Monthly Archives: February 2016

In Print XI

The In Print Festival of First Books is a two-day event bringing writers who have just published their first books to campus, as well as an editor from a small press or literary journal, to give readings, talk about their experiences getting published, and work with our students.

The Spring 2016 festival will be held March 22 and 23, and will feature fiction writer Gabriel Urza, nonfiction writer Sarah Einstein, poet Sarah Blake, and editor Keith Tuma. The authors will be reading on Tuesday, March 22, and there will be a publishing panel on Wednesday, March 23. Both the readings and the panel will be held in AJ 175 at 8PM.

OLYMPUS DIGITAL CAMERAGabriel Urza received his MFA from the Ohio State University. His family is from the Basque region of Spain where he lived for several years. He is a grant recipient from the Kellogg Institute for International Studies and his short fiction and essays have been published in Riverteeth, Hobart, Erlea, The Kenyon Review, West Branch, Slate and other publications. He also has a degree in law from the University of Notre Dame and has spent several years as a public defender in Reno, Nevada.Sarah Einstein

Sarah Einstein is the author of Mot: A Memoir (University of Georgia Press, 2015), Remnants of Passion (Shebooks, 2014), and numerous essays and short stories. Her work has been awarded a Pushcart Prize, a Best of the Net, and the AWP Prize in Creative Nonfiction. She is a professor of Creative Writing at the University of Tennessee at Chattanooga.

Blake_Mr-West_Author-PhotoSarah Blake is co-founder of Submittrs. Her first book, Mr. West, is an unauthorized lyric biography of Kanye West and came out March 9, 2015 from Wesleyan University Press. She lives outside of Philadelphia and is excited to spend much of the next few years traveling to schools to read from Mr. West and talk to students.

editorKeith Tuma is the author of Fishing by Obstinate Isles: Modern and Postmodern British Poetry and American Readers (Northwestern, 1998) and On Leave: A Book of Anecdotes (Salt Publishing, 2011). He is the editor of Mina Loy: Woman and Poet (National Poetry Foundation, 1998), Anthology of Twentieth-Century British and Irish Poetry (Oxford, 2001), and Rainbow Darkness: An Anthology of African American Poetry (Miami University Press, 2005). He teaches at Miami University in Ohio.

Also, free copies of the 2016 issue of The Broken Plate will be available at the festival. We hope to see you there!

Why Teach Race?

We’ve launched a new series that we’ve titled “Department Dialogue.” This series offers our professors a platform they can use to discuss English-related topics that are of interest to both faculty and students alike. We continue the series with responses to the question: what is the place of race and racial issues in English Studies?

Eva Grouling Snider, Professional Writing:

I have several different exigencies for addressing race in my classrooms. First, in several of my classes, students conduct primary research and fieldwork. Thinking about diversity (including race, gender, sexuality, and other diversity axes) not only makes them more thoughtful when crafting survey and interview questions, but it also has a positive effect on my students’ participants. For a class that is first and foremost about language usage, thinking about the language we use to represent people and the
social effects of different kinds of language use is a natural fit.

I also teach visual design in several classes, and race is also an issue when it comes to visual design. Visual representations of non-white races are far too infrequent and far too coded with visual signifiers of racial stereotypes. I talk to my stuwocintech.jpgdents about finding and using photography that does more than just nod at being diverse. For instance, #WOCinTech recently released a series of stock photos of women of color working in tech-related fields. I tell my students that they should strive to use these kinds of images not as a novelty but as a default.

In both cases, I tell my students that it’s not about them. Their personal experiences, their positions on different diversity axes: of course they matter, but when you’re talking about communication, it’s the people on the other end that truly matter. I feel that every public communicator has a moral obligation to undercut racial prejudice and make people feel welcome and accepted, and that’s something I try to pass on to my students.

