M.A., German Studies, Stanford University (2011)
B.A., Southwestern University (2008)
Brian specializes in nineteenth- and twentieth-century literature and cinema. His other interests include narrative and critical theory, the visual arts, aesthetics, sexuality and desire, race and empire, and short fiction.
In his dissertation, “The Pace of Modern Fiction,” Brian lays a foundation for the study of narrative pace—redefining it in relation to rhythm (E.M. Forster), tempo (Erich Auerbach), and vitesse (Gérard Genette); analyzing it in works across realism and modernism; and tracing its themes through the cultural emblems of modernity. His goal is to show that evolutions in pacing transform the way meaning is constructed in realism and modernism, and that those transformations are part of what we imagine socially as the pace of modern life.
Brian has received teaching awards from both the Department of English (2015) and the Princeton Graduate School (2016) and is a fellow at the Princeton Writing Center. He has taught writers as varied as Goethe, Hardy, Chekhov, Hurston, Márquez, Alice Munro, and Yu Hua, and he has presented work on Balzac, Hawthorne, Charlotte Brontë, George Eliot, Henry James, Charles Chesnutt, Stephen Crane, Willa Cather, and the Coen brothers. In addition to essays he is developing on narrative pace and the novel, on narrative framing and gender in cinema, and on modernist aesthetics and naiveté, his publications include:
"Pace and Epiphany," in New Literary History (forthcoming)
"Willa Cather's Naiveté," in Twentieth Century Literature (forthcoming)
"American Women's Ghost Stories in the Gilded Age, by Dara Downey" (Review), in Women's Studies 46, no. 8 (2017)
“Monument, Mountain, Root: Figures of Translation, from Romeo to Julia,” in Interlinguicity, Internationality, and Shakespeare, ed. Michael Saenger (McGill-Queen’s UP, 2014).