Contributors
Rent from DeepDyve- Contributors
Authors
Anne Baker is Associate Professor of English at North Carolina State University. She is the author of Heartless Immensity: Literature, Culture, and Geography in Antebellum American Literature (2006) and has also published articles on Herman Melville, Margaret Fuller, geography schoolbooks, and panorama pamphlets.
Timothy Glenn teaches English at Virginia Commonwealth University. His research interests focus on the intersections of racial identity and land ownership in American literature and culture.
T. Christine Jespersen is a professor of English at Western State College of Colorado, where she teaches American literature with emphases on gender, race, class, and the environment. Her most recent publication is the co-edited volume The Anatomy of Body Worlds: Critical Essays on the Plastinated Cadavers of Gunther von Hagens, published by McFarland.
Artists
Daphne Odjig (b. 1919) grew up on the Wikwemikong Unceded Indian Reserve on Manitoulin Island (Lake Huron), Ontario. On her father's side, her family can be traced to Chief Jonas Odjig of the Powatomi. Her mother was an English war bride. As a child, Odjig converted the family's pig house into a play school where she taught the local children. When that pursuit became tedious, she changed the play school into a play church where she could hear confessions. As an adult, she studied painting by copying images in books from the library and visiting the Vancouver Art Gallery to examine painting techniques up close. Odjig became the only female member of the Indian Group of Seven, a group that originally composed the new Eastern Woodlands School of Canadian art. Her paintings were distinctive within the group because of their emphasis on womanhood and family.
Pedro Cervántez (1915-1987) was born in Willcox, Arizona. In the 1930s, the Works Progress Administration in New Mexico hired Cervántez to paint reproductions of religious images. The paintings were distributed to schools and other public buildings. The WPA Federal Art Project later employed him as an artist, encouraging him to paint the subjects that interested him. In 1938, with an exhibit at the Museum of Modern Art in New York, Cervántez became one of the first Hispanic artists to receive national recognition. He died in Clovis, New Mexico. [End Page 335]
