Saturday, May 10, 2014

What a (virtual) World!

I just made my first virtual appearance at a conference, and was so grateful to have been able to listen in on the session I organized for this year's Kalamazoo. Having just given birth a few weeks ago, there was no way to make my annual pilgrimage this year, so I decided to take a note from Petrarch and attend virtually!

I posted the description of the session a while back, and it was such a delight to see how well all of the speakers' papers intersected with one another. Due to connection issues, I missed a portion of the session but -- thanks to Jeffrey Jerome Cohen and the wonders of live-tweeting -- was able to get brought back into the room! The connection issues made my ability to comment somewhat limited during the QA, but I greatly enjoyed getting to listen to all of the questions and comments that cropped up during the discussion. I was struck in particular by a question about how we might define "world" and "earth" against/alongside one another in light of the papers presented today, and I think that this session raised some compelling ideas about such definitions. The papers tended to emphasize how world-building is born out of various kinds of desires/impulses and, with that in mind, perhaps we could say that in contrast with "earth" (which could suggest concreteness, reality, etc.), "worlds" and "world-building" encompass a vast -- even infinite -- array of imaginary realms born out of desired alternatives. As Asa said at the beginning of his talk, for instance, Christendom itself is a deeply imagined, and deeply desired, world, but it is hardly real. And so, perhaps one of the main questions both raised and addressed by the session is how and why worlds are created in medieval literature. Moreover, what kinds of new understandings can we reach about medieval literature by considering the engendered worlds that appear within them, most of which are so very different from the earthly cultures that produce the texts in question?

This is a discussion I hope to see continue in the near future (more on that later!).

But for now, I'll simply express my gratitude for having been able to transport myself (however briefly) to Kalamazoo in order to see this session (engendered over pints at Bell's Brewery last year) come to fruition.

Thanks to Edith Burney Donnell for the photo! 



Monday, May 5, 2014

It's the Most Wonderful Time of the Year: Kalamazoo 2014

As I get ready to depart for the 49th International Congress on Medieval Studies in Kalamazoo, Michigan, I thought I would post about the many things that I and my co-blogger Kate are up to. Unfortunately, Kate isn't able to make it this year, but she still has put in lots of work organizing things, and I am presenting and performing and presiding as well. So, here are the panels featuring Kate and me:

1. Friday at  7:30 p.m. (Valley III, Stinson Lounge) will be the always-fun Malory Aloud readers' theater. The theme this year is "Malory Interruptus: Sex and Love in the Mort." 

Kate has chosen and casted some really fun scenes from Malory, and, since she can't be at the conference, my colleague Kara McShane and I are taking the helm. It should be a lot of fun!

Malory Interruptus: Sex and Love in the Mort.
Organizer: Leila K. Norako, Notre Dame de Namur Univ.
Presider: Leila K. Norako 
A readers’ theater performance with Stephen Atkinson, Park Univ.; Alison Baker, California State Polytechnic Univ.–Pomona; Laura K. Bedwell, Univ. of Mary Hardin-Baylor; Kristi J. Castleberry, Univ. of Rochester; Kimberly Jack, Auburn Univ.; Timothy R. Jordan, Zane State College; Kara L. McShane, Univ. of Rochester; John Lowell Leland, Salem International Univ.; Bernard Lewis, Murray State Univ.; Meredith Reynolds, Francis Marion Univ.; Rebecca Proud, Clermont College, Univ. of Cincinnati; Sebastian Rider-Bezerra, Aberystwith Univ.; Kendra Smith, Univ. of California–Davis; Padmini Sukumaran, St. John’s Univ., New York; and Paul R. Thomas, Brigham Young Univ./Chaucer Studio.

2. Saturday at 1:30 (Session 429 in Bernhard 204), Kara and I are also presiding over a panel on "Animals in Arthuriana." We're exciting about the range of interesting papers we've collected.

