Contributors
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George Boziwick is Chief of the Music Division of The New York Public Library for the Performing Arts. He has written articles for publications such as NOTES: The Journal of the Music Library Association, the Journal of the Society for American Music, the Routledge Encyclopedia of the Blues, and Baseball: A Journal of the Early Game. He is a composer and an accomplished harmonica player. George Boziwick and Trudy Williams have co-founded The Red Skies Music Ensemble, co-creating programs on different aspects of Emily Dickinson’s musical engagements in relation to her musicianship and poetic development. The Ensemble was featured at the 2015 Emily Dickinson International Society conference in Amherst, MA. George has presented papers based on these programs at the 2013 International Association of Music Libraries conference in Vienna and the 2014 Society for American Music conference in Lancaster, PA.
Isabel Sobral Campos is an Assistant Professor of Literature at Montana Tech of the University of Montana. She is working on a manuscript, The Immanent Mind of Nature, which examines artistic practices that seek to bridge the gap between mind and matter.
Patricia Chaudron is a graduate student in the Department of English at the State University of New York at Buffalo. She is currently completing her dissertation, “William Dean Howells and the Making of a Late Nineteenth-Century American Poetic Realism,” in which she argues that the generic possibilities of poetry contribute toward a more visceral and socially involved 1890s realism.
Keith Mikos is a lecturer in the Department of English at DePaul University, where he teaches courses on nineteenth-century literature, multiethnic literature, modernism, and the American novel. He has held research fellowships at The American Philosophical Society and the University of Minnesota. His dissertation provides the first long-form cultural study of microscopy’s significance for American fiction, philosophy, and science; now a book project, his work explores how iconic American writers responded to optics in ways that directly contribute to the recent critical discourse on scale. [End Page 106]
