Out of Time, but Not out of Mind Student Publication Puts Literary Spin on All Things Defunct
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The Canadian Writer & the Iowa Experience
THE CANADIAN WRITER & THE IOWA EXPERIENCE Anthony Bukoski Τ PURPOSE OF THIS PAPER IS TWO-FOLD: to try to piece together from interviewlHsE and correspondence I have had with a number of Canadian authors — twenty-seven to be exact — a sort of general history, a chronological overview of their involvement in the Iowa Writers' Workshop, and to try to assess the significance of that involvement not only to the writers them- selves but to Canadian literature in general. I intend hedging a bit by including some writers who became Canadians only after leaving Iowa.1 Could so many writers have studied at the same institution in the United States without its having left some mark? What attitudes about teaching creative writing or the commitment to the writer's life and craft did they form? Given the method of Workshop investigation, the fragile egos of most young writers, and the fact that the Workshop is in another country, not all of them profited from the experi- ence of studying at Iowa. Speaking of her experiences there in the late 1950's, for instance, Carol Johnson, who teaches at the University of Victoria, noted, "Writ- ers on the whole seem notorious for their unhappiness. Legends of particularly unhappy types prevailed [though not necessarily Canadians]. Since writers are apparently predisposed to neurosis, it would be safe to assume that most of them would be unhappy anywhere."2 Those who were satisfied found the programme valuable, the atmosphere con- ducive to work — though perhaps neither so attractive nor congenial as the main character finds Iowa in W. -
NEW Utas Fall
THE MAGAZINE OF SAINT LOUIS UNIVERSITY SUMMER 2001 By Lawrence Biondi, SJ Saint Louis University President recent article by David Brooks in Atlantic Monthly called into question the character of col- Alege students today. Brooks blames go-getter parents and educational institutions for leaving today’s college-age generation on their own when it comes to character and virtue. “We fly our children around the world so that they can experience different cultures,” Brooks writes. “We spend huge amounts of money on safety equipment and sports coaching. We ser- monize about the evils of drunk driving. We expend enormous energy guiding and regulating their lives. But when it comes to character and virtue, the most mysterious area of all, suddenly the laissez-faire ethic rules: You’re on your own, Jack and Jill; go figure out what is true and just for yourselves.” I couldn’t disagree more. That’s certainly not our approach at Saint Louis University or at any of our sister Jesuit colleges and universities. At SLU we take great pride in the education that we provide our students. We take equal pride in helping them become responsible, caring members of society. Our mission — to edu- cate the whole person — clearly states that intellectual and character development go hand-in- hand. Our students, faculty and staff connect with the St. Louis community and the world community, exploring and enriching these “classrooms without walls.” Each day, through outreach programs and research efforts, the SLU family demonstrates how knowledge touches lives. Brooks says that we assume that if adults try to offer moral instruction, it will backfire because our children will reject our sermonizing (though they don’t seem to reject any other part of our guidance and instruction). -
Document Resume Ed 128 802 Cs 202 916 Tttle
DOCUMENT RESUME ED 128 802 CS 202 916 TTTLE Associated Writing Programs. 1975 Catalogue of Programs. INSTITUTION Associated Writing Programs. SPONS AGENCY National Endowment for the Arts, Washington, D.C. PUB DATE 75 NOTE 46p. EDRS PRICE MF-$0.83 HC-$2.06 Plus Postage. DESCRIPTORS Bachelors Degrees; Catalogs; *College Programs; *Creative Writing; Directories; *Graduate Study; Higher Education; Masters Degrees; Program Descriptions; *Undergraduate Study IDENTIFIERS *Associated Writing Programs ABSTRACT This catalogue provides full information on most graduate degree programs in writing in the United States,with additional information on a number of undergraduate programs. In addition, the various functions and services of the Associated Writing Programs (AWP) are described. Two short sections, "Creative Writing at an Urban Campus," and "The M.F.A. and the University," examine, respectively, the innovation of an undergraduate writing program at the Virginia Commonwealth University andthe origins and implications of the Master of Fine Arts degree. (KS) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERICmakes every effort * * to obtain the best copy available. Nevertheless,items of marginal * r :lucibility are often encountered and this affects the quality * c microfiche and hardcopy reproductions EPIC makes available * vicl the EPIC Document Reproduction Service (EDRS) .EDRS is not * responsible for the quality -