Kathryn Gardiner, Screenwriting:

With my English 310 – Introduction to Screenwriting students, I always take a day to discuss Hollywood’s history of “white washing” characters of color, or leaving them out of movies and television entirely. I start the discussion by taking a few minutes to let Dylan Marron’s “Every Single Word” channel on YouTube play. Marron set out to highlight the industry’s diversity problem by editing down films to only the moments wherein a person of color speaks. The entire “Lord of the Rings” trilogy, for example, becomes less than 45 seconds long (a few Maori actors played the Orcs). Letting the channel play, we end up seeing about 15 feature-length films in under 10 minutes. When asked what they observe, my students note that all the parts were service roles, either literally servants or servers within the story, or simply a function of the story delivering exposition. 

We also discuss the controversial casting of all white actors in films like “Exodus” and “Stonewall,” as well as the uproar that comes when a Black actor is considered for a historically white role, such as Michael B. Jordan as the Human Torch, Idris Elba as James Bond, or Donald Glover as Spider-Man. 

While there’s occasionally some discomfort with the seriousness of the topic, the discussions always end up positive and meaningful with students engaging their own acknowledged biases, recognizing a lack of diversity in their favorite media, or positing how things might change. Hearing my students of color share how being invisible or underrepresented in media has impacted their lives and self-esteem has been especially powerful. Once the door is open, I’ve seen a hunger and eagerness to examine the topic. One entire class stayed 15 minutes past their class time to continue the discussion, and more than one student has thanked me after the session was over. 

I admit, I’m anxious every time I set out to teach this lesson plan, but it’s been incredibly rewarding, and I feel it’s a crucial topic to address with aspiring film writers. Movies and television have real-world impact. For better or worse, a fictionalized account of an historic event can supplant the actual event in the minds of the public, so it is terribly harmful when men and women of color are erased from their true heroic roles in those events. That we, as audiences, are rarely asked to empathize with the hopes, dreams, and lives of people of color has a tangible and dangerous effect on our culture. That dragons, magical rings, and wizarding schools are somehow less fantastical than a Black man as James Bond should concern us all.

I’ve not been teaching long, but already I’ve had former students return to tell me about a discussion they got into with friends regarding representation, or to ask me for a link to a video I showed so they can share it with someone else. They’re continuing the conversation, and just as importantly, they’re thinking about it as they write. That feels like a strong step in a good direction.

Angela Jackson-Brown, Creative Writing

Excerpt from “Teaching in a World Filled with Trayvon Martins”:

I try to Conference with all of my students in all of my classes near the beginning of the semester. I want to get to know them on a personal level, if possible. I always tell my Black male students I expect better than their best because they have a generation on their heels that will need their leadership and their counsel. But, don’t get me wrong. I also offer them my Mommy ears. Many of them are away from their Moms for the first time, so I often get treated like the surrogate mom. I don’t mind it. My prayer, always is, if I can’t be there for my sons, please allow there to be some other mama who can step up and offer them some motherly words of wisdom. So when these young men come to me, I listen to their fears, their concerns and their worries, because I know what it is like to be “one of the only Black students” at a predominantly White school. I know what it feels like to wonder, “Am I good enough?” or “Should I really be here?”

To my fellow teachers (regardless of your ethnicity, social and economic level, gender, sexual orientation, etc.): These young men might enter your classroom looking angry, bored, hostile, etc. Don’t buy it. They are only wearing that mask in order to protect themselves. They are afraid you are going to “punk them,” “make fun of them,” and/or “shame them.” So, before you can GET them, they try to GET you. Therefore, I challenge you – reach out to these young men and let them know they can remove their masks in your classroom, because in your classroom, masks are not required.

Visit Angela’s blog to read the rest of this post.

