DOCSLIB.ORG

Raymond Carvir

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Raymond Carvir RAYMOND CARVIR "CATHEDRAL contains astonishing achievements, which bespeak a writer expanding his range and intentions." - BOSTON GLOBE "A dozen stories that overflow with the danger, excitement, mystery and possibility of life... writers of our time —of any Carver is a writer of astonishing compassion and time." -PHILADELPHIA honesty...his eye set only on describing and INQUIRER revealing the world as he sees it. His eye is so clear, it almost breaks your heart." -JONATHAN YARDLEY, WASHINGTON POST BOOK WORLD "A few of Mr. Carver's stories can already be counted among the masterpieces of American fiction... .Cathedral shows a gifted writer struggling For a larger scope oF reference, a finer touch of nuance." -IRVIN G HOWE, front page, • / THE NEW YORK TIMES BOOK REVIEW "Clear, hard language so right that we shiver at the knowledge we gain from it." -THOMAS WILLIAMS, CHICAGO TRIBUNE BOOK WORLD "Carver is more than a realist; there is, in some of his stories, a strangeness, the husk of a myth." - LOS " " U.S. $12.00 ISB-N-0-67': Can. $16.95 iderson n Ettlintje 22 101 51 200> CATHEDRAL/CAR 01/02 9"780679"723691 « N T A E ISBN D CONTEMPORARIES RAYMOND CARVER'S CATHEDRAL "An important book in a unique career." — The New York Review of Books "Like Edward Hopper, whose landscape his characters inhabit, Carver depicts a frozen world, blue-shadowed, where time is the betrayer of lives." — Vogue "It's impossible to ignore Carver's immense talent... In Cathedral he succeeds, seemingly without effort, in weaving the illusion that his characters are not only real but representative." — David Lehman, Newsweek "Carver's cadence is his own, but it stirs memories of Ernest Hemingway at his best." — The Seattle Post Intelligencer "Fully expressive of what we think of as the Carver vision yet so expansive in its concerns and achievements that it creates the poten­ tial for a new phase in what is already a significant body of work." — The Houston Chronicle "Carver's minimal art achieves maximal effects... .In the paradoxi­ cally lyric way of the minimalist writer, Carver has not only made sense of this world, he has given it value." — The Boston Review "Written in the simplest of styles, mirroring the language of every­ day, [these stories] possess an awesome mesmerizing power. Out of the moments when good luck runs out, Carver makes the highest art." — Dan Cryer, Newsday BOOKS BY RAYMOND CARVER FICTION Where I'm Calling From Will You Please Be Quiet, Please? Furious Seasons What We Talk About When We Talk About Love Cathedral POETRY A New Path to the Waterfall Winter Insomnia At Night the Salmon Move Where Water Comes Together with Other Water Ultramarine PROSE AND POETRY No Heroics, Please Fires CATHEDRAL • RAYMOND CARVER CATHEDRAL STORIES VINTAGE CONTEMPORARIES • VINTAGE BOOKS A DIVISION OF RANDOM HOUSE, INC. • NEW YORK FOR TESS GALLAGHER AND IN MEMORY OF JOHN GARDNER VINTAGE CONTEMPORARIES EDITION, JUNE 1989 Copyright © 1981, 1982, 1983 by Raymond Carver All rights reserved under International and Pan-American Copyright Conven­ tions. Published in the United States by Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Originally published in hardcover by Alfred A. Knopf, Inc. in 1983 and in softcover by Vintage Books, a division of Random House, Inc., in 1984. Some of the stories in this collection originally appeared in the following maga­ zines: Antaeus, The Antioch Review, The Atlantic, Esquire, GrandStreet, TheNorth American Review, The Paris Review, and Ploughshares. "The Bridle," "Chefs House," and "Where I'm Calling From" originally appeared in The New Yorker. Library of Congress Cataloging in Publication Data Carver, Raymond. Cathedral. I. Title. CPS3553.A7894C3 1984} 813'54 84-40009 ISBN 0-679-72369-2 (pbk.) Display typography by Stephanie Bart-Horvath Manufactured in the United States of America 579C86 CONTENTS FEATHERS 3 CHEF'S HOUSE 27 PRESERVATION 35 THE COMPARTMENT 47 A SMALL, GOOD THING 59 VITAMINS 91 CAREFUL 111 WHERE I'M CALLING FROM 127 THE TRAIN 147 FEVER 157 THE BRIDLE 187 CATHEDRAL 20 9 ^ FEATHERS THIS friend of mine from work, Bud, he asked Fran and me to supper. I didn't know his wife