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#tbt: “A Northern Christmas”, Seward, Alaska, 1918

This week’s Throwback Thursday post revisits the work of Rockwell Kent (1882–1971). Kent was one of America’s most celebrated graphic artists. Although he is best known for his illustrations to accompany The Complete Works of William Shakespeare and Moby Dick, his artwork also appeared widely in popular media. Kent was also a travel writer. His illustrated books of adventure include N by E, Wilderness, Salamina and Voyaging, all reissued by Wesleyan University Press, a tribute to their perennial appeal. During his Christmas spent in Seward, Alaska, in 1918, Kent produced an adorable keepsake volume, A Northern Christmas, with a dedication that reads: “To EVERYBODY. A Merry Christmas and a Happy New Year.” In the format of a journal, A Northern Christmas recounts the scenery and company enjoyed during the days leading up to Christmas.

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During that December, Kent and his son, Rockwell Jr., spent their days

…in a forest on a low-lying level fill between two mountain peaks…our house a one room cabin crudely built of logs and caulked with moss; our dooryard—toward the view—the space we cleared by felling trees for fuel; our view a crescent cove, the bay, the mountains of the distant shore, the sky, the moon and stars at night. And, for companionship, ourselves, each other, and a genial, wise and kind old man, old Sourdough of early gold rush days, old trapper, lifelong pioneer, a Swede named Olson: we three, a pair of foxes shut in a corral, a milk goat (cherished Nanny), an obstreperous Angora goat (one Billy) and some foolishly adoring women of his kind, otters that now and then sat basking on the rocks, blue jays and gulls, and porcupines. It was enough. Of the fullness of the days—fullness of work and thought, of play, of little happenings, of uneventful peace—we kept record.

Kent describes a walk with his eight-year-old son:

This day is never to be forgotten, so beautiful, so calm, so still with the earth and every branch and tree muffled in deep, feathery, new-fallen snow. And all day the softest clouds have drifted lazily over the heaven, shrouding the land here and there in veils of falling snow, while elsewhere or through the snow itself the sun shone. Golden shadows, dazzling peaks, fairy tracery of the branches against the blue summer sea! It was a day to Live,—and work could be forgotten. So Rockwell and I explored the woods, at first reverently treading one path, so that the snow about us might still lie undisturbed. But soon the cub in the boy broke out and he rolled in the deepest thickets, shook the trees down upon himself, lay still in the snow for me to cover him completely, washed his face till it was crimson, and wound up with a naked snow-bath. I photographed him standing thus in the deep snow at the water’s edge with the mountains far off behind him. Then he dried himself at the roaring fire we’d made ready and felt like a new boy—if that can be imagined. Meanwhile I searched in the woods for a Christmas tree and cut a fair-sized one at last for its top. Christmas is right upon us now. To-night the cranberries stew on the stove.

The memory of Rockwell Kent’s visit persists in Seward, where the holiday season comes to life every year through events like the annual Arts and Crafts Fair. This year the Seward Journal and Cover to Cover Bookstore adopted a literary holiday theme, drawing form Rockwell Kent’s Wilderness and A Northern Christmas. 

Using the expertise of Seward’s local historian, Doug Capra, who has written extensively on Kent and who wrote the introductions to Wesleyan’s editions of Wilderness and A Northern Christmas, the newspaper and bookstore adopted “A Northern Christmas” theme. Gene’s Place, the restaurant located in the Hotel Seward , will offer Kent’s “Christmas Menu,” from Wilderness, reproducing his recipe for Fox Island Corn Soufflé.

“As Christmas approaches on Fox Island, Kent choreographs his own dance, teaches steps to his son and Olson, and even provides the music with his flute,” wrote Capra in the forward of A Northern Christmas. “The artist, his son and the old man brighten the winter darkness with a candle lit tree, hang spruce and hemlock boughs for decoration, make do with homemade gifts, and cook up a Christmas feast announced with hand-printed menus. He has again fulfilled a life-long goal by creating his culture rather than being created by it.”

Not only has Capra written extensively on Rockwell Kent; he also authored his own book on Alaska’s history called The Spaces Between: Stories From the Kenai Mountains To the Kenai Fjords.

