Grace Bauer's collection of poems, The Women At the Well has just been released by Stephen F. Austin State University Press. The new edition, which Alicia Ostriker calls "a marvelous addition to the body of [midrash] literature," includes a new Addendum by Grace and an Introduction by Kelly Cherry. Grace also has poems in the latest issues of The Cimarron Review and Laurel Review.

Three poems from Steve Behrendt's new project appear as the lead poems in the most recent issue (Summer 2016) of The Sewanee Review.

Steve Buhler published an essay, “Palpable Hits: Popular Music Forms and Teaching Early Modern Poetry,” in The CEA Critic 78.2 (July 2016): 229-41. The article highlights not only creative engagements in the classroom from Steve (with results like Sweet Will and the Saucy Jacks) and past students such as Alex Houchin but also the instructional ingenuity of former students who are now teachers, including Kristina Edgar (Kristy Hagerup, UNL English B.A. 2010).

Melissa Homestead's article "Willa Cather Editing Sarah Orne Jewett" has just appeared in the fall number of American Literary Realism. Her article "Buried in Plain Sight: Unearthing Willa Cather's Allusion to Thomas William Parsons's 'The Sculptor's Funeral'" will be appearing shortly in the fall number of Studies in American Fiction.

Patrick T. Randolph published "Embracing the Sound of Words: Evoking the Inner Experience" in the spring issue of the CATESOL News Quarterly, Vol. 48(1). The article looks at how English Language Teachers can help their English Language Learners "feel" the language and gain an appreciation of its phonology and intuitive attraction to the sound of words, phrases, and idioms through first investigating their favorite sounding lexical items in their own languages, and then exploring the ones that pique their interest in English. The article also addresses synesthesia-linked associations related to words as well as other emotional and cultural relations.

The Bestseller Code by Matthew Jockers and co-author Jodie Archer was released in the UK (Penguin 9/13) and US (St. Martins 9/20).

Emily J. Rau had an article published in the Summer 2016 issue of the Willa Cather Newsletter & Review entitled "'The Princely Carelessness of the Pioneer': Railroads and the Transformation of Space in A Lost Lady".

Kristi Carter has poems forthcoming in Redactions: Poetry and Poetics and Gigantic Sequins. Her poem "My mother is certain" was a semi-finalist in The New Guard Review's Knightville Poetry Contest, judged by Stephen Dunn.

Wheeler Winston Dixon has published two essays as part of the National Film Registry of the Library of Congress on two of the "essential films" in the collection; Ida Lupino's The Hitch-Hiker (1953) and Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).

The hardcover version of Dixon's latest book, Hollywood in Crisis, or: The Collapse of the Real, is now available from Palgrave Macmillan.

He has also published a feature article entitled “Cinema and Poetry: T. S. Eliot’s Murder in the Cathedral,” in the latest issue of Senses of Cinema 80 (September 2016), examining the 1951 film adaptation of Eliot's play as an experimental feature length film. Thankfully, the article is free to all.

As Dixon notes in the introduction to the article, "I’ve always had a curious affection for George Hoellering’s 1951 film adaptation of T.S. Eliot’s verse play Murder in the Cathedral. Eliot composed it as a stage play in 1935, with the first performance taking place on June 15th that year in the Chapter House of Canterbury Cathedral, in every way an appropriate location for the production... The first production at Canterbury Cathedral featured actor Robert Speaight as Becket, which then was transferred to London’s Mercury Theatre in Notting Hill Gate for a modest run, with Speaight reprising his leading role... subsequent stage productions included Robert Donat’s turn as Becket in an Old Vic production directed by Robert Helpmann in 1953; a 1971 New York stage version with Dark Shadows alumnus Jonathan Frid in the title role; a Royal Shakespeare Company version in 1972 starring Hammer Films regular Richard Pasco as Becket; and most recently in 2014 at St. Bartholomew-the-Great Church in London, testifying to the continual appeal of Eliot’s work... But there the matter of a visual translation of Eliot’s work rested, until George Hoellering... brought Murder in the Cathedral to the screen in what was clearly a ‘passion project,’ with Eliot’s full help and participation.'"

Gwendolyn Audrey Foster has published an article, “Anatomy of Hell: A Feminist Fairy Tale” in Senses of Cinema 80 (September 2016), on the groundbreaking film by Catherine Breillat. Foster also just finished serving as a Peer Review judge for the Fulbright Fellowship Program. In addition, she has created three new video works: “Selfie,” “Product,” and “Film for Barbara Hammer”.

Foster’s video work was exhibited as an online video installation entitled “The Gaia Triptych,” curated and featured by The Pythians: Art, Photography, Poetry & Video in August, 2016. She also published three new book reviews: “French Cinema and the Great War, edited by Marcelline Block and Barry Nevin,” Choice (September 2016); “Rock ‘n’ Film: Cinema’s Dance with Popular Music by David E. James,” Choice (July 2016); “Skepticism Films: Knowing and Doubting the World in Contemporary Cinema by Philipp Schmerheim,” Choice (June 2016)."

At the end of September, Melissa Homestead will be participating in an invited plenary roundtable at the Western Literature Association meeting in Big Sky Montana. The roundtable topic is "We Swear to Get It Right This Time: The Reading and Misreading of Western Archives," and her contribution is "Stories We Tell about Archives: The Burning of Willa Cather's Letters (or Not)"

Kathleen Lacey recently presented a paper, "Visibility, Recognition, and the Education of American Black Girls: A Legacy in Literature," at the Black Women and Girls: Producers of Knowledge, Agents of Change Symposium at Providence College on September 9.

On September 21st, Gwendolyn Audrey Foster and Wheeler Winston Dixon’s hour long documentary, “The Women Who Made the Movies” was screened at the Anthology Film Archives in Manhattan, as part of a series of programs celebrating pioneering female filmmakers entitled “Woman With A Movie Camera: Female Film Directors Before 1950.”

“The Women Who Made the Movies” traces the careers and films of such pioneer women filmmakers as Alice Guy Blaché, Ruth Ann Baldwin, Ida Lupino, Dorothy Davenport Reid, Lois Weber, Kathlyn Williams, Cleo Madison, and many other women who made a lasting contribution to cinema history with their films. Featuring clips from the films, rare archival footage and stills, “The Women Who Made the Movies” brings to life the works of these remarkable women.

"Infuriates and exhilarates all at once-infuriating that such film giants have been shunned by history, exhilarating to have them discovered and put in their proper perspective." - Ally Acker, Author, "Reel Women."

Raul Palma's hybrid poem "P E C F D" was featured by Twyla Hansen on the Nebraska State Poet page. Additionally, his novel excerpt "Eminent Domain," which first appeared in Alaska Quarterly Review, was a distinguished story in Best American Short Stories.

Ted Kooser received a Distinguished Achievement in the Humanities 2016 award from the South Dakota Humanities Council, presented at the final evening event at the South Dakota Book Festival in Brookings, September 22-26.

One of Lincoln's premier music festivals, Lincoln Calling, opens this year with Rocking Original Americana from Tupelo Springfield, the UNL English Department's unofficial house band. Performance October 6, 4:45 to 5:30 pm at Tower Square, 13th and P Streets. No admission charge, all ages. The band features Kelly Stage on drums and percussion; Jack Vespa on guitar, bass, and vocals; and Steve Buhler on mandolin, guitar, and vocals.