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The page for new, returning and alumni students connected to the Master of Arts program in the Department of English and Comparative Literature, San Diego State University

10/26/2026

“Gertrude Stein did us the most harm when she said, ‘You’re all a lost generation.’ That got around to certain people and we all said, ‘Whee! We’re lost.’”

10/26/2026

Franz Kafka is chiefly remembered as a writer. But he is also a kind of literary philosopher — one whose works follow characters on futile quests as they search for answers to impossible questions. For Aaron Schuster, that’s especially true of Kafka’s short story, “Investigations of a Dog,” which he says makes philosophy “an object of wonder for itself.”

Read more: https://thereader.mitpress.mit.edu/wondering-at-philosophy-with-kafkas-dog/

10/26/2026

Today we note the birth date of John Berryman (October 25, 1914 – January 7, 1972), American poet and scholar.

He was a major figure in American poetry in the second half of the 20th century and is considered a key figure in the "confessional" school of poetry. His best-known work is The Dream Songs.

When Berryman was eleven years old, his father shot and killed himself. Berryman was haunted by his father's death for the rest of his life and would later write about his struggle to come to terms with it in much of his poetry.

The Dream Songs is a compilation of two books of poetry, 77 Dream Songs (1964) and His Toy, His Dream, His Rest (1968). In total, the work consists of 385 individual poems.

These portray “Henry,” an anguished and often-deranged character very much like Berryman. Made up of three six-line stanzas that teem with allusions to past and present events and to literary figures, The Dream Songs display a variety of poetic resources that include slangy diction and a nervous, fractured syntax.

The book is listed by the American Academy of Poets as one of its Groundbreaking Books of the 20th century. The Norton Anthology of Modern Poetry calls The Dream Songs "[Berryman's] major work".

Berryman’s lifelong struggles with alcoholism and depression ended in 1972, when he jumped off a Minneapolis bridge in the dead of winter.

Here are three poems by John Berryman for your consideration:

Eleven Addresses to the Lord [Section 1)

1

Master of beauty, craftsman of the snowflake,
inimitable contriver,
endower of Earth so gorgeous & different from the boring Moon,
thank you for such as it is my gift.

I have made up a morning prayer to you
containing with precision everything that most matters.
‘According to Thy will’ the thing begins.
It took me off & on two days. It does not aim at eloquence.

You have come to my rescue again & again
in my impassable, sometimes despairing years.
You have allowed my brilliant friends to destroy themselves
and I am still here, severely damaged, but functioning.

Unknowable, as I am unknown to my guinea pigs:
how can I ‘love’ you?
I only as far as gratitude & awe
confidently & absolutely go.

I have no idea whether we live again.
It doesn’t seem likely
from either the scientific or the philosophical point of view
but certainly all things are possible to you,

and I believe as fixedly in the Resurrection-appearances to Peter & to Paul
as I believe I sit in this blue chair.
Only that may have been a special case
to establish their initiatory faith.

Whatever your end may be, accept my amazement.
May I stand until death forever at attention
for any your least instruction or enlightenment.
I even feel sure you will assist me again, Master of insight & beauty.

--John Berryman
_______________________

Surviving Love

The clapper hovers, but why run so hard?
What he wants, has, -- more than will make him ease;
No god calls down, -- he’s not been on his knees
This man, for years, and he is off his guard.
What then does he dream of
Sweating through day! –-Surviving love.

Cold he knows he comes, once in the dark,
All that waste of cold, leaving all cold
Behind him hearts, forgotten when he’s tolled,
His books are split and sold, the pencil mark
He made erased, his wife
Gone brave and quick to her new life.

And so he spins to find out something warm
To think on when the glaze fastens his eyes
And he begins to freeze. He slows and tries
To hear a promise; ‘After, after your storm
I will grieve and remember,
Miss your and be warm and remember.’

But really nothing replies to the poor man,
He never hears this, or the voice he hears
(He thinks) he loses ah when next appears
The hood of the bell, seeing which he began.
His skull rings with his end,
He runs on, love for love.

