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Conference Travel, Graduate English, Master's Essay, Opportunities for Graduate Students, Student Research

Bringing the Love of Romance to a Conference on Militarism

Taya Sazama completed her degree in the Fall of 2016, but has continued to attend conferences to present her Master’s Essay research. As a graduate student, Taya took advantage of our teaching mentorship opportunity, and was also the recipient of our $1,000 student research grant, which she used to attend the Historical Romance Retreat in Spokane, Washington.

One of the most difficult transitions post grad-school is attempting to move on from your thesis project back into the “real world,”  For months—and perhaps longer—you have immersed yourself in your research.  For me, it was romance novels and the community of women who read and write them.  Not only were these the only texts I had read for well over a year, but all of my thoughts seemed to constantly churn over related ideas, to-do lists, and questions I needed to ask my advisor.  This obsession only seems to gain momentum as graduation nears and you prepare to review, submit, and defend the project to your committee.  It took me months to actually read something other than romance after I graduated in December 2016.  I intended to pick up something new right away as a sort of celebration, but romance had almost become an addiction and I struggled to get past the first few pages of any other book.  Finally, at the beginning of April, I read A Man Called Ove by Fredrik Backman and I felt cured.  Don’t get me wrong—I still love romance novels.  But it was definitely time to take a healthy break.

Now, in contrast with the urge to break up with your thesis project, there is also the strong desire to hold on tightly to what has almost literally become your baby.  For months it has kept you up at nights, you were constantly changing it, and you had almost no social life because it demanded your undivided attention.  How can you just abandon it now?  The question of what to do with my paper began to plague me even before I graduated.  Sure, there is the goal of publication, but the path on how to get there is not always clear.  What I chose to do, and what I highly recommend, is to present your work at a conference.  Sure you can easily do this at St. Thomas, the U of M, or some other local university, but what I propose is something that, for many of us, is far outside of our comfort zone.  Go somewhere where nobody knows you—where nobody knows your research—where no one from your school is presenting.  This will give you the best chance at testing your ideas out in the scholarly world, getting fresh ideas and testing your conclusions in a way that cannot happen in the comfort of your own academic circle.

At the end of last October, an email came through with the following title for a conference taking place the following spring at Texas State University: “Century of Conflict: Dialogues on Women, Gender, Intersectionality, and Militarism. This event will provide a forum for diverse perspectives on work around issues of gender, ability/disability, veteran status, and intersectionality.”  As I was currently in that obsessive state with my project, I immediately emailed my advisor for confirmation that I should, in fact, do this.  After getting the green light from her that it was a good idea, I put together an abstract and sent it off, feeling rather pleased with myself.  Unfortunately, those good feelings quickly dissipated when I received my acceptance email post-graduation. At that point, I was trying unsuccessfully to break up with my thesis and was genuinely annoyed with myself for wanting to attend a conference in March, almost four months after I should have been done with my paper.

Yet, even with all this anxiety, I can assure you that this experience turned out to be one of the most rewarding of my academic career.  One of the biggest benefits to participating in this conference was that it forced me to evaluate my own conclusions with an eye towards seemingly dissimilar topics.  What quickly became apparent once the symposium began was that the conference, and almost all of the other presenters, were focusing very heavily on the militarism side of the conference topics. In fact, as I glanced through the titles in the program, mine seemed to be a glaring outlier.  As the morning sessions of the symposium progressed, I found myself panicking a little – How was I going to relate my project to all of these discussions on war and female soldiers in the military?  I imagined what the reactions of my audience members would be and could already see their confused faces as they wondered how a scholar on romance novels was admitted to be a presenter.  Silently chastising myself for getting into this predicament, I began to quickly brainstorm how to salvage what I assumed would be a disaster.  Thankfully, my dire predictions did not come true.  In fact, I was able to walk away from the experience with some major connections between my conclusions and the issues raised by the other presenters.  In additions, the questions and positive comments from an outside circle of academics did much to encourage me in my research.  They helped to validate the importance of my work while also providing helpful criticism and suggestions for further research.  Best of all, I was invited to submit my paper to the university’s academic journal on women and gender.

There is no shortage of opportunities at which to present your research.  I would urge all graduate students, especially those who are nearing the end of their programs, to seek out places where they can push their boundaries.  As much as I recommend presenting at local conferences—because any practice is helpful—there is almost more to be gained by widening your sphere.  It will help you to look at your work with fresh eyes and to really gauge the potential it has for publication.  So, fight the urge to fully break up with your thesis immediately upon graduation.  Take it somewhere new, but explain that you need an open reading relationship.

Undergraduate English

The Flâneuse Herself

You might be asking yourself, what or who is a flâneuse? First, we must explain what exactly a flâneur is. From the French noun, flâneur means “stroller” or “loafer.” The term carries rich associations, such as the man of leisure, of fashion, the idler, the connoisseur of the streets. Flânerie is the act of strolling through an urban setting—an essential component of the flâneur. Now that we’ve established what a flâneur is, we can address the flâneuse, and who better to answer that question than Dr. Lauren Elkin, a Lecturer in English at the University of Liverpool and author of Flâneuse: Women Walk the City.

Dr. Lauren Elkin

Originally from New York, Elkin graduated from Barnard College with a PhD in phenomenology and British women’s writing in the 1930s (focusing on the work of Virginia Woolf, Elizabeth Bowen, Jean Rhys, and Rosamond Lehmann), as well as an M.Phil. in French literature from Sorbonne. Ever since her undergraduate days, Elkin has been fascinated with the concept of the flâneur, wondering why the term wasn’t (and/or couldn’t be) appropriated to include women. Because the flâneur is a strictly masculine identity throughout history, Elkin set about creating her own term for a female flâneur—the flâneuse: “Flâneuse [flanne-euhze], noun, from the French. Feminine form of flâneur [flanne-euhr], an idler, a dawdling observer, usually found in cities.”[1] This is, of course, Elkin’s own imaginary definition of the flâneuse. In her book, Elkin identifies her own flâneuses, throughout history, from nineteenth-century novelist George Sand to artist Sophie Callie, war correspondent Martha Gellhorn to filmmaker Agnes Varda.