Emily Rutter, Literature:

In America, race is always already shaping the discourse in our classrooms—whether we are confronting it head-on or dancing deftly around it. Our nation, despite claims in recent years of our post-racialness, remains thoroughly racialized. American literature is a particularly valuable entry point for discussing the ways in which we are all raced, for imaginative texts push us beyond our lived experiences and, importantly, our comfort zones. From Colson Whitehead’s Sag Harbor, we learn “the definition of paradox: Black boys with beach houses,” and that being upper-class African American teenagers “could mess with your head sometimes” (71-72). Alternatively, Leslie Marmon Silko’s Ceremony tells us, “They blame us, the ones who look different. That way they don’t have to think about what has happened inside themselves” (92). These writers, among scores of others, illuminate the fallacies of race—what my English 491 students and I have been calling the “story” of race—but also the way it functions, granting unearned privilege to some and reinforcing disadvantage for others. Even when writers perpetuate facile assumptions about otherness, they present us with an opportunity to investigate why we find their representations problematic. In the process, we confront our own racial assumptions and, ideally, are able to move away from sweeping generalizations and toward the appreciation of individuals. Of course, we will not solve the racial prejudices and divisions that have plagued this nation for centuries within a single course, but talking about these issues in open, honest, and intentional ways is a necessary first step.

Debbie Mix, Literature:

I value teaching diverse literature because it’s powerful to read work by someone who looks like you and shares your experiences, and it’s important to read about experiences and cultures that are unlike your own.

Molly Ferguson, Literature:

The college classroom is one of the last places where genuine dialogue about race seems possible, and where transformation and self-reflection can happen for all of us. Living in a white, cis-gendered body, my privilege insulates me from bringing race up in the classroom, but my commitment to antiracism means that I need to start these conversations. My area of expertise in postcolonial studies often makes dialogue about race organic, but even when I teach British literature I guide students to listen for the voices that are not typically represented in the canon, and to ask why. For me the study of literature is all about learning empathy, so my students are well positioned to interrogate power relationships and to understand the impact of historical disadvantages. I am constantly evolving and progressing in my own awareness of racism, and my students are always teaching me through their vantage points.

Levi Todd, Undergraduate #bsuenglish Major and Founder of Reacting Out Loud:

As English students, a great deal of us will be entering positions where we initiate conversations, whether via advertising, PR, creative writing, academia, etc. Racial inequality is a topic that gets largely ignored in America, and it’s up to those in positions of power (hopefully our alumni) to amplify marginalized voices, and
be informed about the power dynamics based on race. If we are studying the role of words in our daily lives, it follows that we should study whose words are given more or less importance in our society, and what we can do to balance it.

ABT PosterLyn Jones, English Ed:

In light of these issues, four students in the Department of English studying English Education formed The Alliance of Black Teachers (A.B.T.) Club in 2015. Their mission was to connect students to peers, professionals, organizations, institutions, and resources that support Black students in the field of education and broaden the development, retention, and recruitment of Black teachers, as well as to provide a safe space for students to openly talk and share issues of race.

The A.B.T. encourages ALL students, faculty, and staff (Black and non-Black) to attend and join these club meetings. You can visit our blog post for Spring 2016 meeting info, and join the A.B.T. on Facebook.

Alliance of Black Teachers Meetings

The Alliance of Black Teachers Club (ABT) was founded in 2015 in the Department of English by students studying English Education. Their mission is to connect students to peers, professionals, organizations, institutions, and resources that support black students in the field of education and broaden the development, retention, and recruitment of black teachers. The ABT provides a safe space for students to openly talk and share issues of race.

Over the next three months, the ABT is hosting a series of presentations for all students, faculty, and staff (black and non-black) to gain varying perspectives on the topics of privilege and diversity.

Spring 2016 Meetings:

“Privilege” with Angela Jackson-Brown
Thursday Feb 25, 5-6 PM LB 269

Angela Jackson-Brown is an award winning writer, poet, and playwright who teaches creative writing and English at Ball State University in Muncie, IN. She is a graduate of the Spalding low-residency MFA program in Creative Writing. She is the author of the novel Drinking From A Bitter Cup and has published in numerous literary journals. Recently Angela’s play, Anna’s Wings, was selected to be a part of the IndyFringe 2016 DivaFest on April 2, 8, and 10th.