--John Berryman
____________________

The Traveller

They pointed me out on the highway, and they said
‘That man has a curious way of holding his head.’

They pointed me out on the beach; they said ‘That man
Will never become as we are, try as he can.’

They pointed me out at the station, and the guard
Looked at me twice, thrice, thoughtfully & hard.

I took the same train that the others took,
To the same place. Were it not for that look
And those words, we were all of us the same.
I studied merely maps. I tried to name
The effects of motion on the travelers,
I watched the couple I could see, the curse
And blessings of that couple, their destination,
The deception practised on them at the station,
Their courage. When the train stopped and they knew
The end of their journey, I descended too.

--John Berryman
_____________________

Dream Song 14

Life, friends, is boring. We must not say so.
After all, the sky flashes, the great sea yearns,
we ourselves flash and yearn,
and moreover my mother told me as a boy
(repeatingly) ‘Ever to confess you’re bored
means you have no

Inner Resources.’ I conclude now I have no
inner resources, because I am heavy bored.
Peoples bore me,
literature bores me, especially great literature,
Henry bores me, with his plights & gripes
as bad as achilles,

who loves people and valiant art, which bores me.
And the tranquil hills, & gin, look like a drag
and somehow a dog
has taken itself & its tail considerably away
into mountains or sea or sky, leaving
behind: me, wag.

--John Berryman
_________________________

Fare Well

Motions of waking trouble winter air,
I wonder, and his face as it were forms
Solemn, canorous*, under the howled alarms, –
The eyes shadowed and shut.
Certainly for this sort of thing it is very late,
I shudder, while my love longs and I pour
My bright eyes towards the moving shadow . . where?
Out, like a plucked gut.
What has been taken away will not return,
I take it, whether on the crouch of night
Or for my mountain’s need to share a morning’s light, –
No, I am alone.
What has been taken away should not have been shown
I complain, torturing, and then withdrawn.
After so long, can I still long so and burn
Imperishable son?
O easy the phoenix in the tree of the heart,
Each in its time, his twigs and spices fixes,
To make a last nest, and marvelously relaxes, –
Out of the fire, weak peep! . .
Father, I fought for mother, sleep where you sleep.
I slip into a snowbed with no hurt
Where warm will warm be warm enough to part
Us. As I sink, I weep.

-- John Berryman

[All poems from Collected Poems, 1937-1971. Copyright © 1989 by John Berryman, Farrar, Straus & Giroux, LLC
____________________________

All content of this post is for educational purposes.
___________________________

Visit W.Whitman Books’ website to learn about our bookstore.

10/26/2026

Our warm congratulations to Kimberly Juanita Brown, whose book "Black Elegies" won the American Studies Association's 2026 John Hope Franklin Publication Prize. The Prize committee called the book "a vivid and brilliant survey" of the Black arts of mourning.

"Black Elegies" is the second award-winning title in On Seeing—a powerful book series devoted to visual literacy. Published jointly by the MIT Press and Brown University Digital Publications, each title comes out as a print book, an ebook, and a free open-access edition so that the full text can be read online.

📖 Read the inaugural title in On Seeing, "Mortevivum: Photography and the Politics of the Visual," here: https://on-seeing-mortevivum.org/
📖 Read "Black Elegies: Meditations on the Art of Mourning" here: https://on-seeing-black-elegies.org/

Classics anyone?
10/25/2026

Classics anyone?

10/25/2026

2027 Cultural Studies Association (CSA) Annual Conference: Thresholds
June 3-5, 2027
Fully Online
Deadline for Submissions: Friday, November 20, 2026

The Cultural Studies Association (CSA) invites proposals for participation in its twenty-fifth annual meeting, which will be held fully online. Proposals on all topics relevant to cultural studies will be considered, with priority given to those that engage this year's theme, Thresholds.