 

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Capra draws on extensive original research, including interviews with elders. He lends attention to the women of Seward, who have received scant recognition for their strength and contributions to the community. In a colorful collection of articles and stories about the European pioneers who settled on the eastern Kenai Peninsula, The Spaces Between is both an educational and entertaining book.

Gerald Vizenor visits Minneapolis and the White Earth Nation

Gerald Vizenor read at the Bockley Gallery, in Minneapolis, on November 14th, where Louise Erdrich introduced him.

Vizenor then headed northwest, approximately 225 miles, to visit the White Earth Nation. On November 19th, he was a co-signer of the Constitution of the White Earth Nation. At this time, Dr. Vizenor was honored with a golden eagle feather for his service as a delegate and principal writer of the Constitution.

His latest literary works are Blue Ravens and Favor of Crows: New and Collected Haiku. Attendees of AWP 2015, in Minneapolis, can enjoy a Wesleyan sponsored panel (event F214), a “Tribute to Gerald Vizenor.” Panelists, including Heid Erdrich, Gerald Vizenor, Kimberly Blaeser, Gordon Henry, and Margaret Noodin, will discuss Dr. Vizenor’s vast body of work and reflect on how this elder statesman of Anishinaabe literature influenced and supported their own work. Vizenor’s political writing, nationalist poetry, and history-steeped novels will be represented in this tribute, fittingly held in his homeland of Minnesota. Panelists will reflect on Vizenor’s role as a mentor and teacher who enabled generations of Native writers to find their voice. The panel is on Friday, April 10th, 1:30pm – 2:45pm. Attendees can meet with Gerald at Wesleyan booth #907, after the panel, where he will sign copies of his books until 4:30pm. Favor of Crows: New and Collected Haiku will be available in paperback for the first time.

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Erma Vizenor, Chief of the White Earth Nation, honors Gerald Vizenor with a golden eagle feather for service as a delegate and principal writer of the Constitution of the White Earth Nation.

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Gerald Vizenor signing the official documents as a delegate and principal writer of the Constitution of the White Earth Nation. The Constitution Signing was held at the White Earth Nation on November 19, 2014.

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Louise Erdrich introduces Gerald Vizenor at a reading of Blue Ravens at the Bockley Gallery in Minneapolis, November 14, 2014. This event was co-sponsored by Birchbark Books, a store operated by a spirited collection of people who believe in the power of good writing, the beauty of handmade art, the strength of Native culture, and the importance of small and intimate bookstores. Photograph, copyright John Ratzloff, 2014.

 

#tbt: Mel Brooks’ dancing alien, from “Spaceballs”

This week’s throwback Thursday post is dedicated to director Mel Brooks! He is one of many directors interviewed in The Director Within: Storytellers of Stage and Screen by Rose Eichenbaum. The photograph of Brooks, below, is one of many images from the book.

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To honor Brooks and his ongoing ability to make us laugh long and hard, we picked a clip from his movie Spaceballs (1987).

Mel Brooks is a master of comedy. From film to theatrical productions, his work has earned him the highest honors bestowed on an entertainer: an Emmy, a Grammy, an Oscar, and a Tony Award—to name a few. As Brooks fans know, the filmmaker loves to spoof historic events, popular culture, books, and other films. Such parodies include Young Frankenstein, Dracula: Dead and Loving It, High Anxiety, and Spaceballs. 

When asked why he’s chosen to create so many parodies, Brooks responded:

“All I’m doing is reliving the movies I loved as a little boy. With Young Frankenstein I was reviving the gorgeous films by James Whale, Frankenstein (1931) and The Bride of Frankenstein (1935). High Anxiety is a tribute to Hitchcock. Spaceballs I made for my son, Max Brooks, who loved Star Trek and Star Wars. I dolled them up, of course, with a lot of different themes and feelings.”