“Learning While Black: Realities, Challenges, and Opportunities” with Dr. Ruby Cain
Thursday March 17, 5-6 PM LB 269

Dr. Ruby Cain is an assistant professor of Adult and Community Education; Director of M.A. degree programs in Adult and Community Education and in Executive Development for Public Service; Director of Graduate Certificates in Adult Education and in Community Education for the Department of Educational Studies at Ball State University; and Director of It Is Well With My Soul, a community program focused on racial healing and equity.

Dr. Cain received her doctorate in Adult, Higher, and Community Education at Ball State University. Her research agenda encompasses transformative and collaborative online learning, racial equity, social justice, and community mobilization. She has presented and published her research findings locally, regionally, and internationally. She was co-author of the Education chapter of State of Black Fort Wayne 2003, used as companion text in educational foundations, sociology, and other college courses.

Cain embodies life-long learning because, “education is the key to self-enlightenment and community building: our responsibilities to ourselves and others.” She has more than sixteen years of higher education experience in curriculum development, administration, and teaching traditional, online, and hybrid courses. She holds three project management certifications and has more than 20 years of experience in developing and administering adult and continuing education programs at work and community settings.

“Creating Your Path to Success” with Crystal Thorpe
Monday March 28, 5-6 PM LB 112

Crystal Thorpe is the principal at Fishers Junior High School in the Hamilton Southeastern School District. This award winning principal is the first African American principal hired in Hamilton County, Indiana.  She began as a high school English teacher and served as an assistant principal in both MSD Perry Township and MSD Wayne Township. She earned her undergraduate degree from Indiana University, her master’s degree from Butler University, and is currently completing her PhD at Indiana State University in educational leadership. Her research focus is African American women and leadership opportunities (or lack thereof) in k-12 education. She is also the Principal-in-Residence at the University of Indianapolis.

“Recruiting Black Teachers to the Classrooms” with Rhonda Ward and Gerry Moore
Monday April 18, 5-6 PM LB 260

Rhonda Ward is an Assistant Principal at Muncie Central High School, and Gerry Moore is a Principal at Longfellow Elementary School (Muncie Community Schools).

What Does Creative Writing Mean to You?

We’ve launched a new series that we’ve titled “Department Dialogue.” This series offers our professors a platform that they can use to discuss English-related topics that are of interest to both faculty and students alike. We continue the series with responses from the Creative Writing faculty, who have all answered the same question: what does creative writing mean to you? 

Professor Brian D. Morrison:

Creative writing, through both academic rigor and imagination, is a means of stronger thinking about the world and the self. Craft requires work, technique takes practice, and the imagination needs to be fed. The world requires us to continually participate. This is how writers live. Creative writing, to me, means struggle, but it’s always worth the effort.

Professor Jeff Frawley:

To me creative writing is so important for its sharing of voices, experiences, struggles, and sensibilities that have been largely shunned, discouraged, and marginalized by society. I love writing that gives voice to people others might wish to sweep under the rug. There is nothing like discovering an exciting new writer or piece of writing that uses language to activate worlds and dream-states in the reader’s mind, transporting readers and engaging them with complicated peoples, places, and lives that all deserve attention and empathy, even if that empathy arrives conflicted. I am excited that after years of reading and writing, I still constantly happen upon incredible new writers and their worlds, often without planning to. I love that passion for creative writing allows one to participate in an endless conversation about writing and writers, that it provides a never-ending treasure hunt, a little dirt-digging on one writer unearthing another writer who leads to another.

Professor Emily Jo Scalzo:

Creative writing is diversity unleashed, with different aesthetics and experiences and ideas released into the world in a beautiful cacophony. One of the things I love about creative writing is the sheer breadth of what can be accomplished, and how very subjective artistic taste can be. What speaks to one reader (or writer) may not speak to me, and vice versa. In creative writing, those differences are, and should be, celebrated.

