I’m posting this to give readers a general sense of what scholars do when they write for publication — specifically, the amount of reading and work involved. I’m not particularly exceptional in this area. I have friends who read faster and more than I do. The reading load I describe below constitutes a partial list of reading that I did for an introduction to and chapter of an edited anthology I’m working on. My chapter was on Plato and Derrida, and over the Spring 2018 semester and into a bit of the summer (maybe the third week of June), I did the following reading just for the Derrida part of my chapter, which makes up about 16 pages of a 32 page chapter. This reading also added about two to three paragraphs to my introduction.
Webpages: 4 (maybe 30 pages of text)
Articles: 41 (about 800 pages of text)
Books: 7 (about 2100 pages of text)
Book chapters: 2 (about 180 pages of text, and yes, one of them was about 150 pages)
I was tempted to list everything individually with page counts next to it, but I’m not any more up to posting that than you are up to reading it.
So I did a total of about 3000 pages of reading to write just under 20 pages of text, or I had to readabout 150 pages of text for every one page of text that I wrote. This number is consistent with my experience writing my dissertation. My committee asked me to add about one paragraph covering a scholarly conversation in one area, and I found that I had to read over 100 pages just to add that one paragraph. I didn’t feel like I’d read that much.
Now I did this work over the Spring 2018 semester serving as department chair and teaching a four course load (which means reading for that — course materials and then grading). I was not working in a research position in which I only had to teach one class, and for all that reading, I still feel like I didn’t do enough.
I have not yet discussed the time I spent writing. Almost every time I would sit down to write, I would reread what I had written. If I write every day for three weeks, that means I read a document that started at 12 pages (my Plato section), went up to 15, then 20, then 25, then 30, then finished at 32, re-reading the entire draft as I had finished up (to that point) almost every time before I started writing again. So we’re talking about re-reading an average of probably 20 pages of text over a dozen times.
Not only that, I have some friends who read my work and provide feedback (thank you, you great people), so when they send me back my chapter with comments, I carefully go through their comments, revise my chapter, and then reread it again.
Again, I’m not particularly exceptional and do not have the reading load of research faculty. Your professors work hard in ways most of us haven’t tried to work. Respect that work.
Rock and Romanticism: scholarship with a soundtrack. Yes, I have two anthologies with the main title Rock and Romanticism. The first was published early February 2018 by Lexington Books, and was focused on Blake and Wordsworth and, very generally, the genre of classic rock.
This second book is Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms (Palgrave Macmillan, forthcoming late May 2018) and is focused just where the title implies: on the gothic or “dark Romanticism” as it is sometimes called and on its musical counterparts in rock. The first book states a thesis about the relationship between rock and roll and Romanticism. This book restates that thesis and then extends it to different genres of music and literature.
This page provides chapter descriptions and a lot more. If you liked the first book, you’ll like this one too: those interested in one really need to get both. If you’re drawn to this project, please consider requesting that your libraries order it. A more formal description of the project follows.
Because I’ve recently published two edited anthologies with the same top title, I’ve created this video explaining the origin of these books and the differences between the two:
The edited anthology Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms(Palgrave Macmillan, 2018) is now available for preorder on the publisher’s website and will ship in late May 2018. I’m providing information here for potential readers, reviewers, and college and university librarians who may be interested in this book. If you wish to review this anthology for your publication, please contact James Rovira at email@example.com with your name, credentials, and the name of the publication for which you wish to review this work.
But I’d like to provide a bit of personal history before I get into details about the book: my introduction to English Romanticism (my first way in to the vast labyrinth that is “Romanticism”) occurred in two stages. First, through the song “William Blake” on the Daniel Amos album Vox Humana (1984). That song made me run to the local B. Dalton Booksellers (remember those?) to pick up a copy of The Viking Portable William Blake.
Next, when my undergraduate English Romantics professor at Rollins College, Dr. Roy Starling, wanted to explain to his students what the publication of Lyrical Ballads meant to the 1790s, he compared it to this moment in rock history, the moment when Bob Dylan the folk singer plugged in and went electric:
And that was how I first understood Romanticism as a literary phenomenon. Thank you, Dr. Starling. In both cases, my way in to Romanticism was rock music from the 1960s to the 1980s.
Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms explores the relationships among the musical genres of post-punk, goth, and metal and seventeenth- to nineteenth-century American and European Romanticisms in their literary, artistic, and musical expressions. It argues that these contemporary forms of music are not only influenced by but are an expression of Romanticism continuous with their seventeenth- through nineteenth-century influences. Figures such as Blake, Wordsworth, Coleridge, Byron, Keats, Mary Shelley, Percy Shelley, Friedrich, Schlegel, Beethoven, and Hoffman are brought alongside the musical and visual aesthetics of the Rolling Stones, the New Romantics, the Pretenders, Joy Division, Nick Cave, Tom Verlaine, emo, Eminem, My Dying Bride, and Norwegian black metal to explore the ways that Romanticism continues into the present in its many varying forms and expressions. Book details:
Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms ~James Rovira, ed. ~ Hardcover ISBN 978-3-319-72687-8 ~eBook ISBN 978-3-319-72688-5 ~ DOI10.1007/978-3-319-72688-5 ~ pp. 330 ~ hardcover: $109.00 (£80.00); ebook: $84.99 (£63.99). This collection is part of the series Palgrave Studies in Music and Literature, P. Lumsden and M. Katz Montiel, editors.
Chapters are listed below. Many and profuse thanks M. Katz Montiel for being a great series editor (he made every chapter better), to Palgrave Macmillan’s editorial team, and to Dr. Mark McCutcheon (see the Nick Cave chapter description) for his work assembling these playlists. After the Preface and Introduction, songs are arranged in the order in which they appear in the chapter.
I’ve created iTunes playlists for each chapter that are linked within chapter descriptions. Also check out the iTunes Master Playlist for this anthology that combines all available songs (over 200) and the Spotify Master Playlist.
James Rovira’s Preface (pp. vii-ix) and Introduction (pp. 1-25) to Rock and Romanticism describe the origins of this project, the difficulty in defining the term “Romanticism” in reference to British literature from Byron to the present, how Sayre and Löwy’s Romanticism Against the Tide of Modernity helps address these problems in a way supportive of this project, and the links between rock and Romanticism as they have surfaced in scholarship and other writing since the 1960s. His discussion then continues into an examination of the relationship between Gothic and Romantic literature, which leads to the claim that John Milton was not just a source of inspiration for English Romantic poets but was himself the first English Romantic poet (thus, “seventeenth- through nineteenth-century” Romanticisms referenced above rather than just “eighteenth- and nineteenth-century”). After that, Rovira provides chapter summaries. Within these chapter summaries, he engages some of the issues related to the female Gothic as they arise in chapter discussions.
Music (this playlist excludes mention of artists or songs discussed in other chapters)
Evan LaBuzetta’s “Empathy for the Devil: The Origins of Mick Jagger’s Devil in John Milton’s London” analyzes the political discourse and outlines the discursive practices that influenced John Milton in his development of the character of Satan in Paradise Lost. Milton’s Satan was reinterpreted by the Romantics and later appropriated by Mick Jagger in “Sympathy for the Devil.” According to LaBuzetta, the rise of personal interpretation of Scripture in an era of vicious conflict led various combatants in the English Civil Wars to identify their domestic opponents with Satan. In pamphlets, writers could insist on their opponents’ Satanic origins regardless of outward appearance—because Satan can transform himself into an “angel of light”—while at the same time positing their own demonization as a sign of the righteousness of their cause. Through the English Civil Wars, rebellion against civil authority came to be seen as different than rebellion against God, establishing a “paradox of individual authority” by the time of Milton’s writing. Once God is dethroned as a “self-justifying principle,” a writer like Shelley could thrill to the active, virile, self-confident aspects of Satan’s character and declare that Milton’s Satan is far preferable to Milton’s God. Milton anthropomorphized Satan, and later readers came to see him in personal, non-religious terms: as a heroic individual striving against a tyrannical, self-imposing force, one with whom readers or rock fans could empathize.