I first became introduced to Elkin and her work through my English 481 capstone course entitled “The Metropolitan Mind” taught by Dr. Emily James. The class focuses on the twentieth-century city and its effect on the modern citizen. We kicked off our course readings with Virginia Woolf’s novel Mrs. Dalloway (1925) and climbed our way through the twentieth century to more contemporary works like Colum McCann’s Let the Great World Spin (2009). Our class recently had the pleasure of receiving Dr. Elkin via Skype to discuss her experience in the world of academia, her fascination with the flâneur, and her life as a flâneuse.

My classmate posed an interesting question for Elkin: Do you think technology has made it more difficult to be a flâneur or flâneuse? Both the flâneur and flâneuse are known for wandering the city, typically without a specific agenda or destination in mind. With our easy access to GPS, getting lost is now just as difficult as it was to find your way using only a paper, trifold map. My classmate drew attention to the fact that, in our day and age, we’re never truly lost—unless our phone dies, in which case, we’re on our own. In contrast, Elkin claimed technology has not damaged our ability to pursue flânerie (or flâneuserie—the flâneuse version of flânerie). Rather, she shared how she can just as easily leave her phone in her pocket, get lost exploring a new city (Copenhagen is her next destination), and then, at the end of the day, pull out her phone and know exactly how to find her way home again. If anything, technology has just made it safer to be a flâneuse.

Elkin pressed on, addressing social media platforms and their ability to connect our lives. While social media is frequently criticized for creating a sense of FOMO (fear of missing out), Elkin chooses to focus on the positive. She pointed out that apps like Instagram have made her more aware of the beauty in the everyday, whether it’s a photo of a potted plant or an interesting building shadow. Instagram has added the element of photography to her flâneuserie, and it allows her to share her flâneuse lifestyle with the world.

While chatting with Elkin, our class covered topics ranging from the character of Doris Kilman as the anti-flâneuse of Virginia Woolf’s Mrs. Dalloway to what shoes are most fashionable and comfortable for a summer of flâneuserie. Dr. Elkin is a wealth of information, opinions, and fabulous fashion, and after a discussion that lasted the better part of an hour, I think I speak for most of the class when I say I finally know what I want to be when I grow up.

Check out some of Elkin’s work, as well as a few of her interviews in which she discusses her book and her life of flâneuserie:

[1] As read on BBC Radio 4 Book of the Week

Halle is a senior English major with a Renaissance Program minor who is currently working as a research assistant for a professor at UST. Her ardent admiration for nineteenth-century British novelists, specifically Jane Austen, led her to found the blog Looking for Mr. Darcy, in which she utilizes Austen’s characters to discuss and critically analyze norms of twenty-first-century dating.

Study Abroad, The Value of English, Undergraduate English

The Spirit of Competition


Often, travel is seen as an escape. People take their allotted vacation time and run off to some place, near or far, where they can forget their troubles and responsibilities for a few days. While I can personally attest that a sun-filled week of spring break in a beautiful location like St. Pete’s Beach, Florida makes for a nice getaway, this is not my preferred style of travel. Not anymore, at least. I was lucky enough to be able to spend the last three weeks exploring Greece, and my experiences there completely changed my outlook on travel.

Walking a trail in Greece

My trip to Greece was not a vacation. A vacation generally consists of free, unscheduled time spent relaxing in a nice location. Relaxation was rare in Greece, with more sights to see than I had time or energy for. I took a class on sports literature, and spent most of my time taking part in activities that were organized by my professors, Liz Wilkinson and Amy Muse. This would have made for a terrible vacation, but it wasn’t a vacation. I wasn’t taking a trip to escape the stress of life at home. I wasn’t trying to lose myself in a faraway place. In fact, as clichéd an idea as this may be, I found a new part of myself through my hurried exploration of Greece.

As we studied the Olympic Games, both ancient and modern, I started to focus my journal entries on examining the competitive drive that is a core part of human nature. This drive to achieve and to prove ourselves better than our peers is prevalent throughout nearly every facet of life. I have always felt the spark of competition within myself, but the more I examined my competitive drive, the more the spark grew. When our class had the opportunity of listening to a speaker who was a marathon runner, I listened closely to her motivations for running, and found that she shared the same drive I did. The main difference between us was that she had acted on her drive, and I had let mine begin to fade. As she spoke of her desire to prove to herself that she could run a marathon, I felt that little spark of drive in me flare up wildly.

Nafplio, Greece

In a moment of pure inspiration, I declared to my friends next to me –and more importantly, to myself– that I would run a marathon by the end of 2017. Now, it’s important to note that, before this decision, I did not run consistently. I was (and still am) not in prime shape. This didn’t seem like a reasonable goal. It still doesn’t. Yet, I know I can do it. In making my decision, I drew inspiration not only from the speaker, but from the Olympic athletes, both ancient and modern, and from the very land of Greece. I’m convinced there’s some sort of magic at work in Greece, magic that erased my doubts and fears, and magic that fueled the growing drive within me.

The Temple of Poseidon, Sounion, Greece

Three weeks was not enough time for me to get tired of Greece. Not even close. I still think of it every day, wishing that I could wake up to see the sun rise in Nafplio each morning, and longing to watch it set over the Temple of Poseidon at Sounion. As Dr. Muse had warned me would happen, I left a piece of my heart in Greece. But the experience was worth it. And you can bet I’ll be going back in search of it.

