Contributors
- Contributors
MOLLY BALL . . .
is Assistant Professor of English at Eureka College, where she teaches courses in composition and American literature. Her research interests include transnational American studies, temporality studies, and oceanic studies. This article comes out of a book-length project that examines how attempts to represent populations presumed to stand outside the linear advance of history impacted literary form over the course of the long nineteenth century.
ERIN E. FORBES . . .
is an assistant professor of English and African American and diaspora studies at the University of Wyoming. She specializes in American and African American literature of the long nineteenth century with a focus on aesthetics, history, politics, race, and environment. Her current book project, “The Criminal’s Genius: Aesthetic Agency in American Literature” identifies and describes collective, distributed conceptions of agency at the intersections of criminality and creativity. Forbes has published or forthcoming essays in journals including Poe Studies, The Eighteenth Century: Theory and Interpretation, and Modern Philology.
MARTA WERNER . . .
is Professor of English at D’Youville College and author or editor of Emily Dickinson’s Open Folios: Scenes of Reading, Surfaces of Writing; Ordinary Mysteries: The Common Journal of Nathaniel and Sophia Hawthorne (with Nicholas Lawrence); Radical Scatters: An Electronic Archive of Emily Dickinson’s Late Fragments and Related Texts; and The Gorgeous Nothings [End Page 531] (with Jen Bervin). She has received both the Fredson Bowers and JoAnn Boydson Prizes for her work as a textual scholar. In recent years she has returned to the archives in search of documents that seem to be outliers in the regions of both literature and science. Her current work explores the land-, sound-, and weatherscapes of the nineteenth- and early twentieth-centuries. Werner is cofounder, with Martha Nell Smith, of the Dickinson Electronic Archives and serves on the editorial or advisory boards for Textual Cultures, The Emily Dickinson Journal, and the Emily Dickinson Archive. [End Page 532]