“‘Bliss was it in that shirt to be alive’: Connecting Romanticism and New Romanticism Through Dress” (pp. 45-59) by Emily Bernhard Jackson, Lecturer, University of Exeter.
Skipping ahead about ten years after the Stones expressed sympathy for the devil, Emily Bernhard-Jackson’s “The Semiotics of the Ruffled Shirt: Connecting Romanticism and New Romanticism” shifts focus from linguistic content to visual surfaces in her comparison of the New Romantics of the early 1980s to English Romantics such as Byron. Rejecting the assumption that the New Romantics were glib and apolitical, she asserts their carefully managed, glittering surfaces were acts of subversion within Thatcher’s England, and these rock stars’ androgyny and even specific fashion choices—such as the ruffled shirt—carefully and not just coincidentally parallel second generation English Romantics such as Byron. Fluidity of sexual identity served the purpose of resisting full industrialization during 1980s’ England in a way parallel to the poets’ resistance of incipient industrialism in Romantic England, making dandyism and glitter statements against the brutal grayness of the working-class employment described by Löwy and Sayre, a very observable “mechanized conquest of the environment” under industrialization.
“‘Crying Like a Woman ‘Cause I’m Mad Like a Man’: Chrissie Hynde, Gender, and Romantic Irony” (pp. 61-82) by Sherry R. Truffin, Associate Professor of English, Campbell University.
Sherry Truffin’s “‘Crying Like a Woman ‘Cause I’m Mad Like a Man’: Chrissie Hynde, Gender, and Romantic Irony” focuses on Chrissie Hynde as the frontwoman for the Pretenders. Truffin considers in Hynde’s lyrics, autobiography, and other resources the ways in which Hynde negotiated her rare position as a female lead singer and rhythm guitarist for an otherwise male rock band. Drawing from Löwy and Sayre, Truffin observes how Hynde resorts to Romantic irony as defined by Schlegel and Anne Mellor to negotiate tensions between the influences of the relatively undeveloped Akron, OH of her early childhood and the industrial city that Akron later became. Truffin also explores how Hynde negotiates her conflicting views of her own female identity by adopting masculine, feminine, and androgynous identities in turns. These tensions ultimately cause Gothic sensibilities to surface in many of Hynde’s songs as her female identity is expressed through Gothic tropes and situations: she suffers violent abuse from men, refuses to complain about that treatment or accept victim status, and then uses that refusal as a means of asserting her own agency.
“A Northern ‘Ode on Melancholy’?—The Music of Joy Division” (pp. 83-100) by Caroline Langhorst, Ph.D Candidate, University of Mainz.
Further complicating sexual identity, the female, and the Gothic is Caroline Langhorst’s “A Northern ‘Ode on Melancholy’?—The Music of Joy Division.” Her essay inverts the legacy of female Gothic by shifting its focus to the death of a beautiful man. It engages Joy Division’s Ian Curtis as a Romantic figure who follows the Gothic pattern of the dead, young artist, a familiar pattern established by Keats, Shelley, and Byron. Identifying industrial Manchester as the context for Joy Division’s music, Langhorst finds in it the sense of alienation and isolation Löwy and Sayre describe as the inevitable outcome of the industrialized subject. Byron and Keats are especially important as predecessors of Ian Curtis. Curtis, Byron, and Keats share in common a cult of personality inextricably bound up with their early deaths which, afterwards, came to define the reception of these artists’ creative production. Parallels with Keats are also extended to an emphasis on the necessity of suffering.
“‘Little crimeworn histories’: Nick Cave and the Roots-Raves-Rehab Story of Rock Stardom” (pp. 101-120) by Mark McCutcheon, Professor of Literary Studies, Athabasca University. Check out his blog.