and he didn't know Fran. That made us even. But Bud and I were friends. And I knew there was a little baby at Bud's house. That baby must have been eight months old when Bud asked us to supper. Where'd those eight months go? Hell, where's the time gone since? I remember the day Bud came to work with a box of cigars. He handed them out in the lunchroom. They were drugstore ci­ gars. Dutch Masters. But each cigar had a red sticker on it and a wrapper that said IT'S A BOY! I didn't smoke cigars, but I took one anyway. "Take a couple," Bud said. He shook the box. "I don't like cigars either. This is her idea." He was talking about his wife. Olla. I'd never met Bud's wife, but once I'd heard her voice over the telephone. It was a Saturday afternoon, and I didn't have FEATHERS anything I wanted to do. So I called Bud to see if he wanted to do anything. This woman picked up the phone and said, "Hello." I blanked and couldn't remember her name. Bud's wife. Bud had said her name to me any number of times. But it went in one ear and out the other. "Hello!" the woman said again. I could hear a TV going. Then the woman said, "Who is this?" I heard a baby start up. "Bud!" the woman called. "What?" I heard Bud say. I still couldn't remember her name. So I hung up. The next time I saw Bud at work I sure as hell didn't tell him I'd called. But I made a point of getting him to mention his wife's name. "Olla," he said. Olla, I said to myself. Olla. "No big deal," Bud said. We were in the lunchroom drink­ ing coffee. "Just the four of us. You and your missus, and me and Olla. Nothing fancy. Come around seven. She feeds the baby at six. She'll put him down after that, and then we'll eat. Our place isn't hard to find. But here's a map." He gave me a sheet of paper with all kinds of lines indicating major and minor roads, lanes and such, with arrows pointing to the four poles of the compass. A large X marked the location of his house. I said, "We're looking forward to it." But Fran wasn't too thrilled. That evening, watching TV, I asked her if we should take anything to Bud's. "Like what?" Fran said. "Did he say to bring something? How should I know? I don't have any idea." She shrugged and gave me this look. She'd heard me before on the subject of Bud. But she didn't know him and she wasn't interested in knowing him. "We could take a bottle of wine," she said. "But I don't care. Why don't you take some wine?" She shook her head. Her long hair swung back and forth over her shoul­ ders. Why do we need other people? she seemed to be saying. We have each other. "Come here," I said. She moved a little closer so I could hug her. Fran's a big tall drink of water. She has this blond hair that hangs down her back. I picked up some of her hair and sniffed it. I wound my hand in her hair. She let me hug her. I put my face right up in her hair and hugged her some more. Sometimes when her hair gets in her way she has to pick it up and push it over her shoulder. She gets mad at it. "This hair," she says. "Nothing but trouble." Fran works in a cream­ ery and has to wear her hair up when she goes to work. She has to wash it every night and take a brush to it when we're sitting in front of the TV. Now and then she threatens to cut it off. But I don't think she'd do that. She knows I like it too much. She knows I'm crazy about it. I tell her I fell in love with her because of her hair. I tell her I might stop loving her if she cut it. Sometimes I call her "Swede." She could pass for a Swede. Those times together in the evening she'd brush her hair and we'd wish out loud for things we didn't have. We wished for a new car, that's one of the things we wished for. And we wished we could spend a couple of weeks in Canada. But one thing we didn't wish for was kids. The reason we didn't have kids was that we didn't want kids. Maybe sometime, we said to each other. But right then, we were waiting. We thought we might keep on waiting. Some nights we went to a movie. Other nights we just stayed in and watched TV. Sometimes Fran baked things for me and we'd eat what­ ever it was all in a sitting. "Maybe they don't drink wine," I said. "Take some wine anyway," Fran said. "If they don't drink it, we'll drink it." "White or red?" I said.
