REBECCA LINDENBERG
Curriculum Vitae 2016
3414 Telford Street, #10
Cincinnati, OH 45220
(703) 946-6526
[email protected]
EDUCATION
Ph.D., Literature & Creative Writing, University of Utah, Salt Lake City, UT 2011
Dissertation: Gloss
B.A., English The College of William & Mary, Williamsburg, VA 2000
Magna Cum Laude
GRANTS & AWARDS
2015 William C. Boyce Award for Outstanding Teaching (Faculty)
2015 Utah Book Award for The Logan Notebooks
2013-14 Amy Lowell Traveling Poetry Fellowship
2012 Dorothy Sargent Rosenberg Poetry Prize
2012 MacDowell Arts Colony Residency (6 weeks)
2011 National Endowment for the Arts Literature Fellowship
2009-10 Provincetown Fine Arts Work Center (FAWC) Alan Dugan/Judith Shahn Endowed
Fellowship
2008 Richard Scowcroft Prize in Creative Nonfiction (Victor LaValle, judge)
2007 Dorothy Sargent Rosenberg Poetry Prize
2007 Tennessee Williams Scholarship to the Sewanee Writers Conference
2005 Utah Writers Contest (Terry Hummer, judge)
2003-05 Vice-Presidential Fellowship for Graduate Study, University of Utah
PUBLICATIONS
Books
The Logan Notebooks (Center for Literary Publishing at Colorado State, June 2014)
Winner of the 2015 Utah Book Award
Love, an Index (McSweeney’s Poetry Series, March 2012)
Runner-up (as Gloss), OSU/The Journal Award in Poetry, 2011
Finalist (as Gloss), Poets Out Loud Prize at Fordham University, 2011
Finalist (as Gloss), Alice James Books’ Beatrice Hawley Prize, 2011
Finalist (as Gloss), New Issues Poetry Prize, 2011
Chapbooks
Kjærlighet, et register (Love, an Index) chapbook trans. Norwegian by Nils-Øiving Haagensen (Vinduet
2015)
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Poems
2014 “Birds,” The Believer
2014 “Billboards,” “Mountains,” “Winds,” ANTI
2014 “Aphorism,” Aphorism,” “September,” Witness
2014 “Despacios de un mundo sin terminar/Dispatches from an Unfinished World,”
“Carnaval/Carnival,” “Catálogo de lo efemero/Catalogue of Ephemera,” Guardagujas102:
Suplemento Literario de La Jornada Aguascalientes (trans. Jose Luis Justes Amador)
2014 “Status Update/Status Update,” Tierra Adentro/Magazine of the Mexican National Endowment
for the Arts (trans. Jose Luis Justes Amador)
2013 “The Houseless Woods,” Third Coast
2012 “Clouds,” “Clouds,” Pear Noir
2012 “La niña con los ojos de maquina de escribir/The Girl With The Typewriter Eyes,”
“Versus/Versus,” “La chica con el rostro de microfilm/The Girl With The Microfilm Face,”
Circulo de Poesía (trans. Jose Luis Justes Amador)
2012 “Catalogue of Ephemera,” “Marblehead,” “Losing Language,” Smartish Pace
2011 “Carnival,” 32 Poems
2011 “Illuminating,” DIAGRAM
2011 “Status Update,” “Status Update (2),” “Dispatches from an Unfinished World,” The Offending
Adam
2011 “Metamorphosis,” “Wild Turkeys at Race Point,” Mid-American Review
2010 “Questions About Beauty,” The Huffington Post
2010 “Litany,” POETRY
2010 “from Love, an Index,” sections G, T, W, The Believer
2010 “from Love, an Index,” sections F, H, I, J, K, L, R, S, Y, Z, Conjunctions
2010 “Still Life With Movement,” Colorado Review
2010 “Circus Animal,” “It is hard to tell…,” “Fragment (4),” BlazeVox
2010 “In the Museum of Lost Objects,” “Quo Vadis,” “The Winged Skull,” Connotations Press
2010 “Love, a Footnote,” “Sing me lover, sing me, poet,” “Fragment (3),” “Aubade,” “from Love,
an Index,” sections A-E, No Tell Motel
2009 “Versus,” Denver Quarterly
2008 “What Rings But Can’t Be Answered,” “To Speak at Length, to Unburden,” Gulf Coast
2005 “Which If I Never Thought to Mention…,” “Mouth to Mouth,” POOL
2005 “On the Sea,” Colorado Review
2005 “Seven Sections from The Pillow Book,” Western Humanities Review
2005 “from The Pillow Book,” Barrow Street
Literary Nonfiction
2014 “Speaking in Tongues,” STET
2013 “The Motion Pictures of Robin Mandel,” Big Red & Shiny
2012 “Funeral Potatoes,” Best American Poetry Blog
2011 “Archipelago,” Iowa Review
Reviews
2012 “Review: Dan Beachy-Quick’s Circle’s Apprentice,” Quarterly West
2005 “Review: Mark Bibbins’ Sky Lounge,” Barrow Street
Pedagogy
2013 “A Poetry of Perception: Four Studies for Young People,” Open the Door, Poetry Foundation &
McSweeney’s Books
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Anthologies, Reprintings, and Refereed Syndications
2013 “Losing Language: A Phrasebook,” The Grave’s a Fine and Pleasant Place: Poetry of Mourning, ed.