Mark A. McCutcheon shifts the locus of suffering to substance abuse in “‘Little crimeworn histories’: Nick Cave and the Roots-Raves-Rehab Story of Rock Stardom.” McCutcheon examines the commodification of the Romantic tropes of drug use and of the self-destructive artist using Nick Cave as a case study. The art/commerce opposition established within Romantic texts to emphasize the authenticity of the poet/artist has, according to McCutcheon, become a part of the commerce of the music industry in the form of a Roots-Rave-Rehab narrative that governs discourse about artists’ drug use and recovery. In other words, Romantic tropes have been appropriated to serve capitalist ends. McCutcheon’s chapter considers how Nick Cave both exploits and resists this appropriation using a number of strategies, including an exploitation and modification of the traditional Gothic/Romantic trope of the dead woman.
“Postcards from Waterloo: Tom Verlaine’s Historical Constellations” (pp. 121-143) by Len von Morzé, Associate Professor of English, University of Massachusetts, Boston.
Capitalizing on the anxieties and ambivalence surrounding the figure of Napoleon, Len von Morzé’s “Postcards from Waterloo: Tom Verlaine’s Historical Constellations” explores Verlaine’s use of repetition in his appropriation of Napoleon’s Waterloo as well as Romantic-era texts in order to create contexts for his own work. Von Morzé describes how Verlaine “enframes” the past within his music to legitimate it, thus guiding his self-narrative. Comparing Verlaine to his one-time lover, collaborator, and peer Patti Smith for contrastive purposes, von Morzé emphasizes that Verlaine saw in his Romantic predecessors an “elective affinity” with the Romantics rather than the stronger sense of reenactment Smith had during this period. Ultimately, von Morzé draws out compelling parallels between the two waves of English Romanticism and the two waves of punk rock, positioning Verlaine in a space between poetry and rock because he “could not fully embrace the commercial aspects of mass culture.”
“Manner, Mood, and Message: Bowie, Morrissey, and the Complex Legacy of Frankenstein” (pp. 145-161) by Samuel Lyndon Gladden, Associate Dean of the School of Human Sciences and Humanities and Professor of Literature, University of Houston, Clear Lake.
Samuel Gladden shifts focus to monstrosity in “Manner, Mood, and Message: Bowie, Morrissey, and the Complex Legacy of Frankenstein.” He compares Bowie’s and Morrissey’s appropriations of the figure of Frankenstein’s Creature to explore their differing responses to isolation and loneliness. In Gladden’s account, Bowie focuses on the discardedness of the Creature as he adopts and discards personae just as Frankenstein abandoned his Creature. Bowie ultimately gathers up many of his previous personae in the song and video “Blackstar,” particularly his first personae, Major Tom, who allows Bowie to revisit the trope of being in an alien environment in anticipation of his own impending death. Morrissey, on the other hand, focuses his attention on the Frankensteinian themes of hybridity or bricolage in “November Spawned a Monster,” emphasizing that Morrissey adopted as his own the hybridity or bricolage associated with the Creature through a variety of personae with disabilities, all of them set within an “idealized past.” The disfigurements of the subject described by Löwy and Sayre, therefore, assume material form in Morrissey’s various personae.
“Tales of the Female Lover: the Poetics of Desire in To Bring You My Love and Is This Desire?” (pp. 163-181) by Catherine Girodet, Ph.D. candidate Université Paul Valéry – Montpellier, and faculty, English Department, Universitie De Creteil.
Returning to the female Gothic, Catherine Girodet’s “Tales of the Female Lover: the Poetics of Desire on To Bring You My Love and Is This Desire?” begins with the groundwork laid down by Mario Praz in The Romantic Agony and then continued by Abrams and Henderson and others in her exploration of dark Romantic themes in the music of P.J. Harvey. Girodet is particularly interested in the agonies of romantic love as formulated in Harvey’s third and fourth albums, which represent a change in musical direction for Harvey and her first forays into Romanticism. She also explores the implications of Harvey’s music for our consideration of the relationship between the Gothic and the Romantic and how in Harvey’s music the agony of love serves as a conduit to the sublime.
“Emocosms: Mind-Forg’d Realities in Emo(tional) Rock Music” (pp. 183-197) by Eike Träger, Ph.D. candidate, University of Cologne, Köln, Germany.
