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Books by our faculty
Places I Was Dreaming
"A lively collection that offers a fresh and varied look at the theme of poverty and benevolence in the work of 19th-century American women writers, uncovering texts that have, for the most part, received little critical attention in this context. Our Sisters' Keepers contributes significantly to our understanding of how American women redefined the concept of American identity through the genre of 'benevolence' or reform literature."--Leah Blatt Glasser, author of In a Closet Hidden: The Life and Work of Mary E. Wilkins Freeman
"In their well-conceived and fascinating new collection, Jill Bergman and Debra Bernardi break new ground in philanthropic and literary studies by putting together the first book-length examination of benevolence literature by American women." --Gregory Eiselein, Professor of English and Coffman University Distinguished Teaching Scholar at Kansas State University, in Legacy: A Journal of American Women Writers
This book-length narrative poem is astonishing: Graham's debut tells the story of Mose, a convicted murderer in a Texas prison, with all the insight and inexorable suspense of a Dostoevsky novel-while sculpted by the craft, form and language of poetry. Pages are titled by the number of days Mose has left in prison, with each "day" constituting a poem in itself. The unrhymed triplet form Graham uses is full of internal rhyme, assonance and alliteration, and develops a rhythm of pulse and necessity that belies ever mistaking it for prose. Within this poetic frame a tapestry of voices is woven to explain the crime and its legacy: a narrative voice acting as omniscient witness to Mose's circumstances; italicized lines which represent a letter Mose is writing-either literally or in his head-to his love, Gracie; while capitalized or in bold-face are the voices of various external authorities, from Christian hymns to a prison manual to newspaper clippings. These languages of Mose's inner and outer worlds grow confused when his own perceptions do, though Graham's skill as a poet-storyteller makes the overall effect lucid, even when Mose hallucinates a chorus of voices accompanying "angels two by deafening two."
The Tragedy of MacBeth
Academic edition based on Shakespeare's First Folio.
Kevin C Stewart
The Way Things Always Happen Here
In his debut short-fiction collection,THE WAY THINGS ALWAYS HAPPEN HERE, Kevin Stewart takes his readers to the scene of a heinous murder, to the home of an alcoholic single mother, to the 1960s election campaign of JFK through West Virginia, and off the side of the New River Gorge Bridge. In these eight stories set in fictional Oak County in southern West Virginia, and one novella set in the Arkansas Ozarks, Stewart gives us characters who all love and hate where they're from. In "One Mississippi," two teenage boys test their friendship and face their deepest fears. The eponymous "The Way Things Always Happen Here" is a wrenching tale of two teenage lovers coming of age in a place that can t hold both of them. "Debts" pits an artistic son who has chosen basket weaving as a profession against the wishes of his father, a miner and UMWA member. The startling "June Hay" picks up again the father/son conflict. The novella "Margot" has been described as a juxtaposed tale of romance and violence... worthy of James Dickey (New Delta Review). Tom Franklin, author of POACHERS and SMONK: A NOVEL, called Margot a "heartbreaking and contemporary western of epic proportions."
In her splendid debut, Sweet Husk, Corrie Williamson is multiple in her identities: anthropologist of imagination, archeologist of the heart, naturalist observing the world with acuity and praising it with a dense music (“thick barbs of pink thistle”). No wonder these poems, like “your luminous body will / combust automatically.” With a deft ear and a sharp eye, Williamson probes the mysteries of this world and they sing under her scrutiny. - Gregory Orr
In Sweet Husk, Corrie Williamson plumbs all manner of chthonic, bone-garden tomb/womb/rooms in search of “the places that mend us.” With the gypsy foot of a pilgrim and the palimpsestic, salvaging sensibility of an archaeologist, Williamson is especially attuned to secrets exchanged in our most liminal, littoral, ecotone zones. Ahusk is an emptied house, but to husk means to reveal something essential. These arresting poems show us the storied “worlds within worlds”; each sings beside the grave truths it illuminates. —Lisa Russ Spaar
The measure of Corrie Williamson’s Sweet Husk is an “abacus of bone,” the poet clearly concerned with “the earth’s dark draft” of what goes “early to ash.” But hers is not a narrow view, and the myriad points of view she employs—of archeologist, anthropologist, and poet—are informed by history, science, and poetry itself. Williamson’s is an amazing accomplishment, and I, among many I suspect, will long lean in to listen to the rare old soul that tells me: “I buy Ball jars. I root / cellar, I hoard, I shotgun. I’ll bury in the yard. ” —Claudia Emerson
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Association of Writers and Writing Programs (AWP)
AWP provides community, opportunities, ideas, news, and advocacy for writers and teachers of writing.
Poetry Daily is an anthology of contemporary poetry. Each day, they bring you a new poem from new books, magazines, and journals.
The Academy of American Poets is the largest membership-based nonprofit organization fostering an appreciation for contemporary poetry and supporting American poets.
Modern Language Association (MLA)
For over a hundred years the Modern Language Association and its members have worked to strengthen the study and teaching of language and literature.
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