Notes on the Contributors
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Notes on the Contributors

Peter Melville is Associate Professor of English at the University of Winnipeg, where he teaches courses on Romanticism, critical theory, poetry, and fantasy fiction. He is author of Romantic Hospitality and the Resistance to Accommodation (2007), Writing about Literature: An Introductory Guide (2011), various book chapters, and articles published in Journal of the Fantastic in the Arts, The Eighteenth Century: Theory and Interpretation, European Romantic Review, SEL: Studies in English Literature, Mosaic, and The Dalhousie Review.

Micheal Angelo Rumore is a Ph.D. student in English at CUNY Graduate Center, where he works on theorizing “world literature” as a critique of globalization, as well as postcolonial and diaspora studies more broadly. He also teaches courses in literature and composition at Lehman College and Queens College, CUNY. As an alumnus of University of Tampa, he is happy to haunt Plant Hall once more.

Todd D. Spaulding graduated from the University of South Carolina with a Ph.D. in Comparative Literature. His dissertation, H. P. Lovecraft & the French Connection: Translation, Pulps, and Literary History, explores the role that translation played in controlling the reception and evolution of H. P. Lovecraft in France. Todd is currently looking for a publisher for his dissertation. He sees weird fiction and tales of supernatural horror as fertile grounds for the analysis of epistemology and ontology. Further, he finds the ways in which this genre explores extremes of the real and unreal quite stimulating.

Joseph Walderzak has published chapters in recent anthologies on topics including class politics in Downton Abbey and the female anti-hero in The Killing. His forthcoming publications include studies of the damsel of the Marvel Cinematic Universe, masculinity in Justified, gender scripts in True Detective, performance and Orphan Black, and a feminist reading of Harley Quinn. He is currently working on a book project which investigates how narratives involving teen popularity and romance have shaped and shifted the discourse on class in American teen films from 1984 to present. [End Page 101]

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