Faculty Notes for December 2020


Daun Daemon’s poem “Lost” was published by Trouvaille Review on December 31.


Huiling Ding published “Building International Partnerships: The Accelerated BA-MS Joint Degree Program” in Programmatic Perspective, volume 11.

In October, she presented “Smart Crowdsourcing in Epidemic Risk Communication” as an invited speaker at the University of Queensland.

Ding discussed “Smart Crowdsourcing for COVID-19: Participatory Risk Communication via Web 2.0 and AI” at the National Association of Communication’s virtual meeting in November.


Marsha Gordon — along with Skip Elsheimer (Raleigh’s AV Geek) and several colleagues in Los Angeles and Chicago — was interviewed about film preservation in Uproxx.

As part of the NC Museum of History’s “History + Highballs: American Folk Art Buildings” event on January 7, Gordon will present a virtual screening and discussion of her first documentary, Rendered Small, with the collectors who live in Hillsborough. The virtual event takes place from 7–8 p.m. and is free, but registration is required.

Gordon’s latest documentary, All the Possibilities…, was profiled in the context of its DOC NYC screening in Design Observer.


Melanie Graham presented a lightning talk on Margaret Atwood’s poetry entitled “Everyone Else: Violated Women as Other in Atwood’s Poetry” at the Contemporary Women’s Writing Association’s Margaret Atwood Birthday Symposium, a virtual international conference for postgraduate scholars.

She also moderated the panel at the France Atlanta Ethical Management of AI:  Privacy, Trust, & Human Oversight in Health and Well-Being, a French American Dialogue Virtual Symposium hosted by Emory University and the University of Nantes.


John Kessel’s novella “The Dark Ride” is included in the January/February issue of Fantasy and Science Fiction.


Jason Miller’s recent review of Cultural Entanglements: Langston Hughes and the Rise of African and Caribbean Literature (2020) can be found online (ahead of print) in Modern Philology.

The permanent digital version of “When MLK and the KKK Met in Raleigh” (an exhibit at the African American Cultural Center in January), has now been installed in the Hunt Library’s iPearl Immersion Theater. Miller will speak about this research and discuss images from never-before-developed photographs via Zoom at noon on February 23.


Juliana Nfah-Abbenyi participated in the African Literature Association’s lecture series, “Why Wasn’t My Article Published? A Roundtable” on October 30.

She served as the 2020 Literature Co-Chair of the virtual African Studies Association conference held November 19–21. She also chaired and presented on two of four ASA Board Sponsored panels, “Tejumola Olaniyan’s Legacy in African Cultural Studies” on November 19 and November 20.


Jennifer Nolan has been elected to the board of the F. Scott Fitzgerald Society.

On December 18, Nolan was a panelist in a webinar on the short stories of F. Scott Fitzgerald, sponsored by the creators of Gatsby in Connecticut (named one of the best movies of 2020 by The New Yorker). 


David Rieder published a book review of Jennifer Gabry’s How to Do Things with Sensors in Hyperrhiz (volume 22).  

With CRDM students Kelsey Dufresne and Calvin Olsen, Rieder presented an early version of their digital interactive “Franken Project” at the DHC-NC 2020 Virtual Institute on December 10.


Allen Stein’s poem “Carpe Diem (As if You Could)” was published by Valparaiso Poetry Review.


Jon Thompson edited and published Issue 31 of Free Verse: A Journal of Contemporary Poetry & Poetics. This issue includes poetry by Bruce Bond, Tomas Tranströmer (translated by Patty Crane), Carrie Etter, John James, Laura Qunney, Ian Seed, Susan Tichy, Laura Wetherington and Dean Young; essays by Nick Halpern on Robert Lowell and Charles Wright and by Rebecca Ariel Porte on landscapes and images. The cover image is by Alex Kozlov.

Note from Jon Thompson:

Issue 31 is the last issue of the journal I will edit. After founding the journal 20 years ago, and editing it continuously since then, I’ve come to an agreement with the Creative Writing Program at the University of Kent (U.K.) in Canterbury to take over and publish the journal from 2021 on. With a strong interest in the broad swath of poetic traditions in the U.S. and U.K., and with a commitment to translation and international literatures (Kent calls itself “The U.K.’s European University”), the program at the University of Kent is superbly situated to carry on the journal’s legacy.



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