Animals in Arthuriana
Sponsor: Rossell Hope Robbins Library, Univ. of Rochester
Organizer: Kristi J. Castleberry, Univ. of Rochester, and Kara L. McShane, Univ. of Rochester
Presider: Kristi J. Castleberry and Kara L. McShane

The Monstrosity of Sin and the Prose Merlin’s Demon Cat
        Sharon Rhodes, Univ. of Rochester
Tristan and Medieval Hunting Manuals
        Emily R. Huber, Franklin & Marshall College
Shoulders Like an Ox, or, Smiling Like a Tiger? Arthurian Animal Identities in Terry Pratchett’s Albion
        Kristin Noone, Univ. of California–Riverside

3. And, lastly, on Saturday at 3:30 (Session 446 in Fetzer 1005) I will be presenting on BABEL's roundtable, "What a World!" Kate pulled together the papers for this one on the theme of worldbuilding, and she will be skyping in. I am sure it will lead to some great discussion.

What a World! (A Roundtable)
Sponsor: BABEL Working Group
Organizer: Eileen A. Joy, BABEL Working Group
Presider: Leila K. Norako, Notre Dame de Namur Univ.

An English Hero, a Barbarian Kingdom: The Colonialist Impulse in Chivalric and Ruritanian Romances
        Andrea Lankin, St. Joseph’s Univ.
The Once and Future Herod: Vernacular Typology and the Worlds of English Cycle Drama
        Chris Taylor, Univ. of Texas–Austin
England Is the World and the World Is England
        Asa Simon Mittman, California State Univ.–Chico
England by Any Other Name: Nominal Topographies in The Tale of Albin
        Kristi J. Castleberry, Univ. of Rochester
A World without War: Chaucer and the Politics of Unconditional Friendship
        Paul Megna, Univ. of California–Santa Barbara
Imagining Medieval Futures
        Suzanne Conklin Akbari, Univ. of Toronto
Engineering Beowulf: Multi-media and Multi-modal Medievalism
        Valerie B. Johnson, Georgia Institute of Technology

Thursday, December 26, 2013

"Thou met'st with things dying, I with things new-born": On Seasons and Genres in The Winter's Tale

I found a flower in the snow
The last play I taught in my Shakespeare class this semester was, appropriately to the season,  The Winter's Tale. A strange play that few of my students had read or seen before, Winter's Tale spends its first three acts as a tragedy and then makes a surprising and bittersweet comeback by the end. The play begins with King Leontes's unfounded jealousy over an imagined relationship between his wife Hermione and best friend Polixenes. This jealousy serves to tear apart his family and friendship and country. His heir dies, his wife dies, and his newborn child, whom he wrongly believes to be illegitimate, is left out in the cold and bear-filled landscape to face the elements. Antigonus, the man sent to leave the baby, receives one of the most famous stage directions in history: Exit, pursued by a Bear. Perhaps Antigonus is punished by nature for abandoning the child, perhaps this is a lesson in conflicting loyalties (loyalty to the king's orders vs. loyalty to personal morality), or perhaps he is a scapegoat figure. In any case, the last we see of Antigonus he is running for his life. Offstage, he dies a terrible death (while the bear, presumably, gets a good meal). Also offstage, a young man observes the violent mauling, while onstage the man's father, a shepherd, finds the baby. And here, at the end of act three, we get the first moment of real hope in the play. The play has been filled with jealousy and despair and death and cold and darkness, but the baby lives. At this time of year, when days are short and temperatures are cold and it feels like spring may never return, a glimmer of hope can mean life. (I never really understood this when I lived in California, but I certainly get it in upstate New York.) To survive winter, we need something to look forward to. A celebration. A winter holiday. A candle or a sprig of holly. And, of course, the shortest day of the year means that each subsequent day will be longer. The play, tied to seasonal change, is rooted in such inevitable cycles. A tragedy or a comedy, the play suggests, is only a matter of where you stop the tale. And this play keeps going into spring.

The shepherd is amazed by his discovery of the helpless child, and his son is horrified by the violence he has witnessed, and their conversation brings despair and hope, death and life, into contact. It is no accident that it is the old man who finds the new life. The pivotal moment of the play is this one of life and death, beginnings and endings. At the same time as father saves a new life, the son can do nothing to stop a life from ending. Hope, it seems, comes at a price.


I won't go into lengthy summary or analysis (though I have much more to say on the play), nor will I give away the ending. Instead, I just want to say a few words about the play in terms of this holiday season. In keeping with my Christmas posts from the past two years (one on Gawain and the Green Knight and another on The Second Shepherd's Play), I want to think here about how The Winter's Tale might help us contemplate this time of year. It's a play in which hope comes just as things seem the most tragic. Death is everywhere and we are sure this must have been mislabeled as comedy or romance. Surely it's a tragedy. In Act 2, the doomed little heir Mamillius explains to his mother that "A sad tale's is best for winter" (II.i.25). And what we get is indeed a seasonally-appropriate sad tale. But then something miraculous happens. A baby is born; a baby lives. Time passes, and it is winter no longer.