In more ways than one, we exist at the threshold: the resurgence of fascist governance; the potential elimination of Black studies, Ethnic studies, and Women’s, Gender, and Sexuality studies from the University; the tipping point of runaway climate change; mounting violations of privacy via AI and other technology. Yet, scholars push back against presentist conceptions of the threshold. Black, Indigenous, and Q***r scholars, for example, have illustrated how their communities have long been impacted by colonial and environmental catastrophe. Our political rhetoric, our economic forecast, our climatological outlook, and our popular imagination calls attention incessantly to our “momentous moment”--perpetually on the brink, at the edge, at an inflection point. This rhetoric of impending catastrophe and permacrisis often serves to maintain the status quo, or obfuscate the actual sites of suffering and loci of power that perpetuate that physical, political, economic and environmental violence. Thus, scholars raise the question, who and what histories are left out by certain framings of the threshold? At the same time, this threshold does not only gesture to an impending doom, but possibilities for imagining otherwise: How might we detour away from the destinies prescribed by Western colonial regimes? How might we re-conceptualize our understanding of difference? The liminality of thresholds calls attention to the increasingly blurry boundaries between assumed oppositions: the human and the technological, the natural and the artificial, along with myriad taxonomies and categories of race, gender, s*x, s*xuality, ability, and identity. What new possibilities for subversive agency exist among those unruly bodies which exceed the limited categories placed upon them?

Through this year’s theme, we invite submissions that explore thresholds in political, cultural, and discursive practices point toward thinking power relations, negotiating our understanding of the threshold, and/or meditating on resistant socialities which harken to the possibilities within liminality. All proposals should be submitted through the Easy Chair submission link.

POSSIBLE TOPICS INCLUDE:
Asian American Critique Beyond the Model Minority
Black Feminist Erotics and Q***r Intimacies
Black Fugitivity at the Threshold of Enclosure
Borders, Boundaries, and Crossings
Corporeal Edges: Pain, Pleasure, and Intimacy
Diaspora(s) on the Brink
Divides: Taxonomies of Digital Modernity
Gaza & Thresholds of Recognition/Solidarity
Indigenous Sovereignty & Anti-Colonial Solidarities
Inflections: Political Thresholds and the Activation of Anti-Fascist Rebellion
Liminal Spaces, Liminal Times
Marxist Materialism at the Threshold of this Historical Epoch
New Media and the Production of Catastrophe: Data, Surveillance, AI
Sonic Thresholds: Noise, Silence, Duration
Technopolitics at the Threshold of Fascism and War
Tipping Points: Climate Change & Environmental Catastrophe
Tripping on the Threshold: Theory as Limit Condition or Stumbling Block
Q***r Anti/Futurism at the Brink of the Nuclear Family
The University at the Threshold: Precarity, Institutional Crisis, and Cultural Studies
Popular Imaginaries at the Brink: Crisis, Catastrophe, and Other Futures

CONFERENCE FORMAT
This year the annual Cultural Studies Association Conference will be held fully online. Online conferences help a wider cohort of cultural studies scholars of all ranks, nationally and internationally, to present their work. To allow for both the benefits of an in-person conference and the expanded access of an online conference, the CSA plans to maintain an alternating, biennial structure of in-person conferences (on odd years) and online conferences (on even years).

SUBMISSION AND REGISTRATION
● Friday, October 2, 2026 until Friday, April 2, 2027: Early Bird Registration
● Friday, November 20, 2026: Final Deadline for Submissions
● Friday, January 8, 2027: Notifications sent out
● Friday, March 12, 2027 : Early Registration Ends, Regular Registration Rate Begins
● Friday, May 7, 2027: Last day to register to participate in the conference. If you do not register by this date and are not a current member, your name will be dropped from the program.

REGISTRATION: In order to participate in the conference and be listed in the program, all those accepted to participate must register before Friday, May 8, 2026. Remember: registration for the conference and membership in the CSA are combined transactions. Note that while we do not have overhead costs for an online conference, the registration fees collected for this year’s conference allow us to increase our support of graduate student travel for our 2027 in-person conference. Additionally, registration fees cover CSA’s one paid administrative position and provide needed support CSA’s peer-reviewed journal Lateral.