Load more

Recommended publications
  • The Iceberg and Its Minimalist Implications in Raymond Carver's Fiction
    Sinking the Titanic: The Iceberg and its Minimalist Implications In Raymond Carver's Fiction Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Spring 2006 By John Mozley Thesis Reader Deborah James Thesis Advisor Cynn Chadwick Mozley 1 When Raymond Carver died in 1988 of lung cancer, Robert Gotlieb, the then editor of The New Yorker, stated, "America just lost the writer it could least afford to lose" (Max 36). In Carver's mere twenty-year publishing career, he garnered such titles as "the American Chekhov" (London Times), "the most imitated American writer since Hemingway" (Nesset 2), and "as successful as a short story writer in America can be" (Meyer 239). Carver's stories won the O. Henry Award three consecutive years, he was nominated for the National Book Award in 1977 for Will You Please Be Quiet Please?. won two NBA awards for fiction, received a Guggenheim Fellowship as well as the "Mildred and Harold Strauss Living Award from the American Academy and Institute of Arts and Letters" (Saltzman 3), and his collection of stories, Cathedral was nominated for both National Book Critics Circle award and a Pulitzer Prize (Saltzman 3). Born in Oregon in 1938, Carver grew up in Yakima, Washington where his father worked in the sawmill. At twenty years old, Carver was married to his high school sweetheart, Maryanne, and had two children (Saltzman 1). Plagued by debt and escalating alcoholism, the Carvers moved to California where Raymond "worked a series of low-paying jobs, including deliveryman, gas station attendant and hospital janitor, while his wife waited tables and sold door to door" (1), his jobs also included "sawmill worker.
    [Show full text]
  • Omission and Imagery in Hemingway's “Up in Michigan,” Carver's “Chef's House,” Ford's “Rock Springs,” and Ma
    Revue de Traduction et Langues Volume 18 Numéro 1/2019, pp.180-203 مجلة الترجمة واللغات Journal of Translation and Languages ISSN (Print): 1112-3974 EISSN (Online):2600-6235 Omission and Imagery in Hemingway’s “Up in Michigan,” Carver’s “Chef’s House,” Ford’s “Rock Springs,” and Mason’s “Residents and Transients” BOUDJERIDA Messaouda University of Abou el Kacem Saâdallah Algiers 2- Algeria [email protected] Received: 15/08/2018; Accepted: 23/07/2019; Published: 31/08/2019 Abstract: Ernest Hemingway’s minimalist style, which is based on his “Theory of Omission,” has exerted a considerable influence on generations of writers. This article provides additional evidence with respect to his narrative influence on the short fiction of the leading figures of literary minimalism. To fulfil this primary aim, a comparative and an analytical study is carried out using Wolfgang Iser’s reception theory. This has been deployed in order to demonstrate that the narrators of Raymond Carver’s “Chef’s House,” Richard Ford’s “Rock Springs,” and Bobbie Ann Mason’s “Residents and Transients” employ the techniques of omission and imagery to affect the readers’ imagination and engage them in the construction of the story’s meaning .More interesting, they make them feel more than they understand the emotional state of the characters, which is left beneath the surface of things, as does Hemingway in his story “Up in Michigan.” Keywords: imagery – influence − literary minimalism – omission − “Theory of Omission.” الملخص: إن أسلوب إرنست همنغواي البسيط ،المبني على
    [Show full text]
  • Honors & Awards PLOUGHSHARES