Russ Kick (Red Wheel Weiser)
2012 “Marblehead,” “Litany,” Giving Voices (packet and website), Geraldine R. Dodge Foundation
2012 “Ghostology,” Poem-a-Day, Academy of American Poets (Poets.org)
2012 “Catalogue of Ephemera,” “Carnival,” Dispatches from an Unfinished World,” “In the
Museum of Lost Objects,” “Marblehead,” Poetry Foundation
2011 “Status Update,” “Dispatches from an Unfinished World,” “Status Update (2),” The Page,
2010 “from Love, an Index,” The Best American Poetry Blog
2010 “Sing me lover, sing me poet,” “Love, a Footnote,” “Fragment (3),” “from Love, an Index
(sections A-E),” “Aubade,” The Page
INVITED READINGS & LECTURES
2016 Hamline University/Water-Stone Review Summer Writer’s Workshop (Featured Poet), MN
2015 University of Colorado at Denver, Denver, CO
2015 University of Cincinnati, Cincinnati, OH
2015 St. George’s English Bookstore, Berlin, Germany
2014 Geraldine R. Dodge Poetry Festival (Featured Festival Poet), Newark, NJ
2013 Augustana College, Rock Island, IL
2013 Cornell University & Buffalo Street Books (co-sponsored by Poets & Writers), Ithaca, NY
2013 “No Thousands: A Reading Presented by McSweeney’s, Wave Books, Black Ocean Books”
AWP Boston, MA
2012 Booksmith, San Francisco, CA
2012 NPR “Radio West” interview with Doug Fabrizio
2012 Hobart & Williams Smith Colleges, Geneva, NY
2012 Spirit of ‘76 Books, Marblehead, MA
2012 Porter Square Books, Cambridge, MA
2012 KGB Bar Monday Night Poetry Series, New York, NY
2012 Ohio Northern University, Aida, OH
2012 University of Wyoming, Laramie, WY
2012 Utah State University “Helicon West” Reading Series (featured reader), Logan, UT
2012 Cambridge Writers’ Workshop @AWP, Chicago, IL
2012 826 Chicago/McSweeney’s AWP, Chicago, IL
2012 32 Poems v. Smartish Pace AWP, Chicago, IL
2012 City Art Reading Series (sponsored by the Utah Arts Council), Salt Lake City, UT
2011 City Art “Meltdown,” Salt Lake City, Utah
2010 Edgartown Public Library, Martha’s Vineyard
2010 Provincetown Fine Arts Work Center
2009 Ohio Northern University, Ada, Ohio
2008 University of Utah Guest Writers’ Series, Salt Lake City
2007 Festival Internacional de Poesía/International Poetry Festival (sponsored by ULRIKA),
Bogotá, Colombia
2007 City Art “Meltdown,” Salt Lake City, Utah
2006 The Poetry Bus Tour (sponsored by Wave Books), Laramie, Wyoming
2006 City Art Reading Series (sponsored by the Utah Arts Council), Salt Lake City, Utah
2006 Keats-Shelley Memorial House (sponsored by the Keats-Shelley Association), Rome,
Italy
2006 American Academy in Rome, Rome, Italy
2004 City Art Reading Series (sponsored by the Utah Arts Council), Salt Lake City, Utah
2004 University of South Dakota, Vermillion, South Dakota
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TEACHING POSITIONS
University of Cincinnati, Cincinnati, Ohio, Visiting Assistant Professor of Poetry (2015-)
Responsibilities include teaching four courses per semester, advising graduate students – including
chairing exam and dissertation committees, service to college and department, and pursuing critical
and creative work.