 


Henry Koller is sophomore majoring in English with a Writing Emphasis, with minors in Philosophy and the Renaissance Program. Aside from writing, he likes to spend his time reading, swing dancing, and baking bread, and he hopes to study abroad again before he graduates.

Faculty Teaching, Study Abroad, The Value of English, Undergraduate English

The Grand Tour: Cultural Disparities

The famous Shakespeare and Company store in Paris.

Inside the clock tower at the Musée d’Orsay, Paris.

I walked down the cobblestone streets of Paris and stopped. To my left was a row of antique buildings. Every building held its own share of history and was now filled with chic boutiques blooming with French fashion and bookstores containing the works of authors that used to find their muse in the exact surroundings I was currently experiencing. To my right was the Musée d’Orsay with only the Seine river separating me from its’ hundreds of years of art and sculptures held inside. A quick stroll down the street would land me at the famous Notre Dame and deliciously unmatched gelato. For the month of January, twenty-four other students, two professors, and I experienced sights like these in each of the cities we visited.

The Coliseum in Rome, Italy

Led by Professors Kelli Larson and Cecilia Farr, we were lucky enough to experience various more-than-just-picturesque cities in order to learn about the Grand Tour. The course, titled “Americans Abroad: The Grand Tour,” took us on a detailed exploration of 5 cities: Paris, Nice, Venice, Rome, Siena, and Florence. Each day, in every city visited, we were able to see and experience first-hand some of the exact same places as various nineteenth-century Americans did. Typically, they did so to polish themselves artistically or socially, but they also did so to complete their education or to find inspiration. Our texts for the course consisted of works by Mark Twain, Nathaniel Hawthorne, Henry James, and included various excerpts from other exceptionally talented authors who completed the Grand Tour.

Group picture in Nice, France.

The texts were all unique with their own plot and purpose, but comparatively they all revolved around a common theme: the cultural differences between the Old World and New World. In some way, the protagonists in each of the texts encountered foreign customs and cultures and had a difficult time adjusting.

Florence, Italy

A lack of typical American customs—like hasty meals or differences in social expectations—is unsettling to them at first. Eventually, though, after experiencing various trials and tribulations mixed with benevolent encounters, their cultural ignorance begins to fade and they soon attach a sense of value and appreciation to this differing culture. In a different scenario, like in Henry James’ Daisy Miller, the exposure to European culture only reinforces the protagonists’ sense of superiority in their familiar American customs.

Venice, Italy

After retracing some of the same steps these nineteenth-century Americans did, I can say that experiencing a culture different to my own only broadened my perspective and understanding for other cultures and their customs. It is easy to find one’s own ways of life or customs to be superior to others when you have never experienced or attempted to understand the logic or history behind them. As a Minnesota native, I definitely missed the constant smiles and “hello’s” from a random passersby, but I also came to prefer their slower, relaxed pace of life. There is no correct right way to live. Traveling, though, allows for reflection; to appreciate your own culture but also to take a step back and realize where other cultures might be getting at something deeper than you ever fathomed.


Shayla Curtis is a sophomore Accounting & Finance major with a minor in English Literature. After college, she hopes to work as a financial analyst or in another position related to her major. With a passion for animals and kids, she hopes to volunteer on the side and perhaps start her own nonprofit. 

Conference Travel, Student Research, Undergraduate English

Rediscovering Constance Wilde

grandmas-story

Grandma’s Story

Last fall, I undertook an independent study on the works of Oscar Wilde with Dr. Alexis Easley. When we began to study his fairy tales, I realized for the first time that one of them, “The Selfish Giant,” was one of my favorite childhood stories that my dad used to read to me. Intrigued, I researched these fairy tales further and discovered one of his wife’s fairy tale collections, There Was Once! Grandma’s Stories, a beautifully illustrated book that included five fairy tales and four nursery rhymes. Basic research revealed that Constance Wilde was a writer, editor, and public speaker who was an important voice in late nineteenth-century Britain, and as I learned more about her, I realized her work had been buried for over one hundred years. I knew that I needed to find out more about her.

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A Long Time Ago – Favourite Stories Retold by Mrs. Oscar Wilde and Others

During this last spring semester, Dr. Easley and I began the application process for the Luann Dummer Center for Women Undergraduate Fellowship Grant opportunity. Constance Wilde’s works have been out of print since she was first published in the late nineteenth century, so part of my application requested funding to travel to London in order to research her works at the British Library. Needless to say, we were ecstatic when I was informed that, out of all the possible applicants, we were awarded the grant. This trip to London was quite possibly my favorite part of the project. In the midst of traveling through the underground train system, getting lost for hours in the British Library pouring over books, letters, and documents from the nineteenth century, I discovered her amazing work for the Rational Dress Society, where she was the lead editor for the Society’s Gazette from April of 1888 to July 1889. Her work centered on the idea of healthy and sensible dress for young girls and women without sacrificing the aesthetic appeal of fashion. As editor, Constance Wilde’s work was crucial in getting the necessary health information out to women in order to encourage them to take charge of both their own and their children’s health, especially relating to their habits of dress.

