{"id":583,"date":"2023-09-16T09:57:39","date_gmt":"2023-09-16T16:57:39","guid":{"rendered":"https:\/\/live-usc-dornsife.pantheonsite.io\/cwphd\/?page_id=583"},"modified":"2023-11-16T13:08:25","modified_gmt":"2023-11-16T21:08:25","slug":"alumni-publications-2","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/cwphd\/alumni-publications-2\/","title":{"rendered":"Alumni Publications"},"content":{"rendered":"\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n\n\n\n\n
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\n Explore Alumni Publications\n <\/h2>\n\n\n<\/div>\n \n
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See below for a selection of our alumni\u2019s numerous published works.<\/p>\n

For more comprehensive information about alumni and their publications, please visit our Alumni profiles page.<\/p>\n\n\n\n<\/div>\n <\/div>\n \n

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\n \n THE FACE: CARTOGRAPHY OF THE VOID | Chris Abani\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE SECRET HISTORY OF LAS VEGAS | Chris Abani\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SMOKING THE BIBLE | Chris Abani\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n BABBAGE’S DREAM | Neil Aitken\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n LEVIATHAN | Neil Aitken\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE LOST COUNTRY OF SIGHT | Neil Aitken\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE BODY OF SPACE IN THE SHAPE OF THE HUMAN | Andrew Allport\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n DEATH CENTOS | Diana Arterian\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n PLAYING MONSTER :: SEICHE | Diana Arterian\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SONGS OF INNORIENCE | Diana Arterian\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n GLASS | J.A. Bernstein\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n RACHEL’S TOMB | J.A. Bernstein\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n AMNESIA OF JUNE BUGS | Jackson Bliss\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n COUNTER-FACTUAL LOVE STORIES & OTHER EXPERIMENTS | Jackson Bliss\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n DREAM POP ORIGAMI | Jackson Bliss\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n ABRACADABRA, SUNSHINE | Dexter L. Booth\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SCRATCHING THE GHOST | Dexter L. Booth\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n AS WE KNOW | Amaranth Borsuk\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n POMEGRANATE EATER | Amaranth Borsuk\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE BOOK | Amaranth Borsuk\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n COWS | Nicholas Bredie (trans.)\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n NOT CONSTANTINOPLE | Nicholas Bredie\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THEORY ON FALLING INTO A REEF | Michelle Brittan Rosado\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n WHY CAN’T IT BE TENDERNESS | Michelle Brittan Rosado\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n HOME LESS | Alfred Brown IV\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n ALL THE EMERGENCY-TYPE STRUCTURES | Elizabeth Cantwell\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n NIGHTS I LET THE TIGER GET YOU | Elizabeth Cantwell\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n PREMONITIONS | Elizabeth Cantwell\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n A CRACK IN EVERYTHING | Vanessa Carlisle\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n TAKE ME WITH YOU | Vanessa Carlisle \n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n A TINY UPWARD SHOVE | Melissa Chadburn\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n EATING WILDLY | Ava Chin\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n MOTT STREET | Ava Chin\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SPLIT | Ava Chin\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SWEETNEWW #9 | Stephan Eirik Clark\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n VLADIMIR’S MUSTACHE | Stephan Eirik Clark\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SARAHLAND | Sam Cohen\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n MASS FOR SHUT-INS | Mary-Alice Daniel\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n FADE INTO YOU | Nikki Darling\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n INTERROGATION ROOM | Jennifer Kwon Dobbs\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n NOTES FROM A MISSING PERSON | Jennifer Kwon Dobbs\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n PAPER PAVILION | Jennifer Kwon Dobbs\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n BOY OH BOY | Zachary Doss\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n FOUCAULT IN CALIFORNIA | Heather Dundas\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n VIA COMBUSTA | Sara Fetherolf\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n EAST & WEST | Piotr Florczyk\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n FROM THE ANALS OF KRAKOW | Piotr Florczyk\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SWIMMING POOL | Piotr Florczyk\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n EXODUS IN X MINOR | Fox Frazier-Foley\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE HYDROMANTIC HISTORIES | Fox Frazier-Foley\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n POLITICAL PUNCH | Fox Frazier-Foley (ed.)\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n CENTURY WORM | Todd Fredson\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE CRUCIFIX-BLOCKS | Todd Fredson\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n CATAPULT | Emily Fridlund\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n HISTORY OF WOLVES | Emily Fridlund\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n A LIFE ON PAPER | Edward Gauvin (ed.)