Professor Sean Lovelace:

The value of creative writing is the synthesis of hyacinths and Velveeta, in your pantaloons, under your parasol, the sun all lollygagging past a banker’s (and all their ilk, lobbyists, lawyers, marsh rats, etc.) shiny forehead, pockets pulsing of credit cards and offal, as she wretches up our misery/economy, as the river flows by (not so unlike a rainbow-silk deerstalker buttoned with lovely puzzles, sealed in a whiskey soap bubble tied to the ears of a weather balloon flying in a hot wind against a chalky sky…), while bankers kneel and hurl and tear at their hairs (thin wispy, basically marionette strings, in my opinion), while the stock market lurches and leaps and topples…the river just strutting all Mick Jagger, all Patti Smith roaring along—and how much is the river worth, a river worth!—all Fyodor Dostoevsky on a bicycle, just dressed in the deepest purple suit, this crazy ragged suit (he’d lose it later in roulette and later win it back), just waving to you (if you’re a poet, sending telegrams to the soul [as Brautigan might mutter]) and to your kids (if they are imaginative; if they love rain and gum shaped as worms and beheading daisies for jewelry and the sound of tractors, and so on) and Dostoevsky just flipping off the bankers (who are again apologizing via the language of vomit) and Dostoevsky flipping off the business kids down at Hertz, down at Budget and Thrifty (indeed) and Enterprise (starship, my ass), in the white starchy shirts, just dying, man, just exploding inside, just hurling all over my rental contracts as the river laughs on all buttery, all oozing soul, turpitude and toady, solemn by the heron legs, the whirl of bass and bluegill, angular on a boulder (Gertrude Stein and Cindy Lauper picnicking [Pop-Tarts and Solo cups of sherry] yellow bikini on the boulders, waving, too, authentic, easy grin, whistling by now, and so on.), creaky little riverlets, foamy curls, a valedictory speech of lilies (as the bankers all plug their ears with mud; hemorrhage their hollow chests out; let’s liquidate something now!), river all tonsorial, all bravura, all scabby and muddy churl, all hyacinths and Velveeta (as I mention again, for emphasis I suppose), all wormy and squirmy, while the bankers squeal, while the bankers straight-lace all the way home, all the way down the road gurgling with vomit that is nothing but vomit and they can’t even see the vomit because they live it/are in it/are it, the vomit, but the creative writers can see (creative writers live with their eyes/lives not only open, but glowing/sucking on the healthy cheekbones and the cracked leg bones of the world…) the vomit just lustrous/polychromatic and fine, the bruises behind the makeup, banker, the sigh behind the salutation, the beetles beneath the green chemical lawn (the dotted line, etc.), and the creative folks, they skip and skop, they hop, they guffaw, they cry a little, a smidgen, the creative writers, because they gaze above and they gaze below and they want to gaze more closely/mostly/honestly and therefore they live their lives in such a way—in such a purposeful, sustaining, significant way—to do what they want to do, day leading on to way—to look, yes, to see. To actually see. That is the value of creative writing.

Professor Cathy Day:

In my career, I’ve taught in five different English departments and five different creative writing programs.

Let me tell you what’s unique about creative writing at Ball State.

We have a great curriculum.

  •      Most creative writing programs only offer courses in fiction and poetry. More are offering creative nonfiction. But very few programs teach screenwriting courses—but we do.
  •      Some undergraduate creative writing programs are like mini-MFA programs because you focus specifically in one genre. Our program doesn’t let you specialize like that. We want you to take classes in multiple genres, to stretch yourself, to learn how studying poetry can make you a better fiction writer, to learn how studying screenwriting can improve the scenes you write in creative nonfiction, etc.
  •      Some programs are nothing but workshops, but our program features classes like Creative Writing in the Community and Literary Editing and Publishing, which give you a taste of teaching, service learning, and publishing. 
  •      At Ball State, you take literature classes along with other English majors. Where I went to college, creative writing majors didn’t take classes with the literature majors. I took general education lit classes. And so when I went to graduate school and took grad lit courses, wowza, I really struggled. But at Ball State, creative writing majors take “real” lit classes.