One of the exciting opportunities I have had with this project so far was a presentation of my first research paper on Constance Wilde, focusing on her journalistic career with the Rational Dress Society, at the Streamlines Undergraduate English Conference in Dubuque, Iowa. The conference was a fantastic experience! Presentations were given by students from all over the United States, and I thoroughly enjoyed listening to them. I also loved the opportunity to share my own research and to hear what questions people had about it. The unique quality of this particular conference is the wide variety of topics students can present on, such as creative writing (fiction, poetry, and creative nonfiction), presentations on films, literary theory, the classics, global issues, identity, women in literature, and even one on handwriting in our culture. It was intellectually rich with all of these topics and more!introduction

Since my paper had to do with a female writer, I was placed in a panel that focused on the subject of women in literature. The other students in my panel had fascinating and excellent papers and it was intriguing to see that all of our papers tied together without our realizing or planning it. After we had all presented our papers, one of the audience members brought that to our attention, and it sparked a fantastic discussion that went in multiple directions. It was an incredible day, as the faculty, students, and everyone listening to the panels were supportive and interested in the work we were sharing. It was truly a worthwhile experience, and I hope to attend the conference again in the future simply for the pure enjoyment of it.

jack-and-the-beanstalk

Jack and the Beanstalk

The next step for my research on Constance Wilde will be an article on her collections of fairy tales, which I will be submitting this upcoming May to the International English Honor Society, Sigma Tau Delta. In the introduction to one of her collections, There Was Once! Grandma’s Stories, Constance Wilde tells children the story about the way these fairy tales were handed down to her orally by her grandmother. Through this, she draws attention to the importance of women’s relationships in the storytelling tradition. She highlights this process of transmission, honoring her foremother and making her own contribution to the retelling of these classic tales. One of my greatest hopes in carrying out this research project is to shine light on Constance Wilde’s work, highlighting her authorial achievements with more precision and promoting greater understanding of who she truly was – a unique and important writer of the late Victorian era.

 

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Meaghan Scott is a senior majoring in English. Two of her favorite literary eras are the Medieval and Victorian, and some of the authors she’s especially enjoyed studying are Dante, Shakespeare, Oscar Wilde, and Constance Wilde, just to name a few. However, she also loves fantasy literature in general, especially the works of J.R.R. Tolkien, who she will be studying in Dr. Martin Warren’s Tolkien: Middle Earth/Middle Ages class. She is currently applying to graduate English programs in Ireland and Minnesota in order to continue her studies in English Literature.

Conference Travel, Student Research, Undergraduate English

My Streamlines Conference Presentation of “Notes on Emptiness”

Earlier this month, I had the opportunity to present a paper I wrote at the Streamlines Undergraduate Language and Literature Conference in Dubuque, Iowa.streamlines_program_2016 The conference took place on Saturday, November 5th, though for me it began weeks earlier with the nerve-wracking process of submitting my paper. I stand by my opinion that nothing — not even presenting — compares to the anxiety of the submission process. The whole thing consists of sending off what I truly believe to be my best work to someone I don’t know, so that it can be judged against standards I haven’t been acquainted with. That’s enough to make most people question whether or not their paper is good enough in the first place, and believe me, I am most people.

Nothing in that moment seems to reassure me that something I wrote could, in fact, be good enough to be presented, published, or otherwise recognized as real writing. Chalk it up to me being a young writer without many rejections to roughen me up, or to being too shy about sharing my work, or whatever else you want. I suspect that at any age or stage of writing, reassurance about the quality of one’s work isn’t what a writer needs. It’s probably more important to cultivate an air of indifference toward judgement out of genuine affection for your work. That, or to have the voices of feminist writers like Dunham, Gay, and Kaling whispering in your ear, telling you to smash that submit button with confidence (I fell back on this latter option).

nortonanthwesternlit

My paper incorporated a number of works from this anthology, including Flaubert’s Madame Bovary, Rousseau’s Confessions, and inspiration from Dostoyevsky’s Notes from Underground.

Fast forward to November 5th. I had made it through the submission process, and my paper, “Notes on Emptiness,” had been accepted to the Streamlines Conference. I had edited, practiced, and practiced some more. The final draft was mixture of literary analysis of the book Madame Bovary, personal memoir, philosophical musings, and quotes on emptiness from literature. Because it’s such a thorough mix of styles and concepts, I would have been surprised no matter which category they put me into. I ended up on the creative non-fiction panel along with four other students from schools across the Midwest, feeling like I was going to crush it with an unconventional nonfiction paper.

The presentation itself was exhilarating. As I explained my paper and started reading, I had the thrilling feeling that my audience was hooked. They laughed when I wanted them to laugh, shifted in their chairs and chuckled uncomfortably when I expected them to feel awkward, and nodded along as I drove home my argument. It was a rare opportunity to see people react to my writing in real time. I loved every minute of it, feeling like I possessed a superpower to control people’s emotions, simply by sitting at the front of a room and speaking.

I also got to listen to the papers of the other four people on my presentation panel. Dr. Miller once said to my Writing Poetry class last spring that you should always go to readings because you’ll either leave filled with admiration and a desire to write as well as them, or with the impression that it wasn’t that great and you can do better than them, and either way you’ll want to go home and write. I don’t think I need to clarify that I experienced the former reaction upon hearing the papers of other students. Not only did I leave feeling energized and excited about writing, I felt honored to be included in a group of such excellent writers.

The question and answer session at the end of my reading rivaled the actual presentation for my favorite part of the day. Both students and professors, genuinely curious to know more about my writing, asked thoughtful questions about my themes, processes, and drives. Discussing my own work is something that I’ve had little experience with, and it was a treat to be able to talk about it and hone those skills I rarely get the opportunity to practice.

No other experience has validated my work more than this presentation. I left the conference feeling like a legitimate writer, and had the whole four and a half hour drive home from Dubuque to contemplate the experiences that will bring me to my next destination as a writer.

graffunder300Hayley Graffunder is a junior with a double major in Linguistics and English with a creative writing emphasis. She looks forward to studying abroad in Scotland this spring at the University of Edinburgh and will be writing for Arcadia University as a student blogger while she is away.