    PLOUGHSHARES Honors & Awards Since its founding in 1971, stories, poems, and essays from Ploughshares have appeared over 135 times in The Best American Poetry, The Best American Short Stories, Prize Stories: The O. Henry Awards, and The Pushcart Prize: Best of the Small Presses. In addition, Ploughshares work has also been featured in: Best New Poets, New Stories from the South New Stories from the Midwest, Best Canadian Stories, Best American Mystery. The Best American Poetry 2010 Bridget Lowe The Pilgrim Is Bridled and Bespectacled Spring 2010 Katha Pollitt Angels Spring 2010 2009 Bruce Bond Ringtone Spring 2008 Alice Friman Getting Serious Winter 2007-08 2008 John Casteen Night Hunting Winter 2006-07 Garrett Hongo Cane Fire Spring 2007 Debra Nystrom Every Night Spring 2007 John Rybicki Three Lantern Spring 2007 2007 Jane Hirshfield Critique of Pure Reason Winter 2006-07 2005 Beth Ann Fennelly I Need to Be More French. Or Japanese. Spring 2004 2004 Mary Jo Bang The Eye Like a Strange Balloon Mounts Toward Infinity Spring 2003 2003 Joshua Clover Aeon Flux: June Winter 2001-02 2002 Frank Bidart Injunction Fall 2001 Timothy Liu Felix Culpa Fall 2001 Sharon Olds Frontis Nulla Fides Fall 2001 Charles Wright Nostalgia II Fall 2001 2001 James Richardson Vectors: 45 Aphorisms and Ten-Second Essays Spring 2000 2000 Susan Wood Analysis of the Rose as Sentimental Despair Spring 1999 1999 David Mamet A Charade Winter 1997-98 Claire Davis Labors of the Heart Spring 2000 David Wagoner Thoreau and the Crickets Spring 1998 Elizabeth Graver The Mourning Door Fall 2000 Jess Row The Secrets of Bats Fall 2000 1996 Martín Espada Rednecks Spring 1995 Reginald Shepherd Skin Trade Spring 1995 2000 Geoffrey Becker Black Elvis Winter 1999-00 Michael Byers The Beautiful Days Fall 1999 1995 Rafael Campo The Battle Hymn of the Republic Spring 1994 1999 A.
    [Show full text]
  • Celebrating the Best American Poetry 2018 at Villanova[3]
    Celebrating the Best American Poetry 2018 at Villanova February 6, 2019 5:00 Connelly Center Cinema 6:15 (St. David’s Room) Reception and Book Signing Villanova University is honored to host the regional launch of the thirtieth anniversary edition of The Best American Poetry, guest edited by Dana Gioia, David Lehman, general editor. For three decades, the Best American Poetry has served as an annual occasion to recognize new work by American authors; inclusion is one of the great honors established and emerging poets may receive. The anthology was officially launched at New York University, in September 2018, but Villanova now brings together six of the anthology’s authors, along with David Lehman, for an evening of reading, discussion, and fellowship on our campus. David Lehman will chair the event, which will feature short readings from six poets: Maryann Corbett, Ernest Hilbert, Mary Jo Salter, Adrienne Su, Ryan Wilson, and Villanova’s own James Matthew Wilson. The public is warmly invited to this special evening to celebrate the achievement of contemporary letters and to join us for food and conversation afterwards. This event is sponsored by the Honors Program, the Villanova Center for Liberal Education, the Department of English, and the Department of Humanities. For more information, contact James Matthew Wilson, at [email protected] About the poets Maryann Corbett was born in Washington, DC, and grew up in northern Virginia. She earned a BA from the College of William and Mary and an MA and PhD from the University of Minnesota. She has published three books of poetry: Breath Control (2012); Credo for the Checkout Line in Winter (2013), which was a finalist for the Able Muse Book Prize; and Mid Evil (2014), the winner of the Richard Wilbur Award.