Directors featured in the book The Director Within include:

• Michael Apted
• Robert Benton
• Peter Bogdanovich
• James L. Brooks
• Mel Brooks
• James Burrows
• John Carpenter
• Joseph Cedar
• Richard Donner
• Jonathan Frakes
• Lesli Linka Glatter
• Taylor Hackford
• Walter Hill
• Arthur Hiller
• Reginald Hudlin
• Doug Hughes
• Lawrence Kasdan
• John Landis
• Barry Levinson
• Rod Lurie
• Emily Mann
• Kathleen Marshall
• Rob Marshall
• Michael Mayer
• Paul Mazursky
• Mira Nair
• Hal Prince
• Brett Ratner
• Gary Ross
• Mark Rydell
• Jay Sandrich
• Susan Stroman
• Julie Taymor
• Robert Towne
• Tim Van Patten

Rose Eichenbaum will be signing copies of her books, The Director Within and The Dancer Within at Chavelier’s Books in Los Angeles this Saturday. She will be joined by performer-authors Zippora Karz and Victoria Tennant. Read more about the event and participants here.

#tbt: “Democracy” by prisoner Stephen Todd Booker, for his mother

Today’s Throwback Thursday poem is “Democracy,” from the book Tug, which was written by Stephen Todd Booker, a prisoner on Florida’s death row.

 

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DEMOCRACY

A dandelion seed of a woman,
She, the daughter hated by her own
Mother and sisters for having two sons—
Because perhaps too she wasn’t so alone
As to agree that black men were evil,
Each an agent of Satan, the devil;
Nor could she revel in the slaughter
Of her brothers, and became outspoken
In refusing to speak ill of anyone.
For that she was persona non grata,
And even mentioning her name was shunned.
It probably helped to kill my Mother,
Never being let back into the warmth
Of what should’ve been a familial sun.

Many another dandelion seed,
While buffeted by the four winds’ reprise,
Will invariably still crave the love
Of her own blood-kin, and suffer the need
To be needed by them—so what if lies.
And that is the way she gets dealt the card
Filling her cupboard with nothing but lard,
As her siblings maintain their faith in fate,
Their girths increasing along with their hate—
Prosperity telling them they have guts,
They telling themselves nigguhmen need nutts.
Across town, Sis will live by candlelight,
And chicken-delight, or take-out chinese.
She will teach her sons to pray on their knees.

Sometimes allmotherfuckinnight she prayed;
Or, she’d writhe in pain, unable to sleep,
Fighting a migraine she had had for days.
In the morning, she’d be a quantum leap
Ahead of her time, and again her long,
Go-getter legs would have her up, swinging—
She, the very embodiment of strong.
Once dead, you would have sworn by the keening
Of her sisters and Mother she was loved.
Once cremating her, that mission was scrubbed.
In the posthaste time, both sisters and Mother
Were squabbling over her meager estate.
One son claimed it his law; the other
Quietly watched them dicker and debate.

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You can read more about Booker’s work and his troubled life in the New York Times.

The first book on hip-hop sampling as a musical process—now with a new foreword and afterword

We are pleased to announce new edition of Making Beats: The Art of Sample-Based Hip-Hop, by Joseph G. Schloss with a new foreword by Jeff Chang.

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Based on ten years of research among hip-hop producers, Making Beats was the first work of scholarship to explore the goals, methods, and values of a surprisingly insular community. Focusing on a variety of subjects—from hip-hop artists’ pedagogical methods to the Afrodiasporic roots of the sampling process to the social significance of “digging” for rare records—Joseph G. Schloss examines the way hip-hop artists have managed to create a form of expression that reflects their creative aspirations, moral beliefs, political values, and cultural realities. Making Beats won the International Association for the Study of Popular Music’s (IASPM) Book Award 2005, and is now looked upon as one of the foundational works of hip-hop scholarship. This second edition of the book includes a new foreword by Jeff Chang and a new afterword by the author.

For more details, click here.

Also available as an ebook—check with your favorite ebook retailer.

#tbt: Vicente Huidobro, from “Altazor”

Today’ Throwback Thursday selection is an excerpt from Vicente Huidobro’s avant-garde classic Altazor. Considered untranslatable until the appearance of Eliot Weinberger’s celebrated translation in 1988, Altazor appeared again in Wesleyan’s 2004 revised translation with an expanded introduction. In the introduction, Weinberger explains the origins of the work: “Alto, high; azor, hawk. Altazor, a poem in seven cantos, written by a Chilean living in Paris. Begun in 1919 and published in 1931, the poem spans those extraordinary optimistic years between global disasters. An age that thought itself post-apocalyptic: the war to end all wars was fought and over, and now there was a new world to create. A time when the West was, literally and figuratively, electrified; when the mass production of telephones, automobiles, movies, record players, toasters, radios, skyscrapers, airplanes, bridges, cameras, blimps, and subways, matched an aesthetic production obsessed with celebrating the new, and aesthetics that (in Margaret Bourke-White’s famous remark) found dynamos more beautiful than pearls.”