Internships, Undergraduate English

My Internship with Arsenic Lobster

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This semester I was given the opportunity to be an intern for the Arsenic Lobster, an online poetry journal. I first came to learn of this internship opportunity from my creative writing professor, Salvatore Pane. He introduced me to the poetry journal and contacted them, finding out that there were opportunities for me to be an intern. I was eagerly interested to learn hands-on with them. The Arsenic Lobster’s strong energy and imagery throughout the journal caught my attention. Each poem felt different, yet each one still had a very powerful emotion visibly rooted within it. This has been a huge learning experience and is bringing me great excitement for my future as an English major.

The main focus of my internship is to review submissions, edit poetry, and send back my comments and edits to the editor, Susan Yount. Each week I have ten submissions forwarded to me. Each of these submissions ranges between three to five poems and can pertain to any topic chosen by the poet. The most common theme I have noticed within the poetry submissions is the obviously depicted passion in the writer’s voice. I find this to be very motivational for my own writing and this passion has deepened my appreciation for poetry. While editing, I look at the language utilized, the syntax structures, uses of enjambment, and other various details depending on the poem. This has also helped me in my own writing as I gain awareness about small and delicate details while reviewing submissions.

As a freshman, I took the Passports: Poetry Around the World class here at St. Thomas. When I went to take this class, I never thought that I would end up as an English major, and I definitely never imagined that I would be editing for a poetry journal two years later. Yet, here I am. That class, taught by Professor Mary Frandson, immensely expanded my knowledge on how to read and write poetry, preparing me to be able to look out for the intricate details hiding deep within a poem. Now I can read submissions and understand why one would benefit from a comma or enjambment, and how that effects the emotions and meaning of the poem’s story. The next English class I took at St. Thomas was Imaginative Writing. This class helped me to practice writing and give helpful feedback to my classmates on their work, which included poetry. Both of these courses have prepared me and guided me to feel confident in the work that I do for my internship.

somekindofshelterAlthough editing is the main part of my internship, it is not the only focus of my work. I am also given poetry podcasts to listen to and make notes on, broadening my experiences and knowledge of all that the poetry world contains. Another concentration of my internship is to read past Arsenic Lobster issues and other various poetry journals. This past week I sent in my first book review on one of these journals, and I plan to write at least two book reviews within my internship for publication. My first review was on Sara Tracey’s Some Kind of Shelter, which is a poetry journal. I chose this journal among the many I read because I was fascinated by Tracey’s ability to use mundane and everyday ideas and make them poetic and powerful to readers. Through my experience of writing this review I found myself drawn into the poem on the page and fully captured within the moment. The poetry felt vivid and alive through Tracey’s writing, and I am honored that I was able to write a published review of a journal that I truly enjoyed. Writing this book review was one of my favorite moments within my internship thus far. I am looking forward to writing my next book review and am currently in the process of reading more anthologies, researching poets, and trying to decide which poetry journal I am most drawn to.

This internship opportunity has taught me a lot already, and I am excited to expand on my knowledge and experiences. I find the internship to be a unique blessing. Not only do I get to learn more of the editing, writing, and publishing world by immersing myself in the poetry, but I also keep learning from my mentor at St. Thomas, the editor of the Arsenic Lobster, and each poet that sends in a submission to the journal. I look forward to learning about soliciting poetry for the journal, improving my writing skills, and learning more details about the poetry review process.

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Caitlin Morley is a junior majoring in English with an emphasis in Creative Writing and a minor in Communication and Journalism. She
has written articles published on the Odyssey Online and looks forward to a future working with people, literature, and the world of writing.

Student Research, Study Abroad, Undergraduate English

From Beatrix Potter to Harry Potter: A Research Trip of a Lifetime!

KensingtonGarden

Kensington Gardens

It’s 8 o’clock in the morning and the Potter-to-Potter class has finally landed at Heathrow Airport. We clear customs, grab our luggage, and make our way to the hotel. After checking our bags, we wait for our three o’clock check in time by taking on London. We started by exploring the area around our hotel. High Street Kensington Tube Station was a two-minute walk from the front door. Kensington Gardens, a quiet space inside the bustling city, was within walking distance. After exhausting the exploration of our new neighborhood, we split up to find different ways to stay awake for the rest of the afternoon. This is where we began our adventures in London.

In the weeks leading up to our adventure, the thirteen of us sat in OEC and read through an extensive list of British children’s literature, from Beatrix Potter to Harry Potter and so much more. We discussed what a book needed to have to be considered children’s literature, and how children’s literature in Britain is different from that in America. The focal point of the class would be our archival research project, where the research was to be done in London! Determining what my project would be required brainstorming early on. Dr. Bouwman assigned the projects as anything broadly related to British children’s literature. We could examine a specific author, or a specific setting, or we could try to answer questions about British children’s literature as a field. I am researching how the expectations of children’s authors have changed since the early 1900s. Other students are looking at how different manuscripts evolved into the books we know today, or how authors depicted different settings from our novels. By the time we were leaving for London, we were ready and excited to tackle the research.

Beatles

The Beatles

On our first full day in London we explored the British Library, where we would eventually get our own reader’s cards and have access to their archives. We looked at the Library’s Treasures Gallery where we were able to see historical artifacts such as the Magna Carta, a suffragette’s notebook, Da Vinci’s notebook, and even some handwritten Beatles lyrics! It was so unbelievable to be standing in a single room that contained so much history from so many fields. This was a great introduction to the history of London that prepared us for the experiences we were about to have.

The next day, we met with two children’s editors from Tamarind Publishing, an imprint of Penguin Random House. This was definitely one of my favorite experiences. I plan to be an editor in the future, and seeing the offices at Tamarind was an incredible introduction to the publishing world. When we had lunch with them, I was able to find out what expectations they face as publishers of children’s literature, which helped with my research project. We learned a lot about what kind of power book publishers have, and also what their limitations are when it comes to promoting change. It was especially inspiring to hear both editors say that the most important end goal for them was publishing an authentic story. Later in our trip, we would be meeting with three different children’s authors, and we would keep this impressive goal of authenticity in mind.