One of the many things I love about this play is that it manages to bring together genres in the way that seasons come together, not as separate entities but as parts of a larger, interconnected cycle. Even the play's ending, which allows for resolution, reconciliation, and even joy, is not completely free from the sorrow of the first three acts. Time has passed, bodies once young are now wrinkled. The years cannot be regained anymore than the wrongs can be forgotten. People have died, people have been slandered and exiled. And though some wrongs can be righted, others never can. Leontes regrets and learns and gets some redemption, but none of this erases what he's done. His happy ending is truly happy, but also bittersweet. The characters value their happiness because they know how dearly-bought it is. Likewise, we can always do better and the world can always do better for us, but what we've done and experienced won't just go away. It makes us who we are. The baby grows into a woman, but this doesn't eliminate the fact that her father intended her death. Her name, Perdita, means "the lost one," indicating that if she's found she will nonetheless represent that which has been lost. It is in this lost one, this Perdita, that we find hope, and the hope is real, but that doesn't disconnect it from the circumstances that required hope in the first place. This looking forward as well as backward, this Janus posture fitting to the new year, helps us to see that joy and sorrow are not always distinct, nor do they need to be. As redemption is only possible after a fall, hope only means anything in times of despair. This holiday season, as we move to a new year, let's think on the fact that looking for joy and hope and goodness in the world need not mean that we've forgotten the bad and the sad. Instead, let us try to see the bigger picture, to learn from mistakes and to understand that sometimes our gain comes from another's loss. And as the happiness found at the end of Winter's Tale is more meaningful to the characters in that they've known such sorrow, perhaps we can remember that life has no simple happy endings. Happiness is tangled and complicated, and life very often continues even after marriages or deaths that would make such neat conclusions to comedies or tragedies. And even the times of year we associate with joy can be filled with loss as well. I shine with love for those around me, but I also ache with fresh grief for those I have lost. I know I am warm and safe inside, but others are stuck in the cold. Part of being in the spirit of the season, I think, is in realizing what it means to celebrate light in the middle of the winter. In the spirit of The Winter's Tale, then, I wish for more joy and compassion for you all this holiday season. Merry Christmas and Happy Holidays and Happy New Year!

Tuesday, December 10, 2013

An Exercise in Gratitude

When I was a little girl, and whenever I’d have a particularly bad day and found myself feeling as though nothing, absolutely nothing, was right with the world, my father would send me off to my room with a pencil and paper. My task was simple: to write down ten good things that had happened to me that day. I frequently responded to his insistence that I complete this exercise with some version of the following:

“BUT NOTHING GOOD HAPPENED TODAY! EVERYTHING IS WRONG WITH EVERYTHING!”

My father, however, is nothing if not persistent, and so off to my room I went, even though I was convinced in that moment that the paper would remain blank, the pencil just as sharp and unused as it was when he gave it to me. 

I’d sit in my room for a while, refusing to consider anything aside from all of the wrongs and hurts that had afflicted me over the course of the day. But after a while, some kind of quiet miracle would occur: I’d start to remember the beautiful birds I saw flying high above me as I walked into my school building, or the way a friend made me laugh at lunch, or the puppy I saw from my school bus window. I’d start there, and after a few minutes I’d find that recalling and writing down those ten good things wasn’t nearly as hard as I had thought.

This exercise taught me an important lesson growing up: that even when life kicks you repeatedly in the unmentionables (over and over . . . and over again in some cases), there are still a wild array of reasons to be grateful for each day that you’ve been given. 

The importance of this exercise came back to me rather suddenly a few days ago. I came home from an exhausting (and, to be honest, somewhat demoralizing) teaching day, only to find yet another quasi-rejection from a university to which I’d applied earlier this Fall.  I’ve been rather silent here on the blog over the last few months, and this silence has stemmed from the fact that I’m overwhelmed by the stresses of contingent labor as an adjunct and that I am equally overwhelmed with the job application process. There are so many aspects of both this process and adjunct life that frustrate and depress me, but as a powerless, contingent member of the academy, there is little to nothing that I can say here or elsewhere that will help me or anyone else in my position. And that realization only further adds to the anger and frustration, and leads to me feeling trapped by the very system to which I’ve devoted so much of my adult life and about which I care rather deeply.

