Dr Sarah Dillon, Faculty of English

 

 

Biographical Information

I read English at Clare College, Cambridge, graduating in 1998. I went on to gain an M.A. in Philosophy and Literature from the University of Warwick in 1999 and a D.Phil. in English from the University of Sussex in 2004. I taught at the University of St Andrews for eight years, from 2006-2014, first as a Lecturer and then Senior Lecturer in Contemporary Literature. I took up my current post as University Lecturer in Literature and Film in the English Faculty at Cambridge in 2014. From Autumn 2017, I will be taking on a position within the School of Arts and Humanities as Director of the Cambridge AHRC Doctoral Training Partnership.

I am a member of the Faculty of English's Contemporaries research group and sit on the management committee of the interdisciplinary Cambridge Centre for Film and Screen. More widely, I am the General Editor of the book series Gylphi Contemporary Writers: Critical Essays and Chair (Elect) of the British Association for Contemporary Literary Studies. I also serve on the editorial boards of C21: Journal of Twenty-First Century Writing and Fantastika.

I am committed to engaging with audiences outside of the academy. In 2013 I was selected as an Arts and Humanities Research Council / BBC Radio 3 New Generation Thinker. I now broadcast regularly on BBC Radio 3 and Radio 4 and present two ongoing series: Literary Pursuits on Radio 3, and Close Reading on Radio 4’s Open Book. Details of all my public and media activities can be found on my website and blog.

 Email: sjd27 [at] cam.ac.uk

Research Interests

I am a feminist literary and film critic and theorist. My research field is twentieth and twenty-first century British and North American literature and film, and continental philosophy. My diverse research interests are united by a consistent analysis of forms of intersection, interconnection and intimacy. My first monograph, The Palimpsest: Literature, Criticism, Theory (2007), argues that the metaphor of the palimpsest – a parchment or other writing surface on which otherwise unrelated texts become intimate due to reuse – provides a conceptual structure for thinking anew about history, subjectivity, temporality, textuality and sexuality. My second monograph, Deconstruction, Feminism, Film (forthcoming 2018), explores the interconnections between the three discourses of its title in order to develop and perform the possibilities of a feminist deconstructive film criticism, whilst also challenging, where necessary, Jacques Derrida’s thinking about gender, sexuality, film and the visual.

My current research is focused on the intersections of literature, film and science. Individually, I am working on Feminist Science Fiction Film, a book that seeks to establish the history, present and possible futures of the genre. In doing so, I aim to reconceive what 'the science fictional' is, and what it can do. Collaboratively, I am an Associate Fellow of the Leverhulme Centre for the Future of Intelligence working on the AI Narratives project in conjunction with the Royal Society. I am part of a team carrying out research into the influence of imaginative literature on AI researchers, and I am collaborating on a range of other outputs.

Areas of Graduate Supervision

I am currently supervising doctoral projects on: object intelligence in literary, popular and scientific writings of the late nineteenth and early twentieth centuries; the representation of gender and sexual diversity in young adult fiction; and, the aestheticisation of failure in contemporary cultural theory and production. Whilst at St Andrews, I supervised PhDs on Ian McEwan and phenomenology; sex in contemporary literature; William Gibson and the gestalt; literature of the anthropocene; and contemporary dystopian fiction. I am interested in supervising graduate students working on twentieth and/or twentieth-first century literature and/or film who share any of my research interests and who combine close reading with theoretical literacy

Selected Publications

A full list of publications, including links to open access versions, journalism, reviews and radio broadcasts, can be found at www.drsarahdillon.com

 

Authored Books

Feminist Science Fiction Film (in preparation).

Deconstruction, Feminism, Film (Edinburgh: Edinburgh University Press, forthcoming 2018).

The Palimpsest: Literature, Criticism, Theory (London: Continuum, 2007).

 

Edited Books and Journal Special Issues

‘Imagining Derrida’, Special Issue of Derrida Today 10:2 (2017), ed. with John Schad.

Maggie Gee: Critical Essays, ed. with Caroline Edwards (Canterbury: Gylphi, 2015).

David Mitchell: Critical Essays, ed. (Canterbury: Gylphi, 2011).

 

Essays

'The Trouble with Being Bone Clocks: On the Fiction of David Mitchell’, in The Routledge Companion to Twenty-First Century Fiction, ed. Daniel O'Gorman and Robert Eaglestone (London: Routledge, forthcoming 2018).

'The Horror of the Anthropocene', C21 Literature: Journal of 21st Century Writings, Special Issue: The Literature of the Anthropocene, forthcoming 2017. 

‘Derrida and the Question of “Woman”’, in Derrida and Queer Theory, ed. Christian Hite (Brooklyn: Punctum Books, 2017), pp. 108-130.

'Literary Equivocation: Reproductive Futurism and The Ice People', in Maggie Gee: Critical Essays, ed. Sarah Dillon and Caroline Edwards (Canterbury: Glyphi, 2015), pp. 101-132.

'Beyond the Blue: The Sorrowful Joy of Gee', with Caroline Edwards, in Maggie Gee: Critical Essays, ed. Sarah Dillon and Caroline Edwards (Canterbury: Glyphi, 2015), pp. 1-29.

‘“Talking about the same questions but at another rhythm”: Deconstruction and Film’, in The First Sail: The Cinema of J. Hillis Miller, ed. Dragan Kujundzic (Open Humanities Press/University of Michigan Online Publications, 2015), pp. 86-101. Open access available here.

‘Cinematic Incorporation: Literature in My Life Without Me’, Film Philosophy 19 (2015): 55-66. Open access available here.

‘It is a Question of Words, Therefore’: Becoming-Animal in Michel Faber’s Under the Skin’, Science Fiction Studies 38:1 (2011), 134-54. Open access available here.

‘Chaotic Narrative: Complexity, Causality, Time and Autopoiesis in David Mitchell’s Ghostwritten’, Critique 52:2 (2011), 135-62. Open access version, and link to official publication, available here.

‘Introducing David Mitchell’s Universe: A Twenty-First Century House of Fiction’, in David Mitchell: Critical Essays, ed. Sarah Dillon (Canterbury: Gylphi, 2011), pp. 3-23.

‘Time for the Gift of Dance’ in Sex, Gender and Time in Literature and Culture, ed. Ben Davies and Jana Funk (Basingstoke: Palgrave Macmillan, 2011), pp. 109-131.

‘Imagining Apocalypse: Maggie Gee’s The Flood’, Contemporary Literature 48:3 (2007), 374-97.

‘Palimpsesting: Reading and Writing Lives in H.D.’s Palimpsest’, Critical Survey, Special Issue: Modernist Women Writers Using History, ed. Ann Heilmann and Mark Llewllyn, 19:1 (2007), 29-39. Open access version, and link to official publication, available here.

‘Life After Derrida: Anacoluthia and the Agrammaticality of Following’, Research in Phenomenology 36 (2006), 97-114. Open access version, and link to official publication, available here.

‘Re-inscribing De Quincey’s Palimpsest: The Significance of the Palimpsest in Contemporary Literary and Cultural Studies’, Textual Practice 19:3 (2005), 243-263.