Beatrix Potter

Beatrix Potter’s Peter Rabbit

During our first week, we also had a chance to visit the Victoria and Albert archives, where the majority of Beatrix Potter’s work is kept. We were able to see Potter’s original artwork and some of her correspondence with publishers regarding what they referred to as the “Bunny Book.”

Over the weekend, we made our way by train to Oxford, where we would be staying at St. Edmund’s Hall. Our first stop was the Bodleian Library, where we were able to see some of J.R.R. Tolkien and C.S. Lewis’s work. As a writer, it was fascinating to see the difference between Tolkien and Lewis’s writing processes. Lewis appears to have done most of the editing in his head before writing out a nearly final copy of his work. Based on what we saw, Tolkien was more meticulous about editing, and would only write his work in pen once it felt complete. We could see the erased and rewritten words in pencil in early manuscripts of the Lord of the Rings! I was not only fascinated by the different writing styles, but also inspired. So often, after reading a great book it feels as though the words come directly from the writer’s mind with no work in between. To see that writing, even for the greats, is a process of writing and rewriting and editing takes some pressure off any first draft. This same lesson was reaffirmed after meeting with a few authors.

Bodleian Library, Oxford University

Bodleian Library, Oxford University

On our first day back from Oxford, we took a day trip to Great Missenden. There, we met with Lucy Coats, the author of Cleo, which was one of the contemporary books we read for class. I really enjoyed this meeting because Lucy was so passionate about her topic. Cleo is a fictionalized story of the early life of Cleopatra. Lucy was so excited to discuss her love of Cleopatra and the mythology she studied. The next day we got to meet another author, Kate Saunders, who wrote Five Children on the Western Front. This book was a continuation of E. Nesbit’s Five Children and It. Saunders was incredibly enthusiastic about telling her story and the inspiration she had after reading Nesbit’s book. It was so exciting to see that the passion for each author’s project was authentic, and they were both thrilled to share their experiences with us.

While in Great Missenden, we were also able to look at the Roald Dahl archives. We flipped through pages and pages of legal paper that contained Dahl’s process of writing Matilda. We found that in Dahl’s earliest drafts, Matilda was actually a nightmare of a child, and Ms. Honey had a gambling problem! This is, of course, much different from the poor and innocent Matilda we read today accompanied by a loving and caring Ms. Honey.

Harry Potter World

Howarts Castle model, Wizarding World of Harry Potter

A trip to England focused on children’s literature would not have been complete without a visit to the Wizarding World of Harry Potter. I am one of about four students on this trip who had not read all of the Harry Potter books growing up. We read the first book of the series in class, and based on class discussions, I learned that a large part of the success of the franchise was reading it as a series while you grow up with the books. Although I was a bit of an outsider in this world, the movie- making and world-building shown at this attraction were incredible.

This class was an eye-opening experience of children’s literature as not only something nostalgic, but also something well-worth studying in an academic field. Seeing original drafts and artwork from authors we read was a great opportunity to understand how the writing process works and how a book goes from a writer’s mind to the copies we have in our homes. After our great adventure in London, we were ready to write our research papers.

Rachel Smith

Rachel Smith is a junior at St. Thomas. She is an English Major, Business Administration Minor, and American Culture and Difference Minor. In the future, Rachel plans to become an editor. 

Student Research, Study Abroad, Undergraduate English

Recognizing the Value of Every Body’s Story

Walking through the doors of Columbia University Medical Center: Hammer Health Sciences Teaching and Learning Center, I fear that I may be grossly underqualified to be here. Everyone looks so official, bustling by in scrubs, varying lengths of white coats, and other official attire that speaks “I’ve worked hard to earn a place here.” I tread slowly and methodically, and my fingers fumble as I check in and am handed my identification card that allows me to walk freely through the doors of the CUMC campus, becoming my life preserver for saying that I, too, belong here.

I’m in New York City; CUMCSign550specifically, at Columbia University’s Summer Institute in Narrative Medicine. Narrative medicine is an interdisciplinary approach that recognizes the value of a patient’s story and, in so doing, exposes Western medicine’s narrow focus on the physical, tangible biological factors of health and disease that often overshadow the patient’s humanity. Narrative medicine relies on the core principles to recognize, absorb, interpret, and be moved to action by stories of illness. In doing so, it also recognizes the complexity of each individual and highlights the many stories we all bring to an experience.

During the past year, I have become a strong proponent in the work of narrative medicine, surrounding myself with literature on the topic and exploring narrative practice in my own literary work. During the spring semester, I worked with the support of Dr. Emily James on a research project called Mid-Century Narrative Medicine: Sylvia Plath’s Confessional Practice, where I sought to bridge the gap between several disciplines – including medicine, psychology, and literature – within the framework of poet Sylvia Plath. Coming from my solid foundation in studying psychology, this research worked to address a class of more “invisible” diseases: mental illness.