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The world enters through my eyes
Enters through my hands my feet
Enters through my mouth and goes out through my pores
As celestial insects as clouds of words
Silence the earth will give birth to a tree
My eyes in the grotto of hypnosis
Gnaw on the universe that runs through me like a tunnel
A bird shudder flutters my shoulders
A shudder of inner waves and wings
A ladder of wings and waves in my blood
The cables of my veins snap
And it leaps out from my flesh
Out through the doors of the earth
And past the startled doves

Inhabitant of your fate
Why do you want to abandon your fate?
Why do you want to break the chains of your star
And travel alone through space
Falling across your body from your heights to your depths?

I don’t want the bonds of star or wind
Moon bonds are fine for the sea and women
Give me my violins of rebellious vertigo
My freedom of escaped music
There’s no danger at the little crossroads of night
No mystery about the soul

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Interestingly, in the introduction, Weinberger notes a possible connection to Alastor (is Altazor and anagram for Alastor?), “Shelley’s long poem of ‘a youth of uncorrupted feelings and adventurous genius led forth by an imagination inflamed and purified through familiarity with all that is excellent and majestic, to the contemplation of the universe.’ Shelley’s Romantic poet-hero, first at peace with the ‘infinite and unmeasured,’ grows dissatisfied with eternity, and in the end is literally consumed, killed, by desire for the Other he has invented in his total solitude. In contrast, Huidobro’s Nietzschean anti-poet/hero abandons his Other (the beloved of Canto II) to reach satori in the pure energy of pure language.”

 

 

VICENTE HUIDOBRO (1893-1948), a politically engaged Chilean who lived mainly in Europe, was a trilingual poet, painter, war correspondent, founder of newspapers and literary magazines, Hollywood screenwriter, and candidate for president of Chile. ELIOT WEINBERGER’s recent books are Karmic Traces, 9/12 and The New Directions Anthology of Classical Chinese Poetry. His edition of Jorge Luis Borges’ Selected Non-Fictions received the National Book Critics Circle Award for criticism.

“Director Within” launch tonight, 7PM, in Burbank, CA!

Don’t miss the book launch celebration for Rose Eichenbaum’s the The Director Within! Rose will be sharing photos, stories, and words of wisdom concerning her latest book. A discussion will follow. The event will take place on November 13th, in the Entertainment Media Building Room E100 at Woodbury University from 7-9pm.

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“What a treat to read these interviews with so many directors I have known and to learn more about them, their courage, individuality, compassion, vision, insight, and wisdom, and to hear the shared theme of love for the media and love as a theme in their lives and their work.”  —Jeremy Kagan, film and television director

Award-winning photojournalist, Rose Eichenbaum is dedicated to the investigation and documentation of art making and human expression through performance. Her stunning books The Dancer Within and The Actor Within paired photographic portraits with thoughtful conversations that look at the creative process, and how this process is different for each individual.

For her new book, The Director Within, Rose Eichenbaum sat down with thirty-five modern day storytellers—directors of theater, film, and television. Eichenbaum’s subjects speak with revealing clarity about the challenges and rewards of their work, the role and life of the director, and the ways theatrical and cinematic storytelling impact our culture and our lives. These conversational interviews with some of the biggest names in entertainment are accompanied by lively photographic portraits that convey the character and personalities of her subjects.

This beautiful, informative, and entertaining book is an essential resource for film and theatre buffs, would-be-directors, and anyone who wants to learn more about the creative minds behind our most-beloved movies and shows.

Rose Eichenbaum’s work has appeared in national magazines and has been the subject of numerous exhibitions, including a national tour hosted by the Smithsonian Institution. A respected educator, Eichenbaum is a professor at Woodbury University in the School of Media, Culture and Design and directs the dance photography workshop at the Jacob’s Pillow Dance Festival. She also teaches at the Los Angeles Center of Photography.

 

For more information about the book please visit the bookpage.