Romantic artists at times exploit dark moods for artistic purposes. Eike Träger’s “The World Is Mine: Pathetic Fallacy and Mind-Forg’d Realities in Emo(tional) Rock Music” identifies the pathetic fallacy and heterocosm as two points of affinity between English Romanticism and emo music. Relying on Sayre’s and Löwy’s “Romanticism Against the Tide of Modernity,” Träger sees in emo “a Weltschmerz that literally creates a cosmos of pain in lyrical form” in the music of bands such as The Danburrys, the Deftones, AFI, and La Dispute. Setting up and then dismantling Ruskin’s theory of art as means of explaining emo music, he ultimately argues that emo bands are aligned with “resigned” Romanticism in Sayre’s and Löwy’s taxonomy: emo music is a form of Romanticism in its emphasis on affect and the individual, but because it is distinctly apolitical, it differs from both first and second generation English Romantics.
“‘I possess your soul, your mind, your heart, and your body’: External and Internal Gothic Hauntings in Eminem’s Relapse” (pp. 199-213) by Christopher Stampone, Ph.D., Southern Methodist University.
Christopher Stampone’s “‘I possess your soul, your mind, your heart, and your body’: External and Internal Gothic Hauntings in Eminem’s Relapse” focuses on Eminem’s pivotal albums Relapse (2009) and its follow-up, Relapse: Refill (2010), as instances of contemporary Romantic Gothic. Defining these albums as attacks on American consumer culture, Stampone employs Sayre and Löwy to describe the features of that attack, much of which takes the form of resigned Romanticism, so that resignation can be a form of resistance. Stampone also describes how Eminem’s alter egos, such as Slim Shady, represent his drug-ridden self, one that is implicated in capitalist-consumer culture but for which Eminem now takes responsibility. Overall, Eminem’s Relapse albums hold up a mirror to modern US consumerism in which “all become monsters whose identities are constructed by what they consume.”
“‘The Female Is Such Exquisite Hell’: The Romantic Agony of My Dying Bride” (pp. 215-233) by Matthew J. Heilman, Ph.D., Duquesne University.
Matthew Heilman’s “‘The Female Is Such Exquisite Hell’: The Romantic Agony of My Dying Bride” engages Poe’s emphasis on the “death of the beautiful woman” to evaluate My Dying Bride’s work as instances of feminist Romanticism. Through artist interviews and song analysis, Heilman explores central tropes of dark Romanticism—the dead or dying woman and the femme fatale—in both My Dying Bride’s lyrics and in the poetry of Poe, Keats, Baudelaire, and Swinburne to argue that My Dying Bride’s lyrics exploit nineteenth-century dark Romantic tropes of the woman to deconstruct them.
“Ashes Against the Grain: Black Metal and the Grim Rebirth of Romanticism” (pp. 235-257) by Julian Knox, Assistant Professor of English, Georgia College.
This collection ends with Julian Knox’s “Ashes Against the Grain: Black Metal and the Grim Rebirth of Romanticism.” The genre of rock called “heavy metal” is often said to have begun in the 1970s with the bands Led Zeppelin and Black Sabbath, but heavy metal has since branched out into a variety of subgenres, including thrash, death, doom, and even folk metal, which blends regional folk music and traditional instrumentation with heavy metal. Knox argues that one of these subgenres, black metal, self-consciously draws from and then exceeds, sometime ironically, Gothic and dark Romantic literary tropes to promulgate an aesthetic of death and decay that one black metal musician called “Werewolf Romanticism.” Knox explores bands such as Burzum, Mayhem, Xasthur, and Varathron and their uses of Romantic-era literature and painting by figures such as Shelley, Blake, Byron, Novalis, Goëthe, and Freidrich to define Romantic rejection of the pastoral—which was seen by figures such as Novalis and Hoffmann as capitulation to power structures—as a form of inwardness or psychologizing. These figures explore Plato’s cave as the skull of the mind, the collective voices of the dead, to assert or affirm their individuality against capitalism.
Note: many passing references to music, literature, and artworks are excluded from this list. If a specific song was not available, or if an album was mentioned but not a specific song, representative examples were taken for the iTunes playlist.
