Broadly, I'm a writer though I love to identify myself primarily as a semiotician. I love to watch as people try to figure out why I'd want to say that or, in some cases, wonder what is such a creature. I also write less fussy things about movies and culture and usually with as much piss and vinegar as I can without loosing the thread altogether. Sometimes I succeed. I also write other things, like screen plays and novels. I've taught college students how to care about writing, to some small degree of success.
Born in Montana, I have yet to sprout roots anywhere. I was nourished by the glass teat which means I am somehow averse to and enraptured by our post-post-modern world. More specifically, I grew up untethered by parental demands on a variety of US military bases, leading to a love affair with movies and books that I can't quite quit. I learned plot from Godzilla battles, story from unsubtitled anime, and pacing from black and white horror movies. I am forever hunched over a desk or a laptop lost in the mists of my own particular, peculiar world.
I love semiotics. It's the study of signs; but more importantly it's the study of meaning. It's about how we make meaning and how we make culture. For the last few years I have focused on positionality semiotics, though I've also written about a variety of contemporary topics in the field, from Deleuze's take on Peirce (Cinema 1) and the semiotics of omens.
I have lots of thoughts on lots of things. Fragile masculinity, the Trumpian political miasma in which we currently frolic, Star Wars, BoJack, art and travel. I sharpen my knives regularly and love to show them off.
Don't get me wrong, I'd be thrilled to scratch out another screenplay. And probably will. Just now, though, I'm happy to tippity-tap out a novel. It's called Red Ribbon. It's a bit like if The Most Dangerous Game had a postmodern love child with The Texas Chainsaw Massacre. I will include a snippet for review.
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