Curriculum Vitae Mark Isham
Curriculum Vitae Mark Isham Business Address: Department of English University of Iowa, Iowa City, Iowa 52242 Phone: 319-338-7369 E-mail: [email protected] EDUCATIONAL AND PROFESSIONAL HISTORY Higher Education Dissertation work with the late Merle Brown, after Brown’s death (1978), Sherman Paul on Ezra Pounds Cantos, The University of Iowa. Comprehensive Exams for Ph.D. in English, the University of Iowa, 1976. M.A. in English, Pass Plus, the University of Iowa, 1972. B.A. in English and History, Honors, the University of Illinois, 1971. Professional and Academic Positions THE UNIVERSITY OF IOWA (1987-present Adjunct Professor and Visiting Professor) FIRST YEAR SEMINAR: DRAWN INTO LEARNING: USE CARTOONS TO IMPROVE YOUR WRITING: 08N:029 (Fall 2010; Fall 2011; FALL 2012, Fall 2013) Students record, compose, and apply first college experiences as a series of stories and images, study the work of those who use journals that reflect on their life experiences, talk with some of these artists and writers who will come to class, write and draw in class workshops, compose in a journal, and create a course project: a sequence of cartoons and writing. WRITING FOR BUSINESS AND INDUSTRY: 8N:113 (1991-present); practical techniques and exercises for memo writing, letter writing, report writing, proposal writing, cover letter and resume writing. • I also teach the correspondence version of the course. ADVANCED WRITING FOR BUSINESS: TEAM WRITING AND DOCUMENT DESIGN: 8N:133 (1993-present); techniques for team writing in business and administrative settings: work with clients from the community, analysis of process, document design. • Featured in Continuing Connections newsletter for The Division of Continuing Education: “Writing Students meet the 'Real World'". -
Press Ephemera Collection Scope and Content Note
Special Collections 401 Ellis Library Columbia, MO 65201 (573) 882-0076 & Rare Books [email protected] University of Missouri Libraries http://library.missouri.edu/specialcollections/ Press Ephemera Collection Scope and Content Note The collection contains material on private and specialty presses, dating primarily from the 1980s to the present. Many items in the collection are prospectuses and offerings of new books by the presses. The items are often specially printed on unusual and handmade papers or with special printing techniques. The Press Ephemera Collection is intended as a supplement to published works held in MU Libraries. Examples can be found by searching MERLIN using the name of the press as the author. Conditions of Use Access Materials do not circulate but are available to all users in the Special Collections Reading Room during service hours or by appointment. Collection Details The collection is in alphabetical order by press. Unknown presses are listed first. Press unknown and miscellaneous • Keepsake card with quotation from Abraham Lincoln, January 1, 1951. Schlosser Paper Corporation. • Greeting card, “Greetings from the Home & the Heart of the Golds.Cote d’Or in the Adirondacks.” • Booklet, Responsibility: A Sermon, by Daniel Russell. 20 March 1938. • Keepsake, “Oh! If There Were No Printers” by E.M. Heist, for Printing Week, 15-21 January 1950. • Keepsake, “Psalm to a Taxpayer,” printed by the Congressional Record (?). • Booklet, Printing: Uninhibited. An exhibition of work done in: Barns, Cellars, Bedrooms, Attics, and Other Unlikely Places. Boston, New York, Los Angeles, and San Francisco, 1953. • Announcement, Printing as an Art: A History of the Society of Printers, Boston 1905-1955 by Ray Nash. -
NEW Utas Fall
THE MAGAZINE OF SAINT LOUIS UNIVERSITY SPRING/SUMMER 2003 SLUSLU && MidtownMidtown By Lawrence Biondi, S.J. Saint Louis University President t’s official: After extensive research and planning, Saint The need for a dedicated research facility has become a ILouis University is moving forward on plans for two excit- necessity as external funding for SLU research has expanded ing projects — an arena and a research building. You can read significantly and successfully during the past decade. The ini- more about the details elsewhere in this issue, but I wanted to tiative for a new research building at our Health Sciences share my perspective on these monumental undertakings and Center is part of an overall $80 million investment in new what they mean for SLU. and renovated research space that will represent the largest Let’s start with the arena. This project has generated much single building project since the University’s founding in discussion over the years, especially among our Billiken faith- 1818. (For more details, see page 2.) ful. Although SLU has been eager to put the pieces in place The new research building will provide state-of-the-art for a top-notch athletic facility for some time now, funding facilities for health sciences research that directly touches lives proved to be a major obstacle. We also maintained that a while providing additional services to the community. The new arena should serve much more than our Billiken men’s facility will allow for the consolidation of laboratories scat- basketball program. tered in different locations at the Health Yes, we envision a 13,000-seat basket- Sciences Center. -
