Jennifer L. Airey, University of Tulsa
Vol. 41, No. 1 (Spring 2022), 5-9
From the Editor
Last year, Tulsa Studies in Women’s Literature had the pleasure of publishing a special volume on Women and Archives, guest edited by Laura Engel and Emily Ruth Rutter, so it has been some time since I have had an opportunity to give an update on our office staff and editorial board. Since my last preface, our Subscriptions Manager, Danielle Calhoun, has graduated, and Jacob Crystal has stepped into her position. Jamie Walt has joined our team as Publicity Manager, taking over for Ciara Graham, who is currently training as our new Book Review Editor. She will take on the role full time at the end of the semester, as we say goodbye to her predecessor, Jennarae Niece, who will be much missed.
I also have many outgoing editorial board members to thank and new ones to introduce. Madelyn Detloff, Laura Engel, Brigitte Fielder, Karen Gevirtz, Ambreen Hai, J. Samaine Lockwood, Celia Marshik, Koritha Mitchell, and Talia Schaffer have all completed their terms, and I am grateful for their service. Melissa J. Homestead, Harleen Singh, and Lara Vetter joined our editorial board in Spring 2021, and Carolyn Vellenga Berman, Elizabeth Sheehan, and Margaret D. Stetz in Fall 2021. With this current issue, we welcome Misty G. Anderson, Mary Ellis Gibson, and Catherine Ingrassia. It is with pleasure that I introduce these additions to our editorial board:
Melissa J. Homestead is Professor of English and Program Faculty in Women’s and Gender Studies at the University of Nebraska-Lincoln, where she also directs the Cather Project and serves as associate editor of The Complete Letters of Willa Cather: A Digital Edition (in progress). She is the author of two books, The Only Wonderful Things: The Creative Partnership of Willa Cather and Edith Lewis (2021) and American Women Authors and Literary Property, 1822-1869 (2005), as well as numerous essays on American women’s authorship and publishing history from the late 1700s through the early 1900s. She has also coedited a 2011 edition of Clarence: A Tale of Our Own Times (1830) by Catharine Maria Sedgwick, Willa Cather and Modern Cultures (2011), and E. D. E. N. Southworth: Recovering a Nineteenth-Century Popular Novelist (2012). She is President of the Catharine Maria Sedgwick Society, has served as an officer of the Society for the Study of American Women Writers, and is co-project lead of the Recovery Hub for American Women Writers, a National Endowment for the Humanities funded project at the University of Nebraska-Lincoln designed to support the recovery of American women writers by providing digital access to forgotten or neglected texts and/or extending them with digital analytical tools. The Recovery Hub fosters collaboration, mentorship and community among women working in the digital humanities while seeking feminist and decolonial approaches to the creation, curation, design, sharing, and archiving of digital content.
Harleen Singh is the Director of the Women’s Studies Research Center and Associate Professor of South Asian Literature and Women’s Studies at Brandeis University. She and Sarah Lamb founded the South Asian Studies Program, and Singh served as its co-chair from 2007 to 2016. She is also the elected faculty representative to the Board of Trustees at Brandeis. Her writing on novels from India and Pakistan and on Indian film and her book reviews on hip-hop music, sexuality, and feminism have been published in various leading journals. Her chapters on women warriors and South Asian women writers are included in influential book collections. Her monograph, The Rani of Jhansi: Gender, History, and Fable in India (2014), interprets the conflicting, mutable images of an historical icon as they change over time in literature, film, history, and popular culture. The book is in its second reprint and has been reviewed in The Telegraph, Economic and Political Weekly, The Book Review, BIBLIO, and South Asia: Journal of South Asian Studies. Her interdisciplinary work in English, Hindi, Urdu, and Punjabi is focused on women in literature and film. Her next book, Contemporary Debates in Postcolonial Feminism, is being published by Routledge in 2022. Her current book projects include a critical translation of Amrita Pritam’s partition novel Pinjar (1950) and a monograph titled Half an Independence: Women, Violence, and Modern Lives in India. She is a recipient of the ACLS Burkhardt Fellowship and was a resident fellow at the National Humanities Center.
