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
I suspect that most people would rather live in a work of fiction than in reality, but the narrator of Ben Lerner’s 2014 novel, 10:04, fails to appreciate his good fortune. He is lucky enough to find himself in a book by one of the supplest stylists in America, but often, he seems intent on clambering out of art and into life. Not only does he bear such an uncanny resemblance to his non-fictional creator that the two threaten to bleed together, but, on a series of visits to his moribund mentor, he reflects that if he were the one on his deathbed, ‘I wouldn’t even think about literature, would just be asking for morphine and distracting myself, if possible, with reality TV.’
This scene could not contrast more starkly with a strikingly similar sequence in Pure Colour, Sheila Heti’s latest genre-defying effusion. The book’s protagonist, Mira, is tasked with tending to her father in his final weeks, but her loss does not convince her of the frivolity of aesthetics. Instead, ‘it seemed to her the week her father was dying that nothing mattered but art and literature’. Heti’s, whose own father died when she first set to work on the book, is no stranger to the sharp bite of grief, but she is nonetheless unequivocal about beauty’s primacy. Mira’s stifling depression lifts only when she marvels at the Christmas lights in her neighbourhood and becomes ‘choked up with gratitude over all those tiny shining souls that adorned the trees and the falling-down porches’. Read more here.