goals, therefore, is to think critically about the relationships between literature and history — to explore not only what the Victorians read, but also how they read and what they experienced. We also discuss urgent debates in the scholarly field of Victorian Studies, including those raised by the "V21 Collective" ("Victorian Studies for the 21st Century"), a group of academics who urge us not to simply "exhaustively describe, preserve, and display the past" but to understand how "our interest in the period is motivated by certain features of our own moment" ("Manifesto of the V21 Collective").
In this class, we study how writers and artists represent the trauma of sexual assault. From Harriet Jacobs’s 1861 Incidents of the Life in a Slave Girl, to Thomas Hardy’s 1891 novel Tess of the D’Urbervilles, to memoirs by campus rape survivors, to new collections of #MeToo-era poetry, writers have long sought to convey the horrors of sexual violence. Informed by intersectional feminist and antiracist theoretical frameworks, we consider a range of sensitive, troubling, and complex — but nonetheless crucial — questions, such as: how do writers represent rape? How do writers put into words experiences so deeply rooted in the body? What literary techniques do authors draw on to represent sexual violence? How do we read such narratives — and what are our duties and obligations in doing so? How do survivors tell their stories?
"What Educators Can Learn from Jessica Fletcher's Critical Pedagogy." LitHub (28 April 2023).
"The Virtuosa is the Villain: How Hulu's Only Murders in the Building Rehearses Victorian Ideas about Female Musicians." Journal of Victorian Culture Online (11 March 2022).
"'Lupin' and the Limits of Haute Culture." Public Books (25 January 2022).
"What About Lila? English Grad School and Emotional Labor in Netflix’s The Chair" BLARB: LA Review of Books Blog (16 September 2021).
"Food for the Soul, Art of the Flesh: Classical Music, COVID-19, and the Body." BLARB: LA Review of Books Blog (2 September 2021).
"Hard Times and radical collectivity in the era of COVID-19." Journal of Victorian Culture Online (16 July 2020).
"Visiting the Kelvingrove after 'Experimenting in the Galleries.'" Experimenting in the Galleries: Working with Vernon Lee (14 January 2019).
"Livable Art: Classical Music in The Ensemble and The Incendiaries." BLARB: Los Angeles Review of Books Blog (1 October 2018).
"The Man Who Invented Christmas: Dickens and the Literary Marketplace." Journal of Victorian Culture Online (18 December 2017).
"The Queen Goes to the Opera." Journal of Victorian Culture Online (5 March 2017).
"Curtis Sittenfeld's Eligible: Mary Bennet and the Difficulties of Narrating Spinsterhood." Streaky Bacon: A Guide to Victorian Adaptation (22 June 2016).
"The Untold Story of... Shannon Draucker, Ph.D." Siena College. 25 August 2023.
"A Fresh Look at an Overlooked Genre." Siena College. 20 May 2022.
"(Podcast Release) Teaching and Writing to Transgress: Behind the Scenes of Academic Editing." Ivory Tower Boiler Room: A Literary and Artistic Community. 11 September 2021.
"Studying One Pandemic While Living Another." The SCoop: A Newsletter for the Siena Community. Volume 3, Issue 20. June 12, 2020.
"White Men in Wigs to Sadistic High Heels." Siena College School of Liberal Arts Blog.
"Combining the Love of Music and Literature." Boston University English Department.
My literary scholarship and my musical training have long been mutually reinforcing pursuits. As a classical clarinetist, I am especially attuned to moments in literature that capture the pleasures and pains of performance, the corporeal labor of practice, the vulnerability of being on stage, and the gratification of playing with others.
You can view my music resumé here and listen to some of my recordings (solo and orchestral) to the right.
Siena College Department of English
515 Loudon Road
Loundonville, NY, 12211