BA, MA, Stony Brook University. Author of two novels, Hipster Death Rattle and Holly Hernandez and the Death of Disco, and two short story collections, Roachkiller & Other Stories and Noiryorican; stories and essays have appeared in Faultline, Latinx Rising: An Anthology of Latinx Science Fiction and Fantasy, Mississippi Review, Palabritas, Storyglossia, and Somos en escrito; recipient of the Agatha Award, the Anthony Award, and the BRIO; named Artist in Residence by the Bronx Council on the Arts, and a 2024 Letras Boricuas Fellow. SLC, 2024–
Graduate Courses 2025-2026
Master of Fine Arts in Writing
Speculative Fiction Workshop: Noir Alchemy: Using Mystery Fiction Techniques
Seminar—Fall
WRIT 7452
This course explores how elements from mystery and crime fiction—such as a central sleuth, red herrings, and suspense—may be applied to speculative fiction, from fantasy to science fiction to horror. By analyzing classic and contemporary crime fiction, as well as cross-genre fiction, students will learn the craft of creating energized stories that engage readers. The course will guide students to incorporate these techniques into writing at least two new works of speculative fiction—one whodunit and one thriller—as either stories or chapters.
Faculty
Previous Courses
Master of Fine Arts in Writing
Speculative Fiction Workshop: Writing for Social Justice
Workshop—Fall
WRIT 7452
This course will focus on the intersection of literature and activism, challenging participants to explore the complexities of using specifically speculative fiction as a tool for social change. Through a multidisciplinary approach drawing from critical theory, postcolonial studies, and literary analysis, students will interrogate the role of genre narrative in advocating for justice and equity. Discussions will center on the ethical considerations, historical precedents, and aesthetic strategies employed by writers engaged in activism. While analyzing a diverse range of texts spanning genres and cultures, students will cultivate a nuanced understanding of the strengths—as well as the limitations—of fictional storytelling as a means of advocacy.