To read about Gretchen’s books, click here.

Gretchen’s nonfiction, fiction, poetry, & criticism have appeared in a variety of journals, including The Kenyon Review, The Iowa Review, The Southern Review, Ploughshares, Brevity, Witness, Denver Quarterly, Alaska Quarterly Review, Black Warrior Review, New American Writing, Notre Dame Review, Performance Research, Exquisite Corpse Annual, American Letters & Commentary, Ascent, The Collagist, Western Humanities Review, EDNA, Potomac Review, Fourteen Hills, Crab Orchard Review, The Journal of Artists’ Books, disClosure: a journal of Social Theory, Upstart: A Journal of Renaissance Studies, READRE, Nineteenth-Century Disability: A Digital Reader, English Language Notes, Drunken Boat, Witness, Kenyon Review Online, Mantis: a journal of poetry & translation, Double Room, Caketrain, The Laurel Review, Wordgathering, California Quarterly, Civilization, Eleven Eleven, Aeon, At Length, and elsewhere. Her book reviews have appeared in the American Book Review, Los Angeles Review of Books, Tarpaulin Sky, and elsewhere. More creative and critical writings are forthcoming in Ecotone, Ploughshares, Notre Dame Review, and elsewhere. Gretchen’s writings have been anthologized in The &NOW Awards: The Best Innovative Writing (both volumes I and II), The Encyclopedia Project, Ugliness: The Non-Beautiful in Art and Theory, Interdisciplinary Approaches to Disability: Looking towards the Future, Out of Sequence: The Sonnets Remixed, and Beauty is a Verb, also shortlisted for the Pushcart Prize in Poetry, the John Guyon Literary Nonfiction Prize, the Sherwood Anderson Fiction Award, the AWP Award Series in the Novel, also selected as “On Our Radar” by Creative Capital in 2013. She also curated an interview series around “People of the Book” for Ploughshares. She has been a Peter Taylor Fellow in Nonfiction at the Kenyon Review Writers’ Workshop and has received residency fellowships from a number of artist colonies, including the Millay Colony, Virginia Center for the Creative Arts, Anderson Center for Interdisciplinary Studies, Vermont Studio Center, the Writers’ Colony at Dairy Hollow in Arkansas, and the Taft-Nicholson Center for Environmental Humanities in Montana.

A few samples of her writing can be found here: “Timberline” (Brevity), “A Philosophy of Stones” (The Kenyon Review), “Las Vueltas” (bilingual short story in The Iowa Review), remixed excerpts from The House Enters the Street (novel excerpt in The Collagist), “The Many Faces of Bea” (essay in The Kenyon Review), “Through the Eyes of a Scrivener” (essay in The Southern Review), “Wreckage: By Sea” (poems in Denver Quarterly and Broadsided), “Exhibits” (prose poems in Double Room), “The Ugly Face Club: A Case Study in the Tangled Politics and Aesthetics of Deformity” (article in Ugliness: The Non-Beautiful in Art + Theory), “This is Not a Book: Melting Across Bounds” (essay in the Journal of Artists’ Books), “Performing the Body, Deforming the Book” (essay in Performance Research), “Sharing and Shaping Space: Notes toward an Aesthetic Ecology” (article in Interdisciplinary Approaches: Looking toward the Future), among many others.

Gretchen also has been involved in a number of collaborations and welcomes the chance to engage with new collaborators. Some of her collaborations can be found here.

To read about Gretchen’s published books, please visit Ugliness: A Cultural HistoryGalerie de Difformité, On Marvellous Things Heard, The House Enters the Street, or Wreckage: By Land & By Sea.