MARCH 1966 the International Fraternity of Delta Sigma Pi
0 F D E L T A s G M A p Eastern New Mexico University, Portales, New Mexico PROFESSIONAL BUSINESS ADMINISTRATION FRATERNITY FOUNDED 1907 MARCH 1966 The International Fraternity of Delta Sigma Pi Professional Commerce and Businl'ss Administration Fraternity Delta Sigma Pi was founded at New York Univer sity, School of Commerce, Accounts and Finance, on November 7, 1907, by Alexander F. Makay, Alfred Moysello, Harold V. Jacobs and H. Albert Tienken. Delta Sigma Pi is a professional frater nity organized to foster the study of business in universities; to encourage scholarship, social ac tivity and the association of students for their mu tual advancement by research and practice; to pro mote closer affiliation between the commercial world and students of commerce, and to further a higher standard of commercial ethics and culture, and the civic and commercial welfare of the com munity. IN THE P RO FESSI O NAL SPO T LIGHT In the Professional Spotlight arc the mem bers of Zeta Mu Chapter at Arlington State College during a planning meeting for the proposed Dcltasig Park in Arlington, Texa . Attending the meeting are from left to right: Carl Tucker of the Arlington tate land c:1ping depnrh11ent; Curtis Mosley, president of Zeta 1u Chapter; Arlin~'ton Cit Park Director Melvi11 Shanks· Chapter dvisor Chnrle Yeager; Pledge Pre idcnt Jnme o s, and rlin ton layor Tom J. nnder riff. The park which is adjacent to the campu ha been gi en to tile Zeta Iu hapter by the City and College for de velopment a n civic project. -
Docurent Muir
DOCURENT MUIR BD 102 556 CS 201 840 TITLE Teaching Creative Writing. INSTITUTION Library of Congress, Washington, D.C. PUB DATE 74 NOTE 140p. EDRS PRICE RF-$0.76 BC-$6.97 PLUS POSTAGE DESCRIPTORS College Programs; *Composition (Literary); *Creative Writing; Fiction; Nonfiction; Poetry; Prose; *Teaching Techniques ABSTRACT This book contains an edited transcription of the proceedings of the Conference on Teaching Creative Writing held at the Library of Congress in January 1973. Directors of the four pioneer writing programs in the United States presented papers and led the panel discussions. Panel members were distinguishedgraduates of or participants in these writing programs. Thetopics and directors of the four panels are "A Perspective of Academic Programs in Creative Writing" by Elliott Coleman, "The Writing of Poetry"by Paul Engle, "The Writing of Fiction" by Wallace Stegner; and "Nonfiction Prose" by John Ciardi. A list of publications on literature, based on lectures presented at the Library of Congress, is included. (JN) VS DEPARTMENT OF HEALTH, EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION tHis DOCUMENT HAS BEEN REPRO oucroEXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN ATtNO IT POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTE OF EDUCATION POSITION OR POLICY .r. /..Lt Teaching Creative Writing Published for the Library of Congress by the Gertrude Clarke Whittall Poetry and Literature Fund Washington1974 2 Library of Congress Cataloging in Publication Data Conference on Teaching Creative Writing, Library of Congress, 1973. Teaching creative writing. Supt. of Docs. no.: LC1.2: C86. Includes bibliographical references. 1. AuthorshipCongresses. I. United States. -
T. Coraghessan Boyle
T. Coraghessan Boyle: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Boyle, T. Coraghessan, 1946- Title: T. Coraghessan Boyle Papers Dates: 1887-2012 (bulk 1970-2010) Extent: 109 document boxes (46 linear feet), 4 oversize boxes (osb), 5 oversize folders (osf), 3 computer disks Abstract: The papers of American novelist and short story writer T. Coraghessan Boyle include drafts, correspondence, research, publishing material, press material, and electronic files relating to his novels and short stories. Boyle's nonfiction essays and reviews are represented by correspondence, drafts, proofs, and tearsheets. Also present are materials relating to Boyle's readings and other public appearances, a proposed television series based upon Boyle's short stories, and Boyle's career as a professor at The University of Southern California. Call Number: Manuscript Collection MS-5266 Language: English, Danish, Dutch, French, German, Italian, Japanese, Portuguese, and Spanish Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. -