 

 

#tbt: An Alice Notley poem

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In honor of #UPWeek, AAUP’s Blog Tour continues, with the theme of Throwback Thursday. Other participating presses are Harvard University Press, MIT PressTemple University PressUniversity of Toronto Press, and University of Washington Press.

Today’s Throwback Thursday selection is “Flowers of the Foothills & Mountain Valleys” from Alice Notley’s 2006 collection Grave of Light: New and Selected Poems, 1970-2005. She was recently the focus of a three-day symposium, ALETTE IN OAKLAND, hosted by the Bay Area Public School. The cover of her book Grave of Light is a reproduction of a beautiful collage created by Notley.

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FLOWERS OF THE FOOTHILLS & MOUNTAIN VALLEYS

Compassion is pungent
& sharply aromatic. Small
yellow heads in late summer.
Love & hatred are
delicate & fragrant.
Around a yellow disc.
Glory is found along the shores
intoning “I change but in death.”
Sincerity has delicate &
feathery leaves. Dignity is
fragrant & looks like a little
brown nail. The leaves
of hidden worth are deeply cut;
a 19th-century American
artist & inventor. Sir
Thomas Campion blooms in July
pinkly with notched petals. The
clearest of gins taste of
bluish protection, lovely
Mary & little Jesus found
refuge, in Egypt, in gin.
Hid from sight in
the bark of the cinnamon tree
a light flashes on & off,
dazzles, whistles. Remembrance
is the most fragrant, love is
the most dark pink, courage
is grey-green growing wild.

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ALICE NOTLEY is the author of many collections of poems, including Songs and Stories of the Ghouls and Pulitzer Prize-finalist Mysteries of Small Houses. She is the recipient of the Griffin Poetry Prize, the Los Angeles Times Book Award for Poetry, the Shelley Memorial Award from the Poetry Society of America, an Academy Award from the American Academy of Arts and Letters, and the San Francisco Poetry Center Book Award.

#UPWeek: AAUP’s Third Annual Blog Tour continues

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It is University Press Week…a time to celebrate all the wonderful work published by scholarly presses! In the spirit of partnership that pervades the university press community, thirty-two presses will unite for the AAUP’s third annual blog tour. This tour will highlight the value of collaboration among the scholarly community. Individual presses will blog on a different theme each day. Today’s theme is “Your University Press in Pictures.” The following presses are participating. Click on the available links to enjoy a variety of content exploring the history of publishing, including historic images as well as a look at how the handling of images has changed with the introduction of new technologies. 

University Press of Florida 

Fordham University Press 

Indiana University Press 

Johns Hopkins University Press 

Stanford University Press 

Tomorrow’s theme will be University Presses in Popular Culture.

Gerald Vizenor to visit National WWI Museum

Tomorrow, November 12th, Gerald Vizenor will visit the National World War I Museum in Kansas City, Missouri.  As part of Park University’s Ethnic in Voices Poetry Series, in an interview segment that will air on KCUR’s New Letters on the Air, host Angela Elam will discuss Vizenor’s latest book of poetry, Favor of Crows, as well as Blue Ravens, his fact-based historical portrayal of Native American Soldiers in World War I.  

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Today, the service of Native Americans in WWII is quite well documented, thanks to the work of many Native community members, scholars, and historians. Service of Natives in WWI has not been as well documented.

In 1917, as the United States entered WWI, most Native Americans were not U.S. citizens. Some Natives were granted citizenship based on their military service. Others were offered citizenship with the passage of the Indian Citizenship Act of 1924. It was enacted, in part, to recognize the service of thousands of Indians in WWI. Citizenship had been offered to Oklahoma Natives in 1890 and 1901.

It is estimated that more than 12,000 American Indians served in World War I. More than 44,000 American Indians served during WWII. Military officials acknowledge that Native Americans have the highest record of service per capita of any ethnic group. Native Americans were sent into highly dangerous situations, such as sweeping for land mines, at a higher rate than their non-Native counterparts. Native Americans were not placed in segregated units, as African-American soldiers were. The U.S. Government hoped that integration would assist the process of assimilating Native Americans into the United States.

To learn more about Native American military service, visit the National Museum of the American Indian’s resource page, “Native Words, Native Warriors.” You can also view the PBS documentary The Way of the Warrior.