I do a decent job on most days of keeping these broader anxieties at bay, but they creep up nevertheless, and I found myself so trodden down and beaten up a few days ago, that I retreated to my bedroom to take a wildly uncharacteristic nap. Having resisted nap taking with a vengeance since I was a toddler, however, I unsurprisingly found myself lying in bed, awake with all of my worries.

The simple truth is that I am terrified, just like any other recently-minted Ph.D. in my position. I’ve worked hard, I’m finding ways to publish and to keep my research projects afloat, and I am fortunate enough to be able to afford to continue going to conferences. I know that I’m good at what I do. But I also know that none of those things makes me any more likely to land the kind of job that I’ve worked so hard to achieve. And it terrifies me to think of having to start all over again.

As I mulled over these worries and tried to fly swat them away, I suddenly remembered the exercise that my father gave me so long ago, and I found my thoughts starting to shift. Yes, countless aspects of the job application process and the state of academy are cause for justifiable anger, depression, and resentment right now, especially for adjuncts like myself. And I am certainly entitled and justified in feeling those feelings. However, I know that what I’m really hungry for is a sense of purpose and a sense of happiness in my deeply uncertain and contingent professional life, and focusing on all of the things that enrage me (things over which I have little to no control) will not help me find either of those things. It dawned on me that maybe, just maybe, writing about what I am grateful for in the midst of this hell-storm could help buoy my spirits, and perhaps the spirits of others out there who are struggling along with me. And I say “with” because I truly believe that we are in this together, and, as a wise a wonderful friend recently observed, a win for any of us is a win for us all.

So friends, for what it’s worth, here is my list from a few days ago:

Today, I’m grateful for . . .

1. The fact that it was 41 degrees when I woke up. It finally feels a little like winter, and I now have plans to go out and purchase an obscene amount of hot chocolate and start decorating for the holidays while drinking said hot chocolate.

2.  This video, which (miracle of miracles) actually got me to crack a smile this afternoon: https://www.youtube.com/watch?v=8iehOvkO54g

3.  Nutella. Because, let’s face it – stressful days are simply made for nutella.

4. The fact that even with all of my fears about my professional future, I am still madly in love with medieval literature. Case in point: I can’t wait to curl up by my parents’ fireplace and re-read Sir Gawain and the Green Knight this Christmas.

5.  Being able to teach world literature. Where else can you help students forge meaningful comparisons between Old Norse sagas and Japanese warrior tales?

6. Being able to end the content portion of my current course with Midsummer Night’s Dream, and having a rollicking good time discussing the mechanicals’ performance of Pyramus and Thisbe in class this week.

7.  My husband, for always being able to make me laugh, especially on a day like today.

8. My friendship with Kristi. We've swapped countless job letters, CVs, teaching statements, and the like over the past few months, all in an attempt to help each other create the best portfolios possible. That we were often applying to the same positions was never even so much as a concern, and I count myself so very, very fortunate to have her (and several others like her) in my life.

9. All of my family, friends, colleagues, especially those who have buoyed my spirits over the past few months. You might not know this, but your words of encouragement are ones I go back to immediately on hard days, and I find myself deeply humbled and truly grateful for the number of people out there who believe in me.

10. The fact that I had the opportunity to do EXACTLY what I loved most for well over seven years. Grad school was certainly brutal at times, and it came with no guarantee of an academic job; those years, however, were richer beyond anything I could have imagined, and I know that they will always be meaningful, no matter where I find myself in my professional life.  


Coda:

After I wrote this post, I asked my scholar friends on Facebook for some advice on how to survive the job market, and I was truly humbled by the warm, honest, and heartfelt responses that so many people took the time to compose. My hope is that both that conversation and this post might help others out there who are feeling similarly trodden down by the application process. I know that writing and responding to both have helped me immeasurably. And as I said to my friends on Facebook, their responses reminded me of how very grateful I am for pursuing the career that I did, because I’ve managed over the past several years to surround myself with truly wonderful people, and that makes all of the struggles I’m experiencing right now far more than worth it.


