Creative Writing Majors Rise

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RISE AT OBERLIN RESEARCH. INTERNSHIPS. STUDY AWAY. EXPERIENTIAL LEARNING. WAYS CREATIVE WRITING MAJORS RISE RESEARCH: Black Ekphrasis Anthology: African-American Poems on the Visual Arts • The OuLiPo: Research on the Movement, and Development of Constraint-Based Assignments • Contextualizing Jewelle Gomez’s The Gilda Stories within a Black (Queer) Literary and Cultural Tradition • Poetry by Langston: Lessons Taught and Learned through Writers-in-the-Schools (WITS) • The Vagrant: Where the Soviet Love of Bollywood Began • Imagine Trees Like These: A Virtual Reality Narrative concerning Forests, Futurity, and Ephemerality INTERNSHIPS: The PEN/Faulkner Foundation, Washington, DC: literary events intern • Fine Arts Work Center, Provincetown, MA: development intern • Pronto Comics, New York City: editing scripts and blog posts • Maya Universe Academy, Udhin Dhunga, Nepal: providing quality education to children in Nepal • The Moth, New York City: assist with production and post-production • Elizabeth Kaplan Literary Agency: manuscript reader • International Studio & Curatorial Program, Brooklyn, NY: communications & development intern • Tin House Books, Portland, OR: marketing & publicity intern • Queer Eye, Los Angeles, CA; production intern STUDY AWAY: Prague Film School, Czech Republic • International Perspectives on Sexuality and Gender, Netherlands • Danenberg Oberlin-in-London Program, England • Tel Aviv University School for Overseas Students, Israel • Associated Kyoto Program Doshisha University, JapanNational University of Ireland, Galway • School for International Training (SIT), Ulaanbaatar, Mongolia EXPERIENTIAL LEARNING: • WITS Writing in the Schools, partnership with Langston Middle School in Oberlin FIRST DESTINATIONS OF RECENT CREATIVE WRITING MAJORS: • Positions: editorial assistant, ABRAMS Books; literary assistant, The Clegg Literary Agency; Fulbright Fellows in Taiwan and Malaysia; Shansi Fellows to teach English in China and Indonesia; marketing associate, eSpark Learning, Ill.; tutor & teaching assistant, AmeriCorps.; teacher, Teach for America, Los Angeles; paralegal, Law Offices of Virginia Prihoda, Ill.; arts educator, 826 Valencia, San Francisco; high school English teacher, South Korea; editing specialist, Apolish, Washington D.C.; post-production assistant, Ice Lens Pictures, Ohio; research analyst for Carnegie India; Pardes Institute Scholar, Israel; writer’s room director, 826 Boston; assistant engineer, Nightsound Studios, N.C. • Graduate Schools: MA in poetry, Queen’s University, Ireland; MA in writing, Johns Hopkins University; Master of Library and Information Sciences, University of Wisconsin; Master’s of Divinity, University of Chicago; MFA, Writer’s Workshop, University of Iowa; MFA, University of Alabama; MFA, George Mason University; MFA, Brown University; MFA, Columbia University; MA in education, Boston University; Master’s in Education, Teachers College of Columbia University; MD, University of Massachusetts Medical School; MD, Oregon Health & Science University School of Medicine; JD, University of California, Davis, Law School; JD, University of Chicago Law School; JD, Columbia Law School Creative Writing Program, DeSales Harrison, chair Yellow House, 153 W. Lorain St., Oberlin, OH 44074 W: www.oberlin.edu/creative-writing E: [email protected] P: 440-775-6567.

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Repeat After Me: We Are Different. We Are the Same
REPEAT AFTER ME: WE ARE DIFFERENT. WE ARE THE SAME. JEVELLE GoMEz* "It is as if people cannot feel they exist except by affirming, with a shudder, that they are different from something that they are against." 1 The substance of my talk is expressed in its title. As I prepared my notes I realized I was having difficulty because everything I wanted to say has been articulated in such a variety of ways in our history. Long before the Rainbow Coalition took shape during the last presidential election, it was evident that diversity is a strength we need to explore rather than deny. The groups that have poured themselves into the foundation of American society had different views of what that society can and should be. This abundance of perspectives ought to help us formulate solutions to society's problems; instead, it causes destructive frictions. That we are always struggling with stereotypes is not a new idea. Nor is the concept unfamiliar that these sometimes subtle and un- dramatic battles are the substance of true social change. An additional problem with this presentation is that it is delivered to a group that is already, for the most part, converted. Those of you who came to hear what I have to say are probably already thinking about these issues. Those who most need to hear my remarks are probably not here. They are not interested in the varied experiences of lesbians and gay men. They are not concerned with the issues of race and class - how they make us different, how they make us the same.