    [Show full text]
  • Dark Humor and Masculinity Reconstruction in Carver's Stories
    ISSN 1712-8056[Print] Canadian Social Science ISSN 1923-6697[Online] Vol. 15, No. 12, 2019, pp. 1-9 www.cscanada.net DOI:10.3968/11461 www.cscanada.org Dark Humor and Masculinity Reconstruction in Carver’s Stories ZHOU Jingqiong[a],* [a]The Faculty of English Culture and Language, Guangdong University of Foreign Studies, China. INTRODUCTION: CARVER AND HUMOR *Corresponding author. Raymond Carver, dubbed “The American Chekhov” at Received 25 July 2019; accepted 10 November 2019 the time of his premature death in 1988 at the age of fifty, Published online 26 November 2019 is considered “the most important American short story writer of the twentieth century after Ernest Hemingway” Abstract (Miltner, 2014, p.1). It is common knowledge that the study of Carver has Although Carver has enjoyed increasing popularity both a tremendous following in domestic literary criticism, at home and abroad, humor and masculinity construction reaching its apex with the publication of Carver’s in his short stories seem both disproportionately ignored. Collected Stories by the Library of America in the U.S. This paper first focuses on the humor in four of Carver’s The international scholarship has also grown in the past short stories and then discusses the relationship between humor and masculinity construction. Two theories are decade or so: employed to back up my argument: The incongruity The founding of the International Raymond Carver Society by theory of humor and Judith Butler’s re-conception of Sandra Lee Kleppe and Robert Miltner in 2005, and its related gender as performatively constructed and masculinity as journal, the Raymond Carver Review, in 2006, established tenuous and fragile.
    [Show full text]
  • Reading Raymond Carver: a Recovery Narrative
    Liminalities: A Journal of Performance Studies Vol. 16, No. 4 (2020) Reading Raymond Carver: A Recovery Narrative Patricia English-Schneider This essay chronicles the author’s experience with alcoholism. Using an autoethnographic approach, the author describes what it was like as a drinking person and how her life changed after choosing to go sober and enter recovery. This reflection notes the difference between the performance of self during active addiction and the clarity discovered about identity in sobriety. Dealing with loss and relearning how to engage life in healthy ways are central to this author’s performance of a sober identity. Social performance considers how identity is constituted through the roles we en- gage in throughout our lives. Corey (1996) describes identity as a social construct “that is produced, refined and re-produced through performance” (pg. 148). The performances we produce and re-produce in everyday life are influenced by the cultural beliefs, values and attitudes of the cultural members who audience our actions. Butler (2004) describes how the performance of identity is inextricably tied to the relationships we develop and when we lose someone or something im- portant to us, we question who we are. Whether we lose a person, a community, or a lifestyle, our identity is altered in some way. The social performance of iden- tity is fluid and we can be hopeful knowing that we have agency to adapt to changes in our environment. This process of adaptation helps to create a new and dynamic identity. This essay is an autoethnographic account of my experience with alcoholism.