Graduate Poetry Workshop, Spring 2016
“How does poetry intervene in conflict?” The course considers conflict on the macro and the
micro level – personal, domestic, political, global, internal, philosophical, aesthetic, even mythic
or archetypal. We’ll look at texts that intervene in various ways – as witness, as documentary
record, as incitement to action, as action themselves, as argument, as investigation. We consider
the news, and what Ezra Pound called “the news that stays news,” looking at how new
conversations necessitate and instigate poetic innovation, and how contemporary strife calls up
ancient struggles. And we will ask (with Terry Eagleton, among others) how perhaps even
declaring one’s work “non” or “a-political” can be seen as a political or social statement. The
discussion of the texts will be open, in hopes of making more discoveries than arguments, but
this will be our organizing principle. There will be no writing assignments but, ideally, student
work written for workshop each week will engage with the class’s evolving conversation.
Advanced Seminar in Poetry (Senior Capstone), Spring 2016
This workshop-based course looks closely at a series of young, contemporary poets’ first books
representing a wide range of voices, styles, and compositional strategies. This will give us an
opportunity to discuss some of the range and diversity of contemporary North American
poetries, and provide many opportunities for considering the craft and concept not only of
individual poems but also of the collection as a sustained enterprise. In addition, we will attend
to the various gestures that together constellate to form that elusive quality we sometimes call
“voice.” Each week, we’ll consider a new poet’s book and workshop poems from students in
the class. Students should expect to complete a chapbook-length collection by the end of the
semester, for which they will be expected to write a rigorous introduction, locating their work in
a matrix of poetics and influences.
Forms of Poetry, Fall 2015
This course has several concordant objectives: To familiarize students with some of the
structural and modal possibilities in poetry and their determining characteristics; to acquaint
students with a history of poets whose work represents the traditional forms of Western poetry
and innovations on those forms; and to provide an opportunity for students to hone their own
poetic practice through various attempts at the forms discussed during the semester. Through
readings, discussions, creative work, student presentations, and analytical assignments, students
will explore some of the fundamental questions of poetic craft – what is the relationship between
a poem’s form and its content; what is the relationship of a poem or a form to the tradition of
that form; when is form a question of technique and when a question of the philosophical
approach to making a poem; what are the advantages and disadvantages of different poetic
forms, for the poet; what is the relationship between tradition and innovation. Student should
leave the course feeling they have a better grasp of prosody, a more robust understanding of
form in Western tradition, and keener and more practiced skills as both poets and scholars of
poetry.
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Introduction to Creative Writing: Poetry and Prose, Fall 2015
This course introduces students to the fundamentals of creative writing in three major
genres: Short Fiction, Poetry, and Creative Nonfiction. Students learn to read-as-writers
through close-reading and discussion of a diverse selection of texts representing
important elements of technique within each genre, written by significant practitioners of
that genre. Class discussion and workshops (both small- and large-group) support
students in developing a clearer and more thorough understanding of the conventions
and expectations of contemporary literary writing, and allow for play within and with
those conventions and expectations. In-class writing exercises give students an
opportunity to develop and refine their own writing practice, while the workshops and
comments received from peers and from the professor support students in cultivating
keener awareness of their own strengths, patterns, and interests as creative writers.
Queen’s University Low-Residency MFA Program, Poetry Faculty (2015-)
Responsibilities include leading residency workshops and giving residency craft lectures and readings,
directing long-distance online workshops, and advising graduate students as thesis supervisor or
reader, acting as an advocate for their continued artistic and professional success.
University of Minnesota, Minneapolis, Minnesota, Lecturer
Topics in Creative Writing: Hybrid Forms, Spring 2015
This class explores the challenges and opportunities offered in working with multimedia,
interdisciplinary, and cross-genre forms for text, pursuant to question about the aesthetic,
metaphoric, socio-political, and other relationships between form and content. We also press
against important questions relating to concept and execution, such as whether the successful
realization of an idea is enough to make a work “good,” and if not, why not? The class explores
how the insights gained from working in hybridity can also illuminate our work on more
conventional texts. Syllabus includes work by Anne Carson, Susan Howe, Joe Wenderoth, James
Richardson, Tom Phillips, Art Spiegelman, Marjane Satrapi, The Fullbright Company, Claudia
Rankine. Assignments range from the aphorism and the video game, and collaboration with the
Minnesota Center for Book Arts to create original artist books.