The structure at the institute was designed in a way that maximized every effort in fostering deep, intellectual discussions on the complex topics narrative medicine grapples with. Each topic began with some form of a lecture given by one of the “pros,” ranging from Dr. Rita Charon, MD, world-renowned for her ground-breaking research in narrative medicine, to Craig Irvine, Ph.D., author and Director of Education of the Program in Narrative Medicine at Columbia University’s College of Physicians and Surgeons. Following the lectures, we broke off into small groups consisting of about 6 people, where we were first given an open-ended prompt followed by exactly five minutes to write a response. We were always given the same guidance: begin writing immediately, keep your pen moving across the paper the entire time, and if you draw a blank and don’t know what to write next, continue writing “I’m stuck” until the next thing comes to mind. (It may sound silly, but that actually works!)CUMCWriting750

When we read our work aloud afterward there was one catch: no prefacing your writing by saying things like “Well, I didn’t really know what to write, so it probably won’t make sense…” or other ways of trying to explain yourself beforehand. This was a challenge. You mean we’re supposed to read without explaining it beforehand? Nobody’s going to understand the tangled mess of words I have written down. What I came to learn through this intentional structure so lovingly encouraged on us was the ability to trust the power of my own writing. I learned that by attempting to preface my work with a rushed explanation of what I’d been thinking when I was writing or how I want my listener to understand it, I am essentially minimizing my own work and stripping my writing from the innate power it dares to hold.

One evening, we attended an event called Intima CUMCIntima550Presents Life-Writing: An Evening of Readings about Bodies, Illness and Care. Intima: A Journal of Narrative Medicine is an online literary journal focusing on healthcare, medical stories, hospitals, and caregivers. This event we attended featured some of the published authors who had come to read excerpts of their published works and share their varied and diverse experiences surrounding healthcare.

Before the institute began we were told about this event and encouraged to bring along any of our own pieces we’ve worked on to share as well. In the weeks leading up to it, I had assumed there was absolutely no way that I would get up in front of a room full of people to read anything I’ve written. However, at the last minute as I was packing my bags, I threw in a copy of a narrative essay I had written called “Returning Home,” which talked about my experience as a nurse’s aide working in the field of senior home healthcare. In this particular piece, I detail the pain – yet honor – I had of being by the side of one of my beloved seniors as he passed away peacefully. I had written it as part of a final project for the ENGL 202 class called Medical Narratives, taught by Dr. James, which was in essence my first attempt at narrative medicine. I figured it didn’t hurt to throw it in, just in the unlikely event that I had a moment of gumption and courage to speak.

With the first several days of the institute under my belt, I had surprised myself by actually beginning to ponder over my “definitely no” decision about choosing to present my work that I had previously made prior to arriving. Armed with the practice the last few days had given me with sharing my work, I had actually begun to think that maybe, just maybe, this was something I could do. I was absolutely terrified, but had been encouraged by the other people at the institute – students and “the pros” alike – to go for it. I think deep down, I knew that if I let fear make the decision for me, I would later come to regret it. So, despite the trepidation of exposing my work to the room, I did it anyway. To those not as familiar with narrative medicine, it’s important to remember that autobiographical accounts in the scope of narrative medicine are deeply personal in nature because they deal with illnesses, often leaving the patient immensely vulnerable and helpless. Although my piece I chose to share came from my perspective as the provider, the vulnerability still remained because despite being the provider, we are still greatly moved by the patients we encounter.

I did it. CUMCReading550Remembering the “rule” about not prefacing my work or minimizing it in any way, I began to speak. I told the story of my first experience having one of my own patients die, which was magnified by the fact that I was with him when it happened and came far sooner than we had imagined. It was a very emotional experience to write about and gave me confidence in sharing my work as well as the conviction to allow my voice to be heard. As I finished reading aloud, I looked up at the audience and remember seeing several members wipe tears from their eyes, a clear example of the power narrative medicine has in humanizing us all in a world that seeks to remove all emotion from the medical field.

That experience really set the stage for what I would learn on the last day during my favorite lecture, “The Failure of Witnessing in Medicine” by Kristen Slesar, LCSW, MS. In addition to teaching at Columbia University, Kristen is a trauma psychotherapist and former Sexual Assault Forensic Examiner with many years of experience testifying in the most abhorrent criminal cases of sexual violence. I could write a book on all the insight I learned from her lecture alone, but the most important thing she emphasized is probably the best example of the purpose of narrative medicine. She emphasized time and time again how any line of work we do involving people and professional care impacts both the patient and the provider. We often think of the professionals as being a stone wall, never showing any emotion – both publicly and privately – for the work that they do. Yes, there’s a time and a place for that; if you’re an emergency surgeon, breaking down sobbing in the middle of operating on a child gunshot victim probably isn’t the best time for emotions. But that doesn’t mean it’s never to be discussed. When we talk about our line of work, we usually talk about the horror of the case, because everything is seen as putting the patient first. We don’t allow providers to talk about how they themselves are impacted. Because we are all human beings, we are going to be impacted by the people we serve, and that is okay.

Across America, medical schools and other graduate programs are implementing programs in narrative medicine to complement the preparation of our future providers for the kind of work they will encounter. In fact, research shows that those who tell their story fare better in the work that they do. This means less “burning-out,” which ultimately means fewer medical errors, as well as the patients’ experience being enhanced by feeling that they are more than just a disease to be treated. Narrative writing allows you access to something you may not have been able to access before because you can talk about the experience from your perspective and the way you tell that story, patient and provider alike. Narrative medicine is about writing from the patient’s experience, yet also includes bearing witness to our own experience as providers.

My experience at Columbia’s Institute in Narrative Medicine was truly life-changing. My earlier fear of “not belonging here” was laid to rest within the first morning of the institute, and I was thoroughly engaged throughout its entirety. Not only did I get to learn more about the topic of narrative medicine, but I was also given the opportunity to connect with the world leaders in this subject and work one-on-one with them, sitting down together and collaborating on the work I have done and getting encouragement on where to dive deeper into my study. I met others who share a similar desire to make narrative medicine an everyday part of clinical practice, and left with an even stronger desire to continue in this field. My goals of becoming a counseling psychologist were further strengthened with the knowledge that narrative medicine will unequivocally be a part of my practice. CUMCGroup750

I extend my most sincere appreciation and gratitude to the St. Thomas community that has supported and encouraged me in forging my way through this unique, interdisciplinary study. I am immensely grateful to Dr. Emily James, whose support and collaboration have gotten me to where I am and who continues to inspire and encourage me to seek out the paths less traveled. I am also very grateful to the Grants and Research Office for funding my spring research through the Collaborative Inquiry Grant, as well as the English department and Dr. Amy Muse for the funding and support that allowed me to travel to Columbia University.