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Black Women's Sexual Agency in ‘Neo’ Cultural Productions
Looking Forward to the Past: Black Women's Sexual Agency in ‘Neo’ Cultural Productions Sydney Fonteyn Lewis A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Katherine Cummings, Chair Chandan Reddy Habiba Ibrahim Program Authorized to Offer Degree: Department of English University of Washington Abstract Looking Forward to the Past: Black Women's Sexual Agency in ‘Neo’ Cultural Productions Sydney Fonteyn Lewis Chair of the Supervisory Committee: Associate Professor, Katherine Cummings Department of English This dissertation combines critical black feminisms, cultural studies, performance studies, and queer theory with readings of African-American cultural productions in order to consider how black women can and have reconfigured their non-heteronormative sexualities outside of the language given to us by white-dominated GLBT scholarship. The emphasis on “neo” cultural productions, that is projects that look toward the past to re-imagine a new future, speaks to Laura Alexandra Harris’s assertion that a queer black feminist methodology necessitates reclamation of one’s history and an affirmation of desire as a form of resistance to shame. This dissertation reads black female bodies as subversive. In embracing their bodies as pleasurable, these unruly women resist racist and heterosexist hegemonic discourses which silence or pathologize black female sexuality and negate black women’s agency. Chapter One looks toward Barbara Smith’s 1977 publication, “Toward a Black Feminist Criticism,” as an inaugural point for thinking about black female sexuality outside of normative and pathologizing paradigms. It argues for a reading of Sula as a queer black femme novel, and from there develops a (neo) theory of black femme-inism which is indebted to and departs from Smith.
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Allison-Vazquez
Voices of Feminism Oral History Project Sophia Smith Collection, Smith College Northampton, MA DOROTHY ALLISON and CARMEN VÁZQUEZ Interviewed by KELLY ANDERSON November 19, 2007 Guerneville, CA This interview was made possible with generous support from the Ford Foundation. © Dorothy Allison and Carmen Vázquez 2008 Voices of Feminism Oral History Project Sophia Smith Collection, Smith College Narrators Dorothy Allison (b. 1949) grew up in Greenville, South Carolina, the first child of a fifteen- year-old unwed mother who worked as a waitress. Now living in Northern California with her partner Alix and her teenage son, Wolf Michael, she describes herself as a feminist, a working class story teller, a Southern expatriate, a sometime poet and a happily born-again Californian. Awarded the 2007 Robert Penn Warren Award for Fiction, Allison is a member of the Fellowship of Southern Writers. The first member of her family to graduate from high school, Allison attended Florida Presbyterian College on a National Merit Scholarship and in 1979 studied anthropology at the New School for Social Research. An award winning editor for Quest, Conditions, and Outlook—early feminist and lesbian & gay journals, Allison's chapbook of poetry, The Women Who Hate Me, was published with Long Haul Press in 1983. Her short story collection, Trash (1988) was published by Firebrand Books. Trash won two Lambda Literary Awards and the American Library Association Prize for Lesbian and Gay Writing. Allison says that the early feminist movement changed her life. "It was like opening your eyes under water. It hurt, but suddenly everything that had been dark and mysterious became visible and open to change." However, she admits, she would never have begun to publish her stories "if she hadn't gotten over her prejudices, and started talking to her mother and sisters again." Allison received mainstream recognition with her novel Bastard Out of Carolina, (1992) a finalist for the 1992 National Book Award.