What I’ve done in 2015. This is what a teaching scholar looks like. I accomplished what follows during 2015 while teaching a 4-4-3 load with a one semester sabbatical in the Fall, for which I am grateful to my current institution. What could your teaching scholars accomplish with better support? I know quite a few, and they deserve it. Everything listed below was written or published between January and December of 2015.
Submitted my first volume of poetry for consideration to a publisher: Tripping the Light Ekphrastic. Still waiting to hear back. These things take time. The poems for this volume were written between 1991 and mid Summer 2015.
Submitted about ten individual poems for publication to different venues. Some were declined, some are still under consideration. They may all get declined. That is how it goes. I know, because I’ve been publishing since the 90s. You need thick skin to be a writer; we all face a lot of rejection. I had four poems published in late 2014, though, so that’s good.
Wrote about another forty pages of poetry, all new in 2015.
Served as a literary agent for Martin Reaves and helped guide his first novel, A Fractured Conjuring, through the entire publication process from contract to editing to release. It was a pleasure. It’s a dark, disturbing novel, but it’s a great one. It is now available in both print and e-book format through amazon.com. This publication is personally meaningful to me — Marty was my best friend from seventh grade through all four years of high school. I spent almost as much time at his house during those years as I did at my own. His family was great to me. He told me about his first date with his wife Charla in our middle school locker room the day after it happened. I was in his wedding party, got pictures of his two beautiful daughters when they were little kids, and now know them both as beautiful grown married women with children. Marty has been writing excellent fiction for well over ten years with only a little luck. My hope for this book is that it makes him a little money, gets him at least a little recognition, and helps to land his next book with the higher end publisher that he deserves.
Exhibits. The “Exhibit” category falls between the categories of “Creative” and “Scholarship,” I think:
Blake in the Heartland. This great exhibit ran in the Spring of 2015. It focused on the work of visiting scholar Dr. Michael Phillips, who I recruited to visit. He curated William Blake exhibits at the Tate, the Met, the Petite Palais, and most recently the Ashmolean. He delivered two lectures open to the public, gave two printmaking demonstrations (one for local high school students and one for my institution’s students and faculty), and guest lectured for an honors class. The exhibit was curated by Associate Professor of Art Lee Fearnside — who is the gallery Director. She suffered through all of the institutional work to make this happen, doing most of the heavy lifting to make it happen. I co-authored a grant to support these events with her. For this exhibit, Phillips provided his facsimiles of pages from Blake’s illuminated books that were printed using Blake’s materials and printmaking methods. The exhibit also featured contemporary art by regional artists inspired by Blake. You can see images from the exhibit linked above.
I then came up with the the idea for an exhibit at my institution’s art gallery dedicated to Ohio rock and roll. Lee liked the idea, so we wrote a grant to support it, recruited three Ohio rock photographers to contribute photographs, and I recruited two scholars to come present papers in a roundtable session either about Ohio rock bands or rock scholarship in Ohio. I’ve also contacted several Columbus-based bands to see if any of them are available for performance, pending budgetary approval. So far, things are going well. But, there’s more — one thing leads to another. I then came up with an idea for an honors class that would study the intersections of rock and roll with literature — and they are many and fertile, believe me — so I queried a Romanticism listserv for ideas. It turns out we’re not running honors classes this Spring, but responses to my query were so enthusiastic that I decided to develop an edited anthology titled Rock and Romanticism, which leads to my next category: scholarship.
Rock and Romanticism: Wonderful project. I sent out a CFP, collected over forty paper proposals, sent out three book proposals (waiting to hear back), and since then have received seventeen papers and edited fourteen. I see this as an ongoing project resulting in two to three volumes, so I’m still accepting proposals. I’ve set up a book blog (linked above) and am continuing to receive and edit essays.
Interpretation: Theory: History: I started this anthology back in 2012 and have been wrestling with it ever since. I was awarded a contract last summer, didn’t like the terms, went back to my contributors and slimmed down then revised my proposal, and now have a very good publisher looking at it. I’ve edited three essays and wrote a provisional introduction to provide the interested publisher a writing sample.
