Professor Alexandra Dos Santos
Writing as a Creative Act: An Interview With Purchase College Alumnus and College Writing Faculty Member Alexandra Dos Santos
What were some highlights of your experience at Purchase College, as a student?
A big highlight for me was my senior project. I think this was the first time I let me passion drive me rather than my desire for a good grade, and it absolutely changed the game. As a journalism major, I needed to research a topic of my choosing and do a deep dive on it. The major difference between this project and other articles and essays I’d written was the focus on first hand reporting. At first I chose a topic I thought would require the least amount of work, but it wasn’t exciting at all. Ironically, the “easiest” topic was actually the most difficult to get myself to do. I thought, what’s the point of being a writer—a profession where, let’s be honest, you don’t make much money or have much stability—if the work’s still going to feel like a drag? So I chose a project on a subculture called “extreme haunts,” which is like an immersive horror production. I had the time of my life attending the shows, talking to actors and guests, recording scenes, interviewing big names in the community. It was more like an adventure, and in the end the project was a huge success in my eyes. All that’s to say that this one project taught me to always follow my passion and give it my all. The rest will take care of itself.
How did you grow as a writer at Purchase?
I transferred to Purchase my junior year, so I wanted to focus on going beyond the requirements, or just checking all the boxes on the assignment to get a good grade. I wanted to push myself, and my professors helped me do that. My journalism and screenwriting instructors taught me how to make something new, unique, and meaningful—both for myself and the reader. I started to think more about writing as a creative act and less of a transactional exchange. At Purchase, I practiced looking beyond what’s obvious, and discovering something new—not only in writing, but in thinking. In a way, it was kind of like unlearning a lot of the conditioning I received in elementary and high school, where there can be guardrails around what you should and shouldn’t learn, crushing curiosity. When writing feels more like play, when it engages you as the writer, then it’s fun for the reader, too. That’s why if a student wants to try something outside the box, I always tell them to go for it!
How does it feel to be back on campus as a professor?
It feels amazing! Seeing how bright the students are, despite all the difficulties they’ve been with the pandemic, is so inspiring. Some of the things I’ve read in their essays have blown me away in terms of their insight and ability communicate the depth of an advanced idea. But coming back was also scary! My only teaching experience prior to this was a college class of about ten students, once a week. The idea of public speaking in front of a full classroom was super daunting. But in the end, I wanted to spend my time and energy in a job that was more human-focused than product-focused. That desire was enough to push me past a lot of that public speaking anxiety and just do it anyway.
What are some of your goals and values as a writing educator?
My major goal, like I mentioned earlier, is to help students think outside of the box. I want them to trust their own voices and follow their instincts when it comes to writing. That translates to all aspects of life. Once you have those foundations of grammar and structure, there’s endless possibilities of where you can go. I try to assign texts that encourage many different interpretations, so the students can practice drawing their own conclusions and making connections. That web of connections exists everywhere in life, and I feel like if they can practice examining it in the classroom, they can do the same at home, at work, or anywhere else. If I had to boil my education values down to two words, they would be curiosity and confidence. The goal is to either spark or stoke that flame of inspiration that makes students enjoy learning. Then, once they have that desire, I hope to encourage them as much as I can to trust themselves.
Do you write in your spare time? What are some writing or pedagogy projects that are important to you right now?
Absolutely! Writing has always been a huge part of my identity. It’s how I’m able to feel some level of control over the world around me—and my own mind! If I don’t write, I legitimately start to feel like a ghost. Maybe it’s because I feel like my best, most authentic self on the page. So I try to write every day. I’m working on a horror novella now, which is new for me. It started as a short story that was total rip-off of Silent Hill, but it developed into its own thing over time. The best part of writing is when you can just feel there’s more to the story, so you have to keep writing to find out. It’s like charting the expansion of the world while also being inside of it. You’re paradoxically in control and at the mercy of that muse. Rick Ruben’s book The Creative Act talks all about that: the idea that creativity is this mysterious, almost supernatural thing that you have to respect.
Pedagogy-wise, I’m always looking for ways to improve my syllabus and make the class the best experience for the students it can be. Since the first essay in the course tends to be the most creative and personal, I’m thinking about what it might look like next semester if we were to make a class zine, maybe offering extra credit to anyone who wants to add more based on their interests (drawings, poems, book and film lists, album reviews, letters to their inspiration, criticism of an idea or policy, etc.).
What is one great book you’ve read lately? What struck you about it—why was it a powerful read?
The last book I really devoured was Bluebeard’s Castle by Anna Biller (who also directed the phenomenal camp film The Love Witch). I just love the way the author plays with the aesthetics of a particular time.The Love Witch pays homage to this over-the-top, badly acted technicolor 60’s films, and Bluebeard’s Castle takes on the language and tropes of a classic gothic romance like Jane Eyre or Rebecca. All the while, the book takes place in present day, and explores timeless issues like domestic abuse and addiction. The book reminds me that the author has the power to color the reader’s experience drastically, using just words on a page.
Is there anything else you would like to share?
Thank you for being interested in what I have to say! And I also have to say thank you to all the other instructors and faculty here at Purchase for making me feel so at home. It’s been a wonderful experience and I’m so happy to be here.