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Or Toward a Black Femme-Inist Criticism
Trans-Scripts 2 (2012) “Everything I know about being femme I learned from Sula” or Toward a Black Femme-inist Criticism Sydney Fonteyn Lewis* I came to Femme as defiance through a big booty that declined to be tucked under, bountiful breasts that refused to hide, insolent hair that can kink, and curl, and bead up, and lay straight all in one day, through my golden skin, against her caramel skin, against her chocolate skin, against her creamy skin. Through rainbows of sweaters, dresses, and shoes. Through my insubordinate body, defying subordination, incapable of assimilation, and tired, so tired of degradation. Through flesh and curves, and chafed thighs which learned from my grandma how Johnson’s Baby Powder can cure the chub rub. Through Toni Morrison, and Nella Larsen, and Audre Lorde, and Jewelle Gomez who, perhaps unwittingly, captured volumes of black femme lessons in their words. Through Billie Holiday who wore white gardenias while battling her inner darkness. Through my gay boyfriend who hummed show tunes and knew all the lyrics to “Baby Got Back,” which he sang to me with genuine admiration. Through shedding shame instead of shedding pounds, and learning that growing comfortable in my skin means finding comfort in her brownness. -Sydney Lewis, “I came to Femme through Fat and Black” My paper opens with an excerpt of a piece that I submitted to a fat positive anthology. In my piece, I articulate the genesis of my queer black femme- ininity through my identities as a black and fat body. My femme development is shaped by the intersections of those identities as much as those identities shape my expression of femme.
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GIRLS a Black Feminist Anthology
A Black Fen1inist Anthology BLANK PAGE HOME GIRLS A Black Feminist Anthology Edited by Barbara Smith Rutgers University Press New Brunswick, New Jersey, and London First published in 1983 by Kitchen Table: Women of Color Press Reprinted in 2000 by Rutgers University Press, New Brunswick, New Jersey Copyright © 1983, 2000 by Barbara Smith Photographs in "A Home Girls Album" were selected from among those submit ted by contributors on the basis of clarity for reproduction. Photo format de signed by Susan Yung. Library of Congress Cataloging-in-Publication Data Home girls : a Black feminist anthology I edited by Barbara Smith. p. cm. Originally published: New York: Kitchen Table-Women of Color Press, cl983. With new preface. Includes bibliographical references. ISBN 0-8135-2753-8 (alk. paper) 1. Afro-American women. 2. Afro-American women-Literary collections. 3. Feminism-United States. I. Smith, Barbara, 1946- E185.86.H7 2000 305.48'896073-dc21 99-052910 British Library Cataloguing-in-Publication Data is available. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage and retrieval system, without written permission from the publisher. Please contact Rutgers Univer sity Press, 100 Joyce Kilmer Avenue, Piscataway, New Jersey 08854. The only exception to this prohibition is "fair use" as defined by U.S. copyright law. Manufactured in the United States of America BARBARA SMITH: "Preface to the Rutgers University Press Edition," copy right © 2000 by Barbara Smith. BARBARA SMITH: "Introduction," copyright O 1983 by Barbara Smith.
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Activism in Unsympathetic Environments: Queer Black Authors' Responses to Local Histories of Oppression
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2019 Activism in Unsympathetic Environments: Queer Black Authors’ Responses to Local Histories of Oppression Jewel Lashelle Williams University of Tennessee, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Recommended Citation Williams, Jewel Lashelle, "Activism in Unsympathetic Environments: Queer Black Authors’ Responses to Local Histories of Oppression. " PhD diss., University of Tennessee, 2019. https://trace.tennessee.edu/utk_graddiss/5455 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Jewel Lashelle Williams entitled "Activism in Unsympathetic Environments: Queer Black Authors’ Responses to Local Histories of Oppression." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Gerard Cohen-Vrignaud, Major Professor We have read this dissertation and recommend its acceptance: Michelle Commander, Gichingiri Ndigirigi, Patrick Grzanka Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Activism in Unsympathetic Environments: Queer Black Authors’ Responses to Local Histories of Oppression A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Jewel Lashelle Williams May 2019 Copyright © 2018 by Jewel L.
