Prose: Criticism and Essays
FILM REVIEWS
On Islands, flux, and migration in the short films Lampedusa and Sublunary, by Mariangela Ciccarello and Philip Cartelli.
On Bill Morrison's ingenious found-footage documentary of a gold rush town, Dawson City: Frozen Time.
On Cristobal Leon and Joaquin Cocina’s haunting and shape-shifting stop-motion feature La Casa Lobo
On Kleber Mendonça Filho and Juliano Dornelles’s scathing slasher-cum-colonialist critique Bacurau.
On Makoto Nagahisa’s deliciously stylized orphan phantasmagoria We Are Little Zombies.
On Lemohang Jeremiah Mosese's formally dazzling Lesotho fable This Is Not a Burial, It’s a Resurrection.
On Agnieszka Smoczynska’s horror-musical The Lure and its carnivorous mermaid sisters.
On Raoul Peck's documentary portrait of James Baldwin, I Am Not Your Negro.
THEATER REVIEWS
From 2004-2024, Megan wrote theater criticism for Maine’s late alt-weekly the Portland Phoenix.
On Dramatic Rep’s Year of the Rooster
On the Theater at Monmouth’s The Age of Bees
On The Theater Project’s Do You Feel Anger
On Lorem Ipsum’s [Storage]
On Fenix Theatre Co’s Eurydice
Book REVIEWS
On C.D. Wright’s One With Others
On Nick Lantz’s We Don’t Know We Don’t Know
On Khaled Mattawa’s Tocqueville
On Tyehimba Jess's Olio
On Stephanie Pippin’s The Messenger
Essays
“Initiation, Immersion, and Invitation,” exploring three of Megan’s environmental librettos, appeared in a special Music and the Environment issue of Boston University’s journal Impact: The Journal of the Center for Interdisciplinary Teaching & Learning.
An excerpt the long-form lyric essay Solving for M, a meditation on mysteries and grief, was named a finalist in Tupelo Quarterly’s 2018 Prose Open Competition.
Megan reflects on teaching poetry to a Portland police officer in “Tunneling through the Dark,” included in Mapping the Line, an anthology of poet-teachers' reflections on teaching poetry. Edited by Bruce Guernsey (Penyeach Press), with a foreword by Ted Kooser.