Literature of Public Life: Contemporary Immigrant Experiences, Spring 2015
William Carlos Williams said, “It is hard to get the news from poetry, yet men die miserably
every day for lack of what is found there.” Literature can function as a mirror one individual
holds up to show us all an aspect of our collective we have not seen, or have neglected, or have
rejected. It can also function as witness, of testimony, for those whose lived experience stands in
direct contradiction to stereotype, expectation, assumption. This course is designed to acquaint
students with the way literature traverses the individual and the collective experience, focusing
on texts that describe or discuss the immigrant experience in North America in the 20th and 21st
centuries, including related journalism, as well as political and theoretical documents. Syllabus
includes Chimamanda Ngozi Adichi’s Americanah, GB Tran’s graphic novel Vietnamerica, and
Junot Diaz’s Brief Wondrous Life of Oscar Wao. This course includes a service-learning option, as
well as a significant oral history project.
Introduction to Fiction Writing, Fall 2014
A discussion and workshop focusing on the short story by looking at and modeling a wide range
of authors and narrative strategies and stylistic approaches, designed to acquaint students with
the conventions and expectations of contemporary short fiction, with particular attention to
developing plot, characterization, setting, theme, and pacing (the relation between scene and
summary), as well as literary techniques like imagery. Syllabus includes Angela Carter, Kate
Bernheimer, Jonathan Safran Foer, Carol Maso, Sherman Alexie, Edwige Danticat, Gabriel
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Garcia Marquez, Tim O’Brien, Lydia Davis, Italo Calvino, Jamaica Kincaid. Students respond to
assignments, such as writing a fairy tales or “seven-sentence stories,” but create self-directed
short stories for workshop.
Utah State University, Logan, Utah, Adjunct Professor
Food Writing (English 2010), Spring 2013
An interdisciplinary writing-intensive seminar in writing and research methodology, organized
around the topic of “food,” including readings from David Foster Wallace, Michael Pollan, MFK
Fisher, Wole Soyinka, Jonathan Safran Foer, Craig Arnold, and others, as well as films like Food,
Inc., and Hunger, TED talks from chefs like Jaime Oliver, radio documentaries, and more.
Students practice writing as a process through assignments including the personal essay, recipe,
manifesto, abstract, annotated bibliography, and final research project. Students will explore the
cultural, historical, environmental, economic, scientific, personal, nutritional, and political aspects
of the topic, and will ultimately learn to produce well-researched and well-organized papers
whose prose is confident, polished, and professional whose objective is “guiding the reader”.
Introduction to Writing (English 1010), Fall 2012, Spring 2012
A beginning writing class designed to introduce students to the basic concepts of “the rhetorical
situation” (audience, purpose, stance, and genre), the vocabulary of rhetorical appeal (ethos,
pathos, and logos), and some essential rhetorical devices and strategies. The course is also
designed to teach basic literary and rhetorical analysis, inviting students to “question the
authority of the text”. Focus moves from the structural and conceptual level of the text to the
sentence-level minutiae, with the objective of producing text that succeed on multiple levels.
Syllabus includes Adrienne Rich’s “Claiming an Education,” Gary Soto’s “The Jacket,” David
Sedaris’s “Repeat After Me,” Martin Luther King, Jr.’s “Letter form Birmingham Jail,” and
Cheryl Strayed’s “Dear Sugar” letters from The Rumpus, as well as TED Talks, television
commercials, newspaper articles, songs, poems, and more. Particular attention is given to
George Orwell’s “Politics and the English Language.” Assignments include literacy narratives,
advertisements, personal essays, research papers.
Westminster College, Salt Lake City, Utah, Instructor
Introduction to Creative Writing (English 230), Fall 2011
A multiple-genre class organized around a series of contemporary literary readings from authors
such as Tim O’Brien, George Saunders, Wallace Stegner, David Foster Wallace, Jamaica Kincaid,
Sherman Alexie, Anne Carson, Tom Stoppard, Frank O’Hara, C.D. Wright, Sei Shonagon, and
others. Each reading assignment is accompanied by a writing assignment based upon the reading
and ranging from urban legends and instruction manuals and braided essays to sonnets and list
poems and one-act plays. Class sessions include in-class group writing exercises, discussions, and
workshops. All of these are designed to acquaint students with the conventions and expectations
and critical vocabulary of contemporary literary writing, while giving them permission to
innovate, experiment, and play.