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Lesbianism As Portrayed in Jewelle Gomez's Short Story “Don't Explain”
LESBIANISM AS PORTRAYED IN JEWELLE GOMEZ’S SHORT STORY “DON’T EXPLAIN” TITLE A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining the Bachelor Degree in English Literature By: SEKAR YOLANDA AZZA 12150005 ENGLISH DEPARTMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY OF SUNAN KALIJAGA YOGYAKARTA 2016 LESBIANISM AS PORTRAYED IN JEWELLE GOMEZ’S SHORT STORY “DON’T EXPLAIN” By: Sekar Yolanda Azza ABSTRACT The work under this discussion is a short story entitled “Don‟t Explain” by Jewelle Gomez. It tells about lesbian love life in 1959, Boston, America. The lesbian character is struggling to survive in heterosexual norms. Lesbian issues become a sensitive and controversial issue since a long time ago. The writer chooses lesbian issue because this is a kind of human discrimination. The writer uses library research with descriptive qualitative method to finish this research. The theory that is applied in this research is queer theory and post-structuralism as paradigm. The writer focuses on lesbian characters‟ dialogues and narrations from the narrator as the primary data. This research aims to reveal the portrayals of lesbian characters in Jewelle Gomez‟s short story and why the portrayals are in such a way. As a result of the analysis the writer found the portrayals lesbianism can be seen from Letty, Delia, and Terry. They hide their love feeling and their love relationship. There are no portrayals about sexual activities between lesbian because their process to fall in love and forget their broken heart is same as other humans. This is not provocative short story.
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Jewelle Gomez
Inte rnational Gay and Lesbian Human Rights Commission 80 Maiden Lane, Suite 1505, New York, NY 10038 Website: www.iglhrc.org A CELEBRATION OF COURAGE 2007 Master of Ceremonies – San Francisco JEWELLE GOMEZ www.jewellegomez.com Jewelle Gomez is a writer and activist and the author of the double Lambda Award-winning novel, The Gilda Stories as well as Don't Explain, Oral Tradition and Forty Three Septembers. Her fiction, essays, criticism and poetry have appeared in numerous periodicals, including The San Francisco Chronicle, The New York Times, The Village Voice, The Advocate, Ms Magazine, ESSENCE Magazine and Black Scholar. She is the recipient of a National Endowment for the Arts literature fellowship and two California Arts Council fellowships. She is currently on the national advisory boards of the National Center for Lesbian Rights, Poets & Writers, Inc., and the Human Sexuality Archives of Cornell University. She has presented lectures and taught at numerous institutions of higher learning including San Francisco State University, Hunter College, Rutgers University, New College of California, Grinnell College, San Diego City College, The Ohio State University and the University of Washington (Seattle). She is the former director of the Literature Program and the New York State Council on the Arts and most recently served for three years as executive director of the Poetry Center and American Poetry Archives at San Francisco State University. An early member of the board of the Astraea Foundation, she is currently on the funding board of the Open Meadows Foundation. Her new projects include a comic novel about black activists of the 1960s as they face middle age.
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Queering the Soul: Homoerotic Spiritualities in African American Literature
QUEERING THE SOUL: HOMOEROTIC SPIRITUALITIES IN AFRICAN AMERICAN LITERATURE By MARLON RACHQUEL MOORE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2009 1 © 2009 Marlon Rachquel Moore 2 This project is dedicated to all the dykes, faggots, sissies, punks, bois, bulldaggers, unwifeable women, bitches, butches, hoes, infidels, heretics, witches, heathens, conjurers, healers and any indecent, uncouth folk who know they got soul. 3 ACKNOWLEDGMENTS I thank my advisors, including those who guided me in unofficial capacities: LaMonda Horton-Stallings, Kim Emery, Tace Hedrick, Kevin Quashie, Stephanie Evans, Charles Nero and Mark Reid. I also thank Jean and Robin Gibson for their generous endowment through the Florida Foundation. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................6 CHAPTER 1 THE WHY & WHAT OF QUEERING SOUL........................................................................7 Why...........................................................................................................................................7 What........................................................................................................................................20
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The Queer Fear: the Threat of the Lesbian Vampire in Sheridan Le Fanu’S Carmilla, Whitley Strieber’S the Hunger and Jewelle Gomez’S the Gilda Stories”