We have a great community.

  •      I’ve never seen anything quite like The Writers’ Community anywhere else. It’s not a class. It’s a student-led, co-curricular club that makes an enormous impact on its members.
  •      Recently, I brought a friend to the Mark Irwin reading. She got her MFA at a very prestigious program, and she said, “God, I love how smart and genuine the students are.” I had to agree. I’ve taught in programs with far more competitive anxiety than camaraderie, where students were way too worried about how much they “mattered.” I’m glad our program isn’t like that.
  •      We bring great writers to campus who take the time to really talk with students. Some programs bring in “big name” writers who breeze in, breeze out. I say it’s much more inspiring for students to meet writers who’ve just published their first books, who might be just a few years farther along than the students in the audience.

We have an amazing faculty.

  •      See, at some schools, a particular aesthetic dominates. When that happens, when you’re only exposed to certain texts to model, you end up unconsciously imitating those texts. As if that’s the “right” way. But at Ball State, we have lots of different poets and writers, lots of different aesthetics so that you can figure out who you are as a writer—not who you think we want you to be.
  •      I really do believe that we do our best writing when we trust our readers. If we’re afraid they’ll eviscerate us, we hold back. We pull punches. Or we can’t write at all. Ball State’s faculty members create an environment where young writers feel comfortable taking risks—and that’s really important.

Personally, I think we have the best undergraduate creative writing program in the state of Indiana.

I tell people this all the time.

Alyssa Allyn: Student Affairs at Interlochen

Alyssa Allyn is originally from Culver, Indiana, but is now a resident of Michigan. During her time at Ball State she majored in English with a concentration in Creative Writing and a minor in Graphic Arts. She graduated in May 2014. Since graduating, she’s moved to Interlochen, Michigan and is now in her second year as a Hall Counselor. Her first year she looked after 37 teenage girls and 1 boy, and this year she looks after 17 teenage boys. 

  1. You’re working in Michigan at the Interlochen Arts Academy boarding high school as a Hall Counselor. Are you thinking about a career in Student Affairs or Residence Life? How has your degree helped you in the work that you do?

When I first started working at Interlochen, it was purely a transition job. I had never really thought of myself as someone who would work in Student Affairs, but the more time I spend with these students and the longer I stay at Interlochen, I can’t imagine not working in Student Affairs, especially here. I’ve always been a people person, and these past two years I’ve been able to let myself learn and grow into a more confident leadership role. I find myself passionate about what I get to do every day. I get to find different ways to make the experience at Interlochen better for our students, and catch a tiny snapshot of their lives as they pass through high school. I get to be that embarrassing “parent” at performances. It’s one of the hardest yet easiest jobs I’ve ever had. I’ve unexpectedly fallen in love with it. It doesn’t even feel like a job!

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Alyssa winter roving with her co-worker Liz.

My degree has helped in the following ways:

  • Writing grade reports about each of my 17 students 4 times a year (68 total). They all have to be individualized and different each time.
  • Editing and helping kids think through college applications/essays, scholarship essays, and class essays, poems, short stories
  • Writing/reading daily emails – more than I would care to count
  • Interacting with parents, other faculty, and staff via email daily
  • Teaching students how to write professional emails and have professional interactions by demonstration
  • Being in high-level stress situations and needing to get my point across clearly and concisely
  • Connecting with them about reading their art in front of people and having people hear what they have to say

Continue reading

Check Out These Awesome Internships for English Majors

As an English student, you’ve probably heard dire predictions about your career prospects. Well, we’re here to tell you that they’re all wrong: an English degree is one of the most sought-after degrees for contemporary employers. As an English student, you know how to communicate effectively and adapt to different platforms, and that’s a skill that will serve you well in your professional life.

