Abstract: This dissertation examines the relationship between settler colonialism and academic creative writing by taking as a case study the program founded at Stanford by the writer Wallace Stegner. Founded in 1946, the Stanford program was among the first to offer university training and teaching opportunities for creative writers. The program attracted an impressive roster of acclaimed writers—many whose backgrounds resembled Stegner’s own origins in a white working-class, settler family, and many who shared his interests in regional identity and nature writing. Because the new discipline of creative writing espoused literary modernism’s commitment to self-reflexivity, these writers frequently wrote upon the meanings and legacies of settler colonialism as they reflected on their personal experiences and contextualized their stories within US history and within creative writing’s emergent disciplinary identity. Read together, I argue the authors I consider here constellate to demonstrate the discursive range of postfrontier US settler colonialism in the mid- to late-twentieth century. Each chapter compares two writers from the Stanford program to demonstrate the literary relevance of settler colonialism on such issues as patriarchy, femininity, racism, and sense of place. This study brings settler colonial studies and American literary history into dialog to bring nuance into settler colonial studies’ treatments of literary representation and to place academic creative writing in the longer historical context provided by a view of settler invasion as a structure that perpetuates itself into the present.


Excerpt: Recent discourse about climate change and the spotlight it has put on global energy systems have raised calls for new relationships to energy under a variety of open-ended terms: decarbonization, energy transition, green economy, etc. Following architectural theorist Elise Iturbe [and others], this project understands such calls for energy transition as a deeper contradiction in the structures of global modernity as not just dependent on fossil fuels but in fact shaped by their logic, perpetuated through practices, norms, and institutions in a self-replicating carbon form. Carbon form works to name carbon modernity as form inclusive of the cultural, economic, and political conditions of social life sedimented into a spatial algorithm made possible by a certain source of energy, though not dependent on its continued usage. Thus, as Iturbe writes, “if solar panels are increasing the value of a real estate object, in a precarious neoliberal economy, that is carbon form” – that is, it is not just decarbonization of energy infrastructure but the dismantling of carbon form itself that is needed to break the structural norms of carbon modernity. Drawing on indigenous epistemologies, critical feminist studies, decolonial theory and situated entanglement, this thesis identifies carbon modernity as the persistence of the formal configuration of territory, infrastructure, and neocolonial revenue as the preconditions for carbon form—settler form – and argues that dismantling these cycles of extraction and exploitation require form transition. Form transition must be messier terrain than energy transition, by design.