Read the 2011 English@Minnesota as a PDF - Department of ...

More documents

Recommendations

Info

Professor Charles Baxter Gryphon: New and Selected Stories Pantheon (See review in CLA’s current Reach by MFA candidate Sally Franson.) Adam Barrows (PhD 2006) The Cosmic Time of Empire: Modern Britain and World Literature University of California Press New PAGES John Colburn (BA 1990, MFA 1996), edited with Michelle Filkins and Margaret Miles Blink Again: Sudden Fiction from the Upper Midwest Spout Press Professor Maria Damon Postliterary America: From Bagel Shop Jazz to Micropoetries University of Iowa Press See article on page 8. Eric Dregni (MFA 2007) Vikings in the Attic: In Search of Nordic America University of Minnesota Press Reshmi Dutt-Ballerstadt (PhD 2002) The Postcolonial Citizen: Intellectual Migrant Peter Lang Publishing Nuruddin Farah, CLA Winton Chair Crossbones Riverhead Press Peter Geye (BA 2000) Safe from the Sea Unbridled Books (See article on page 21.) Will Hermes (MA 1995) Love Goes to Buildings on Fire: Five Years in New York that Changed Music Forever Faber & Faber Patrick Hueller (MFA 2010) under pen name Paul Hoblin Foul Lerner Books Sam Kean (BA summa cum laude 2002) The Disappearing Spoon: And Other True Tales of Madness, Love, and the History of the Periodic Table Little Brown & Company english@minnesota l 1 Arlene Kim (MFA 2008) What have you done to our ears to make us hear echoes? Milkweed Editions Kim’s debut poetry collection is a Hansel and Gretel-esque journey through mythology and tradition. The echoes are sometimes whispers, as in the section epigraphs from the 1893 opera Hansel and Gretel; elsewhere the poems echo other poems and writers, as in the aptly titled “Echo,” after Paul Celan’s “Death Fugue.” Kim uses the elements of fairy tales well; the images of spinning and sewing are particularly compelling, where the machine offers just the right amount of danger: “Outrun / the seam ripper. Her / husband the presser foot; her girls, small / bobbins. What was / left for her / but to be- / come / the /needle.” In other moments, the danger is in the wandering itself, as in “Tracking” or “Occupation,” with references to war. The notes in the back of the book lead to deeper probing and interesting discoveries, such as Kim’s use of a Markov text synthesizer in “the path come apart” (one cannot help but Google it). This collection invites exploration in a world full of beautiful, sharp edges. (Review by MFA candidate Kristin Fitzsimmons.) Marcela Kostihova (PhD 2004) Shakespeare in Transition: Political Appropriations in the Postcommunist Czech Republic Palgrave Macmillan Ed Bok Lee (BA 1994) Whorled Coffee House Press Professor Nabil Matar, authored with Gerald MacLean Britain and the Islamic World: 1558–1713 Oxford University Press (See article page 4.) Jim Moore (BA 1966) Invisible Strings Graywolf Press Susan Niz (BA 1997) Kara, Lost North Star Press of St. Cloud (See article page 22.) Sheila O’Connor (BA 1982) Sparrow Road Putnam Publishing (See article page 20.) Carrie Oeding (BA 2000) Our List of Solutions 42 Miles Press/South Bend Press continued page 19
1 l //english.cla.umn.edu/ Anca Parvulescu (PhD 2006) Laughter: Notes on a Passion Short Circuit/MIT Press Professor Paula Rabinowitz, edited with Cristina Giorcelli Accessorizing the Body: Habits of Being I University of Minnesota Press Since 1995, Giorcelli has edited 10 volumes of essays about the meanings of clothing and accessories assigned by art and popular culture, especially in light of social, economic, and semiotic connotations. Now, with Professor Rabinowitz, Giorcelli has selected 40 of the best works from the Abito e Identita: Ricerche di storia letteraria e cultural series for a four-volume publication in English. The editors are also adding newly commissioned pieces. The book is framed both by a sleekly designed cover and by Giorcelli’s and Rabinowitz’s respectively crystalline and pun-knotted introductory and closing essays. In between, subjects range from Coco Chanel’s savvy usurping of masculine “sporting clothes” to Jewish “accessorization” of the mandatory yellow star. As Rabinowitz writes, “the body is no-body without its dressings.” William Reichard (PhD 1997), editor American Tensions: Literature of Identity and the Search for Social Justice New Village Press Associate Professor Katherine