Sometimes, though, it takes some convincing for employers to realize that. One of the best ways to make your skills very clear for both you and future employers is to do an internship in writing, publishing, communications, marketing, PR, or other related fields. Just ask Daniel Brount, a #bsuenglish major who recently worked at DAW Books and The Rights Factory in glamorous New York City.

While I was part of the New York Arts Program, I interned at DAW Books, a fantasy/sci-fi publisher at Penguin Random House, and The Rights Factory, a literary agency. At DAW Books, I read and evaluated more than 100 manuscripts. Through this process, I learned how to write both reader’s reports and rejection letters. I also worked on organizing the company’s publicity information for its current authors, created title information sheets, catalogued books, helped with social media, edited cover text, and fulfilled general internship duties. At The Rights Factory, I also read manuscripts, but those manuscripts were from authors the agency already represented. I did editorial work for some of those manuscripts, ranging from a memoir to a graphic novel. In addition, I worked on client proposals, wrote pitch letters, and created lists of editors to submit different projects to. At each internship, I fulfilled a variety of roles in the publication process for several types of literature.

These experiences sparked Daniel’s professional growth, and they can do the same for you. There are always employers—around Muncie, Indiana, and the entire country—looking for smart and capable communicators able to adapt to increasing communications demands and shifting communications platforms.

Below, we’ve selected some of the best current internships available for #bsuenglish majors. Check them out, and regularly check the Jobs and Internships page on this blog for an updated list. Finally, if you’re currently completing or recently completed an internship, drop us a line and we’d be happy to feature your story in our next installment.

Journalism Intern at
 HSPA Foundation in Indianapolis (Feb 26, 2016)

The Pulliam Internship for the HSPA Foundation is a summer internship that places students at newspapers near them in the state of Indiana. The internship offers experience in reporting, photography, multimedia, graphic arts, and other areas of newspaper publishing both in print and online.

Visit their internships page to apply.

Magazine Writer / Marketing and Social Media Intern for
 Hope For Women LLC in Muncie (March 28, 2016)

Hope For Women is seeking writers to contribute to their growing digital/online/print women’s magazine. Your writing should grab their readers’ attention with interesting and urgent news, especially through articles about women who are changing the world as we know it. If you are excited and/or interested in this opportunity, they ask that you write a few sentences that would help describe your personality, and tell them why you would be a great contributor to their magazine. Also attach your résumé and any writing sample(s).

Hope For Women is also seeking interns with experience dealing with Facebook, LinkedIn, Twitter, YouTube, Pinterest, Instagram, Google + etc. to implement marketing strategies via these channels and maintain the pages with posts, links, videos, and articles. They need interns to bring new ideas and marketing techniques to their readers and their current plan.

Visit Cardinal Career Link to apply.

Digital Media Intern at
 Children’s Bureau Inc. in Indianapolis (April 1, 2016)

Children’s Bureau Inc. is seeking a motivated designer/wordsmith to produce content for their various social media platforms. This intern will work with the Children’s Bureau communications coordinator to educate and engage multiple audiences. Digital Media interns will plan weekly social media content, create graphics to use on social media, track social media metrics, and assist with creating email campaigns.

Visit Cardinal Career Link to apply.

Marketing Intern at
 Bloomerang in Indianapolis (April 4, 2016)

Bloomerang is looking for a qualified intern to work alongside the marketing team and participate in various stages of offline and online marketing campaigns. He or she will be involved in content creation and social media managing, work in a fast-paced team environment, and will finish the internship having gained broad experience in various aspects of marketing.

Visit Cardinal Career Link to apply.

Brand Marketing / Graphic Design / Public Relations Intern at
 Cook Medical in Bloomington (April 22, 2016)

Cook Medical, a leader in developing healthcare devices that improve lives around the world, is seeking candidates for their Marketing Communications Internship Program. Interns at Cook will be involved in the strategic planning of marketing opportunities, creating brand management strategies, and writing articles for internal publications.

Visit their careers page to apply for this internship.