Make sure to create and/or log in to your Easy Chair account before you attempt to submit. All submissions must be made through CSA’s online EasyChair submission portal: https://easychair.org/my/conference?conf=csa2027. Program information--names, presentation titles, and institutional affiliations--will be based on initial conference submissions. Please avoid lengthy presentation and session titles, use normal capitalization and standard fonts, and include your name and affiliations as you would like them to appear on the conference program schedule.

INSTITUTIONAL MEMBERSHIPS Institutional members can use their included conference registrations for either 2 faculty and 1 student or 1 faculty and 2 students, plus 1 full page advertisement space in the program. Graduate students who wish to submit proposals are strongly encouraged to speak with their Department Chair or Program Director about institutional membership and where possible, make use of the complimentary individual memberships and reduced registration rates. For full benefits of institutional membership see: https://culturalstudiesassociation.org/about/membership/

SUBMISSION FORMATS:
All sessions are 90 minutes long. All conference formats are intended to encourage the presentation and discussion of projects at different stages of development and to foster intellectual exchange and collaboration. Please feel free to adapt the suggested formats or propose others in order to suit your session’s goals.

The CSA aims to provide multiple and diverse spaces for the cross-pollination of art, activism, pedagogy, design, and research by bringing together participants from a variety of positions inside and outside the university. While we welcome traditional academic papers and panels, we also encourage contributions that experiment with alternative formats and intervene in the traditional disciplinary formations and exclusionary conceptions and practices of the academic. We are particularly interested in proposals for sessions designed to document and advance existing forms of collective action or catalyze new collaborations. We encourage submissions from individuals working beyond the boundaries of the university: artists, activists, educators, independent scholars, professionals, and community organizers.

Further information regarding various session formats can be found below. If you have any questions, please address them to Michelle Fehsenfeld at: [email protected]

WORKING GROUP SESSIONS: Working groups are central to our organization, gathering members around shared topics to foster collaboration and support. Please consider submitting your work to one of CSA’s working groups to connect with colleagues whose interests align with yours. For more information see: https://www.culturalstudiesassociation.org/working-groups.html

INDIVIDUAL PAPERS: Individuals may submit a proposal to present a 15-20 minute paper. Selected papers will be combined into panels at the discretion of the Program Committee. Submissions must include an abstract of the paper (

10/25/2026

𝘐𝘯𝘷𝘪𝘴𝘪𝘣𝘭𝘦 𝘔𝘢𝘯 is the story of a young African American who is convinced he will find the ‘something’ he is looking for if he submits to the demands or expectations of the powerful people he encounters, or colludes in their grand schemes. The recognition of his error, following what he calls “much painful boomeranging of my expectations”, forms the basis for the high-spirited reflection on self-sufficiency, or “invisibility”, that bookends the narrative. The idea that even “negative experiences” can be ‘turned into an advantage’, as Ellison put it shortly after the book’s publication, became one of his convictions. But what about the moment of triumph?

𝘐𝘯𝘷𝘪𝘴𝘪𝘣𝘭𝘦 𝘔𝘢𝘯 appeared in the spring of 1952 and was immediately recognised as the outstanding novel of its time. Ellison worked hard on a second novel, about a boy raised by a black minister who grows up to be a white supremacist politician. Eight sections of it appeared in print, one of them in the first issue of Saul Bellow’s magazine the Noble Savage, and Ellison issued a series of optimistic forecasts. In 1955 he told Paul Engle, the director of the Iowa Writers’ Workshop, that “I hope to finish by 1956.” In November 1961 he wrote of “a long novel I hope to publish next year”. But he was still tinkering with the manuscript at the time of his death more than 32 years later.’

Leo Robson on Ralph Ellison, from our latest issue.

Read here: https://www.lrb.co.uk/the-paper/v48/n19/leo-robson/sick-of-the-subject

Image: Ralph Ellison photographed in 1953. (Alamy/Everett Collection Historical)

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