Contributors

C o n t r ib u t o r s A u t h o r s Reuben Ellis is Associate Professor of English at Hope College in Holland, Michigan. He has edited Beyond Borders: The Selected Essays of Mary Austin and Stories and Stone: Writing the Anasazi Homeland and published essays on western American and Native American literatures. Bonney M acDonald received her Ph.D. from Yale University and is currently Associate Professor and Chair of English at Union College in Schenectady, New York, where she teaches late nineteenth-century American literature and literature of the American West. She has written Revelatory and Resistant Impressions: Henry James’s Italian Hours as well as articles on Henry James, Hamlin Garland, and American regionalism. Her current book project focus­ es on place writing and images of the frontier with particular emphasis on Frederick Jackson Turner. George Moore received his Ph.D. in English Literature from the University of Colorado, Boulder, where he presently teaches courses in American lit­ erature, ethnic literatures, and creative writing. The article in this present issue represents one essay in a collection he is completing on Jimmy Santiago Baca’s poetry. His critical study of Gertrude Stein, Gertrude Stein’s The Making of Americans: Repetition and the Emergence of Modernism is being published this year. In addition, he has two collections of poetry; the most recent, The Petroglyphs at Wedding Rocks and Other Poems, appeared in fall 1997. Andreas Kriefall received his Ph.D. in Comparative Literature from Cornell University in 1992. He has taught at Deep Springs College and now teach­ es American literature at Union College in Schenectady, New York. He is currently writing a book on anticipations and critiques of Nietzsche’s phi­ losophy in Melville’s Moby-Dick, in which he argues (among other things) for a Bakhtinian-Levinasian model for multicultural ethics. A r t is t s L. L. Griffin is a Denver-based artist/photographer. Her work has appeared in journals such as The New York Times, MS Magazine, Woman’s Day, Der Spiegel, Men’s Journal, as well as on book jackets and C D covers. Griffin teaches as a visiting artist as time permits and takes on a variety of assign­ ments. A t present, she is working on Inside the Belly of the Whale, an expressionistic photographic series based on personal dreams and her journey out of a personal loss. José Clemente Orozco (1883-1949) was born in Guadalajara, Mexico. He, Diego Rivera, and David Alfaro Siqueiros are “los très grandes,” the great C o n t r i b u t o r s / A n n o u n c e m e n t s 2 2 3 muralists who worked in the United States in the 1930s in what some art his­ torians have called the “Mexican invasion.” A more apt metaphor might be border-cross-fertilization. In their dedication to a socially committed public art the three greatly influenced WPA artists. Calling his mural in Baker Library at Dartmouth college his “epic of America,” Orozco focused on Quetzalcoatl to suggest, he said, “the responsibility shared equally by the two Americas (the indigenous and European cultures) of creating here an authentic New World civilization.” He was particularly pleased to paint the mural at Dartmouth, originally founded to educate Native Americans, because of its connections “with the Indian races of America.” (For more information, see Laurance P. Hurlburt, The Mexican Muralistis in the United States.) David Wakely is a San Francisco-based architectural photographer whose work has appeared in numerous publications including Architectural Record, Interior Design, and Sunset Magazine. His books include A Sense of Mission, Historic Churches of the Southwest— in which the picture of the Quarai church appeared— Markets of Provence: A Culinary Tour of Southern France, Gregorian Chant: Songs of the Spirit, and San Francisco, Points of View. A n n o u n c e m e n t s R e s e a r c h F e l l o w s h ip s The William P. Clements Center for Southwest Studies in the Depart­ ment of History at Southern Methodist University in Dallas...