- Notes on Contributors
James Berger is senior lecturer in American Studies and English at Yale University. He is the author of After the End: Representations of Post-Apocalypse and editor of Helen Keller's The Story of My Life: The Restored Edition. His current project, "The Disarticulate: Language, Impairment, and the Narratives of Modernity," will be published by New York University Press.
Since 2007, Judith Goldman has been a Harper Schmidt fellow and collegiate assistant professor at the University of Chicago, teaching in the arts humanities core and in creative writing. In autumn of 2011, she will be the Holloway Lecturer in the Practice of Poetry at University of California, Berkeley. She is the author of Vocoder (Roof 2001), DeathStar/rico-chet (O Books 2006), "the dispossessions" (atticus/finch 2009), and l.b.; or, catenaries (forthcoming, Krupskaya 2011). She co-edited the annual journal War and Peace with Leslie Scalapino from 2005-2009. She is at work on multi-media performance pieces using live sound, composed recorded sound, and video.
Michael R. Griffiths
Michael R. Griffiths is a Ph.D. Candidate in the English Department at Rice University and Lodieska Stockbridge Vaughn Fellow in the Humanities for 2011-12. His research explores biopolitics, particularly in Australian settler colonies. He has published essays or has essays forthcoming in Australian Literary Studies, Antipodes, Humanimalia, and in edited collections. He also maintains the politics and culture blog Apparatus at <http://mrgculture.wordpress.com/>.
Kaplan Page Harris
Kaplan Page Harris is Associate Professor and Director of the Graduate MA Program in English at St. Bonaventure University. His recent criticism appears in Jacket2, Wild Orchids, Paideuma, American Literature, Artvoice, Contemporary Literature, and The Poetry Project Newsletter. He is also editing, with Peter Baker and Rod Smith, The Selected Letters of Robert Creeley for the University of California Press.
Heather J. Hicks
Heather J. Hicks is Associate Professor of English and Director of Graduate Studies at Villanova University. She is the author of The Culture of Soft Work: Labor, Gender and Race in Postmodern American Narrative (Palgrave, 2009) and has published articles on postmodern literature and film in journals including Arizona Quarterly, Camera Obscura, Contemporary Literature, and Postmodern Culture. She is currently writing a book that addresses the historical shift in the status of contemporary apocalyptic fiction from the margins to the center of the literary canon.
Nathanaël (Nathalie Stephens)
Nathanaël has written a number of books in English or French, published in the United States, Québec and Canada. Many of these were published under the name Nathalie Stephens, and include We Press Ourselves Plainly (2010), The Sorrow and the Fast of It (2007), Paper City (2003), Je Nathanaël (2003/2006), L'injure (2004) and ...s'arrête? Je (2007), for which she was awarded the Prix Alain-Grandbois by the Académie des Lettres du Québec. Carnet de désaccords (2009) was a finalist for the Prix Spirale-Éva-le-Grand. Other work exists in Basque, Slovene, and Spanish with book-length translations in Bulgarian and Portuguese (Brazil). There is an essay of correspondence (2009): Absence Where As (Claude Cahun and the Unopened Book), first published (2007) as L'absence au lieu. Also, a collection of talks, At Alberta (2008). Some work is repertoried in Constelación de poetas francófonas de cinco continentes (Diez siglos) (2011). Besides translating some of her own work, Nathanaël has translated Catherine Mavrikakis, Gail Scott, John Keene, Édouard Glissant, with translations of Hilda Hilst and Hervé Guibert forthcoming. SISYPHUS, OUTDONE. will be published by Nightboat Books in 2012. Nathanaël lives in Chicago.
Marcel O'Gorman is Professor of English and Director of the Critical Media Lab at the University of Waterloo. He is the author of two books and several articles about the impact of technology on the humanities and on the human condition, more generally. His most recent research on death and technology, which he calls "necromedia theory," has also manifested itself in various performances and installations that involve circuits, dirt, sensors, a penny-farthing bicycle, a treadmill, and a canoe. O'Gorman refers to his critical art practice as "Applied Media Theory." The...