Hi, I'm Becca. I'm an essayist and literary critic, a contributing editor at The Point, and a PhD candidate (albeit one on hiatus) in philosophy at Harvard. Starting in the fall of 2022, I'll also be a contributing editor at The Boston Review. At the moment, I am at work on an essay collection, tentatively titled All Things Are Too Small, to be published by Metropolitan Books. To keep up with my writing/rantings, subscribe to my substack here.
I hold a first-class MPhil in the history and philosophy of science from the University of Cambridge and a B.A., summa cum laude with high honors, from Dartmouth College, where I studied philosophy & German (and cultivated an enduring distaste for fraternities). These days I live in Cambridge, MA, with this person, whom I love.
As a writer:
I contribute essays, book reviews, and the occasional art review to publications like The New York Review of Books, The TLS, The Nation, The New York Times Book Review, The New Yorker, The Atlantic, Liberties, Bookforum, Art in America, The Baffler, and more. I am the winner of the first annual Robert B. Silvers Prize for Literary Criticism (see more here).
I'm also a two-time finalist for The National Book Critics Circle's book reviewing prize (2016 and 2018), and in 2017, I was a finalist for a National Magazine Award in the essays/criticism category (my nominated essay, "Ladies in Waiting," was subsequently collected in the 2017 Best American Magazine Writing anthology, available here). In 2018, my essay "Rhapsody in Blue" was included on the Notable Essays and Literary Non-Fiction list published in the 2019 Best American Essays anthology. When I write criticism, I write mostly about "world literature," especially Eastern European or German language literature with a Jewish bent, but I also review contemporary fiction sometimes. A few authors I especially love are Joseph Roth, Italo Svevo, Henry James, Henry Green, Heinrich von Kleist, Marie de France, Simone Weil, Antal Szerb, and Norman Rush. You can read my interview with the National Book Critics Circle here and my interview with Lit Hub for their Secrets of the Book Critics series here. My wonderful agent is Anna Sproul-Latimer of Neon Literary. (You can stalk her and her agency here.)
As a philosopher:
I am primarily interested in aesthetics (especially aesthetic value and its relationship to other types of value), the philosophy of love and sex, and the history of German philosophy, especially Martin Heidegger, although I have increasingly consuming secondary interests in political philosophy. In my second-year paper, "The Good, the Bad, and the Ugly," forthcoming in the British Journal of Aesthetics, I defend aestheticism, the view that aesthetic value is sometimes a partial grounds of moral value. (A draft is available upon request.) If I ever get around to writing it, my dissertation will be about some combination of the following: what it is to be a beautiful person, why evolutionary psychologists are wrong about human beauty, the ethics of exclusionary romantic/sexual/aesthetic preferences, and what role the state should play in ameliorating inequitable distributions of intimate "goods."
I receive many emails asking for advice about graduate school applications. I have answered some frequently asked questions on this page. As I note there, I do not consider myself an expert in how to write a successful graduate school application, and I urge all prospective grad students to consult resources online, as well as supervisors who have served on admissions committees, rather than me!
Before the pandemic, I followed Hegel in regarding nature as geistlos, but now, like any good Heideggerian, I am a big fan of hiking. Here I am in the Berkshires, which I love
There are many mechanisms of expression more private than a diary. Thinking is invisible, and talking is impermanent. A diary, however, has public aspirations: All writing is to some degree expectant of an audience. The preface to One Day a Year, the meticulous yearly record that the East German writer Christa Wolf maintained from 1960 until 2011, concedes this point. At first, Wolf claims that her notes represent “pure, authentic” life with “no artistic intentions.” But only a few lines later, she admits that “the need to be known, including one’s problematic characteristics, one’s mistakes and flaws, is the basis of all literature and is also one of the motives behind this book.” We amass days, Wolf suggests, in the secret hope that someone else will witness and redeem them. The price we pay for our exhibitionism is a life conducted under observation. Read more here or in print.