    [Show full text]
  • The Anorexic Aesthetic: an Analysis of the Poetics of Glück, Dickinson
    The Anorexic Aesthetic: An Analysis of the Poetics of Glück, Dickinson, and Bidart Alexandra Haley Rigl Submitted to the Department of English, Vanderbilt University, in partial fulfillment of the requirements for Honors in the Major, April 11, 2014 Table of Contents Introduction.....................................................................................1 I. Louise Glück.....................................................................................................5 II. Emily Dickinson: The Ascetic Aesthetic as a Historical Analog of the Anorexic Aesthetic..........................................................................................................28 III. Frank Bidart: Enacting Anorexia in Persona ..................................................53 Conclusion.......................................................................................................69 Selected Bibliography.....................................................................................71 1 The Anorexic Aesthetic in Poetry “And so the poet may come to have a ‘vested interest’ in his handicaps; these handicaps may become an integral part of his method; and in so far as his style grows out of a disease, his loyalty to it may reinforce the disease.” Kenneth Burke Discussing the correlation between the mind and body, scholar Kenneth Burke identifies a peculiar yet profound imitation of life in art, specifically drawing a connection between artist and disease in such a way that suggests a nosological classification of a writer’s form
    [Show full text]
  • 1 Creative Expression in Writing (EGL 32 W)
    Creative Expression in Writing (EGL 32 W) - Preliminary Syllabus Instructor: Brittany Perham Term: Fall 2015 Required Materials 1. Great American Prose Poems: From Poe to the Present, edited by David Lehman ISBN-13: 978-0743243506 Available at Powell’s Books here: GAPP Available at Amazon.com here: GAPP 2. Short Takes: Brief Encounters with Contemporary Nonfiction, edited by Judith Kitchen ISBN-13: 978-0393326000 Available at Powell’s Books here: Short Takes Available at Amazon.com here: Short Takes 3. Sudden Fiction: American Short-Short Stories, edited by Robert Shepard & James Thomas ISBN-13: 978-0879052652 Available at Powell’s Books here: Sudden Fiction Available at Amazon.com here: Sudden Fiction 4. Online reading (posted online in the form of links) 5. Handouts (posted online in the form of .pdf files) The Online Community The fabulous thing about the Online Writers’ Studio is that it brings together like-minded people from all over the world. Together we will form a community of writers who will challenge and support each other. This is your class. Grading Most students enroll in this course under the non-graded (NGR) or the Credit/No Credit (i.e. pass/fail) options. If you would prefer to be graded, or if you must receive a letter grade to meet the requirements of your academic program, participation will serve as the basis of your grade. In order to receive an A, you must turn in all three pieces of writing for workshop, fulfill your responsibilities as workshop member, and participate thoughtfully in class discussion. If you complete less than 60% of the course work on time, you will receive an F.
    [Show full text]
  • Regent College
    RART_8.4_F3_458-478 5/20/05 6:58 AM Page 458 RAYMOND CARVER AND ALCOHOLICS ANONYMOUS: THE NARRATIVE UNDER THE “SURFACE OF THINGS” CHAD WRIGLESWORTH Regent College hen Raymond Carver met Richard Ford in 1978, Carver had W already crossed over into what he spoke of as the second of “two lives.” June 2, 1977 marked Carver’s “line of demarcation,” the day he entered into a new life without alcohol (Gentry and Stull 89). In these days of instability, Ford remembers that Carver “had inched his way out of shadows and into light, and he was as thankful, and as deter- mined to stay in the light—my light, your light, the world’s light—as any convert to a feasible religion” (73). Ford’s memory suggests that Carver was a convert, a changed man on a pilgrimage to recovery. However, while critics may recognize that “something” happened to Raymond Carver’s fiction, few are willing to associate Carver’s literary transformation with a spiritual conversion. This interpretive reluctance causes Carver’s vision of transcendence to be handled with suspicion, as spiritual imagery and confessional language is typically dismissed as an alcoholic’s restored hope in humanity rather than a possible encounter with “the other.”1 In contrast to the postmodern way of suspicion, Dennis Taylor advocates for an authentic engagement with spirituality in liter- ature. Taylor goes as far as suggesting that some texts in the western canon actually demand a religious interpretation; when this possibility is squelched, “what is left over is a nagging spiritual question” (125).