Saturday, September 7, 2013

CFP: Animals in Arthuriana, Kalamazoo Medieval Congress 2014

"The Questing Beast," by Arthur Rackham
Courtesy of The Camelot Project

CFP: Animals in Arthuriana

Kalamazoo Medieval Congress 2014
Sponsored by The Rossell Hope Robbins Library at the University of Rochester

My colleague Kara L. McShane and I are gathering papers for a panel on Animals in Arthuriana for the 49th International Congress on Medieval Studies (May 8-11, 2014) at Western Michigan University in Kalamazoo. We've been talking for a while about the fascinating roles animals play in the Arthurian tradition, and Kara has also been working on a wonderful Arthurian Bestiary for The Camelot Project, and we're hoping that this panel will reflect the excitement we feel about the topic. For a conference affectionately called "The Zoo," we feel that this subject will be particularly appropriate.

From dragon-laced dreams to lion companions to warhorses, animals play a vital role in a wide range of Arthurian materials. Kara and I invite proposals engaging with the varying roles of animals within the realms of Arthurian literature, art, film, etc. Topics of interest may include, but are not limited to, the relationships between humans and animals in Arthuriana (for example, a knight and his horse), the historical place of animals in the tradition, the distinction (or lack thereof) between humans and animals, figures who can not be easily categorized as human or animal, animals symbolism and heraldry, prophetic animals, the adaptation of animals for contemporary Arthurian media, and more. 

Please send 250-300 word abstracts to me at kristi.castleberry@gmail.com by September 15th.




Friday, August 9, 2013

"How can you have boundaries if you fly?"

On a recent cross-country flight I was lucky enough to have a clear day and thus a beautiful view. I snapped photos with the kind of obsessive fervor that only a too-early morning and the knowledge that I should be writing can elicit. The more I looked at the landscape below me, the more I found myself grasping to identify the topographical features that would result in such strange shapes. I especially marveled at my ignorance when we flew over areas where I had lived (and hiked and driven around and explored) for many years. This made me think, in turn, about how familiar the Mercator Projection map looks to me, even though it bears little resemblance to the actual earth or landscape (see my earlier post, "Tales of Land and Sea"). It is the appearance of the land itself from above that surprises me. I was reminded of The Once and Future King, when little Arthur/Wart, transformed into a bird, is confused by the lack of boundaries on the land he sees from above (chapter 18 of The Sword in the Stone). In what way, then, do maps represent the land they depict? To what extent are they meant to? Will programs like Google Maps and Google Earth change how we imagine the world? What does a birds-eye view teach us that being on the ground cannot (and vice versa)? I don't yet have answers to these questions, but I would love to hear your thoughts as I begin to consider them.

Here are a few of the photographs I took from the air:  

Patchwork Landscape
Filled with beautiful swirls
And surprising colors
Landing, the shapes reorganize into something more familiar ...
Only to be obscured by fog




                                                                                                            

Thursday, July 11, 2013

The Book Proposal: A (Brief) List of Resources

One of my goals for this week is to complete a draft (however rough) of my book proposal. Up until a few days ago, I'd done more reading up on the process than writing, and I sought out a wide array of advice to help me get a sense of how to tackle this particular project. As is the case with so many things at this stage of my career, this style of writing is entirely new to me. I have, however, found the writing to be at least a little easier than the cover letter for the job market, my feelings for which were  captured in a Facebook update from this past Fall:









The book proposal is a strange beast for a lot of reasons, but I've found the writing to be incredibly helpful. Among other things, it's forcing me to find succinct ways to describe my book and why it matters, painful as that process might be.

I'll be writing a lot more about this entire dissertation-to-book process in the months (and, most likely, years) to come, and I hope to have actual advice to impart once I get further into it. For right now though, I thought I'd share a list of the readings I've found to be the most helpful and/or eye-opening:

1. "How to write a book proposal for an academic press." From Get a Life, Ph.D., a blog authored by Tanya Maria Golash-Boza.

[I've referred back to this post more than any other source so far. Her advice is rooted in extensive experience, and I appreciate her candor and her collegial approach. She speaks to you as a fellow professional, and the impeccably organized path that she lays out here has been incredibly helpful to me in the drafting process. Her advice to write the chapter descriptions first is a fantastic one, by the way: I tried it out and it definitely helped to jumpstart my writing.]


