Matthew Reed Corey was born in Neptune Beach, Florida, and now lives in Chicago. His poems have appeared in Hayden’s Ferry Review, Crazyhorse, the Massachusetts Review, DIAGRAM, Artifice Magazine, MAKE, Matter, Pinwheel, and elsewhere.
In 2013, Matthew completed a PhD in Creative Writing (Poetry) at the University of Illinois at Chicago, where he was awarded an AWP Intro Journals Project Prize, the Paul Carroll Award in Creative Writing, and a Distinguished Teaching Award.
News + Events
Reading with Chicago poets Paula Cisewski and Fred Schmalz. Doors at 6:30. Free!
7:00pm, 2237 N. Milwaukee Avenue, Chicago
Sector 2237 + The Green Lantern Press
Wit Rabbit Weekend #10
5:00pm, Township, 2200 N. California Avenue, Chicago
My most recent manuscript, which is nearly complete, investigates the architectures, grammars, and possibilities of sleep. In response to the fact that every written history is a history of waking, Cream Rinse is a history of me asleep, engaging unconsciousness as an occasion for attending to acute introspection. Cream Rinse is interested most of all in representations of imagining otherwise.
More particularly, I'm interested in a poetics that views the speaking-subject of a lyric poem as a textual prototype for representations of cognition, and that recognizes its situation amidst the mechanisms of sovereignty and biopower, offering a reader the opportunity to imagine nonviable texts; these imaginary texts would count as states of exception to the real texts that make sovereign power.
For samples from Cream Rinse, please see the Recent Writing, located below.
+ "The Edifying of Itself in Love" and "The Cannibal Hymn to –––––;" Dream Pop Journal (v. 1, 2017)
+ “Our Thirty-Three Names for the Sleeper in Exile” and “The Night Vigil: A History of Sleep, 1993-1998;” MAKE (v. 16, 2016)
+ “White Peacocks Will Wander the Grounds of a Lavish Garden Estate;" Hayden's Ferry Review (v. 55, 2014)
+ “Biopoiesis: Earth Before Life,” “His is the Encyclopedia Given to You without a Word,” and “Written in Glass are Four Solutions to the Problem of Nothing;” Matter (v. 8, 2014)
+ “Thallium, Cyanide, Hemlock;” “Later, in a White Room with the Burial Ships;” and “When a Voice from the Aquifer Detaches a Snail from Its Shell;” Pinwheel (v. 5, 2014)
+ “What Remains of the Sun on Bedsheets,” “How the Time Passes, and I, in My Evergreen Inversion;” “What the Ebb-tide Says in Apology to the High-tide;” “Ocular Poem in a Rainstorm with a Pickle;” and “Transcription of an Anxious Season” Artifice Magazine (v. 5, 2013)
+ “Big A, Little a: interviewing Daniel Borzutzky,” an interview with poet Daniel Borzutzky, featuring poet Joel Craig; Matter (v. 10, 2015)
As an academic at a major American research-university, I am well acquainted with the conventions of academic prose, and I have worked on a number of book-length manuscripts for academic presses.
+ Subject areas: British and American literature, European literature, literary criticism, literary theory, political theory, philosophy, urban studies, language and liguistics, composition, and pedagogy.
Developing and editing book-length literary manuscripts has been my life's work since 1998: I have helped hundreds of writers to develop their projects in poetry, fiction, and non-fiction; I have copy-edited several fiction books for a major American press committed to innovative prose; and I have written copy and jacket-copy for a literary press.
+ Subject areas: poetry, literary fiction, and literary non-fiction.
With twelve years of experience in copy-editing, line-editing, and copy-writing, I am interested in opportunities to work with academic nonfiction, literary prose, and poetry. I look forward to collaborating with ambitious writers to ensure the consistency, the clarity of vision, and the end-results that their projects deserve. Since 2005, I've held a Certificate in Editing and Publishing from Florida State University, and I am trained to edit in MLA style, in AP style, and in Chicago style.
* For a more expansive list of my editing and copy-writing projects, please take a look at my c. v., which is available here for download as a PDF.
For over a decade, I've moderated face-to-face adult learning in introductory, intermediate, and advanced English classes at research universities, where I advocated in an administrartive capacity for digital e-learning technology. As an award-winning teacher who understands the needs of learners from diverse backgrounds, I welcome the challenge of translating my instructional philosophy to my endeavors in other fields of work and study.
By teaching university classes and extra-university workshops, I hope to foster in my students an understanding of form and structure, teaching poetry-writing and non-fiction-writing as a means of understanding how language mediates representations of selfhood. I ask my students to engage with their writing via poetics, allowing them to explore not only the core of their interests in poeises, but also to examine the horizon of poems possibly written.
From my background in post-1945 American poetry, I teach introductory courses in American poetry and in British poetry, spanning from 1798 to the contemporary period. Following such an historical arc affords my students the opportunity to understand how and why twenty-first-century poets respond to the material conditions of the contemporary moment. At the close of the semester, my students are prepared not only to understand current approaches to writing poetry, but also to understand the importance of structure to the arts.
I ask each of my composition students to think about their current circumstances, and in turn, to write from his or her position in the world. This approach leads them to think critically about their approach to college learning, about their contributions to city in which they study, and about the effects that writing can have in the world.