(Ph.D., University of Michigan) is an Associate Professor with research and teaching interests in American literature, modern poetry and poetics, modernism and the visual arts, women writers, cultural and gender studies, and digital humanities. She is the author of Professing Sincerity: Modern Lyric Poetry, Commercial Culture, and the Crisis in Reading (University of Virginia Press, 2007) and is currently completing a book titled Imaginary Museums: Surrealism, Modern Poetry, and the Visual Arts, 1920-1970, for which she received a Summer NEH Fellowship (2003) and a Willson Center Fellowship. She is also collecting her essays on poet Elizabeth Bishop in a book provisionally titled Experimental Bishop. With Nell Andrew in Art History, she co-directs the Interdisciplinary Modernisms Workshop, a Willson Center Research Cluster. With Suzanne Churchill (Davidson College) and Linda Kinnahan (Duquesne University) she is developing a work of Digital Humanities scholarship, Mina Loy: Navigating the Avant-Garde, supported by a 2017-2019 NEH Digital Humanities Advancement Grant. The project involves students, staff, and faculty at the three institutions, as well as an advisory board comprised of modernist DH specialists and Mina Loy scholars.
Recent graduate seminars include "Modernism in the U.S.," "Museums, Modernism, Memory," "American Poetry and the Everyday," "American Women Poets and Experiment," and "Elizabeth Bishop: New Perspectives."
Susan Rosenbaum, Suzanne Churchill, and Linda Kinnahan. "Digital Baedeker: A Feminist Experiment with Mina Loy's Archive" in Linda Anderson, Ed. The Poetics of the Archive. Edinburgh UP, Forthcoming 2019.
"The Case of the Falling S: Elizabeth Bishop, Visual Poetry, and the International Avant-Garde." Reading Elizabeth Bishop: An Edinburgh Companion. Ed. Jonathan Ellis. Edinburgh UP, 2019.
Susan Rosenbaum, Linda Kinnahan, and Suzanne Churchill. "Feminist Designs: Modernist Digital Humanities and Mina Loy: Navigating the Avant-Garde." Feminist Modernist Studies. Summer 2018.
“Brides Stripped Bare: Transformations of Surrealist Spectatorship in U.S. Women’s Collections.” Special issue of Dada/Surrealism, “Exhibitions and Display in Dada and Surrealism.” Ed. Kathryn Floyd. 21.1 (Fall 2017).
“The ‘do it yourself avant-garde’: Twentieth-Century American Women Poets and Experiment.” Ed. Linda Kinnahan. Cambridge History of Twentieth-Century American Women’s Poetry. Cambridge UP, 2015.
“Modernism: The Next Generation.” Blackwell Companion to Modernist Poetry. eds. Gail Macdonald and David Chinitz. Wiley-Blackwell 2014.
“Elizabeth Bishop and the Natural World.” Cambridge Companion to Elizabeth Bishop. eds. Jonathan Ellis and Angus Cleghorn. Cambridge UP 2014.
“‘Permeation, Ventilation, Occlusion’: Reading John Ashbery & Joe Brainard’s The Vermont Notebook in the Tradition of Surrealist Collaboration.” Mark Silverberg, ed. Collaboration and The New York School: The Color of Vowels. Palgrave Macmillan 2013.
“Mixed Feelings: Ashbery, Duchamp, Roussel, and the Animation of Cliché.” Invited essay in special issue, “The Critics, The Poets.” Eds. Heather White and Luke Carson. Genre 45.1 (Spring 2012): 87-119.
“Exquisite Corpse: Surrealist Influence on the American Poetry Scene, 1920-1960.” Oxford Handbook of Modern and Contemporary American Poetry, ed. Cary Nelson. Oxford UP: 2012.
“A Conversation with Eileen Myles.” February 22, 2011. Verse 28 no. 3/ 29 no. 1 (Fall 2012).
“Elizabeth Bishop and the Miniature Museum.” Journal of Modern Literature, Vol. 28.2 (2005): 61-99.
Articles on “Cliché” and “Confessional Poetry.” Princeton Encyclopedia of Poetry and Poetics, eds. Roland Greene, Jahan Ramazani. Princeton UP: 2012.
Earlier publications include essays on Anna Laetitia Barbauld (Studies in Romanticism), Elizabeth Bishop (Journal of Modern Literature, Reading the Middle Generation Anew), Frank O'Hara (New Work on New York School Poets), and Mina Loy and Alice Notley (HOW2).