Robert Glick Headshot

Robert Glick

Associate Professor
Department of English
College of Liberal Arts

Office Location

Robert Glick

Associate Professor
Department of English
College of Liberal Arts


BA, University of California at Berkeley; MA, San Francisco State University; Ph.D., University of Utah


About Me: I teach creative writing (emphasis on literary and innovative fiction) and digital literature courses. I am the faculty advisor for Signatures, RIT's literary and arts magazine, as well as for the Creative Writing minor and immersion. My first book, Two Californias, is forthcoming from C&R Press. My most recent project, The Paradox of Wonderwoman's Airplane, is a hybrid print/digital novel.

Areas of Interest: Creative Writing, Digital Literature, Contemporary Fiction, Experimental Narrative, Language Games, Text/Image Mashups

Influences: Kathy Acker, Lydia Davis, Ana Mendieta, Matthew Barney, Rebecca Horn, Anne Carson, George A. Romero, Michael Ondaatje, Haruki Murakami, JODI, JR Carpenter

A Few URLs:

Web Site: - this is my web site, with a full list of publications and info on The Paradox of Wonderwoman's Airplane

Signatures: (Faculty Advisor) - RIT's award-winning literary and arts magazine

gl-ph: (Faculty Advisor) - RIT's electronic literature journal

Versal: (Past Editor) - Versal is a literary and art journal based in Amsterdam, The Netherlands

Digital Humanities and Social Sciences: (Affiliated Faculty) - RIT's groundbreaking undergraduate degree program


ON LEAVE 2019-2020

Courses Taught (Active):

  • Introduction to Creative Writing (ENGL 211)
  • Digital Literature (ENGL 315)
  • Digital Creative Writing Workshop (ENGL 389)
  • Creative Writing Workshop-Fiction (ENGL 390)
  • Advanced Creative Writing Workshop-Fiction (ENGL 490)

Personal Links

Currently Teaching

3 Credits
This course is for students who have completed a college level writing course creative writing workshop and want to explore in-depth a literary genre or add to their skills as a creative writer whether interested in poetry, fiction, non-fiction, or a combination of genresa specific topic within creative writing. The focus will be on the creation of a significant piece of writing for a final project. In addition to planning and producing a single, sustained creative work, students will complete other exercises and assignments in order to experiment with other genresa variety of writing techniques. Through reading and discussion they will see their own writing in a larger context. Weekly Regular class critiques will provide the opportunity to give and receive helpful feedback.
3 Credits
This course is for graduate students who want to explore creative writing. The focus will be on the generation and refinement of creative writing with an awareness of aesthetic principles and narrative techniques. Ongoing work will be discussed regularly with workshop groups, which will help students rethink their work and become better editors. Through reading, writing, discussion, critique, and revision, students will see their own writing in a larger aesthetic and historical context, culminating in a substantial body of work ready for publication. Students will lead a discussion about at least one of the readings; circulate their work to at least two venues; read their own work at least once in a public event; and produce an individual final project that, as applicable, connects with their thesis.
3 Credits
Since the initial development of the computer, writers have collaborated with programmers, illustrators, and soundscapists to create digital literatures. Following from radical techniques in print literatures such as concrete poetry, Choose Your Own Adventure novels, and reorderable/unbound fictions, digital literatures exploit the potential of digital formats to explore questions of interactivity, readership, authorship, embodiment, and power. In this class, we will learn to analyze and appreciate digital literatures not simply through their content, but also through the relation of content to form, media, programming platforms, and distribution formats. Our consideration of digital literatures will lead us to cell phones, web pages, video games, virtual reality environments, and genome sequencers.
3 Credits
Digital creative writing involves much more than simply writing in digital formats - it can include computer-generated poetry, bots, hypertext fiction, Augmented Reality, or locative narrative. This course is for students who want to explore digital creative writing in all its forms. Through reading, discussion, and exercises, students will produce born digital writings in different applications. Students will learn style and craft techniques for digital environments while also exploring the relationship between content and digital applications. Peer critiques will help students rethink their work and become better editors. Programming knowledge is helpful but not required. This course can be taken up to two times for a total of six semester credit hours as long as the instructors are different.

Select Scholarship

Full Length Book
Glick, Robert. Two Californias. Brooklyn, NY: C&R Press, 2019. Print.
Book Chapter
Glick, Robert. "Questions for Anesthesiologists." The Masters Review Volume VII. Portland, OR: The Masters Review, 2018. 71-96. Print.
Journal Paper
Glick, Robert. "The Last Remembered Intersection." The Los Angeles Review. April (2018): Web.
Glick, Robert. "Failure Mechanism (Voicebox)." The Seattle Review. 9.1/9.2 (2017): 78-172. Print.
Glick, Robert. "Flicker Astrous." decomP Feb 2017. (2017): N/A. Web.
Invited Keynote/Presentation
Glick, Robert. "Alternative Transmedias in The Paradox of Wonder Woman’s Airplane." Stan McKenzie Salon Series. RIT. Rochester, NY. 1 Apr. 2018. Lecture.
Glick, Robert. "The Paradox of Wonder Woman’s Airplane and the Transmedial Novel." Materialidades da Literatura Program. Universidad da Coimbra. Coimbra, Portugal. 15 Oct. 2018. Lecture.
Published Review
Glick, Robert. "Some Versions of the Ice by Adam Tipps Weinstein." Rev. of Some Versions of the Ice, by Adam Tipps Weinstein. The Pleiades Book Review 2017: 30-33. Print.