52 Literary Journalism Studies, Vol. 8, No. 1, Spring 2016
52 Literary Journalism Studies, Vol. 8, No. 1, Spring 2016 Above: Author Tracy Kidder. Photograph by Gabriel Amadeus Cooney. Right: Author John D’Agata. 53 Beyond the Program Era: Tracy Kidder, John D’Agata, and the Rise of Literary Journalism at the Iowa Writers’ Workshop David Dowling University of Iowa, United States Abstract: The Iowa Writers’ Workshop’s influence on literary journalism -ex tends beyond instructional method to its production of two writers who al- ternately sustained the traditions of the genre and boldly defied them: Tracy Kidder, who forged his career during the heyday of the New Journalism in the early 1970s, and John D’Agata, today’s most controversial author chal- lenging the boundaries of literary nonfiction. This essay examines the key works of Kidder and D’Agata as expressions of and reactions to Tom Wolfe’s exhortation for a new social realism and literary renaissance fusing novelis- tic narrative with journalistic reporting and writing. Whereas a great deal of attention has been paid to Iowa’s impact on the formation of the postwar literary canon in poetry and fiction, its profound influence on literary jour- nalism within the broader world of creative writing has received little no- tice. Through archival research, original interviews, and textual explication, I argue that Kidder’s narrative nonfiction reinforces Wolfe’s conception of social realism, as theorized in “Stalking the Billion-Footed Beast,” in sharp contrast to D’Agata’s self-reflexive experimentation, toward a more liber- ally defined category of creative writing. Norman Sims defended literary journalists’ immersion in “complex, difficult subjects” and narration “with a voice that allows complexity and contradiction,” countering critics who claimed their work “was not always accurate.” D’Agata has reopened the de- bate by exposing the narrative craft’s fraught and turbulent relation to fact. -
The Perverse Library
the perverse library The Perverse Library CRAIG DWORKIN the perverse library Craig Dworkin Published 2010 by information as material York, England information as material publishes work by artists and writers who use extant material — selecting it and re-framing it to generate new meanings — and who, in doing so, disrupt the existing order of things. www.informationasmaterial.com ISBN 978-1-907468-03-2 Cover image Étienne-Louis Boullée Deuxieme projet pour la Bibliothèque du Roi, 1785 Typography Groundwork, Skipton, England Printed in Great Britain by Henry Ling, The Dorset Press, Dorchester Contents Pinacographic Space . 9 The Perverse Library . 45 A Perverse Library . 53 Pinacographic Space The library is its own discourse. You listen in, don’t you? — Thomas Nakell, The Library of Thomas Rivka 9 ne night, a friend — a poet who had been one of the Ocentral fi gures in Language Poetry — noticed me admir- ing his collection of books, which lined his entire apartment, fl oor to ceiling. Political theory crowded the entryway; music and design pushed up against the dining room; in the living room he seemed to have a complete collection of publications from his fellow travelers: the most thorough document of post-war American avant-garde poetry imaginable. I noticed, one after another, books of which I had only heard mention but had never before seen. At the top of one shelf I thought I caught a glimpse of Robert Grenier’s infamous “chinese box”- bound set of cards, Sentences. I tried to express my admiration by saying something about the especially choice inclusions, mentioning a couple of particularly obscure volumes to let him know that it wasn’t just an off-hand compliment, or a statement about the sheer number of books, and that I had really read the shelves carefully and knew just how impres- sively replete the collection was. -
Interviewdetail
i Regional Oral History Office University of California The Bancroft Library Berkeley, California John Leggett Free Speech Movement Oral History Project Interviews conducted by Lisa Rubens in 2001 Copyright © 2014 by The Regents of the University of California ii Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. **************************************** All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and John Leggett dated January 24, 2004. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. Excerpts up to 1000 words from this interview may be quoted for publication without seeking permission as long as the use is non-commercial and properly cited.