Author: Katherine Rockefeller

When my Twitter-less friend recognized Melissa Broder’s recent personal essay collection, So Sad Today, on my bookcase I began to understand the pervasiveness of Broder’s influence. However, it wasn’t until after I enrolled in a graduate course concerning the digital humanities, that I began my reconsideration of digital publishing and my recognition of Broder as a participant in these digital age practices. Broder’s digital branding of her aesthetic on Twitter preceding her publication was ingenious because it spoke to the multi-modal manner in which we as scholars, educators, authors, and digital humanists consume information. Anonymously creating her Twitter account, @sosadtoday,…