Introduction to Literature (English 220), Summer 2011 and Fall 2011
A writing-intensive class designed to acquaint both English majors and non-English majors with
the basic vocabulary and methodology of literary study through an exploration of the genre’s
basic forms (novel, short story, essay, poem, drama), focusing on contemporary work from an
array of authors with diverse backgrounds. Organized around the idea that “compassion is
creativity’s finest enterprise,” examples of class texts include Junot Diaz’s Brief Wondrous Life of
Oscar Wao, Art Spiegleman’s Maus, Pablo Nerudas “Odes,” James Richardson’s Vectors, and Spike
Lee’s film Do The Right Thing.
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University of Utah, Salt Lake City, Utah, Instructor
A Survey of Modernism (English 3703), Summer 2011
A historical survey of Modernist literature, including its antecedents and influences, imagining
the period and its gestures as Modernisms, rather than as a monolithic or unified project. Texts
for the course included William Carlos Williams’ Spring and All, Mina Loy’s “Songs for Joannes,”
Stephane Mallarme’s “L’apres-midi d’un faun,” Marinetti’s “Futurist Manifesto,” the writings of
Marcel Duchamp, Georges Bataille and Andre Breton, art slides from the Fauvists, Cubists,
Futurists, Surrealists and Dadaists, Fritz Lang’s M, and texts by the the major literary figures of
High Modernism including Stein, Eliot, Pound, Woolf, and Joyce. Readings also include nonliterary influences on the period, such as Freud, Marx, and Darwin.
Critical Introduction to Literary Forms (English 2600), Spring 2009
Course introducing English majors to the methodology and discourse of the discipline through a
close study of canonical texts from each major genre – short fiction, novel, epic poem, lyric
poem, and drama. Taught through the lens of “metatextuality” using Tim O’Brien’s “How to
Tell a True War Story,” Lawrence Stern’s Tristram Shandy and 2007 film Tristram Shandy, Tom
Stoppard’s Rosencrantz and Guildenstern Are Dead, among other texts, considering the conventions
of the genre each text both exemplifies and examines.
Intermediate Poetry Writing (English 3520), Fall 2008
Workshop-oriented course in the techniques and conversations of contemporary poetry,
organized around the concept of “the experiment” and reading (primarily) 20th and 21st Century
poetry as a “canon of innovations,” with assignments developed towards creative problemsolving. Custom anthology for the class includes poetry and poetics essays from (among others)
Stéphane Mallarmé, Aime Cesaire, Frank O’Hara, John Cage, Lyn Hejinian, John Ashbery, Anne
Carson, Dean Young, Mei Mei Bersenbrugge, Haryette Mullen, Atsuro Riley, Donald Revell,
Christian Bök.
Introduction to Creative Writing (English 2500), Fall 2007
Workshop-oriented course in the basic concepts of writing poetry and prose, with readings
chosen to provide a foundational knowledge of the discipline while fostering the value of
forward-thinking. The poetry section of the class focuses, though not exclusively, on the history
of the sonnet from Petrarch to present day practitioners such as Ted Berrigan; short stories from
Raymond Carver, Gabriel Garcia Marquez and Dashiell Hammett present a range of possibilities
(realism, Magical Realism, detective stories) in fiction; in non-fiction, essays from Joan Didion,
Anne Carson, and Ander Monson round out the syllabus.
Intermediate Writing (Writing 2010), Fall 2008
Composition course taught as a course in “political speech,” asking students to rhetorically
analyze the 2008 presidential campaign, using speeches, media reports, campaign ads, etc.
Included research and argument projects focused around a campaign issue.
Intermediate Writing (Writing 2010), Fall 2007, Spring 2007, Fall 2006
Composition course taught as an interdisciplinary exploration into the theme of “wealth and
poverty” and centered around a primary research project towards which most of the semester’s
assignments accumulated.
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Salt Lake Arts Center (now Utah Museum of Contemporary Art), Salt Lake City, Utah,
Instructor
“Language Willing,” Fall 2004
A poetry and film course inspired by the work of video artist Gary Hill for the at-risk and
underserved students of the Salt Lake City’s alternative high school. Student wrote screenplaysas-verse, which they then collaboratively filmed, edited, and produced for a public screening.
University of Utah, Salt Lake City, Utah, Teaching Assistant
Survey of Modernist Literature (English 3703 with Prof. Craig Dworkin) Spring 2011
Required course for English majors, introducing students to the major Modern authors and their
concerns.
