Jacquelyn Ardam is the author of Avidly Reads Poetry (NYU Press, 2022) and the director of the Undergraduate Research Center for the Humanities, Arts, and Social Sciences at UCLA.
Jacquelyn Ardam
Articles
A Spectacle and Nothing Strange
Jacquelyn Ardam considers Francesca Wade’s “Gertrude Stein: An Afterlife.”
The First Restaurant Critic of Color at the L.A. Times
Jacquelyn Ardam profiles Patricia Escárcega, the first restaurant critic of color at the Los Angeles Times.
ModPo Communities: On “The Difference Is Spreading”
Jacquelyn Ardam considers “The Difference Is Spreading,” edited by Al Filreis and Anna Strong Safford.
Tainted Objects: A Conversation with Laura Levitt
Jacquelyn Ardam interviews Laura Levitt on the objects left behind after trauma in her new book, “The Objects That Remain.”
Stay Out of the Forest: On Karen Kilgariff and Georgia Hardstark’s “Stay Sexy & Don’t Get Murdered”
Jacquelyn Ardam weighs in on “Stay Sexy & Don’t Get Murdered” by “My Favorite Murder” podcasters Georgia Hardstark and Karen Kilgariff.
Real Toads at the International Cryptozoology Museum
Jacquelyn Ardam visits the International Cryptozoology Museum in Portland, Maine.
Canoodling with Junk Food: On Tommy Pico’s “Junk”
Jacquelyn Ardam on the ecstasy of detritus in Tommy Pico’s “Junk.”
Sharp but Narrow
Jacquelyn Ardam reviews Michelle Dean’s “Sharp: The Women Who Made an Art Out of Having an Opinion.”
Demystifying the Contents of the Universe: A New Look at Mina Loy
Jacquelyn Ardam reviews a new critical study of cryptic modernist poet Mina Loy.
Facing Facts, Facing Reality: On Deborah Nelson’s “Tough Enough”
Deborah Nelson’s “Tough Enough” examines how intellectual powerhouses including Hannah Arendt, Susan Sontag, and Diane Arbus face reality head on.
On Excess: Susan Sontag’s Born-Digital Archive
Susan Sontag’s entire digital life is now available to researchers. What should they do with it?
Shelf Expression: Nina Katchadourian’s “Sorted Books”
While many have categorized Sorted Books as a kind of poetry, Nina Katchadourian’s pieces are rarely taken seriously as poems or read in a poetic tradition.
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