Lara Vetter is Professor of English at the University of North Carolina at Charlotte, where she directs the graduate program and teaches modernism, poetry, and modern and contemporary life writing. She is the author of A Curious Peril: H. D.’s Late Modernist Prose and Modernist Writings (2017) and Modernist Writings and Religio-scientific Discourse: H. D., Loy, and Toomer (2010); editor of H. D.’s By Avon River (2017); and coeditor of Approaches to Teaching H. D.’s Poetry and Prose (2011) and the Emily Dickinson’s Correspondences digital project. Her articles on Kazim Ali, Julia Alvarez, Emily Dickinson, Robert Duncan, H. D., Mina Loy, and other modern and contemporary writers have appeared in journals such as the Journal of Modern Literature, Review of English Studies, Genre, and MELUS: Multi-Ethnic Literature of the United States. She has twice held fellowships at the Beinecke Library at Yale University. She is currently at work on a biography and introduction to H. D. for Reaktion Press and a scholarly edition of select fiction by H. D.
Carolyn Vellenga Berman is Associate Professor of Literature and Co-Chair of Literary Studies at Eugene Lang College, The New School, in New York City. Her first book, Creole Crossings: Domestic Fiction and the Reform of Colonial Slavery (2005), offered a cultural history of the figure of the Creole woman in nineteenth-century British, French, and American fiction and anti-slavery discourse. Her second book, Dickens and Democracy in the Age of Paper: Representing the People (forthcoming from Oxford), examines the rivalry between Victorian fiction and Parliament in the expanding world of print publication. She has contributed to collections ranging from Just Below South: Intercultural Performances in the Caribbean and the U. S. South (2007) to Bernardin de Saint-Pierre et l’océan indien (2011), The Encyclopedia of Victorian Literature (2015), Dictionary of Caribbean and Afro-Latin American Biography (2016), and Approaches to Teaching Sand’s “Indiana” (2015). She serves on the editorial board of the Dickens Studies Annual, is a specialist reader for MELUS: Multi-Ethnic Literatures of the United States, and regularly reviews new scholarship on slavery, Caribbean fiction, and the literature of reform.
Elizabeth Sheehan is Associate Professor of English and Women, Gender, and Sexuality Studies at Oregon State University. Her research and teaching focus on late nineteenth- and twentieth-century British, American, and African American literatures, studies of race and gender, affect theory, periodical studies, and visual and material culture, especially fashion. She is the author of Modernism à la Mode: Fashion and the Ends of Literature (2018) and coeditor of Cultures of Femininity in Modern Fashion (2011). Her work also has been published in Modern Fiction Studies, Journal of Modern Periodical Studies, Modernism/modernity Print Plus, ASAP/J: Association for the Study of the Arts of the Present Journal, and the collections The Oxford Handbook of Virginia Woolf (2021), Women’s Periodicals and Print Culture in Britain, 1918-1939: The Interwar Period (2017), A Companion to the Harlem Renaissance (2015), and Beyond Bloomsbury: Designs of the Omega Workshops, 1913-1919 (2009). She currently is editing a book on fashion and literature for Cambridge University Press’s Critical Concept series and writing a monograph about the fabrication of peace as a feeling, style, and political and legal category in mid-twentieth-century texts and textiles.