Survey of English Literature, Medieval-Renaissance (English 3701 with Prof. Tom Stillinger) Spring
2008
Required course for English majors, introducing students to major canonical texts from Beowulf
to Paradise Lost.
SERVICE TO PROFESSION
2016-present, Advisory Board Member, Barrow Street Press
2015-2016 Elliston Poetry Project Committee Member, University of Cincinnati
2014-2015 Faculty Advisor to the University of Minnesota MFA’s Mill City Reading Series
2013 Judge, Augustana College Poetry Contest
2009 Judge, Utah Valley University Poetry Contest
2003-2006 Editorial Assistant, Quarterly West, Salt Lake City
2004-2005 Curator, Working Dog Reading Series, University of Utah
2001-2003 Founder and Curator, Speakeasy Poetry Series, New York, NY
CONFERENCE ACTIVITY & PARTICIPATION
2016 AWP Conference, Los Angeles, CA, March: “Ridiculous Flowers: A Tribute to Donald Revell”
2007 Festivál Internacionál de Poesía/International Poetry Festival (sponsored by ULRIKA),
Bogotá, Colombia: “Poesía Contemporánea de las Americas”
2004 XIX James Joyce Symposium “Bloomsday 100,” Dublin, Ireland, June:
“The Artist as a Figure of Resistance: James Joyce’s Appropriations of
William Blake”
INTERDISCIPLINARY WORKS AND COLLABORATIONS
2013 “I am a keeper,” (part of the exhibition, Sexual Souvenirs/The Museum of Everyone and
Everything) New York, December
2009 “The Pillow Book”(poems set to music by Dorothy Elliston Hindman, composer-inresidence for the Goliard Ensemble), Queens, New York, Spring 2009
2005 “Transcendentalism Remixed” (collage of Transcendendalist authors corresponding to Charles
Ives’ “Concord Sonata” performed by Jason Hardink (pianist, Utah Symphony),
Salt Lake City, UT 2005
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NON-ACADEMIC WORK
2001-2003 Editorial Assistant at Henry Holt & Co. Publishers in New York City
MEDIA COVERAGE
The Logan Noebooks
Publisher’s Weekly, “Starred” Review, 2014
Reviewed in The Rumpus, 2015
Reviewed in The Female Gaze, 2015
Reviewed in 15 Bytes, 2015
Love, an Index (2012)
Publisher’s Weekly “Starred” Review, 2012
Winner, “Best Poetry Collection 2012,” City Weekly 2012
Reviewed in Vanity Fair online, 2012
Reviewed in Utne Reader online, 2014
Reviewed in School Library Journal, 2012
Reviewed in ZYZZYVA, 2012
Reviewed in Weave Magazine, 2012
Reviewed in The Rumpus, 2012
Reviewed in Fringe, 2012
Reviewed in Rattle, 2012
Reviewed in TriQuarterly, 2013
2016 National Public Radio/Utah Public Radio “Access Utah” interview with Tom Williams
2012 National Public Radio (NPR) “Radio West” interview with Doug Fabrizio
2012 Interview (Q&A from Elizabeth Clark Wessell), BOMBblog
2012 Interview (Q&A from Bethany Haug), Calyx Magazine
2012 Interview (Q&A from Gavin Sheehan), City Weekly
2012 Interview (Q&A from Dominic Luxford and Jesse Nathan), The Believer blog
PROFESSIONAL MEMBERSHIPS
Association of Writers and Writing Programs
Modern Language Association
PEN America
Poetry Society of America
LANGUAGES
Spanish, oral and written (Excellent)
German, oral and written (Good)
Italian, oral and written (Good)
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REFERENCES – letters available from Interfolio upon request
Peter Campion, University of Minnesota
English Department
Lind Hall
207 Church Street SE
Minneapolis, MN 55455
[email protected]
612-625-3363
Donald Revell, University of Nevada in Las Vegas
English Department
4505 Maryland Parkway , Box 455011
Mail Stop: 5011
Las Vegas, NV 89154-5011
[email protected]
(702) 895-3471
Craig Dworkin, University of Utah
255 S. Central Campus Drive
Rm 3500
Salt Lake City, UT 84112
[email protected]
(801) 484-1159
Vincent Cheng, University of Utah
255 S. Central Campus Drive
Rm 3500
Salt Lake City, UT 84112
[email protected]
(801) 581-7438
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