Evie Shockley
Professor of English
(848) 932-7909

Murray Hall, Room 018, College Ave Campus

Tuesdays, 11:00-noon and 6:00-7:00 p.m.

  • “The Black Arts Movement and Black Aesthetics,” The Cambridge Companion to American Modernist Poetry, ed. Walter Kalaidjian, Cambridge UP (2014).
  • “Is Zong! Conceptual Poetry? Yes, It Isn’t.” Dialogues with NourbeSe Philip, ed. Janet Neigh, Jacket2, September 2013
  • “Portrait of the Artist as a Young Slave: Visual Artistry as Agency in the Contemporary Narrative of Slavery,” Contemporary African American Literature: The Living Canon, ed. Lovalerie King and Shirley C. Moody, Indiana UP (2013).
  • “Going Overboard: African American Poetic Innovation and the Middle Passage,” Contemporary Literature 52.4, Spring 2012
  • “A Few Lines on the Line,” A Broken Thing: Contemporary Poets on the Line, ed. Emily Rosko and Anton Vander Zee, U of Iowa P, 2011
  • “On the Nature of Ed Roberson’s Poetics,” Callaloo 33.3, Fall 2010
  • “The Haunted Houses of New Orleans: Gothic Homelessness and African American Experience,” Katrina’s Imprint: Race and Vulnerability in America, ed. Keith Wailoo, Karen O’Neil, Roland Anglin, and Jeffrey Dowd, Rutgers UP, 2010
African-American & Diaspora, Creative Writing Studies, Gender & Sexuality, Poetry & Poetics, Twentieth Century & Contemporary

African American and African Diaspora Literature, especially Poetry: Twentieth Century and Contemporary Poetry and Poetics; Gender and Sexuality; Visual Culture

"In my classroom, I make every effort to show students clearly how passionate I am about the texts and ideas I'm teaching—how much a poem, a novel, or a literary movement can mean to me and many others.  They appreciate this, I think, in part because it gives them permission to feel passionate about their own relationships to texts, in turn.  When that sense of the power of literature is circulating in the room, it makes it much easier for me to make palpable for them the historical and cultural significance of the works, on one hand, or to convince them of the importance of a line break or an element of plot, on the other.  What I appreciate most is that this becomes a feedback loop, wherein my own experience of texts that have become too familiar from frequent teaching is reenergized by the enthusiasms (or engaged resistance) my students express."

  • Black Poetry
  • Black Women Writers
  • Blackness and Visual Culture
  • Contemporary Narratives of Slavery
  • Creative Writing (Poetry)
  • Domestic Ideology and African American Literature
  • The Black Fantastic: African American Speculative Fiction
  • The African-American Long Poem
  • Black Aesthetics in Theory and Practice
  • Black Power/Black Aesthetics (with Professor Donna Murch, History)
  • Slavery in the African American Imagination
  • Stephen Henderson Award for Outstanding Achievement in Poetry, African American Literature and Culture Society, 2015
  • Rutgers Faculty Scholar-Teacher Award, 2013-2014
  • Holmes National Poetry Prize, Princeton University, 2012
  • Board of Trustees Research Fellowship for Scholarly Excellence, Rutgers University, 2011
  • Presidential Fellowship for Teaching Excellence, Rutgers University, 2011
  • American Council of Learned Societies Fellowship, 2008
  • Schomburg Scholars-in-Residence Program Fellowship, Schomburg Center for Research in Black Culture, 2007
  • Ford Foundation Postdoctoral Diversity Fellowship, 2007-8 (declined)

PhD, Duke University
JD, University of Michigan
BA, Northwestern University