    [Show full text]
  • 3-Car Crash Sends 6 to Hospital Munity in Becoming a Safer and a Better Place to Live
    1A WEDNESDAY, OCTOBER 17, 2012 | YOUR COMMUNITY NEWSPAPER SINCE 1874 | 75¢ Lake City Reporter LAKECITYREPORTER.COM Catalyst site has A raucous Round 2 a new name Now known as North Florida Intermodal Park. By TONY BRITT [email protected] Plum Creek representatives host- ed a stakeholder meeting Tuesday morning and unveiled a new logo and name for the RACEC/Catalyst site. The new name: The North Florida Intermodal Park. Plum Creek representatives gave out free shirts are part of the cam- paign to spread the word about the new title. “The project now has an iden- tity,” said Allison Megrath, a Plum Creek real estate manager. “Up until this point the project had either been referred to as the Plum Creek property, Inland Port, the Catalyst site and its had a num- ber of different names. Collectively we want to give the project one name and an identity where when people see the logo they know we’re taking about the 2,622-acre industrial project on the southside of U.S. Highway 90 on the eastside of town.” The stakeholder meeting took place at the Florida Gateway College Wilson S. Rivers Library and Media Center . The meeting was the quarterly stakeholder meet- ing for the North Central Florida ASSOCIATED PRESS Rural Area of Critical Economic President Barack Obama greets Republican presidential nominee Mitt Romney at the start of the second presidential debate at Hofstra University Tuesday in Hempstead, N.Y INTERMODAL continued on 5A Sharp exchanges mark 2nd debate Citizens energy and emotion just three nationally and in some battle- production.
    [Show full text]
  • CLAUDIA RANKINE Curriculum Vitae Home Address And
    CLAUDIA RANKINE Curriculum vitae Home address and telephone: Office address and telephone: 55 West 25th Street, 35C Yale University New York, NY 10010 Dept. of African American Studies cell: 909. 971.7046 81 Wall Street voice: 909.625.3434 New Haven, CT 06511 fax: 909.625.3434 (must notify) voice: 203.432.1177 email: [email protected] fax: 203.432.2102 EDUCATION 1993 M.F.A. in Poetry, Columbia University 1986 B.A. in Literature, Williams College ACADEMIC EMPLOYMENT September 2016 - Iseman Professor of Poetry, Yale University. July 2015 - June 2016 Aerol Arnold Professor of English, USC Dornsife July 2006 - July 2016 Henry G. Lee Professor, English Department, Pomona College. August 2004 - June 2006 Associate Professor, Creative Writing, University of Houston. August 2003 - June 2004 Associate Professor, English Department, University of Georgia. July 1996 - June 2003 Assistant Professor, English Department, Barnard College. January 1994 - June 1996 Assistant Professor, Case Western Reserve University. Other teaching: December 2006 Guest Faculty, Queens College MFA Program for Writers. August 2002 - June 2003 Visiting Faculty, Iowa Writers’ Workshop, University of Iowa. July 1996 - June 1999 Guest Faculty, Warren Wilson College MFA Program for Writers. January 1994 - July 1994 Lecturer, Women in Literature, Cleveland State University. Primary teaching field: Creative writing; poetry. Recent undergraduate courses: Introduction to creative writing workshop; advanced poetry writing workshop; African-American novel; African-American poetry.
    [Show full text]
  • TE Grade 3.Indd 2
    TE Grade 3.indd 2 G3 pp 007 10/12/06 8:16 PM Page 1 Name If a word has only one vowel, and it comes between two consonants, tack the vowel is usually short. Write a to complete each word with a short a sound. Write e to complete each word with a short e sound. tent 1 2 3 fl a g she ll d esk 2 4 5 6 ha nd b e nch pl a nt 7 8 9 © Harcourt f e nce tr acks p a nts 10 11 12 Student Edition we ll n eck b e lt Phonics Practice Book Short Vowels: /a/ a, /e/ e 7 p. 7 11/8/06 4:07:47 PM © Harcourt TE Grade 3.indd 3 © Harcourt G3 pp 008 10/12/06 8:17 PM Page 1 G3 pp 009 10/12/06 8:17 PM Page 1 Name Name Write the word that answers each clue. You will not use all of the words. fast stand flag frog bell mitt sock drum fish still tick ring stem If a word has only one vowel, and it comes between two socks puppy hunt jump lock consonants, the vowel is usually short. Write i to complete each word with a short i sound. Write o to complete each word with a short o sound. Write u to complete each word 1. You hold this part of a flower.__________________stem with a short u sound. 2. This tells how some people run.__________________fast 1 2 3 3.
    [Show full text]