In the latest installment of the “Good News” series, the Ball State English Department highlights the accomplishments of our faculty and students.

rethinking cover

Prof. Lyn Jones and her teaching students recently published the second issue of “Rethinking Children’s and Young Adult Literature.” The interactive magazine features dialogue with authors, original and rewritten stories, and teacher resources for the classroom. The goal is to share innovative, diverse stories for children who are lacking representation, who deserve “stories about children like them, about families like theirs, about experiences they have, about lives they actually live.” This issue focuses on LGBTQ issues in children’s and young adult works. The magazine is available online through the BSU Now app.

Professor Cathy Day‘s panel for the 2015 Association of Writers and Writing Programs was recorded for the AWP podcast series, and is now available for listening. “How I Taught Then, How I Teach Now” covers five teachers’ active awareness of their changing assumptions in the classroom, and how it ultimately changed their courses for the better.

Dr. Frank Felsenstein published “Smollett’s Use of ‘Seafarot’: A Long Standing Textual Crux Resolved,” in January’s Notes and Queries, published by Oxford University Press.

Prof. Emily Scalzo has three senryu accepted for publication in 7×20The online magazine publishes fiction and poetry exclusively on Twitter. Her work will be revealed in the third week of February, so be sure to follow!

Prof. Angela Jackson-Brown‘s play, ANNA’S WINGS, has been accepted as part of the 2016 Diva Fest, which is presented through the generosity of Ellen and Richard Shevitz in association with IndyFringe, Andrew Black, and the Indiana Writers Center. The play will debut on April 2nd and April 10th at the Indy Eleven Theatre in Indianapolis. In the past month Angela also:
  • was a featured poet at The Bards Town in Louisville, KY, sponsored by New Southerner Literary Journal.
  • taught a class at the Indiana Writers Center entitled, “Whose Story Is It Anyway: The Importance of Point of View.” On Saturday, February 20th she will be teaching a workshop called Revision 101.

Dr. Rai Peterson has two articles recently in print:

  • “Low Rank, High Brow: The ‘Adolescent’ War Writing of E. E. Cummings and Kurt Vonnegut” is available in Spring: The Journal of the E. E. Cummings Society.
  • “Parallax: Nancy Cunard’s Knowing Response to T. S. Eliot’s The Waste Land” is available in Studies in the Humanities.

Alumni Abby Higgs has a series of essays, “My Life with Annie Lennox,” appearing on The Rumpus.

Undergraduate Luke Bell had poetry accepted for publication in the upcoming SLAB magazine.

Ball Stat12642878_808955794327_3949055353494235587_ne graduate students organized another successful Practical Criticism Midwest Conference! “Out of the Shadows” featured panels and themed work (including those fantastic doggerels) by current Ball State students as well as students from other universities. The keynote address was delivered by Ball State alumnus and current Taylor University faculty member Aaron Housholder. Congratulations all, and thanks for all your hard work!

Dr. Robert Habich’s review of Emerson’s Protégés: Mentoring and Marketing Transcendentalism’s Future by David Dowling appeared in the Autumn 2015 issue of Emerson Society Papers. His essay “An Emerson Bibliography, 2014” was published in the same issue.

Prof. Jill Christman‘s essay, “Going Back to Plum Island” has been published in River Teeth, which is also available on Project Muse through our library’s database. In addition, her essay “On Kindness” has been accepted for publication by Brain, Child magazine.

Dr. Joyce Huff‘s essay, “The Narrating Stomach: Appetite, Authority and Agency in Sydney Whiting’s 1853 Memoirs of a Stomach” has been published in Body Politics, an online journal based in Germany.


Robert Bell Ball Scholarships

The blog has a new page! With the Robert Bell Ball approaching, we’ve added a page under Resources entitled Scholarships. On this page, you can find information about scholarships available to undergraduate and graduate students in the department. Scholarship recipients will be announced at the Robert Bell Ball on April 29, 2016. Application deadlines for all scholarships are March 15, 2016. Application forms are forthcoming, so check back on that page for more information soon!