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Wesleyan University Press @ AWP2017 – Washington D.C.

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Join us @ AWP2017, in Washington DC!

Booth #137

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Come to our panel!

Working with Archives—Ethics, Strategies, and Methods

Saturday, February 11, 2017 – 1:30pm-2:45pm
Marquis Salon 1 & 2, Marriott Marquis, Meeting Level Two

Gerald Vizenor
Jena Osman
Harmony Holiday
Daniel Tiffany

Writers sometimes use archival records as sources of inspiration and information. Our panelists, including poets, a fiction writer and a historian, look at the use of public records as a source to gain better emotional understanding of their subject, and as evidence of sometimes grim historical events that have been overlooked or intentionally ignored. The panelist will discuss the methodologies and strategies of working with archival material, as well as the important ethical considerations of working with these often sensitive materials.

Meet the Authors
and have your books signed

Rae Armantrout, Friday 11-12

Peter Gizzi, Friday 1-2

Shane McCrae, Friday 2-3

Camille Dungy, Friday 4-5PM

Stop by booth 137 to see our new titles!

awp2017 new new books

 Trophic Cascade (Camille T. Dungy)

Because When God Is Too Busy (Gina Athena Ulysse)

In The Language of my Captor (Shane McCrae)

Planetary Noise: Selected Poetry of Erín Moure (Erín Moure)

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Archeophonics (Peter Gizzi)

BAX 2016: Best American Experimental Writing (Seth Abramson)

The Work-Shy (Blunt Research Group)

Partly: New and Selection Poems, 2001-2015 (Rae Armantrout)

George Krimsky, 1942-2017

Author George Krimsky

It is with heavy hearts we share news of the death of George Krimsky. From the International Center for Journalists:

In a career spanning 45 years, George Krimsky has been a journalist, author, lecturer, media critic and non-profit administrator. Krimsky served 16 years with the Associated Press, reporting from Los Angeles, New York, the Soviet Union and the Middle East. Following his overseas service, he was appointed head of AP’s World Services News Department. In 1984, he left the AP to found ICFJ, originally known as the Center for Foreign Journalists. After 11 years as its first president, Krimsky returned to his home state of Connecticut as an independent consultant, later serving in Central Asia as a media trainer for the Center. Read the complete biography.

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Krimsky was co-author, with Chandler Saint, of Making Freedom: The Extraordinary life of Venture Smith. Chandler recently shared his memories of working with George:

Venture Smith has lost his word guy. George Krimsky, the only person I know to use words more carefully than Venture, passed away Friday night 20 January 2017. The world lost a great journalist – I lost my best friend.

Read Chandler’s complete statement here.

News from Gerald Vizenor

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birchbark10Gerald Vizenor was recently welcomed by Birchbark Books for a reading from his new book Treaty Shirts: October 2034—A Familiar Treatise on the White Earth Nation. The event was held at the Bockley Gallery in Minneapolis.

In this masterful, candid, surreal, and satirical allegory set in an imagined future, seven natives are exiled from federal sectors that have replaced the federal reservation system. Banished because of their dedication to a democratic ethos, they declare a new, egalitarian nation on an island in Lake of the Woods—a lake bordering Ontario and Minnesota.

In a recent interview with Minneapolis Public Radio, Vizenor stated he “hopes his novel will inspire critical thinking about the White Earth Constitution.” Listen to Vizenor’s comments and his short reading from Treaty Shirts here.

GERALD VIZENOR is Professor Emeritus of American Studies at the University of California, Berkeley. His novels Shrouds of White Earth and Griever: An American Monkey King in China both won the American Book Award; Griever also received the New York Fiction Collective Award. He is currently writing his sequel to Blue Ravens, an engrossing historical portrayal of Native American soldiers in World War I.

Vizenor’s novel Blue Ravens and Favor of Crows: New and Selected Haiku are available in paperback now!

Visit our Gerald Vizenor’s companion website.

Photographs from the event, courtesy of Laura Hall.

Janet Collins film project options Wesleyan’s biography

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PRESS RELEASE
IMMEDIATE RELEASE

Janet Collins Film Project Options Her Biography

As CRC Productions moves forward on its film project about Janet Collins, the Metropolitan Opera’s First Black Prima Ballerina (1951), they are pleased to announce their option of her biography, “Night’s Dancer” by Yael Tamar Lewin, published by Wesleyan University Press, adding layers of depth about the life of this extraordinary and elusive woman, who became a unique concert dance soloist as well as a black trailblazer in the white world of classical ballet.

Just as Jackie Robinson broke the color barriers of baseball, Janet Collins broke the toughest barrier in the all-white world of classical ballet.

Janet Collins, America’s First Black Prima Ballerina, was a complex artist who challenged the status quo while confronting the barriers raised by both racism and sexism. Her story is one of triumph, but not without uncertainty, struggle and loss. She struggled through decades of segregation and prejudice to realize her youthful dream of becoming a professional dancer and ballerina. Refusing to let race define her, she gained world-wide recognition as a multi-faceted woman, a fine artist, designer and dancer.

CRC Productions’s  proposed feature length film is a dramatic retelling of Collins’ story—exploring what life was like for educated, but poor, blacks seeking intellectual and artistic fulfillment in an openly hostile environment. The film will highlight many of Collins’ challenges, including her struggle with depression and the aftermath of her forced sterilization—a tragically common violation faced by young women of color in the United States.

CRC is fortunate to be able to tell Janet’s compelling story through the eyes of two amazing women who shared their own early years as performers with Collins. Many will recognize their names, but few know of the intertwining of their lives as they all made their marks on stage and screen.

*  Carmen DeLavallade, recently on Broadway in “Streetcar Named Desire,” is a dancer, choreographer, professor, actress of stage and film, and was first inspired to dance by her cousin, Janet Collins. She is still a graceful performer, continuing to tour the country with her one woman show, “As I Remember It.”

*  Roberta Haynes, played starring roles with Gary Cooper, Rock Hudson, among others, and later moved to production and development, becoming VP of Movies and Mini-Series at 20th Century Fox. She and Janet began a life long friendship in the ‘40s, meeting in a small shared dance studio in Hollywood.

Over the decades, DeLavallade, Haynes and Collins shared their struggles and supported one another as they strove to make their artistic dreams realities. These three buoyed each other in the face of obstacles that women of color endured before civil rights reforms—facing the brunt of both racism and sexism.

Today’s acceptance of African American ballerinas like Misty Copeland , Olivia Boisson, and Jasmine Perry to dance in top ballet companies were made possible by Janet Collin’s opening the door to them over 50 years ago.

Today, Janet Collin’s life continues to influence and drive other creative projects. Actress Karyn Parson’s Sweet Blackberry, is a non-profit organization whose mission is to bring little-known stories of African-American achievement to kids. Their award-winning, animated short films about individuals overcoming great obstacles are empowering and inspiring. Their latest film, “Dancing In The Light: The Janet Collins Story” features well known producer Debbie Allen, the Debbie Allen Dance Academy, and the narration of actor/comedian Chris Rock.

CRC Productions looks forward to bringing the full story to the big screen of the dramatic and inspiring life of Janet Collins, the first American Black Prima ballerina.

For more information on the project contact Jenny Callicott of CRC productions, jenny@makeitso.biz or (213) 268 0700.

For information on “Night’s Dancer” contact Wesleyan University Press, selliott@wesleyan.edu or (860) 685 7723.

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Gerald Vizenor at Birchbark Books!

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Gerald Vizenor has been welcomed by Birchbark Books for a reading from his new book Treaty Shirts: October 2034—A Familiar Treatise on the White Earth Nation. The reading will be held at the Bockley Gallery (near Birchbark Books in Minneapolis) on Tuesday, August 9th at 7pm.

Vizenor-Treaty-R-72-3Birchbark Books is owned and operated by New York Times bestselling and National Book Award winning author, Louise Erdrich (Ojibwe). As a store that prides itself in their belief in “the power of good writing, the beauty of handmade art, [and] the strength of Native culture,” they are the perfect partner to Vizenor’s Treaty Shirts. In this masterful, candid, surreal, and satirical allegory set in an imagined future, seven natives are exiled from federal sectors that have replaced the federal reservation system. Banished because of their dedication to a democratic ethos, they declare a new, egalitarian nation on an island in Lake of the Woods—a lake bordering Ontario and Minnesota.

The Bockley Gallery has long been supportive of Minnesota artists, and indigenous artists—including George Morrison and Norval Morrisseau.

Gerald Vizenor is a prolific novelist, poet, literary critic, and citizen of the White Earth Nation of the Anishinaabeg in Minnesota. One reader described Treaty Shirts as feeling “utterly like Ojibwa poetry [or dream song] in prose form.” Vizenor as long been known for his uncanny ability to transfer the power, imagery, and natural motion of traditional storytelling to the written word. He will chat with guests and sign books following the reading.

Vizenor_Gerald 2015GERALD VIZENOR is Professor Emeritus of American Studies at the University of California, Berkeley. His novels Shrouds of White Earth and Griever: An American Monkey King in China both won the American Book Award; Griever also received the New York Fiction Collective Award. He is currently writing his sequel to Blue Ravens, an engrossing historical portrayal of Native American soldiers in World War I.

Vizenor’s novel Blue Ravens and Favor of Crows: New and Selected Haiku are available in paperback now!

Visit our Gerald Vizenor’s companion website.

Remembering Jelle Zeilinga de Boer

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It is my sad task to inform you that Jelle Zeilinga de Boer, Wesleyan University Press author and Harold T. Stearns Professor of Earth Science, emeritus, passed away last Saturday, a month before his 82nd birthday.

Jelle Zeilinga de Boer, photo by Bill Burkhart.

Jelle Zeilinga de Boer, photo by Bill Burkhart.

Jelle received his BS and PhD from the University of Utrecht before coming to Wesleyan as a postdoctoral fellow in 1963. During his early years at Wesleyan he worked closely with Geology Professor Jim Balsley in the field of paleomagnetism. In 1977 Jelle was named the George I. Seney Professor of Geology and in 1984 he was named the Harold T. Stearns Professor of Earth Sciences.

In the 1970s Jelle worked as a joint professor at the University of Rhode Island at the Marine Sciences Institute where he was a PhD supervisor for Bob Ballard, who found the Titanic in 1985. Ballard later invited Jelle to go diving in the submersible Alvin to collect rocks in the Cayman Trough.

Jelle was the author of four books, Volcanoes in Human History (with D.T. Sanders), Earthquakes in Human History, Stories in Stone (2009), and New Haven’s Sentinels (2013)—the latter two published by Wesleyan University Press.

Originally interested in coming to the United States to study the Appalachian Mountains, Jelle’s research focused on the geotectonics of the Appalachians, Southeast Asia, and South and Central America.

In 2015 Jelle received the Joe Webb Peoples Award, presented annually by the Geological Society of Connecticut to someone who has contributed to the field of geology in Connecticut. Wesleyan’s current Harold T. Stearns Professor of Earth Science Joop Varekamp, Jelle’s friend and colleague, was quoted by The Wesleyan Argus at the time of this award: “[De Boer] was an outstanding teacher, who received the Binswanger prize for excellence in teaching roughly a decade ago. His classes were very well-liked by many, and he taught many intro science classes until the day that he retired. [His] great talents were in drawing in students to the field of E&ES, making people enthusiastic about Geology, and his field trips on the Geology of Connecticut aroused interest among students who never thought that they would be interested in science.”

Jelle is survived by his wife, Felicité, his son, Bjorn, daughters Byrthe and Babette, their spouses, and his four grandchildren, Cheyne, Indiana, Braedon and Marino.

The funeral services will be private. A memorial event will be planned for the fall.

Announcing My Music, My War from Lisa Gilman

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The Listening Habits of U.S. Troops in Iraq and Afghanistan

A study of music in the everyday lives of U.S. troops and combat veterans.

“A gifted interviewer, Lisa Gilman goes beyond stereotypes of the wounded American soldier by painting a complex and nuanced emotional portrait of contemporary soldiers’ lives, ones which the media rarely allow us to see and hear.”
—Jonathan Ritter, coeditor of Music in the Post-9/11 World

A study of music in the everyday lives of U.S. troops and combat veterans.

During the wars in Afghanistan and Iraq, technological developments in music listening enabled troops to carry vast amounts of music with them, and allowed them to easily acquire new music. Digital music files allow for easy sharing, with fellow troops as well as with friends and loved ones far away. This ethnographic study examines U.S. troops’ musical-listening habits during and after war, and the accompanying fear, domination, violence, isolation, pain, and loss that troops experienced. My Music, My War is a moving ethnographic account of what war was like for those most intimately involved. It shows how individuals survive in the messy webs of conflicting thoughts and emotions that are intricately part of the moment-to-moment and day-to-day phenomenon of war, and the pervasive memories in its aftermath. It gives fresh insight into musical listening as it relates to social dynamics, gender, community formation, memory, trauma, and politics.

Visit our Spotify page for a related playlist: play.spotify.com/user/wesleyanup

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Lisa Gilman is an associate professor in the Department of English and Folklore Program at the University of Oregon. She is the author of The Dance of Politics: Performance, Gender, and Democratization in Malawi and director of the film Grounds for Resistance: Stories of War, Sacrifice, and Good Coffee. Her articles have appeared in Folklore, Popular Music, and Journal of American Folklore.

 

My Music, My War makes an original contribution to current studies on music and war, with its nuanced discussion of how music listening is used to define, and at times resist, gendered norms and rhetorics of hyper-masculinity, as well as the complex roles that music plays in veterans’ reintegration into civilian life.”  —Kip Pegley, coeditor of Music, Politics, and Violence

 

Music Culture Series

April

240 pp., 6 x 9”

Unjacketed Cloth, $80.00 x

978-0-8195-7599-9

 

Paper, $26.95

978-0-8195-7600-2

 

eBook, $21.99 Y

978-0-8195-7601-9

ReaderCon-27 is on!

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ReaderCon-27 is upon us!

This year’s conference is housed in a new location, the Quincy Marriott, Quincy, Massachusetts. Guests of honor are Catherynne M. Valente & Tim Powers; the memorial guest of honor is Diana Wynne Jones.

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Be sure to visit our table in the book room. Marketing Manager Jackie Wilson will be on hand, with our new books and favorite backlist titles. On Saturday, be sure to swing by to say hello to Chip Delany and Jim Morrow—who will be hanging out intermittently throughout the day.

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Author Events

Samuel R. Delany

Reading Friday Night, time TBA

James Morrow

Saturday, 10:00 AM, Reading

Saturday, 11:00 AM, Kaffeeklatsch, with Jacob Weisman

Saturday, 12:00 PM, Autographs, with Rick Wilber

Saturday, 2:00 PM, “David Hartwell Memorial Panel,” with Robert Killheffer, Ellen Kushner, Sarah Smith & Gordon Van Gelder

Sunday, 10:00 AM ,”Which Book Would You Save?” with Lisa Cohen, Kate Nepveu (leader), Tom Purdom & Eric Schaller

Kit Reed

Friday, 11:00 AM, Autographs, with Joe Haldeman

Friday, 5:00 PM, Kaffeeklatsch, with Kate Maruyama & Delia Sherman

Saturday, 10:00 AM, “Instant Communication in Genre Fiction,” with Nick Kaufmann, Thomas Olde Heuvelt (leader), E.J. Stevens & Paul Tremblay

Saturday, 2:00 PM, “The Return of Writing While Parenting,” with Rose Fox, Nicole Kornher-Stace (leader), Ken Liu & Kate Maruyama

Saturday, 3:00 PM, Reading

 

 

László Moholy-Nagy Retrospective at the Guggenheim Museum

The Theatre of Bauhaus, Gropius

The Theatre of Bauhaus by Walter Gropius and Arthur S Wensinger“You would hardly know, from this show, that Moholy-Nagy shared an era with Picasso and Matisse. Perhaps chalk it up to the First World War and the Russian Revolution and a fissure in Western culture between art that maintained conventional mediums and art that subsumed them in a romance with social change and new techniques. The former held firm in France; the latter flourished in Germany. Americans could thrill to both at once, as interchangeable symbols of the ‘modern.’ It was in America, while he was dying, that Moholy-Nagy seemed to realize and begin to remedy the imbalance, exposing the heart that had always pulsed within the technocratic genius. To be a student of his then must have been heaven,” writes The New Yorker’s art critic  in “The Future Looked Bright”, reviewing the Guggenheim’s current retrospective exhibit on Bauhaus master László Moholy-Nagy.

Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention, and its greatest commanders were none other than Oskar Schlemmer, Laslo Moholy-Nagy, and Farkas Molnár. Theater of the Bauhaus (edited by Walter Gropius and Arthur S. Wensinger, translated by Arthur Wensinger) is a reissued classic on theater design and presentation. Originally published in 1924, Wesleyan’s edition was its debut in English. The text in this volume is a loose collection of essays by Schlemmer, Molnár, and of course Laszlo Moholy-Nagy, with an introduction by Bauhaus leader Walter Gropius. For scholars of Moholy-Nagy’s late work in America, and scholars of Bauhaus in general, it is a necessary read and a collector’s item. The book is an accurate reproduction, from the lay-out and illustrations down to the book’s typography, so that Schlemmer and Moholy-Nagley’s thoughts and ideas come through just as they are meant.

Moholy-Nagy: Future Present is organized by and will be presented at the Solomon R. Guggenheim Museum, the Art Institute of Chicago, and the Los Angeles County Museum of Art.

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Ted Greenwald, 1942–2016

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It is with sadness that we announce the passing of New York City poet Ted Greenwald (December 19, 1942–June 17, 2016).

Ted Greenwald’s poems sing the commons and dance with a homely grace American poetry has rarely seen.

WHIFF

An evening
Spent talking
Spent thinking
About what my life would be
If I’d stayed
With a particular girl or woman
I went with
What would be
If I’d’ve been accepted to and gone
Where I applied
To a different school
Than the one I did
Where I’d learned
Different social graces
Then the ones I have
Where some of the material
Values of the American dream
Had rubbed off
Enough to make me
Live it out
In the good-works sense
If I’d settled down
And settled
For the foundation
On a house
For future generations
Instead of assuming
Immediately past generations
My foundation to mine
If I’d been
A little quicker to learn
What was expected of me
And wanting to please pleased
Going on that way
Through all eternity
I’ve probably been saved
From mere routines
By a streak of stubbornness
By a slow mind
And tendency to drift
By an emotional development
That requires
My personal understanding
Before happening
Feeling out the implications
An emotion has in
Form of expectation
Before trying out and
After awareness
I sense a willingness
To tell someone
I know and like
And sense the same from
Anything they’d like to know
About me
And, at the same time, have
A vast sense of privacy
Which means
There’s no way
I’ll wear out my personality
And its sense of continuity
Although sometimes
I feel empty
But talking to
Someone I like
And trust
And sense the same from
I feel way up
And after a long evening
Of talk about this and that
Feel wide awake
And feel the world
Wide and awake around me
And have a visual intensity
In memory
That, in near memory, dulls
And throbs
And grows vivid as hell
When I bring it to mind
Some time from then
What my life
Would’ve been like
Under different circumstances
Would’ve been different
With its own
Attendant ifs
And its own what-might’ve-been
But this way
I’ve elected to follow
And cast my vote
Each waking day in
I avoid
The possibility
Of taking the past too seriously
Or feeling any bitterness
Or sadness
This way
When my ship comes in
I’ll’ve passed out of mind
Beyond the sight of land
And won’t hesitate
For a second
To look back on all this
With fondness or remiss
The air’ll be clear
The moon’ll be there
And you, whoever
You are and hope to be,
Will be here with my love

[from Common Sense]

“Is it cynical or is it innocent? He has an almost machinic way. But is it utopian? The most progressive of Ted Greenwald’s poems are just that. No, they all are: forward thinking, Sagittarian, and wildly Americanly kind.”    –Eileen Myles

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Common Sense

First published in 1978, Common Sense evinces a spare street-wise style rooted in the vernacular of the city. Now something of a cult classic, the book is recognized as an understated masterpiece, pushing at the edges of spoken word. This is the language of everyday, brought onto the page in such a way that we never lose the flow of speech and at the same time we become attuned to its many registers—musical, emotional, ironic. Ted Greenwald’s work has been associated with several major veins of American poetry, including the Language movement and the New York School, but it remains unclassifiable.

The Age of Reasons: Uncollected Poems, 1969–1982

A New York-based poet with close ties to the New York School and the Language poets, Ted Greenwald has written daily since the early 1960s. The Age of Reasons includes the best of Greenwald’s uncollected poetry. While some of these poems appeared in literary journals or magazines in the 1970s, none were included in any of his previously published books. These distinct works were written in advance of or alongside the extended explorations of a mutated triolet form that increasingly occupied him from the late 1970s on. Alongside Common Sense (1978), The Age of Reasons evinces Greenwald’s ability to think with his ear, to hear what’s said as it arrives as a fresh sound or shape in his head. This work is singular in its pattern-making, its music-making, and its ability to simultaneously follow multiple paths.

“No poet has taken the idea that poetry should be at least as good as overheard conversation as seriously as Ted Greenwald.”  –Publishers Weekly

“Ted Greenwald knows what real American talk sounds like, understands the rhythm and pulse of the language, and knows how to write poems that are built around that knowledge. He is one of America’s most ambitious and provocative poets.”  –Terence Winch, Jacket 19

“Ted Greenwald’s poems ‘give voice’ to a variety of New York idioms, and with that, a distinct attitude toward both language and experience. His ultimate strength as a poet is his basic humanity, something that can be claimed for very few.”  –Bill Berkson

“I have called Greenwald an ‘urban primitive’ because his work seems to spring from the base materiality of New York streets, the immediacy of enunciation, abrupt demand, tough neighborhoods, shifting milieus, grit and exhaust, flux and flurry. I see him as a genuine original whose method is a unique exploration of common language, utterly without academic pretense.”  –Curtis Faville, publisher, L Publications