Finally, I want to encourage all of my fellow peers at St. Thomas who have a passionate interest but are unsure the precise area of study it falls under: seek out those professors and other students who share a similar interest, and utilize their knowledge and expertise in further exploring those topics. Find those who challenge you to dive deeper into those interests and encourage you to walk those uncharted paths. I started this interest as a student majoring in Psychology, with a great interest in health and an underlying love for literature. Now, I am additionally getting a minor in English and regularly use the support and expertise from both departments as a way to study what I am most passionate about. The support I have experienced has blown me away and allowed me to find the precise area of study I am interested in and has shaped the career path I intend to follow.

CUMCBio300
Megan Vaughan is a senior at St. Thomas with a major in Psychology and a minor in English. Megan has a great interest in the interdisciplinary field of narrative medicine and plans to use this interest in becoming a counseling psychologist.

 

Faculty Teaching, Student Research, Undergraduate English

The 2016 Art + Feminism Wikipedia Edit-a-thon

Wikipedia-LogoWikipedia is one of our most important sources of information today. In a Google search, it is often the first hit. Wikipedia is usually the easiest means of accessing information and, as such, it tends to color our first impressions; oftentimes, it may be our only source of information. What’s represented is important, of course, but it’s also important to ask what’s missing.

And what’s missing on Wikipedia is women’s voices. An official reporting of Wikipedia membership composition tells us that, “Among respondents only 12.64% of contributors are female.”[1] And another review of the database reveals hundreds of names of women artists whose entries either need to be created or expanded.[2]

It was in response to this lack of representation that an annual and international event was created, the Art + Feminism Wikipedia Edit-a-thon. Held in early March, in honor of Women’s History Month, the Edit-a-thon is a self-described “campaign to improve coverage of women and the arts on Wikipedia, and to encourage female editorship.”[3] It has developed a strong presence here in the Twin Cities. This year, volunteers gathered on March 5 at the Central Library in Minneapolis. And as part of a class project this semester, each student in Dr. Emily James’s “Literature by Women” course participated in the cause.

Minnesota_Art_and_Feminism_logo400Each of us wrote and edited entries on women and women’s issues that we felt could be better represented. Throughout class this semester, we’ve been exploring issues of gender representation and voice, and this was a chance for us to see these things in practice.

It was an endeavor we met with varying levels of success. Anne Youngblood ran into some difficulties with her entry on Wisconsin pioneer and writer Elizabeth Baird.[4] For starters, there was the lack of information anywhere. “It was hard because I think it was the most minor figure I’ve researched on the Internet,” said Youngblood. “What I did find was good, but it wasn’t like Michael Jackson with a million hits.” And then, of course, there were the technical difficulties. Youngblood’s efforts were initially rejected by Wikipedia’s roving censors, by way of a simple notification that popped up on her screen.

For others, the project went fairly well. Meaghan Scott wrote an entry on Immaculée Ilibagiza[5], Rwandan author of Left to Tell and a survivor of genocide. Scott’s own editing experience went smoothly. “It was actually pretty easy,” Scott said of her research on Ilibagiza’s book.

My own experience was initially fraught with difficulties. Despite being a prominent author, there isn’t a lot of information available about Mary Pope Osborne[6] (of Magic Tree House fame) on the web. Gathering reliable sources of information was the first difficulty. Sure, there was her main website, with its single-paragraph biography, but that hardly dealt with the deep stuff. I had to dig pretty far into the web for the more concrete details about Osborne’s personal life history.

With the extensive amount of patrolling bots and editors, writing for Wikipedia is a bit harder than we might have initially expected. The difficulty of writing for Wikipedia is itself similar to the difficulty women had in getting heard in the first place. Authorship is largely male and white. The most extensive articles are largely about male artists and public figures. To break into either of these spheres is to go against the status quo of the database. And it’s only natural that Wikipedia and its editors might be a little watchful of attempts to change, as necessary as they may be.

The fact is, women’s voices are largely new. They’ve been unheard for centuries, and we’re really only now getting to experience a world with them in it. Initiatives like the Edit-a-thon are about encouraging us to listen to these voices.

It’s hard to speak for a group of twenty people, but I’m confident in saying that I know that each of us appreciated this chance to narrow the gender gap and participate in the cause of equal female representation online. Many thanks to Dr. James and those helpers at Wikipedia for the opportunity, and I encourage readers to increase representation in public databases like Wikipedia. Because every voice deserves a chance to be heard.

[1] http://www.ris.org/uploadi/editor/1305050082Wikipedia_Overview_15March2010-FINAL.pdf

[2] https://en.wikipedia.org/wiki/Wikipedia:Meetup/ArtAndFeminism/Tasks

[3] https://en.wikipedia.org/wiki/Wikipedia:Meetup/ArtAndFeminism

[4] https://en.wikipedia.org/wiki/Elizabeth_Baird_%28writer%29

[5] https://en.wikipedia.org/wiki/Immacul%C3%A9e_Ilibagiza

[6] https://en.wikipedia.org/wiki/Mary_Pope_Osborne

Molohan

Joseph “Joe” Molohon is a senior majoring in English (Writing Emphasis) and minoring in Communications and Journalism. He is also an executive member of Purple Gloves and an editor for the Summit Avenue Review this year. Future plans include work on a funded research project in the summer and grad school next year.