Scheil, edited with Randall Martin Shakespeare, Adaptation, Modern Drama: Essays in Honour of Jill Levenson University of Toronto Press This 2011 collection includes contributions from major international scholars in Shakespeare and modern drama, such as Stanley Wells, Peter Holland, Alan Ackerman, Brian Parker, and John Astington. The book is a tribute to the scholar and editor Jill Levenson, the world expert on Romeo and Juliet, and past president of the Shakespeare Association of America and the World Shakespeare Congress. Scheil’s own contribution is entitled “Shakespeare as Memoir,” focusing on work by Globe Theatre director Dominic Dromgoole and others who have used Shakespeare as a structuring device for a memoir. Ann Schultz (BA 1939) Message in a Bottle Artpacks Nate Slawson (MFA 2008) Panic Attack YesYes Press Shana Youngdahl (MFA 2006) History, Advice, and Other Half-Truths Stephen F. Austin State University Press Last year Adam Barrows (PhD 2006) published The Cosmic Time of Empire: Modern Britain and World Literature with the University of California Press. The book, which began as his dissertation, investigates the impact of the 1884 introduction of a global standardized time on the work of modernist writers such as James Joyce, Virginia Woolf, Bram Stoker, and Joseph Conrad. Barrows is Assistant Professor of English Language and Literature at Carleton University in Ontario. He submitted to our questions. What was the impact of a global standard time? It takes (at least theoretically) the “ownership” of time measurement and management out of the hands of localities and nations. The public clocks were often objects of local pride, many of them engraved or decorated with events and figures of purely local significance. Similarly, pocket watches were popular because people would often publically and ostentatiously check or set them against those public clocks. It was a way of carrying the national time with you and feeling like a participant in the public act of helping to manage and maintain the proper time. With Greenwich Mean Time . . . time is now dictated first by the Observatory at Greenwich and then transmitted to every other clock, and then later is determined by coordinating observatories around the globe. Since none of us read the “correct” time by our own locality’s measurement of the sun’s position, we no longer think of time as something that is in our hands to maintain and utilize—it’s dictated to us from authorities. How did you become interested in the concept of time? It goes farther back than I am able to trace. I was a big Doctor Who fan growing up. Reading Proust’s Remembrance of Things Past at about 22 years old was a huge influence. The Greenwich idea arose out of a paper I was writing on Dracula for Lois Cucullu’s graduate class at Minnesota on British masculinity and grew from there. How did modernist writers experiment with representing human time after the establishment of a world clock? When I talk about experimentation, I mean not necessarily the avant-garde experimentation with time that you get in Woolf’s The Waves (which arguably challenges the tenets of standard time) but also writers experimenting with the notion of standard time in their fiction in ways that enforce and uphold the new system. This is where Dracula comes in: I show how that novel reveals a new sensitivity to the notion of time measurement as a tool of global management, that clocks help us to manipulate and neutralize exotic times and spaces—the clock as a vampire-killing weapon! p
Page 1 and 2: english@ minnesota Department of En
Page 3 and 4: l //english.cla.umn.edu/ internatio
Page 5 and 6: l //english.cla.umn.edu/ His parent
Page 7 and 8: l //english.cla.umn.edu/ population
Page 9 and 10: l //english.cla.umn.edu/ A revelato
Page 11 and 12: creative writing creative writing c
Page 13 and 14: 1 l //english.cla.umn.edu/ ••
Page 15 and 16: 1 l //english.cla.umn.edu/ ••
Page 17: 1 l //english.cla.umn.edu/ ••
Page 21 and 22: 1 l //english.cla.umn.edu/ Soon aft
Page 23 and 24: l //english.cla.umn.edu/ Stacey Amo
Page 25 and 26: l //english.cla.umn.edu/ z.umn.edu/
Page 27 and 28: l //english.cla.umn.edu/ used music
Page 29 and 30: l //english.cla.umn.edu/ Katie Robi

Read the 2011 English@Minnesota as a PDF - Department of ...

Create successful ePaper yourself

Delete template?

Save as template?