My current research and creative work is broadly focussed on the intersection of plants and crime. My novel Blood Forest is an experimental work about a deadly rhododendron invasion, reproductive rights, drugs, poisons, and the interrelated histories of colonisation and horticulture. I am also writing a monograph The Ovidian Locus Terribilis in Contemporary Rural Horror to investigate the connection between violent crimes and lush, idyllic landscapes. My first novel The Museum of Atheism (Salt, 2012) was an experimental crime novel based on the case of Jonbenet Ramsey, supernatural foxes, a deadly forest, and intoxicating fungi. I am co-investigator of a project on burial shrouds at the Coffin Works museum, which reflects on green burial, death rituals, and the symbiotic relation between bodies and landscapes.
My doctoral research explored bioluminescence and crime scene investigations, and resulted in an experimental novella, The Luminol Reels (Calamari Archive, 2014), and a critical book, Luminol Theory (Punctum, 2017).
I am also interested in experimental and hybrid writing and in small press publishing. I have written reviews and essays about contemporary poetry, fiction, art, and hybrid writing from writers including Aase Berg, Lara Glenum, Sara Tuss Efrik, Olivia Cronk, James Pate, Siân Rathore, and Nathalie Djurberg for publications including Montevidayo, Entropy, and 3AM. I am a member of the Hex collective with Jodie Kim, and during June 2019 we were guest editors of Burning House Press where we published experimental writing and art by artists including HyperVerses, M. R. Massey, Bobbi Lurie, Janice Kang, Joyelle McSweeney, Leif Holmstrand, and Jenna Vélez. We are also working on a hybrid work of critical, creative, and found material titled Letters to Our Daughters Who May Never Be Born under the name of Hex.
I teach writing at Sheffield University.