Books:

Longridge Review, Barnhill Prize Finalist:

Other Mother

Narratively:

How to Learn About Sex When Your Famous Sex-Advice Father Teaches You Nothing

Medium:

Slackjaw Humor Fear And Loathing On The Appalachian Trail In 2020

P.S. I Love You Just My Luck: A Date with a Forty Year-Old

P.S. I Love You Just My Luck: My Date Didn’t Like Me

Human Parts I’m The Sex Doctor’s Daughter

Hobart:

Fucked Up Modern Love Why Are You Doing This To Me

Opinion/Personal Essay:

Everybody Tango On Squirting

Huffington Post What Happened When I Told My Mom I Had An Eating Disorder

Huffington Post Don’t Blame Girls for Their Own Sexualization

Huffington Post Bethenny Frankel, You Are Not Being Funny

Columbia Journal, Online Columns Editor for the Columbia Journal 

Founded in 1977 by the students of the Graduate Writing Program at Columbia University School of the Arts

Interview Series: "Women Who Write"

Women Who Write: Taleen Mardirossian

Women Who Write: Catherine Northington

Women Who Write: Zoe Marquedant

Women Who Write: Antoinette Bumekpor

Women Who Write: Karishma Jobanputra

 Fiction

Counter Service “Sausage Fingers”

Beyond Queer Words “27 B”

MTV News I Used To Let Instagram Make Me Feel Bad About Myself

Columbia University Spectator

Get Your Teeth Checked

Body positivity looks different for each person

Body shaming at Barnard's Health Services needs to stop

Commercial Work:

Compass The Best Tech for Travelers

Compass At Home in Bedford-Stuyvesant

Compass At Home in East Hampton

Academic/Critical Theory:

Barnard College American Studies Senior Thesis

Joan Rivers and the Spectacle of Defacement: Comedy, Plastic Surgery, and the Red Carpet Freakshow

This thesis analyzes Joan Rivers through a feminist disability lens. In the first chapter of this thesis, I examine Rivers’s comedy. I claim that through disability drag, Rivers was able to create a comedic persona that is incongruent with her own. In the second chapter I analyze Rivers’s relationship with cosmetic surgery. Although Rivers used cosmetic surgery as an empowering form of identity-crafting to achieve cosmetic beauty, it proved to be an unsustainable project that turned her into a freak of sorts. And finally in the third chapter, I view the red carpet as the modern day freak show, with Rivers as its carnival barker. In the same way that she verbally de-faced herself through disability drag, then physically de-faced herself through cosmetic surgery, she de-faced celebrities in Hollywood on the red carpet. In this spectacle of de-facement, Rivers democratized disability in order to make her highly-artificial face normal.

Ultimately, Joan Rivers created red carpet culture. Her impact on 21st century popular culture was pervasive: no matter the status of the celebrity, they were subjected to Rivers’s gaze. It is important to analyze Rivers through a disability lens because ultimately, through her acidic commentary she was able to disable celebrities in Hollywood with her words. And through my analysis, I prove that Rivers first used verbal de-facement on herself before she used it on others. Rivers started her career by first verbally de-facing herself in her comedy, then she literally de-faced herself through her use of cosmetic surgery, and finally, she turned her verbal knife outward to de-face celebrities on the red carpet: Joan Rivers created and perpetuated a spectacle of de- facement.