The Magician is a short story set in the 1969 world of inner-city church work in the Midwest, told through the eyes of a nineteen-year-old volunteer. It examines the uneasy space between compassion and reality, and the often-sad consequences of good intentions in a failing system.

West Mesa Pickers is a one-act stage play set in an abandoned diner on Route 66 near West Mesa, New Mexico. Through the wandering conversation of an elderly woman and her grandson, the play explores loss and disappearance, and the stories people tell themselves in order to live with what can't be easily resolved.

Selected Poems from Archipelago is a collection centered on memory and displacement and the interior lives shaped by American landscapes. Moving between personal history and social observation, the poems reflect on what is carried forward and what is left behind, and how people endure within systems that often fail them.

Pacific Theater is a nine-part mini-epic poem built from imagined wartime letters written during the Pacific campaign of World War II. Moving between intimacy and brutality, the poem examines how memory, sexuality, patriotism, and violence coexist within a single life, and how the artifacts of war are carried forward long after the fighting ends.

The Falling Tower is a short story set across memory, captivity, and intimate recollection, following a young American soldier held in a prisoner-of-war camp during the Vietnam era. Moving between brutal present conditions and formative moments of love, desire, and regret, the story examines how identity fractures under extreme pressure and how human connection persists even as the structures that once gave meaning begin to collapse.

Book is a one-act absurdist play that examines censorship, compliance, and psychological coercion through the lens of an institutional intake process. Set in a sparse office where unhoused youth are promised safety and nourishment, the play explores how language, surveillance, and ritualized questioning are manipulated to enforce conformity and suppress dissent.

Epitaph is a one-act stage play that unfolds in the aftermath of a young person’s death, as a series of conversations between the deceased and those tasked with interpreting their final moments. Moving between memory, identity, and imagined reconciliation, the play explores grief, ambiguity, and the limits of understanding when a life is reduced to evidence.

Shakespeare’s Alley is a one-act play set in an urban alleyway, where an aging former actor and a young unhoused woman form an unlikely connection through shared language. Drawing on scenes from Romeo and Juliet, the play explores love, displacement, aging, and the fragile ways people care for one another at the margins.

Divine Instinct is a feature-length cinematic essay shaped through writing as much as through image and sound. While it takes the form of a documentary, the film was conceived as an authored exploration structured around questions of solitude, memory, embodiment, and creative instinct rather than exposition or explanation. As writer, director, and producer, I composed the film much like a long essay—through sequencing, juxtaposition, pacing, and the deliberate use of silence. Meaning emerges through accumulation: what is shown, what is withheld, and how moments are allowed to resonate. Moving between observation and reflection, the film blurs the line between documentary and experimental form and aligns with the essay-film tradition, where structure and voice guide inquiry more than argument. Divine Instinct reflects my ongoing interest in hybrid narrative forms that resist easy categorization and trust the intelligence of the viewer. Two trailers created prior to the film’s release are included, reflecting different expressions of the work as it moved through its 2023–2026 festival run and into distribution.

Divide Creek is a prose work I am revisiting and developing as part of a larger body of fiction set in the American West. The piece explores grief, moral responsibility, and the aftermath of violence through a character whose professional expertise becomes inseparable from personal loss. The landscape is not a backdrop but an active force, shaping both action and consequence. I have returned to this work with the intention of refining and completing it for inclusion in a broader collection of interrelated stories. In this process, I am interested in how earlier material can be re-entered, re-seen, and strengthened through the lens of more recent work, allowing thematic continuity to emerge across time rather than treating each piece as isolated.