The Pretenders: I co-wrote a proposal for this book with a colleague, and we submitted it to Bloomsbury’s 33 1/3 series. They received 605 proposals and accepted 16. Ours didn’t make it. I revised, expanded, and resubmitted it as an individual project, and it is now moving through the stages with another publisher. It’s gone through one round of editorial review and is moving into another. We will see. This project was supported by a week of research at the Rock and Roll Hall of Fame and Museum Library and Archives in Cleveland. The archivists there were great.
Scholarship: New Media. Since my institution may be moving toward a professional writing focus in its English major, I’ve started to expand my profile in New Media publishing.
“Late-Romantic Heroes as Archetypes of Masculinity: Breaking Bad, The Fast and the Furious, and Californication,” by invitation for the edited anthology Class, Politics, and Superheroes: Populism in Comics, Films, and TV, Ed. Marc DiPaolo. Forthcoming 2016: currently under contract with the University of Mississippi Press.
“Silly Love Songs and Gender in Guardians of the Galaxy and Avengers: Age of Ultron,” by invitation for the edited anthology Assemble!: The Making and Re-making of the Marvel Cinematic Universe. Ed. Julian Chambliss and Bill Svitavsky. Forthcoming 2016: currently under contract with McFarland & Company, Inc.
Scholarship: Book Reviews
Rev. of Sexy Blake, eds. Helen B. Bruder and Tristanne Connolly for Romantic Circles Reviews and Receptions. Forthcoming 2016.
Rev. of The Emigrants, or, A Trip to the Ohio, A Theatrical Farce (1817), by George Cumberland. Elizabeth B. Bentley, ed., and Angus Whitehead, Intro. 2013 for Blake: An Illustrated Quarterly. Forthcoming 2016.
Rev. of William Blake and the Production of Time by Andrew M. Cooper for Journal for Eighteenth-Century Studies. 38.3 (Sept. 2015): 472-4.
Rev. of The God of the Left Hemisphere: Blake, Bolte Taylor, and the Myth of Creation by Roderick Tweedy for Blake: An Illustrated Quarterly, published Summer 2015.
Scholarship: Conferences. I’ve been presenting papers at three to four conferences a year since 2007. Most of them have been national, with some regional and some international. Unfortunately, my institutional support only covers about 25% of my costs at most, so I’ve had to scale back. I had a panel and a paper accepted for the CCCCs conference, but I had to pull out because of costs. I will still list the panel below, though, as the panel itself was accepted and did run. I also had a paper accepted for the Midwest MLA conference, but I had to pull out. I’ve been trying to focus on lower-cost regional conferences near me lately.
“Cohorts and Risk Management,” CCCCs National Conference, St. Petersburg, FL 2015. Successfully wrote the panel but did not attend.
“Imagining the Mind-Body Relation: The Skull as a Cave in Blake’s Mythological Works.” March 2015 for the national College English Association conference, Indianapolis, IN.
Scholarship: Digital Humanities
I attended a coding workshop for the Mary Russell Mitford project (Digital Mitford) in June of 2015 and finished my first round of markup for her poem Watlington Hill. I need to mark up people and places and write site index entries for it now.
I haven’t included blogging for my book projects or for my personal blog (here), which includes the online gallery for the Blake in the Heartland exhibit linked above, but I can provide links to my annual reports for my personal blog and my Rock and Romanticismblog.
All that I’ve listed here is my publishing productivity during 2015. It doesn’t include teaching, advising, or committee service: four courses in the Spring and three graduate courses in the Summer, including being a reader for one Master’s thesis. It also doesn’t include about twenty letters of recommendation, editing books for two friends of mine, and editing a few essays for friends too. This stuff is all part of the job that most college teachers do.
I’ve also tried to be a husband and father, but I think I suck at that.
Support your teachers. I’m just one of them, but they’re all working hard for you, their students, and their schools.
I would like every teacher to post a list like this about their summer work so that people know what we do.