To write today in English means using an idiom that is hegemonic, 'globalized,' no longer national. Vacated. A human, though, is necessarily sited, and here we find Mullen's Subject. Its movement open to both '(gone) and suture,' it grasps an anxiety in American speech too often covered over by Americans, though it's visible in the world. To cite Agamben: 'the ethical subject is a subject that bears witness to a desubjectivization.' Mullen's 'subject' is not one of triumphalism; it articulates the 'no-one,' ninguén, the 'not-even-who' that generates being's fibre, its viscosity, presence. In Mullen, 'Belonging to a body/To itself unrecognizable' is followed by 'Open the doors. Here.' Her 'here' is poetry that American English needs."—Erin Mouré
This powerful collection of poems from Laura Mullen is the edgy, unashamedly experimental, and formally inventive book of a poet who has found her way to her own voice or style--or rather voices and styles, for there are several. The poems of After I Was Dead develop harmonically rather than melodically: they leap from one register, one voice, one tone to another in deft juxtapositions that carry narrative only incidentally, destabilizing traditional notions of development. These poems are honed by a fine intelligence into elegant, sometimes funny art, as in “Autumn”: “Her hair, brown. / Her specialty, damage. / Her specialty, becoming / Something else. Her hair, falling / Leaves, leaf rot, and then soil.” Through her rediscovery of the freedom Emily Dickinson located in being “dead” (in writing from over the border of an already recognized erasure), Mullen increases the territory of the contemporary poem.
Dark archive: The purpose of a dark archive is to function as a repository for information that can be used as a failsafe during disaster recovery. Laura Mullen’s fourth collection is a sequence of beautifully interrelated poems that explores how to accurately represent the reality of change and loss. Mullen pinpoints what is at stake: the possibility of communication and connection—and the hope of intimacy. Invoking Wordsworth’s "I wandered lonely as a cloud," she pushes experiments in consciousness against their boundaries in an array of poetic forms. Poetic tropes are measured against natural phenomena as Mullen examines what "witness" might mean in the context of the aftermath of Hurricane Katrina, the failures of capitalism to effect social justice, the murder of James Byrd in Texas, the personal loss of a mother figure, and a disintegrating love affair.
This book is aimed at the practicing academic librarian, especially those working on the ‘front lines’ of reference, instruction, collection development, and other capacities that involve dealing directly with library patrons in a time of changing scholarly communication paradigms. The book looks at open access from the perspective of a practicing academic librarian and challenges fellow librarians to continue the dialogue about how the movement might be affecting day-to-day library work and the future of academic libraries. Written by a practicing academic librarian with many years experience in reference, as well as in collection development and faculty liaison roles Written with the “front-line academic librarian in mind from a practical point of view Contains numerous references to refer the reader to many open access resources; includes extensive footnotes for further reading
Poetry. As the subtitle specifies, "A Little Book of Mechanical Brides," Laura Mullen's sixth collection of poetry, ENDURING FREEDOM, is an often harrowing and almost always amusing dissection of the instituion of marriage. With its step-by-step analysis, from betrothal, to shower, to announcement, to its extraordinarily comprehensive and scathing catalog of brides and weddings, Mullen's poetic environment, and the language that sustains it, is as remarkable as it is disquieting. In the dedication, "To those in the Theater of Operations," Mullen previews a refreshing look at the by-now cliched "battle of the sexes." "ENDURING FREEDOM [is] a galloping great read, a page-turner, and dazzles with linguistic mischief and wit.... I already wanted to buy it for a friend. I am thrilled by it."—Hazel White
Performance-based accountability systems (PBASs) link incentives to measured performance to improve public services. This report explores PBAS design and effectiveness in child care, education, health care, emergency preparedness, and transportation.
The ladies of the Cackleberry Club seek a killer in the latest mystery from New York Times bestselling author Laura Childs. Maintaining good personal relationships with their suppliers is one of the secrets of the Cackleberry Club café’s success, so Suzanne doesn’t mind going out to Mike Mullen’s dairy farm to pick up some wheels of cheese. She’s looking forward to a nice visit with the mild-mannered farmer before heading back to their hectic kitchen. But when she arrives, Mike’s nowhere to be found. The moaning of his cows leads her to look in the barn, where she discovers a bloodcurdling sight—the farmer’s dead body. Apparently not everyone was as fond of Mike Mullen as the Cackleberry Club. Churning with grief and outrage, Suzanne, Petra, and Toni vow to find the farmer’s murderer—but as they get closer to the truth, the desperate killer gets whipped into a frenzy and plans to put the squeeze on them…
To write today in English means using an idiom that is hegemonic, 'globalized,' no longer national. Vacated. A human, though, is necessarily sited, and here we find Mullen's Subject. Its movement open to both '(gone) and suture,' it grasps an anxiety in American speech too often covered over by Americans, though it's visible in the world. To cite Agamben: 'the ethical subject is a subject that bears witness to a desubjectivization.' Mullen's 'subject' is not one of triumphalism; it articulates the 'no-one,' ninguén, the 'not-even-who' that generates being's fibre, its viscosity, presence. In Mullen, 'Belonging to a body/To itself unrecognizable' is followed by 'Open the doors. Here.' Her 'here' is poetry that American English needs."—Erin Mouré
Riding on a wave of popular demand for YA fantasy and science fiction, Marissa Meyer’s success in the genre is the latest stage in the steady rise of an up-and-coming author. Meyer’s career milestones are discussed, including her education in creative writing, her work as an editor on other writers’ books, and her writing of the manga comic fan fiction Sailor Moon under a pseudonym. The book provides an in-depth look at the writing process and creative origins behind her first book, Cinder, the first in an ambitious four-part series that reworks traditional fairy tales in a modern context.
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