Jared Green received both his A.M. and Ph.D. from Brown University. His scholarly essays and reviews on Modernist literature, visual culture, and early cinema have been published internationally in journals such as Novel, Éditions du CERPAC, and Études Faulkneriennes, as well as the anthologies, Illuminations: New Readings of Virginia Woolf (MacMillan),Docufictions: Essays on the Intersection of Documentary and Fictional Filmmaking (McFarland & Co.) and Consuming Culture in the Long Nineteenth Century (Lexington Books). He is also a fiction writer and experimental literary performer and has published poetry, prose poetry, children's fiction, and screenplays.  

Prof. Green teaches a wide range of courses at Stonehill, including First Year Seminar: The Imaginary Primitive, First Year Seminar: The Mirror of Friendship, Empire of Signs: Introduction to Theories of Literature and Culture, British Modernism Around WWI, The Writing of Light: Photography and Literature, Signals & Noise: Literature in the Age of Information, and Creative Writing: Microfictions. He is the founding and current director of the Digital Humanities Program. Prof. Green was named one of the “Best 300 Professors” in the US by Princeton Review in 2012.


  • B.A., Swarthmore College
  • M.A., Ph.D. in Comparative Literature, Brown University

Research Interests

  • Nineteenth and twentieth-century British and Continental literature and art
  • Theories of urban modernity
  • Anthropology and ethnology
  • Commodity culture
  • Early cinema
  • The historical avant-gardes
  • Technology and visuality
  • Critical Race Studies
  • Digital Cultures

Courses Taught

  • Nervous Systems: Paranoia in Modern and Postmodern Narrative. 
  • Empire of Signs: Introduction to Critical Theory. 
  • Fictions of the Self: Identity, Memoir, and Auto-Fiction 
  • Fiction Writing I: Microfictions: The Art of the Very Short Story 
  • Fiction Writing II: Advanced Fiction 
  • First-Year Seminar/COR Literature: The Imaginary Primitive. 
  • First-Year Seminar/COR Literature: The Mirror of Friendship 
  • Madness and Insight: Modernist Psychopathologies. 
  • Radical Modernisms: Anarchism, Aesthetics and the Making of the  
  • Modern 
  • Ruin and Re-begetting: British Modernism around World War I. 
  • Signals and Noise: Literature as Information 
  • Human 3.0: The Cultures of the Digital Age
  • The Writing of Light: Photography and the Literary Imagination 