Margaret D. Stetz is the Mae and Robert Carter Professor of Women’s Studies and Professor of Humanities at the University of Delaware. She has published more than 130 essays on topics ranging from the New Woman, British aestheticism and decadence, twentieth-century feminist fiction, neo-Victorianism in literature and material culture, the politics of film, women and warfare, and fashion. Her books include monographs, such as British Women’s Comic Fiction, 1890-1990: Not Drowning But Laughing (2001); catalogues of exhibitions that she has curated, such as Gender and the London Theatre, 1880-1920 (2004) and Facing the Late Victorians: Portraits of Writers and Artists from the Mark Samuels Lasner Collection (2007); and coedited essay collections, such as Michael Field and Their World (2007) and Legacies of the Comfort Women of WWII (2001). She has been curator or co-curator of more than a dozen exhibitions on late nineteenth-century art and print culture at venues such as Harvard University, Liverpool Central Library, and the Rosenbach Library and Museum. She was co-organizer of the first international academic conference in the United States on “comfort women” issues, and her writings on Asian military sexual slavery during World War II have appeared in many journals and edited collections. She is also a poet whose work has been published in literary reviews in the United States and the United Kingdom. In 2015, she was named one of the twenty-five top women in United States higher education by the magazine Diverse: Issues in Higher Education.
Misty G. Anderson is the Department Head and James R. Cox Professor of English at the University of Tennessee, where she also holds courtesy appointments in both Theatre and Religious Studies. She is the author of Imagining Methodism in Eighteenth-Century Britain: Enthusiasm, Belief, and the Borders of the Self (2012) and Female Playwrights and Eighteenth-Century Comedy: Negotiating Marriage on the London Stage (2002). She an editor of The Routledge Anthology of Restoration and Eighteenth-Century Drama (2017) and The Routledge Anthology of Restoration and Eighteenth-Century Performance (2019) and is currently completing a third monograph, God on Stage. She has recently concluded a term as president of the faculty senate, is a working dramaturg, and principle investigator for the new R/18 Collective, which supports professional productions of plays from the 1660s to 1830s that provide the geneaologies of race, gender, sex, capital, and environmental impact shaping our present.
Mary Ellis Gibson is the Arthur Jeremiah Roberts Professor of Literature at Colby College and author of Science Fiction in Colonial India, 1835-1905: Five Stories of Speculation, Resistance and Rebellion (2019). Her monograph, Indian Angles: English Verse in Colonial India from Jones to Tagore (2011), and her critical anthology, Anglophone Poetry in Colonial India, 1780-1913 (2011), argue for the significance of poetry in the creation of English language literary culture in South Asia. These volumes bring to light the work of numerous unknown or lesser-known women writers. Her recent essay, “Regionalism and Provincialism” in The Routledge Companion to Victorian Literature (2020), lays out a theoretical approach to issues of the local and the global, dialects, gender, and canonicity. Other monographs on Robert Browning’s experiments and on Ezra Pound and the Victorians work at the intersection of poetry, politics, and history. Her edited collections include New Stories by Southern Women (1989) and Homeplaces: Stories of the South by Women Writers (1991).
Catherine Ingrassia is Chair and Professor of English at Virginia Commonwealth University. She specializes in Restoration and eighteenth-century British literature with a particular focus on women writers of the long eighteenth century. She is the author of Authorship, Commerce, and Gender in Early Eighteenth-Century England: A Culture of Paper Credit (1998) and most recently Domestic Captivity and the British Subject, 1660-1750 (2022). A past editor of Studies in Eighteenth-Century Culture, she is the editor of The Cambridge Companion to Women’s Writing in Britain, 1660-1789 (2015) and “Anti-Pamela” and “Shamela” (2004) and coeditor of British Women Poets of the Long Eighteenth Century (2009), A Companion to the Eighteenth-Century English Novel and Culture (2005), and “More Solid Learning”: New Perspectives on Pope’s “Dunciad” (2000). Her current projects include Eliza Haywood and Music (forthcoming from Cambridge University Press), an edition of Laetitia Pilkington’s Memoirs (forthcoming from Broadview Press), and Life/Writing: Failure and the Woman Writer in Early Eighteenth-Century England, which will appear in the Early Modern Feminisms series for University of Delaware Press.
Jennifer L. Airey
University of Tulsa
