Amina Gautier, Ph.D.

Assoc. Professor

(305) 284-2561
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Amina Gautier is the 2021-2022 Arthur E. and Alice F. Adams Charitable Fellow at the Bogliasco Foundation, the 2022-2023 Letras Boricuas Fellow, and the 2021-2024 University of Miami Gabelli Senior Scholar.

Gautier is the author of three award-winning short story collections: The Loss of All Lost Things (2016), which won the Elixir Press Award in Fiction and received The Phillis Wheatley Award, The International Latino Book Award, The National Indie Excellence Award, a Silver Medal “IPPY” Award in Northeast Fiction, and was a Finalist for the Paterson Prize, The John Gardner Award, The Hurston/Wright Award, and shortlisted for the William Saroyan Award, and The St. Francis College Literary Prize; Now We Will Be Happy (2014), which won the Prairie Schooner Book Prize, the International Latino Book Award, the Eric Hoffer Legacy Award, the USA Best Book Award in African American Fiction, the International Book Award, a Silver IPPY Award in Multicultural Fiction, a Florida Authors and Publishers Association Award Gold Medal in Short Fiction, and was Long-listed for The Chautauqua Prize in Fiction; and At-Risk (2011), which won the Flannery O’Connor Award for Short Fiction, and received an Eric Hoffer Legacy Award and a First Horizon Award. For her body of work, Gautier has received the Blackwell Prize, the Chicago Public Library Foundation’s 21st Century Award, and the PEN/MALAMUD AWARD FOR EXCELLENCE IN THE SHORT STORY. Gautier is the first African American woman to win the prestigious PEN/MALAMUD award since its inception in 1988.

Gautier has published a record number of short stories. One hundred and thirty-five of her short stories have been published and her fiction appears in American Short Fiction, Boston Review, Callaloo, Latino Book Review, Los Angeles Review, Oxford American, Southern Review, and Triquarterly, among other places. Gautier’s awards for her individual short stories include the Able Muse Prize in Fiction, the Anton Chekhov Award for Very Short Fiction, the Crazyhorse Prize, the Danahy Fiction Prize, the Rick DeMarinis Prize, the Jack Dyer Prize, the Raleigh Review Flash Fiction Prize, the William Richey Prize, the River Styx Schlafly Microfiction Award, the Sycamore Review Black Trans Prose Award, and the Lamar York Prize in Fiction.

Gautier’s work has been extensively reprinted, appearing in All About Skin! Women Writers of Color; Best African American Fiction 2009; Best African American Fiction 2010; Borderlands & Crossroads: Writing the Motherland; Choose Wisely: 35 Women Up to No Good; The Danahy Fiction Prize: Ten Years Ten Stories 2007-2017; Discoveries: New Writing from The Iowa Review; Forward 21st Century Flash Fiction Anthology; Home in Florida: LatinX Writers and The Literature of Uprootedness; The Line-Up: 20 Provocative Women Writers; Love in the Time of Time’s Up; New Stories from the South: The Year’s Best, 2008; On Girlhood: 15 Stories from the Well-Read Black Girl Library; The Notre Dame Review: The First Ten Years; The Sincerest Form of Flattery: Contemporary Women Writers on Forerunners in Fiction; Voices; and Welcome to The Neighborhood.

Gautier’s critical essays and reviews appear in African American Review, The Cambridge Companion to The American Short Story, Critical Insights: Frederick Douglass, Daedalus, Journal of American History, Libraries and Culture, Nineteenth Century Contexts, and Whitman Noir: Essays on Black America and the Good Grey Poet.


TEACHING STATEMENT: The cornerstone of my creative writing courses is the workshop experience. The workshop is an intimate space for lovers of writing to improve their craft as well as an environment where students can examine the ways in which their writing reflects their cultural, social, religious, ethnic and racial influences. In the fiction workshops, I encourage my students to develop their range, to write stories both long and short, to write stories in first person, second person, third person, to write from the point of view of men as well as women, old as well as young i.e. to write from their experiences and from experiences that are not their own. They are encouraged to not only write what they know but also to write what they wish to know about. I seek to create an environment wherein the workshop operates as a place of shared learning and not the place where broken stories come to be fixed; therefore, I strive to empower students by putting them in conversation with one another. As a teacher of creative writing, I know that I am not only helping students develop their craft, but that I am also training future peers and shaping the next generation of writers. Therefore, I seek not only to instill knowledge and help them develop skills, but I also work to prepare my students for the writing life that comes after the workshops and the degrees. My ultimate goal is to prepare students to not need a formal workshop i.e. to become their own workshop. I work to endow them with the tools of the trade in order to empower them for a future where they outgrow the workshop. To do so, I must help them learn not merely how to write and revise their stories for our workshop, but—more importantly—how to continue to teach themselves, improve their craft and challenge themselves in the types of stories they will write.



B.A. English Literature, Stanford University
English Literature, University of Pennsylvania
Ph.D. English Literature, University of Pennsylvania