2. "How to Write a Book Proposal." From The Professor Is In, a blog authored by Dr. Karen Kelsky. 


[Dr. Karen's advice here, as elsewhere, is incredibly helpful and thorough. Just be prepared for her characteristic bluntness! She goes into considerable detail in this post, but I was very struck by her emphasis on confidence — essentially, that the proposal can't afford to betray any lingering insecurity. I'll be returning to the final two paragraphs multiple times in the next several days to remind myself of that!]  


3. "The Reality of Writing a Good Book Proposal," From The Chronicle of Higher Education, authored by Rachel Toor. 


[This post was written from the editor's perspective rather than the author's, and it's a fantastic read for that reason. It confirms what posts 1 and 2 have to say, but also offers up some unique advice as well. For instance, I found the suggestion to fill out the author questionnaire before writing the bulk of the proposal to be incredibly helpful (here's one of many good templates). It's made certain sections of the proposal far less daunting.]


4. "From Dissertation to Book." From The Chronicle of Higher Education, authored by Leonard Cassuto.


[Lots of good advice in here as well, but the main thing that makes this post stand out from the others is the advice to avoid publishing too much of your dissertation in journals if you want to publish an overhauled version as a book.]


5. The Thesis and the Book. Edited by Eleanor Harman, et al. Toronto: University of Toronto Press, 2003.


[If you're looking for lists of things to avoid when trying to prepare your dissertation for book publication, then this book will be helpful. Moreover, the "author's checklist" in Chapter 6 is also a great thing that I'll likely return to as I move forward. That said, I couldn't believe the smugness and condescension that occasionally oozed from the pages. There are some fantastic and collegial chapters in here (Chapters 4 and 5 stood out to me in that regard), but the second and third nearly turned me off of the book altogether. Chapter 2 was entitled "The Dissertation's Deadly Sins," for instance. It begins by stating: "The dissertation system must have laid at its door an enormous squandering of creativity, youth, time, and money each year upon the execution of prose works that do not communicate significantly and are therefore dysfunctional." (Are you not INSPIRED?) And it then goes on to assault your eyes with phrases like "A second characteristic of the system makes the situation of doctoral candidates even more hopeless,"  "the dissertation's amateurishness further reveals itself in pedantry and cowardice," and "editors are accustomed to the juvenescent tantrums of neurotics." I am FULLY aware that I am new to this process and that I have an enormous amount to learn (and an equally enormous amount of work to do) before I submit a text to an academic press. I do not, however, appreciate having that lack of experience rubbed in my face (by way of a thesaurus) over the course of twenty pages. I especially don't appreciate having someone who repeatedly uses patroningzly alliterative phrases ("the pusillanimous passive," anyone?) lecture me on the importance of clear and approachable language.
The sad thing is that these chapters (two and three) DO contain excellent pointers, but they're almost entirely lost in the vitriol. 

With that said, the book as a whole is definitely worth a read because it contains a wealth of useful information — and, to be fair, some truly approachable and collegial chapters. Just try and resist the (not so occasional) urge to chuck the book across the room as you make your way towards those chapters.] 

Each of these five sources has proved helpful and enlightening, if at times a bit frustrating due to tone and approach. The tendency among some of these authors towards condescension continues to mystify me, and reminded me of Jeffrey Jerome Cohen's past arguments against infantilizing graduate students and junior scholars. As he put it:
"The enduring ardor for hierarchy endemic to our profession puzzles me. Graduate students and faculty are colleagues engaged in a mutual enterprise. The commitment to study for an advanced humanities degree is a brave and perilous one, because the road is difficult and the destination extremely uncertain. Those who undertake such a commitment should be honored and cultivated for that choice, not made to feel like kids who need a strong dose of paternalism to keep them from overstepping."
In like fashion, I remain puzzled by the choice of some of these authors to infantilize their audience — especially since their work is (ostensibly) trying to encourage those very readers to act and write like professionals and not as students. Golash-Boza's perspective, after wading through The Thesis and the Book, was beyond a breath of fresh air as a result.

I'll be updating this list as I find more sources that prove helpful. In the meantime, I'd love to hear your recommendations and thoughts: what guidelines, books, articles, and/or blog posts have been helpful to you in this stage of the process?