In lieu of an abstract, here is a brief excerpt of the content:

C o n t r i b u t o r s A u t h o r s SueEllen Campbell teaches nature/environmental literature at Colorado State University. She writes both ecocriticism and literary nonfiction: Bringing the Mountain Home (1996) and The Edge of Winter (forthcoming). Gerald Haslam’s most recent novel, Straight White Male (2000), won the Western States Book Award. He is Professor Emeritus at Sonoma State University. Scott Hermanson is a lecturer at the University of Illinois at Chicago. His work on chaos theory and Richard Powers appeared in Critique, and his essay on Walt Disney World’s Animal Kingdom will soon be published in the col­ lection Rethinking Disney. Julianne Newmark is originally from New Mexico and is currently a doctoral candidate at Wayne State University in Detroit, Michigan. Current work includes a study of D. H. Lawrence’s co-optation of the Hopi body in his text “The Hopi Snake Dance.” Newmark’s article “Language, Absence, and Narrative Impossibility in Mario Vargas Llosa’s El hablador” is forthcoming in The Latin American Literary Review. Louis Owens (1948-2002) was a celebrated novelist, essayist, and critic, an influential voice in western cultural studies and American Indian literature, and a longtime member of the Western Literature Association. He published several essays over the years in Western American Literature, including one of the first essays to draw contemporary attention to the work of D’Arcy McNickle. A r t is t s Steve Crouch photographed and wrote about the Monterey area for over twenty years. His images of the land are beautiful and mystifying. Many of them are captured in his book Steinbeck Country (1973). Dale Thompson Fletcher (1929-1990), of Logan and Provo, began as an abstractionist under the guidance of his father, Calvin Fletcher, but later became a photo-realist painter. After completing a Bachelor of Science degree at Utah State University in 1953, and a Master of Arts degree at the University of California at Berkeley in 1956, he joined the art faculty of Brigham Young University in 1965, where he taught studio, art history, and elementary educa­ tion courses. Francis Benjamin Johnston (1864-1952) worked as a photojournalist, pho­ tographing Admiral Dewey’s flagship, and as a portrait photographer in Washington, D.C. She received a commission in 1899 to photograph the Hampton Normal and Agricultural Institute. In a series of formally gorgeous C o n t r ib u t o r s 3 9 3 photographs that read like tableau vivants, she represented the students as dis­ ciplined and fully under control, learning the lessons of national progress. Gertrude Kasebier (1852— 1934) began to study art at the Pratt Institute in Brooklyn about 1888 when her youngest child was nine. At the turn of the century, she was one of the most successful studio photographers in New York, celebrated for her pictorialist photographs of romanticized White motherhood and of American Indians. Dorothea Lange (1895— 1966) honed her skills as a photographer in the por­ trait studio of Arnold Genthe in New York before moving to San Francisco in 1918. She is well known for the depression era photographs she took largely in California while working for the Farm Security Administration in the 1930s. Manuel Ocampo, a native Filipino, moved to the United States in 1986. He quickly garnered attention for his work on the West Coast. After living in Europe in the late 1990s, Ocampo now lives in the Bay Area. His work is widely exhibited in the United States, Europe, and Asia. He’s known for his political and religious allegories charged with emotional tension. His often frightening vision of the world makes us reflect on life’s injustices. Richard Shaw (b. 1941) was bom in Hollywood, California. He received his B.F.A. from the San Francisco Art Institute and his M.F.A. from the University of California at Davis. Since 1967, he has exhibited extensively and is represented in major museums and private collections. Working in porcelain, Shaw crafts objects that reflect a synthesis ofceramics, painting, and sculpture. He has been very influential in promoting common objects as viable subjects for the ceramics medium. Charlene Teters (b...


Additional Information

Print ISSN
pp. 392-393
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.