"Literary Learning offers valuable resources for the literature instructor. It is easily manageable as a theoretical tool when developing a literature class, and it has a number of classroom-ready resources." —Teacher-Scholar
William O'Rourke, author of Confessions of a Guilty Freelancer, will moderate a panel on "Navigating the Other '60s: The Publishing World and the Post-Sixty Writer" at the 2014 AWP Conference & Bookfair in Seattle, WA. The panel takes place March 1 from 9:00 a.m. to 10:15 a.m. in Room 400 of the Washington State Convention Center, Level 4. Visit the AWP website for more information about how to register to attend the conference.
Congratulations to author Elissa Bemporad whose book Becoming Soviet Jews is the winner of a 2013 National Jewish Book Award! Bemporad's book won in the category of Writing Based on Archival Material and was also a finalist in the Modern Jewish Thought and Experience category.
Two other IUP books were also finalists for National Jewish Book Awards. Resurgent Antisemitismedited by Alvin H. Rosenfeld and Elie Wieseledited by Steven T. Katz and Alan Rosenwere finalists in the Anthologies and Collections category.
Daniel Hack's 2012
Victorian Studies essay won this year's prestigious Donald Gray Prize, awarded
by the North American Victorian Studies Association (NAVSA) to the best essay
of the year in the field of Victorian Studies.
In his "The Afro-Haitian 'Charge of the Light Brigade,'" Don Gray Prize winner Daniel Hack argues that more attention should be paid to "historical processes and acts of de- and reconstructuralization" through an analysis of Tennyson's poem that had been used in "debates of antislavery violence and the relationship between race and culture."
Victorian Studies essays
also previously won this in 2006 and 2008 and also won honorable mentions in
2003 (the prize's first year), 2004, 2006, and 2011. Victorian Studies journal editor, Andrew
Miller won the prize for an essay in Representations in 2007.
More information on the Gray Prize can be found here:
The tenth annual conference of the North American Victorian
Studies Association met in Madison, Wisconsin in September of 2012 to explore
the broad theme of “Victorian Networks.” Victorian Studies 55.2, Winter 2013 publishes
the work originally presented at the conference. Jules Law, Lara Kriegel, and
Linda H. Peterson selected a cluster of three compelling papers from the
conference. This issue publishes their selections, and their responses to those
NAVSA’s eleventh annual conference will be held in Pasadena,
California October 23-27, 2013, exploring the theme of “evidence.” For more
information on the organization and the annual conference, see its website: http://www.cla.purdue.edu/academic/engl/navsa/
I’m embarrassed to admit that when I moved back home again to Indiana in 2010, I didn’t even realize that I’d purchased a house across the street from a famous Hoosier writer.
I’m working to rectify that situation.
Best-selling author and Ladies’ Home Journal editor Emily Kimbrough grew up at 715 East Washington Street in Muncie, Indiana. This street provided the setting to her memoir of a happy childhood, How Dear to My Heart (published by IU Press). In the foreword, Kimbrough said she wrote the book in an attempt to “say aloud some of the things which the smell of burning leaves in the fall brings back to my mind every year."
Ever since I moved here, I’ve been thinking of ways my neighborhood can continue to capitalize on Kimbrough’s literary legacy.
In 1978, the tree-lined streets lovingly described in Kimbrough’s book were officially designated the “Emily Kimbrough Historic District,” and for 37 years, the neighborhood association has hosted the Old Washington Street Festival, a large, two-day event which offers home tours, food and craft vendors, and historical activities and re-enactments.
This year during the festival, I plan to sell copies of How Dear to My Heart outside the Kimbrough House to raise money for the neighborhood association and awareness in the local community about Kimbrough’s influence.
I want people to understand that it’s Kimbrough’s book that made the neighborhood well-known in the first place. The book is how we know so much about what daily life was like on this street a hundred years ago.
The festival takes place Saturday, September 14 (10 a.m. to 8 p.m.) and Sunday, September 15 (11 a.m. to 5 p.m.). There’s no charge for admission, but the historical home tour costs $10.
Visitors from outside Delaware County are always welcome at the festival. You can find out more about the Old Washington Street Festival at their website. We’d love to see you.
I didn’t know Emily Kimbrough, of course, but I think she’d be happy to know that so many people are working to ensure that the neighborhood she wrote about and that bears her name will always be a good street to grow up on.
This spring, we reissued Riley Farm-Rhymes by Hoosier poet and Greenfield native James Whitcomb Riley. First published in 1883, this book includes many of Riley's signature poems, including "Thoughts fer the Discuraged Farmer" and "When the Frost Is on the Punkin." Our publication faithfully reproduces the 1905 edition with fellow Greenfield native Will Vawter's folksy illustrations of farm scenes from the past.
To celebrate the the reissue of the book, the James Whitcomb Riley Boyhood Home and Museum in Greenfield is hosting “Ag Day” this Saturday, August 31, from 1 p.m. to 4 p.m. This event is free and open to the public and will feature several kid-related activities, including a petting zoo with farm animals, a watermelon seed spitting contest, a soil project, a planting activity, an herb activity, information about ag safety, and more. The first 100 kids will receive a free farmer’s hat.