Personal Website

Selected Publications, Articles & Presentations

  • “Brutal Communities: Speech, Misrecognition and the Disciplining of Race in Light in August, Études Faulkneriennes vol. 4, 2004;
  • “A Language of their Own: The Semiotics of Motherhood in Woolf’s To the Lighthouse and Morrison’s Beloved, in Carol Merli, ed., Illuminations: New Readings of Virginia Woolf (McMillan, 2003)
  • (editor) Rap and Hip Hop: Examining Pop Culture, ( San Diego: Greenhaven Press, 2003).
  • “Fischzauber,” short story, The Stardust Review. Forthcoming, 2020. 8p.  
  • “Maps & Fires,” short story, Quiddity. January 2020. 8p.
  • “Heliographs,” short story, The New Limestone Review. September 15, 2019. 12p.      
  • “This Is How We Walk on the Moon,” novella, The Write Launch. Issue 29, September 2019. 
  • “Interior, by Fractions,” The Art of Living: An Anthology (Forthcoming, Poetose Press, 2020). 
  • “White Center, 1950,” Waccamaw, November 20, 2019. 1p. 
  •  “Ornithophily,” Tiny Seed Literary Journal. March 5, 2019. 1 p. 
  • “Unsmoke Signals,” excerpted in Emergency IndexAn Annual Document of Performance Practice, Ed. Yelena Gluzman and Sophia Cleary. Vol. 7, Spring 2019  (New York: Ugly Duckling Presse). 1p
  • Tamarack, a short gothic film about a family's dark secret. Justin Bull, director. 11:32 minutes. Festival Selection, short dramatic film program: Woods Hole Film Festival, July 25-Aug. 31, 2020. Selected as a featured short: Film Shortage April, 2019.  
  • “Primal Scenes: Early Cinema, Primitive Spectators, and the Framing of the Modern”  89th South Atlantic Modern Languages Association Conference: High Art/Low Art: Borders and Boundaries in Popular Culture, Atlanta, GA, (November 4, 2017). 
  • Telemorphic Phase-Change Memory, co-creator and performer. Multimedia literary and visual art performance with artist Abigail Donovan. Featured event at “Blast Radius,” &Now Biennial Literary Festival, CalArts, Valencia, CA, (March 27, 2015). 
  • Dance/Light Lateral Studio: MIT Lateral Studio Workshop Program Invited lecturer. Talk: “Gertrude Stein, Cubism, and the Revolutionary Chronotope.,” followed by guided activity combining creative writing and movement. (February 21. 2015). 
  • Radcliffe Institute: “Breakthroughs: Creativity Across the Disciplines”, Invited workshop participant, (one of fifty international scholars,researchers, artists, and writers): Radcliffe Institute for Advanced Study, Harvard University, (May 21, 2013). 
  • Area Chair: Robert Flaherty, Annual Film and History Conference: The Documentary Tradition, Dallas, TX (November, 2006). 
  • “This Reality Which Is Not One: Flaherty, Buñuel and the Irrealism of Documentary Cinema.” Film and History Annual Conference: The Documentary Tradition, Dallas, TX. (November 2006) 
  • “The Idea of Order in Buenos Aires: Tradition and Anti-Tradition in Borges’ Chaosmopolis,” Modernist Studies Association Annual Conference, Chicago, (November 2005). 
  • “Four Painters of Modern Life: Marx, Baudelaire, the Flâneur and the Prostitute.” Rethinking Marxism 5th International Conference: Marxism and the World Stage, University of Massachusetts at Amherst,  (November 2003). 
  • “Between Imprisonment and Exile: Figuring Women in Nuruddin Farah’s Sardines,”12th Annual British Commonwealth and Postcolonial Studies Conference, Savannah, GA, (February 28-March 1, 2003). 
  • “How the Cinema Became ‘Modern’,” Modernist Studies Association Annual Conference University of Wisconsin, (October 2002). 
  • “We Victorian ‘Others’: Commodity Culture and the Occidental Africa,” Interdisciplinary Nineteenth Century Studies Sixteenth Annual Conference, University of Oregon, (April 2001). 
  • 2021 Pushcart Prize Nominee (for “This Is How We Walk on the Moon”)
  • Shortlisted for the 2020 Columbia Literary Journal Prize and The Cagibi Macaron Prize 
  • Finalist, 2019 Gurney Normal Fiction Prize (for “Heliographs”).
  • NEH Research Grant nominee, "The Shadow Archive: Visual Blur and the Re-Presentation of Race"
  • Martha's Vineyard Institute of Creative Writing Fellow, 2019
  • Named one of the “Best 300 Professors in the US,” Princeton Review, 2012. 
  • Robert and Margaret MacColl Johnson Fellowship in Fiction Writing, Rhode Island Foundation, 2006. 
  • “Savage Equalities: The Ethnographic Fictions of H.M. Stanley and William Booth,” in "Science & Race," Les Carnets du Cerpac no  5, Montpellier, (Presses de l'Université de la Méditerrannée, 2007).  40 pages. 
  • “No ‘Mere Modernity:” Dracula and the Breeding of the Modern Consumer,” Consuming Culture. Ed. Tamara S. Wagner and Narin Hassan (Lexington Books, 2007). 19 pages. 
  • “We Victorian Others: Urban Ethnography, Commodity Culture and the Occidental Africa,” Litteralis, Vol. 2, 2005. 30 pages. 
  • “This Reality Which Is Not One: Flaherty, Buñuel and the Irrealism of Documentary Cinema.” Docufictions: Essays on the Intersection of Documentary and Fictional Filmmaking, Ed.John P. Springer and Gary D. Rhodes (McFarland, 2005). 25 pages. 
  • “Brutal Communities: Speech, Misrecognition and the Disciplining of Race in Light in August.” Etudes Faulkneriennes, vol 4, 2004. 11 pages.  
  • “In a Language of their Own: The Semiotics of Motherhood in Woolf's To the Lighthouse and Morrison’s Beloved.” Illuminations: New Perspectives on Virginia Woolf. Ed. Carol Merli (Macmillan, 2003). 20 pages.