The SSAWW Newsletter is available here: http://ssawwnew.files.wordpress.com/2014/09/ssaww15-2fall14.pdf
This newsletter has grown a lot since we moved it online after the members voted to do so in Spring 2010. It used to be 6-8 pages long, and now it is 27, since printing and mailing costs are not a factor. The links in the online version are clickable, and there’s no paper to recycle.
Even better, the money that used to go to printing and mailing is now used to support graduate student travel to the SSAWW conferences.
For decades, the seven reels from 1913 lay unexamined in the film archives of the Museum of Modern Art. Now, after years of research, a historic find has emerged: what MoMA curators say is the earliest surviving footage for a feature film with a black cast. It is a rare visual depiction of middle-class black characters from an era when lynchings and stereotyped black images were commonplace. What’s more, the material features Bert Williams, the first black superstar on Broadway. Williams appears in blackface in the untitled silent film along with a roster of actors from the sparsely documented community of black performers in Harlem on the cusp of the Harlem Renaissance. Remarkably, the reels also capture behind-the-scenes interactions between these performers and the directors.
Comment: This is good news indeed.
At The Atlantic, “The Man Who Made Off with Updike’s Trash” asks, more or less, when is an archive not an archive? When it’s trash? In this case, a man who on a whim took some of John Updike’s trash years ago continued the practice and now has an archive of discarded pieces.
Moran has kept thousands of pieces of Updike’s garbage—a trove that he says includes photographs, discarded drafts of stories, canceled checks, White House invitations, Christmas cards, love letters, floppy disks, a Mickey Mouse flip book, and a pair of brown tasseled loafers. It is a collection he calls “the other John Updike archive,” an alternative to the official collection of Updike’s papers maintained by Harvard’s Houghton Library. The phrase doubles as the name of the disjointed blog he writes, and it raises fundamental questions about celebrity, privacy, and who ultimately determines the value and scope of an artist’s legacy.
The blog is at http://johnupdikearchive.com/, and it reproduces all kinds of print materials, including full letters from Updike (with no copyright restrictions? That seems unlikely).
As the Atlantic article and his biographer Adam Begley points out, Updike was a pretty fair curator of his own legacy, sorting materials and dropping them off at Harvard.
What, then, should scholars make of the alternative archive or trash archive or whatever it should be called? Should it figure into scholarship on Updike? Does thoroughness demand that scholars working on Updike work from both?
From BBC News via Twitter: Kalev Leetaru has uploaded 2.6 million historic, copyright-free Internet Archive images from books to Flickr. They’re searchable, too.
Here’s the link: https://www.flickr.com/photos/internetarchivebookimages/with/14784850762/
CFP: Edith Wharton Review (deadline: on-going).
The Edith Wharton Review, a peer-reviewed, MLA-indexed journal is currently seeking submissions. The journal is committed to rigorous study not only of Edith Wharton, but on Wharton in the context of other authors, and on Wharton in relation to late-nineteenth and early twentieth-century culture more generally. It publishes traditional criticism, pedagogical scholarship, essays on archival materials, review essays, and book reviews. The Review aims to foster emerging scholars and new approaches to Wharton studies as well as established scholarly approaches.
On the occasion of its 30th anniversary, the journal now boasts a new design and vastly expanded content. Recent special issues include “_The Custom of the Country at 100″ and “Teaching Edith Wharton’s Late Fiction.” Opportunities exist to publish on Wharton’s lesser-known works, as well as her more canonical writings.
If you are interested in submitting, please contact Meredith Goldsmith, Editor (firstname.lastname@example.org). Submissions should be 20-25 pages, and prepared according to the _MLA Style Manual_.
In checking out the new Amazon book service, I recently looked at its competitors, including Scribd. I had looked at Scribd years ago when it seemed to be mostly bad term papers uploaded in impossible formats. Now it has real books.
When I looked up “naturalism in american literature” to see what criticism might be available, what should pop up but my page at the American Literature/Literary Movements site–but without my name attached.
If you’ve used my site, you know that the Naturalism page is one of the earliest things on the site (1998, give or take), although I’ve updated it. I wrote it and put it on the web for people to use. That’s why it’s there.
But stealing the content of the page without attribution and charging people to look at something I intended to be free on the web is really irritating–and also just plain wrong.
Stolen page: http://www.scribd.com/doc/201675150/Naturalism-in-American-Literature
Fortunately, you can report the DMCA violation to Scribd using this form:
It took me a little while to find the reporting link, so I’m posting it here in case it will help someone else with the same problem. We’ll see if anything happens once the false page is reported.