The event will be held in the gardens behind the museum. Many farming, gardening, and agricultural related groups and organizations will be in attendance, including the Eastern Hancock FFA, the Hancock County Herb Society, the Master Gardeners, Harvest Land Co-op, and others. There will also be an antique tractor on display and demonstrations of old-fashioned farming techniques. Copies of Riley Farm-Rhymes will also be available for purchase at the event.
The James Whitcomb Riley Boyhood Home will be open for tours that day at the standard admission price: $4.00 for adults, $3.50 for seniors, $1.50 for youths (6-17), and children under age 6 are free. Group tours and reservations are also available. For more information about the Riley Boyhood Home, call 317-462-8539 or visit its website.
"Not only does Miryam Segal’s A New Sound in Hebrew Poetry dare offer an answer to the perennial question posed by Hölderlin: What are poets for? It also reveals, in the language of Hebrew poetry, the subtle layers of ars poetica operative within the remarkable renaissance of Jewish peoplehood." —Nashim
During the 1990s, the major authorized presentations
of Anne's life and work were revamped: the Anne Frank-Fonds issued a new
version of the diary for the general reader, known as the Definitive Edition (first published in Dutch in 1991), and
authorized a revision of the diary's official dramatization (which premiered on
Broadway in 1997). In the mid-1990s, the Anne Frank House underwent an
extensive renovation that reconfigured visitors' encounter with the building.
These changes both reassert the authority of these officially sanctioned works
and institutions and respond, if tacitly, to new public attention to the
diary's regulation, including news reports of pages of the diary that had been
suppressed due to their sensitive content and major studies of Meyer Levin's
feud with Otto Frank over the dramatic rights to the diary.
the passage of time and the passing of the last living links to Anne has come a
new sense of urgency to keep her story alive. In 2010 Miep Gies—who, after
Otto Frank, was the most widely known living witness to Anne's years in
hiding—died at the age of 100. That same year saw the demise of the chestnut
tree that grew behind the Annex, which had become a powerful emblem of Anne's
remembrance, the subject of Barbara Kirshenblatt-Gimblett's contribution to
this collection. At the same time that the official keepers of Anne Frank's
legacy continue to promote remembering her life and writing in new ways, there
has been a proliferation of works that have tested, evaded, or flouted the
proprietary rights and expectations of propriety that surround Anne and her
diary. These works include, on the one hand, a more liberal licensed use of the
diary text (e.g., its citation, with permission of the Anne Frank-Fonds, in Anne B. Real, a 2003 feature film about
a young female rapper living in East Harlem who is inspired by Anne's diary)
and, on the other hand, works that tell Anne's story without quoting directly
from the diary, thereby circumventing the issue of securing permissions (e.g., Melissa Müller's 1998 biography of Anne Frank and its 2001
dramatization for television).
Highly personal takes on Anne and the diary find their place in blog postings
and tribute videos, which, unlike print, film, or broadcasting, resist
traditional regulation. Digital media offer ripe opportunities for
mashups that copy, rework, and combine texts, images, and sound or video
recordings and that can go viral through social media. Within this culture of
open sharing of information and creative work, which has its own social
practices and its own ethics, Anne Frank and her diary are truly unbound, and
the very ethos ascribed to her life and work is rethought.
The ongoing debates
over how to engage Anne Frank “properly” take place in response to we call the
“Anne Frank phenomenon”—that is, the many different ways that people have
engaged with her life and work. The
essays in Anne Frank Unbound examine
this phenomenon as a subject in its own right, including thsee debates over the
many responses to Anne’s diary and life story:
This impulse to restrict or regulate
engagement with such a widely read text, though rooted in worthy concerns for
historical accuracy and moral rigor, discounts the significance of this
engagement by millions of readers. The fact that it takes many different forms,
is inconsistent in its sense of purpose, varies considerably in quality of
execution, and not infrequently proves to be disturbing for one reason or
another does not diminish its value. Rather, what makes the Anne Frank
phenomenon compelling is precisely its vast sprawl. Indeed, notwithstanding its
global character and use of a wide range of media, from works of fine art to
MP3 files, the Anne Frank phenomenon can be considered a kind of folk practice,
as it is largely the work of individuals or grassroots communities, inspired by
this widely available text to forge their own attachment to Anne's life and
Jeffrey Shandler is Professor of Jewish Studies at Rutgers University. He is author of Adventures in Yiddishland: Postvernacular Language and Culture and While America Watches: Televising the Holocaust, editor of Awakening Lives: Autobiographies of Jewish Youth in Poland before the Holocaust, and editor (with Hasia R. Diner and Beth S. Wenger) ofRemembering the Lower East Side (IUP, 2000).
For more information about Anne Frank Unbound, read an excerpt from the book, or listen to an IU Press podcast with Jeffrey Shandler: