Awards

“Hamilton” History Lessons & The Federalist Papers

The Federalist Papers, edited by Jacob E. Cooke

The Hamilton buzz won’t be ending anytime soon. Lin Manuel Miranda, a Wesleyan alum, has created a hit that will irrefutably change the stage and much beyond. With tickets basically impossible to lay your hands on to this phenomenal rejuvenation to both America’s early history and Broadway’s musical scene, it’s no surprise you can’t go a week without Hamilton coming up.

This Broadway musical isn’t just helping American musical practice evolve, either—the show’s ubiquitous presence in American pop culture has teachers across the nation incorporating the score into their history lessons. This contemporary, youthful take on our “founding fathers’ is helping to  revitalize interest in America’s early history. Twenty-thousand New York The Federalist Papers, edited by Jacob E. CookeCity 11th graders will be able to go further than just incorporating the soundtrack, though:

The Rockefeller Foundation and the show’s producers are financing a program to bring 20,000 New York City 11th graders, all from schools with high percentages of students from low-income families, to see Hamilton at a series of matinees. As part of the program, the Gilder Lehrman Institute of American History will develop curriculum.

The New York Time‘s “The Learning Network” featured a few examples for teachers, including the staging of “historic rap battles.” Another one of their wonderful examples was delving into the Federalist papers, which Alexander Hamilton, James Madison, and Jon Jay wrote to defend the American Constitution after critique came of their government being too weak. Originally printed in newspapers, it can be difficult to discern which versions are the final versions, as intended by the authors. But not to fear, because editor Jacob E. Cooke created the “most complete and accurate” edition of The Federalist that has yet to appear. Fully annotated and reproduced from the original newspaper texts, The Federalist features chiefly works by Hamilton, aided by papers by Jay and Madison, to defend the government and its texts that the founding fathers so painstakingly fought to create.

NEA Awards includes $25,000 awarded to Wesleyan UP

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DATE:    December 8, 2015

National Endowment for the Arts Awards More Than $27.6 Million Across Nation Includes $25,000 awarded to Wesleyan University Press

 

Middletown, CT—In its first 50 years, the National Endowment for the Arts (NEA) awarded more than $5 billion in grants to recipients in every state and U.S. jurisdiction, the only arts funder in the nation to do so. Today, the NEA announced awards totaling more than $27.6 million in its first funding round of fiscal year 2016, including an Art Works award of $25,000 to Wesleyan University Press to support its poetry program.

The Art Works category supports the creation of work and presentation of both new and existing work, lifelong learning in the arts, and public engagement with the arts through 13 arts disciplines or fields.

NEA Chairman Jane Chu said, “The arts are part of our everyday lives – no matter who you are or where you live – they have the power to transform individuals, spark economic vibrancy in communities, and transcend the boundaries across diverse sectors of society. Supporting projects like the one from Wesleyan University Press offers more opportunities to engage in the arts every day. 

Funding will support the publication and promotion of books of poetry. The press will publish works by Rae Armantrout, Blunt Research Group, Peter Gizzi, Ted Greenwald, and Mark McMorris. Books will be accompanied by online reader companions for teachers, students, and general readers, and will be promoted through social media, the press’s website and newsletter, and author events.

To join the Twitter conversation about this announcement, please use #NEAFall15. For more information on projects included in the NEA grant announcement, go to arts.gov

Night’s Dancer: The Life of Janet Collins

Photo by Carl Van Vechten. Courtesy of the Van Vechten Trust
and the Carl Van Vechten Papers, Yale Collection of American Literature,
Beinecke Rare Book and Manuscript Library.

Janet Collins (1917–2003) was a renowned dancer, painter, and the first African-American soloist ballerina to appear on the stage of New York’s Metropolitan Opera. It took her many years of resolve, facing the blatant racism that existed in the dance community (as it did elsewhere in the United States), to achieve the status of prima ballerina at the Met. In fact, at age 15 she was offered a position with the Ballet Russe de Monte Carlo, with the caveat that she would “paint her face white.” Collins declined. But she did not give up.

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Night’s Dancer: The Life of Janet Collins, recipient of the Marfield Prize,
the National Award for Arts Writing, and now available in paperback.
The first two chapters are comprised of Collins’s unfinished autobiography.

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The black dancing body was welcome on American and European stages of the mid-twentieth century, but usually only in forms of popular entertainment that perpetuated African-American stereotypes: the comic, the streetwise, and the exotic primitive. These stereotypical characters were found in minstrel shows and vaudeville, as well as on Broadway and in Hollywood movies. Pioneers like Edna Guy, Hemsley Winfield, and Katherine Dunham paved the way for African-American dancers in the arena of Modern dance, but the world of ballet remained closed, its movement vocabulary deemed too refined for black performers. In addition to the stereotypes of being too raw, too sensual, and too primal, blacks also had to contend with an irrational judgment of their physiques. White dance directors and choreographers deemed the black dancing physique as incompatible with ballet’s technical and aesthetic demands, assuming that they somehow lacked the grace and precision necessary to succeed in ballet.

Night’s Dancer tells the story of Janet Collins, who helped to pave the way for positive change in the dance world. She remains an inspiration today, due to her artistry, courage, and perseverance. Biographer Yaël Tamar Lewin, who is also a dancer, does not shy away from the darker corners of her life. Lewin discusses Collins’s battle with depression, the sterilization she underwent as a young woman, and the hard-hitting rejection she faced because of her skin color. Lewin does not merely focus on Collins’s long struggle to break the race barrier. Drawing on extensive research as well as interviews with Collins, her family, friends, and colleagues, Lewin chronicles her life as a well-rounded and accomplished artist, a true pioneer in her choreographic work. Collins fused styles, topics, and music in new ways. She also was a talented painter.

Wesleyan University Press is not alone in recognizing the talents and achievements of Janet Collins. She is also the subject of Dancing in the Light: The Janet Collins Story, a new short animated film narrated by Chris Rock and produced by Karyn Parsons for Sweet Blackberry. Carmen de Lavallade, an accomplished dancer, choreographer, and Yale University professor, is working on a feature film about her talented cousin. De Lavallade is collaborating with actress/producer Roberta Haynes and writer Jenny Callicott on the film, Prima: The Janet Collins StoryTheir website explains: “So many events in today’s news remind us that it is increasingly important to remember the struggles of the civil rights movement.” And asks: “[W]hy is it that Janet Collins’ amazing accomplishment of becoming the first black prima ballerina of the Metropolitan Opera a story that remains untold?”

Collins’s story is still very relevant. In her memoir, Misty Copeland (now principal dancer at American Ballet Theater) noted that “[t]here were many people who seemed not to want to see black ballerinas, who thought that our very presence made ballet less authentic, less romantic, less true. The bitter truth is I felt that I wasn’t being fully accepted because I was black, that leaders of the company just didn’t see me starring in more classical roles, despite my elegant line and flow.” Collins was among a small, dedicated group of black dancers who helped pave a difficult road for talents such as Copeland.

Janet Collins has been widely recognized as one of the finest dancers in America. Her artistic and personal influences continue to shape the dance world today, not only due to her perseverance, but also due to her great talent and creativity as a dancer and artist.

Photo credits, all found in Night’s Dancer: 1 & 2: Collins in Spirituals. Photo @ Dennis Stock/Magnum Photos. Courtesy of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts. 3: Painting of a young girl by Collins. Courtesy of the estate of Janet Collins. 4: Painting of a woman with magnolias by Collins. Courtesy of the estate of Janet Collins. 5: Collins with Hanya Holm, Don Redlick, and Elizabeth Harris, 1961. Photo by Bob McIntyre. Courtesy of Don Redlich. 6: Collins surrounded by her art. Betty Udesen/The Seattle Times. Featured image: Photo by Carl Van Vechten. Courtesy of the Van Vechten Trust and the Carl Van Vechten Papers, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.

Readercon Weekend–win a book!

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Readercon 26 is taking place this weekend, July9–12, in Burlington, Massachusetts. Returning conference-goers will be used to seeing Leslie Starr at our booth. Alas, Leslie is retiring! Our wonderful new marketing manager, Jaclyn Wilson, is on hand at our booth to answer questions. Please stop by to introduce yourself and check out our new books, including Five Weeks in a Balloon. You can watch a trailer about the book and enter to win a free copy here.

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This year, two of Readercon’s three Guests of Honor were published by Wesleyan: Gary K. Wolfe (who is sharing honors with Nicola Griffith) and Memorial Guest of Honor Joanna Russ.

Wolfe is the author of Evaporating Genres: Essays on Fantastic Literature and contributed the introduction to our forthcoming book, Reality by Other Means: The Best Short Fiction of James Morrow. Wesleyan reissued two of Russ’s novels in 2005: We Who Are About To… (with an introduction by Samuel R. Delany) and The Two of Them (with a foreword by Sarah LaFanu). In addition, we published the critical volume On Joanna Russ, edited by Farah Mendlesohn, with contributors Andrew M. Butler, Brian Charles Clark, Samuel R. Delany, Edward James , Sandra Lindow, Keridwen Luis, Paul March-Russell, Helen Merrick, Dianne Newell, Graham Sleight, Jenéa Tallentire, Jason Vest, Sherryl Vint, Pat Wheeler, Tess Williams, Gary K. Wolfe, and Lisa Yaszek.

ReaderCon is full of useful panels and presentations for writers, scholars, editors, and readers. Day passes are available. To read more, please be sure to visit their website, http://readercon.org/. Have a wonderful conference!

César Vallejo, cuatro paredes de la celda / Four Walls of the Cell

Vallejo - Selected-R-72-3

Today’s Throwback Thursday poem is from César Vallejo’s Trilce, first published in Peru in 1922, the year after the poet spent 105 days in prison for allegedly instigating a partisan skirmish in his hometown, Santiago de Chuco. Trilce is still considered one of the most radical Spanish-language avant-garde poetry collections ever written. Wesleyan’s edition of the book was translated by Clayton Eshleman and published in 2000. Eshleman was awarded a National Book Award for his co-translation of The Complete Posthumous Poetry, and was a Griffin Prize finalist for The Complete Poetry of César Vallejo. A voluminous edition of Vallejo’s writing is newly available from Wesleyan: Selected Writings of César Vallejo. This new collection, edited by Joseph Mulligan, contains some poetry and a vast number of prose pieces translated to English for the first time. There are articles documenting Vallejo’s travels in Soviet Russia, personal correspondences, and excerpts from several of his plays as well as from his his novel El tungsteno / Tungsten, a work addressing the oppression of indigenous Peruvian miners.

 Selected-Trilce

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From Trilce

XVIII

    Oh las cuatro paredes de la celda.
Ah las cuatro paredes albicantes
que sin remedio dan al mismo número.    

    Criadero de nervios, mala brecha,
por sus cuatro rincones cómo arranca
las diarias aherrojadas extremidades.

     Amorosa llavera de innumerables llaves,
si estuvieras aqui, si vieras hasta
qué hora son cuatro estas paredes.
Contra ellas seríamos contigo, los dos,
más dos que nunca. Y ni lloraras,
di, libertadora!

     Ah las paredes de la celda.
De ellass me duelen entre tanto, más
las dos largas que tienen esta noche
algo de madres que ya muertas
llevan por bromurados declives,
a un niño de Ia mano cada una.

     Y sólo yo me voy quedando,
con la diestra, que hace por ambas manos,
en alto, en busca de terciario brazo
que ha de puilar, entre mi donde y mi cuando,
esta mayoría inválida de hombre.

XVIII

     Oh the four walls of the cell.
Ah the four bleaching walls
that inevitably face the same number.

     Breeding place for nerves, foul breach,
through its four corners how it snatches at
the daily shackled extremities.

     Loving keeper of innumerable keys,
if only you were here, if only you could only see unto
what hour these walls remain four.
Against them we would be with you, the two of us,
more two than ever. And you wouldn’t even cry,
speak, liberator!

     Ah the walls of the cell.
Meanwhile of those that hurt me, most
the two long ones that tonight are
somehow like mothers now dead
leading a child through
bromowalled inclines by the hand.

     And only I hang on,
with my right, serving for both hands,
raised, in search of a tertiary arm
to pupilize, between my where and my when,
this invalid majority of a man.


CÉSAR VALLEJO (1892–1938) was born in the Peruvian Andes and, after publishing some of the most radical Latin American poetry of the twentieth century, moved to Europe, where he diversified his writing practice to encompass theater, fiction, and reportage. As an outspoken alternative to the European avant-garde, Vallejo stands as one of the most authentic and multifaceted creators to write in the Castilian language.

Wishing Clayton Eshleman a Happy 80th Birthday!

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Today we wish Clayton Eshleman a happy 80th birthday!

Eshleman has been at the heart of American poetry since the early 1960s. His poems, critical essays, and translations of noteworthy poets as diverse as César Vallejo, Aimé Césaire, Pablo Neruda, Antonin Artaud, Vladimir Holan, Michel Deguy, Henri Michaux, and Bernard Bador have earned him international acclaim. Widely anthologized, his work has appeared in over 400 magazines and newspapers and translated into eight languages. He has given readings and lectured to audiences at universities and other venues around the world.

His work is widely known and lauded. Eshleman has been honored with many awards and honors, including a National Book Award, a Guggenheim Fellowship, numerous grants from the National Endowment for the Arts and the National Endowment for the Humanities, two Landon Translation Prizes from the Academy of American Poets, and a Hemingway Translation Grant. In 1994, he was a fellow at the Rockefeller Study Center in Bellagio, Italy, where he wrote a 50 page poem on Hieronymus Bosch’s The Garden of Earthly Delights. In 2007 University of California Press published his translation of Vallejo’s verse, The Complete Poetry of César Vallejo, a work on which he spent spent over forty years.

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Tour director Nancee Clark (Ringling Brother School of Art and Design), Robert Creeley, and Clayton Eshleman.

From 1996 to 2008, Eshleman and his wife Caryl led yearly tours to the Ice Age painted caves of southwestern France, sponsored by the Ringling School of Art and Design, in Sarasota, Florida. These tours featured thoughtful guest lecturers such as Robert Creeley, Gary Snyder, and novelist Wade Davis. Eshleman utilized his research of Ice Age Cave Art from the past 30 years and lectured on six of the some three hundred decorated caves. His book Juniper Fuse is based on this research and experience; it is, as Ronald Gottesman calls it, “a fabulous three-dimensional tapestry of scholarship. Original and intense, it poses serious questions about human nature and its relation to the animal and natural worlds.”

Introducing A Sulfur Anthology

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Eshleman was also the founder and editor of two of the most important literary journalism the latter half of the 20th century: Caterpillar (1967–1973, 20 issues) and Sulfur (1981–2000, 46 issues). Sulfur magazine presented an overview of innovative writing from around the world. Forty-six issues were published, totaling some 11,000 pages and featuring over eight hundred writers and artists, including Norman O. Brown, Jorie Graham, James Hillman, Mina Loy, Ron Padgett, Octavio Paz, Ezra Pound, Adrienne Rich, Rainer Maria Rilke, William Carlos Williams, and many more. Each issue featured a diverse offering of poetry, translations, previously unpublished archival material, visual art, essays, and reviews. Sulfur was a hotbed for critical thinking and commentary and also provided a home for the work of unknown and younger poets. In the course of its twenty year run, Sulfur maintained a reputation as the premier publication of alternative and experimental writing. His wife Caryl was the managing editor for the magazine’s entire run. A Sulfur Anthology, containing a generous selection of highlights from the journal’s nearly twenty year run, will be published by Wesleyan University Press in December 2015

The Essential Poetry (1960–2015)

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The Essential Poetry (1960–2015) is due out this summer, from Black Widow Press. This definitive collection spans the entirety of Eshleman’s poetic output. It is an essential reference work for Eshleman readers.

Previously Published Collections and Translations

 eshleman - Companion

Wesleyan University Press has previously published two works by Eshleman. Companion Spider is a book of essays on poetics, translation, and publishing; and Juniper Fuse: Upper Paleolithic Imagination & the Construction of the Underworld is a groundbreaking collection of poetry and prose that is the culmination of Eshleman’s twenty-five years of research into the origins of image-making via the Ice Age painted caves of southwestern France. 

Concerning Juniper Fuse, Gary Snyder wrote:
“Archeologists and artists have written on southwestern European cave art, but none have given us a book like this. Clayton Eshleman has explored and inspected almost all of the great cave art of southwestern Europe including many caves that are not open to the public and require special permission. Now with visionary imagination, informed poetic speculation, deep insight, breathtaking leaps of mind, Eshleman draws out the underground of myth, psychology, prehistory, and the first turn of the human mind toward the modern. Juniper Fuse opens us up to our ancient selves: we might be weirder (and also better) than we thought.”

In the foreword of Companion Spider, Adrienne Rich wrote:
“Clayton Eshleman has gone more deeply into his art, its process and demands, than any modern American poet since Robert Duncan and Muriel Rukeyser. As a poet, Eshleman has wrestled with his vocation and, in some senses, created himself through poetry. He has written on the self-making and apprenticeship of the poet and of the poet as translator as no one else in North America in the later twentieth century. He has written perceptively about visual art in its relationship to contemporary poetics. And he has delivered stinging critiques of mediocrity and cautiousness in the standardizing of poetic canons.”

 

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Cesaire - Solar R-72-3

 

Eshleman’s work as a translator includes three volumes of Aimé Césaire’s poetry published by Wesleyan. Notebook of a Return to the Native Land, translated with Annette Smith, and 1939 Original Notebook of a Return to the Native Land, translated with A. James Arnold, are both available, as bilingual editions. Solar Throat Slashed: The Unexpurgated 1948 Edition, also translated with A. James Arnold, is the first bilingual edition of the work.

We commend Clayton Eshleman for his impressive contributions to poetry and translation, and wish him the best on this 80th birthday!

 

Happy Halloween, Happy Samhain & Happy Birthday, Annie Finch

Happy Halloween and Samhain (an ancient Gaelic festival marking the end of the harvest season)—and happy birthday to one of Wesleyan’s celebrated poets, Annie Finch. Finch was born on October 31st, 1956. She is a Wiccan, and her latest book is Spellspublished by Wesleyan on April 2, 2013. Spells, which brings Finch’s most striking old poems together with new and previously unpublished work, brings readers to “experience poetry not just in the mind, but in the body.”

 

Annie Finch/Spells

 

Her other books include poetry collections Eve (1997) and Calendars (2003), and the long poems The Encyclopedia of Scotland (1982) and Among the Goddesses: An Epic Libretto in Seven Dreams (2009), as well as several critical works. Her work has been published in journals including Yale Review, Harvard Review, Partisan Review, and Paris Review, and anthologized in collections like The Penguin Book of Twentieth-Century American Poetry and The Penguin Book of the Sonnet. She is the winner of the Sarasvati Award for Poetry and the Robert Fitzgerald Award, and is currently at work on a memoir, American Witch.

Finch has read and performed her work across the U.S. and in Canada, Europe, and Africa. She is a featured columnist for The Huffington Post, writing on poetry, feminism, and paganism. She teaches in the University of Southern Maine’s Stonecoast writing program, and as a visiting poet across the country. In the coming year she will head to Arizona to participate in the Tucson Festival of Books, as well as to teach a workshop at the University of Arizona Poetry Center.

Finch has also appeared on the airwaves in KRCB’s WordTemple, which showcases the most interesting work and stories in the world of literature. In November 2013, Finch appeared on the program with fellow Wesleyan author Kazim Ali to discuss their books, Spells and Sky Ward. In March 2014, Finch appeared alongside the influential feminist poet Carolyn Kizer, who passed away on October 9th. In April, an essay of Finch’s about her relationship with Kizer was read on-air. That essay, “Visiting Carolyn Kizer,” can also be found online at the Poetry Foundation.

 

In honor of Samhain, please enjoy two poems from Spells“Samhain” and “Spider Woman.”

Samhain

(October 31)

In the season leaves should love,
since it gives them leave to move
through the wind, towards the ground
they were watching while they hung,
legend says there is a seam
stitching darkness like a name.

Now when dying grasses veil
earth from the sky in one last pale
wave, as autumn dies to bring
winter back, and then the spring,
we who die ourselves can peel
back another kind of veil

that hangs among us like thick smoke.
Tonight at last I feel it shake.
I feel the nights stretching away
thousands long behind the days
till they reach the darkness where
all of me is ancestor.

I move my hand and feel a touch
move with me, and when I brush
my own mind across another,
I am with my mother’s mother.
Sure as footsteps in my waiting
self, I find her, and she brings

arms that carry answers for me,
intimate, a waiting bounty.
“Carry me.” She leaves this trail
through a shudder of the veil,
and leaves, like amber where she stays,
a gift for her perpetual gaze.

 

Spider Woman

Your thoughts in a web have covered the sky.
A thread from the northwest is carrying beads from the rain,
a thread from the southwest is carrying beads from the rain,
a thread from the southeast carries bright beads,
a thread from the northeast is bringing the beads
of the rain that has filled up the sky.
Spider, you have woven a chain
stretching with rain over the sky.

Engaging Bodies wins Selma Jeanne Cohen Prize in Dance Aesthetics

We are pleased to announce that Ann Cooper Albright’s book Engaging Bodies: The Politics and Poetics of Corporeality, has been selected as the winner of the Selma Jeanne Cohen Prize in Dance Aesthetics.

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The prize honors Selma Jeanne Cohen‘s work in dance theory, dance history, and dance aesthetics, and is funded by a bequest from her estate. The winner will be publicly announced during the national meeting of the ASA on October 29 to November 1, 2014 in San Antonio, Texas.

The American Society for Aesthetics was founded in 1942 to promote study, research, discussion, and publication in aesthetics. “Aesthetics,” in this connection, is understood to include all studies of the arts and related types of experience from a philosophic, scientific, or other theoretical standpoint, including those of psychology, sociology, anthropology, cultural history, art criticism, and education. “The arts” include the visual arts, literature, music, and theater arts.

The ASA publishes the Journal of Aesthetics and Art Criticism and The ASA Newsletter.

Wesleyan science fiction authors recognized

Congratulations to Dr. Arthur B. Evans on receiving the Prix Cyrano, or Cyrano Prize! Named after the early French science fiction writer Cyrano de Bergerac, the prize is given for lifetime achievements in promoting French science fiction. The award was presented at the 41st annual French National Science Fiction Convention, NEMO 2014, in Amiens, France.

 

Art accepts Cyrano Award (19Jul14)

 

Art at NEMO 2014

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Dr. Evans is a renowned Jules Verne scholar and a professor of French at DePauw University. He is the general editor of Wesleyan’s Early Classics of Science Fiction series, which features French authors like Albert Robida, Émile Souvestre, R.-H. Rosny aîné, Camille Flammarion, and Jean-Baptiste François Xavier Cousin de Grainville, and managing editor of the journal Science Fiction Studies. He is also coeditor of The Wesleyan Anthology of Science Fiction (2010) and editor of Vintage Visions: Essays on Early Science Fiction (2013).

 

ReaderCon 2014

 

Kit Reed was one of the Guests of Honor at the 25th annual ReaderCon this July in Burlington, Massachusetts, along with Andrea Hairston and Memorial Guest of Honor Mary Shelley. Reed is the author of several Wesleyan titles, including Weird Women, Wired Women (1998), Seven for the Apocalypse (1999), and The Story Until Now (2013), which was a 2013 Shirley Jackson Award nominee. Guests of honor for the 2015 ReaderCon will include Gary K. Wolfe, author of Evaporating Genres: Essays of Fantastic Literature (2011); and Memorial Guest of Honor Joanna Russ, author of We Who Are About To (1997) and The Two of Them (1978) and subject of Farah Mendlesohn’s On Joanna Russ (2009).

readercon2014Small  Wesleyan UP’s ReaderCon display, photo courtesy of Matthew Cheney

Kazim Ali wins Ohioana Book Award

We are pleased to announce that Kazim Ali’s Sky Ward is the 2014 Ohioana Book Award winner in Poetry!

 

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The Ohioana awards have been presented annually since 1942 to talented Ohioans in recognition of their contributions to the literary and cultural life of the state. The awards are among the oldest and most prestigious awards in the country; past winners in Poetry include Mary Oliver, David Young, Rita Dove, and Dave Lucas, among others. The 73rd annual Ohioana Awards ceremony will take place at the Ohio Statehouse in Columbus on Friday, October 10th.

“From the nearly 400 books that were eligible for this year’s awards, our judges selected twenty-nine finalists,” said David Weaver, executive director of the Ohioana Library. “To make this short list is recognition of excellence. Choosing a winner in each category from such outstanding books was a challenge for the final selection committee.”

Kazim Ali is the author of three books of poetry, including the cross-genre Bright Felon: Autobiography and Cities. He is also the author of two novels and two essay collections— Fasting for Ramadan and Orange Alert: Essays on Poetry, Art, and the Architecture of Silence. Ali is a frequent contributor, of essays and poetry, to magazines including American Poetry Review, jubilat, and Boston Review. He is an associate professor of creative writing and comparative literature at Oberlin College and teaches in the low-residency MFA program at the University of Southern Maine. His diverse professional experiences include four years on the liberal arts faculty of The Culinary Institute of America and several years dancing with the Cocoon Theatre Modern Dance Company. Read more about Ali’s work here, or visit his website.