\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n DOGGED | Stacy Gnall\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n HEART FIRST INTO THE FOREST | Stacy Gnall\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n FIONA AND JANE | Jean Chen Ho\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SO L.A. | Bridget Hoida \n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n WATCHLIST | Bryan Hurt (ed.)\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SNAPSHOTS | Bruce Johnson\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n LITTLE CLIMATES | L.A. Johnson\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n CAKE TIME | Siel Ju\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n FEELINGS ARE CHEMICALS IN TRANSIT | Siel Ju\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n MIGHT CLUB | Siel Ju\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n [AVIARY] | Genevieve Kaplan\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n IN THE ICE HOUSE | Genevieve Kaplan\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SETTINGS FOR THESE SCENES | Genevieve Kaplan\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SEND ME WORK | Katherine Karlin\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE EMPIRE OF THE SENSES | Alexis Landau\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE MOTHER OF ALL THINGS | Alexis Landau\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THOSE WHO ARE SAVED | Alexis Landau\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n BONE CONFETTI | Muriel Leung\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n IMAGINE THE SWARM | Muriel Leung\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n OPEN ME | Lisa Loscascio\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n TESTIFY | Douglas Manuel\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n TROUBLE FUNK | Douglas Manuel\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n ELDERS | Ryan McIlvain\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE RADICALS | Ryan McIlvain\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n LOVE IN TEH ANTHROPOCENE | Bonnie Nadzam\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n LAMB | Bonnie Nadzam\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n LIONS | Bonnie Nadzam\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SALAAM OF BIRDS | Rachel Neve-Midbar\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n STAINED | Rachel Neve-Midbar (ed.)\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n WHAT THE LIGHT REVEALS | Rachel Neve-Midbar\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n ENDS OF THE EARTH | Kate Partridge\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n INTERROBANG | Jessica Piazza\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n OBLITERATIONS | Jessica Piazza\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n OLIVIA OTTER BUILDS HER RAFT | Jessica Piazza\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n BANANA REPUBLIC | Eric Sean Rawson\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n BESIDE THE MUEZZIN’S CALL & BEYOND THE HAREM’S VEIL | Saba Syed Razvi\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n IN THE CROCODILE GARDENS | Saba Syed Razvi\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n HELIOPHOBIA | Saba Syed Razvi\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n BREAKING PATTERN | Tisha Marie Reichle-Aguilera\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n TO BE HUNG FROM THE CEILING BY STRINGS OF VARYING LENGTH | Rick Reid\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n CHALK: THE ART AND ERASURE OF CY TWOMBLY | Joshua Rivkin\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n SUITOR | Joshua Rivkin\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n TULA | Chris Santiago\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n MAGNETIC REFRAIN | Nicky Sa-eun Schildkraut\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n INKED | Corinna McClanahan Schroeder\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE SLEEP HOTEL | Amy Newlove Schroeder\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n BEYOND THE LIGHTS | Ryan Shoemaker\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE GALAXIE AND OTHER RIDES | Josie Sigler\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n LIVING MUST BURY | Josie Sigler\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n HOW TO SAY BABYLON | Safiya Sinclair\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n CANNIBAL | Safiya Sinclair\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n CATACOMBS | Safiya Sinclair\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n TWO MINDS | Callie Siskel\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n BABLE’S MOON | Brandon Som\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE TRIBUTE HORSE | Brandon Som\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n TRIPAS | Brandon Som\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE FRAUD OF GOOD SLEEP | Catherine Theis\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n MEDEA | Catherine Theis\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n ARCO IRIS | Sarah Vap\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n END OF THE SENTIMENTAL JOURNEY | Sarah Vap\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n WINTER: EFFULGENCES & DEVOTIONS | Sarah Vap\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n AT THE BORDER OF WILSHIRE & NOBODY | Marci Vogel\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n DEATH AND OTHER HOLIDAYS | Marci Vogel\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE CLEANER | Brandi Wells\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THIS BORING APOCALYPSE | Brandi Wells\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n CITY OF BRICK AND SHADOW | Tim Wirkus\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n \n
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\n \n THE INFINITE FUTURE | Tim Wirkus\n\n <\/h3>\n \n <\/div>\n\n\n <\/div>\n <\/div>\n \n\n <\/div><\/div>\n\n\n \n \n \n\n\n\n\n\n\n\n
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