DIPLOMARBEIT “The Queer Fear: The Threat of the Lesbian Vampire in Sheridan Le Fanu’s Carmilla, Whitley Strieber’s The Hunger and Jewelle Gomez’s The Gilda Stories” Verfasserin: Cäcilia Glachs angestrebter akademischer Grad: Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin: Ao. Univ.-Prof. Mag. Dr. Eva Müller-Zettelmann ACKNOWLEDGEMENTS It is a pleasure to thank those who made this thesis possible. First, I would like to express my gratitude to my supervisor Ao. Univ.-Prof. Mag. Dr. Eva Müller-Zettelmann for her guidance, support and encouragement from the initial to the final stage. I am also indebted to my many colleagues for interesting and useful discussions on the topic which provided for a further development of the thesis. I am especially grateful to Alice Bogner for her invaluable assistance and advice, as well as for providing distraction when needed. Many thanks to Sandra Ulrich and Dieter Huber for proofreading my thesis and for their input. I owe my deepest gratitude to my family for their understanding and patience. Finally, I thank my partner Paul Mitteröcker for being the best friend one could wish for and for standing by me for better or worse. TABLE OF CONTENTS 1. INTRODUCTION ........................................................................................ 1 2. (HOMO-) SEXUALITY – AN OVERVIEW ................................................... 4 2.1. A HISTORY OF (HOMO-) SEXUALITY – PART I ............................................ 4 2.2. FEMALE FRIENDSHIP AND SEXUALITY IN THE NINETEENTH CENTURY ........... 7 2.3. A HISTORY OF (HOMO-) SEXUALITY – PART II ........................................... 9 2.4. THE FORMATION OF HOMOPHILE MOVEMENTS ........................................ 10 2.5. THE RISE OF LESBIAN FEMINISM ...........................................................
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Women of Color in Speculative Fiction: an Annotated Bibliography of Authors Rebecca M
Western Washington University Western CEDAR A Collection of Open Access Books and Books and Monographs Monographs 10-2016 Women of Color in Speculative Fiction: An Annotated Bibliography of Authors Rebecca M. Marrall Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/cedarbooks Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, Library and Information Science Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Marrall, Rebecca M., "Women of Color in Speculative Fiction: An Annotated Bibliography of Authors" (2016). A Collection of Open Access Books and Monographs. 8. https://cedar.wwu.edu/cedarbooks/8 This Book is brought to you for free and open access by the Books and Monographs at Western CEDAR. It has been accepted for inclusion in A Collection of Open Access Books and Monographs by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Women of Color in Speculative Fiction An Annotated Bibliography of Authors Rebecca M. Marrall Author: Marrall, R. M. Annotated Bibliography Last Updated: Sept. 22, 2016 Women of Color in Speculative Fiction An Annotated Bibliography of Authors Table of Contents Authors, Themes, and Works ................................................................................................. 3 Renee Ahdieh ....................................................................................................................................
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LGBT History: Syllabus 21:512:204 Section 02 (17114) Section 03 (17115)
Fall 2020: On-line (blackboard.rutgers.edu) LGBT History: Syllabus 21:512:204 Section 02 (17114) Section 03 (17115) Table of contents Course overview, required readings, and learning goals 2 Accommodations for students with disabilities, Title IX, and student support 5 Academic Integrity and plagiarism 8 Classroom policies 9 Coursework and grade breakdown 11 Calendar of readings and coursework 13 1 Fall 2020: On-line (blackboard.rutgers.edu) Instructor information Christopher (Chris) Mitchell [email protected] or [email protected] Office hours Monday/Wednesday: 3-5 p.m. and by appointment Required readings All readings posted to Blackboard. You have no materials to purchase for this class. Statement on the COVID-19 Pandemic These are unprecedented times. With a pandemic raging out of control and no end in sight, colleges and universities in the United States are now entering their second semester dealing with the effects of the virus. While some students and faculty may seem resistant to the worse effects of the virus, we are all potentially vulnerable. Many of us have been directly infected by the virus and may have new mental or physical struggles. Many more of us are grieving the loss of friends, family, and loved ones. The instructor and the format of the course have centered class members’ health and well- being, including emotional and spiritual well-being, as the highest priority. This means being flexible about the format of the class and making the best use of on-line tools to ensure that we can achieve the same learning goals as we would in an ordinary “face to face” classroom.
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