Writing in-Between lies at intersections: between theory and praxis; between fiction and non-fiction; between author and reader; between the personal and the political. Beginning with a conceptual glossary that prepares readers for their journey through the book, Dinesh offers two central texts to invite readers to become co-creators. The first, F for _____, is written as an academic novella and culminates with an interactive section that is composed of guided invitations for the reader/co-creator. The second text, Julys, takes the form of a dramatic memoir and intersperses invitations for readers/co-creators between each of its chapters. Dinesh brings these threads together in an entirely interactive concluding chapter, where her hopes for collaborative meaning making take centre stage. In all of its unique invitations to engage, Dinesh s readers/co-creators can either choose to craft their creations in personal notebooks or blank spaces in this work s physical copy, or to engage more publicly via virtual forums that can be accessed via QR codes and accompanying links that are scattered throughout the book. Guided by questions about writing can do questions that have shaped Dinesh s work as an artist, scholar, and educator for almost two decades Writing in Between embodies one central tenet: that the significance of performative writing might be most powerfully experienced through a collaborative process of meaning making between a text s author and its readers turned co-creators.

Writing in-Between lies at intersections: between theory and praxis; between fiction and non-fiction; between author and reader; between the personal and the political. Beginning with a conceptual glossary that prepares readers for their journey through the book, Dinesh offers two central texts to invite readers to become co-creators. The first, F for _____, is written as an academic novella and culminates with an interactive section that is composed of guided invitations for the reader/co-creator. The second text, Julys, takes the form of a dramatic memoir and intersperses invitations for readers/co-creators between each of its chapters. Dinesh brings these threads together in an entirely interactive concluding chapter, where her hopes for collaborative meaning making take centre stage. In all of its unique invitations to engage, Dinesh s readers/co-creators can either choose to craft their creations in personal notebooks or blank spaces in this work s physical copy, or to engage more publicly via virtual forums that can be accessed via QR codes and accompanying links that are scattered throughout the book. Guided by questions about writing can do questions that have shaped Dinesh s work as an artist, scholar, and educator for almost two decades Writing in Between embodies one central tenet: that the significance of performative writing might be most powerfully experienced through a collaborative process of meaning making between a text s author and its readers turned co-creators.