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MFA Thesis Reading 3_4Eleven wondrous voices, one literary night. Come join us at the Regis Philbin Studio Theatre in DPAC on April 24th, 2014 at 7:00 p.m. as we celebrate the accomplishments of the graduating students of the MFA in Creative Writing at Notre Dame. The night will feature five-minute readings from five poets and six fiction writers:

Alice Ladrick received her B.A. in Literature and Creative Writing and her M.A. in Creative Writing from the University of Miami before joining the MFA program at Notre Dame. Her poetry has been published in Vector, Burdock, and Humble Humdrum Cotton Frock.

Lynda Letona is a collaborator for Letras Latinas, the literary arm of Notre Dame’s Institute for Latino Studies. Her poetry and nonfiction have appeared in Ostrich Review, Liternational, and Hotmetalpress. She is currently working on a collection of poetry titled House of Dark Writings. Part I of the series explores the Spanish conquest of the Mayas through noble princess Anacaída; Part II explores an immigrant saga through DREAM student Lucía.

Jenica Moore’s poetry is an outgrowth of her interest in peace and conflict studies. She has spent time abroad in Ecuador, Nigeria, Palestine, and Israel. Her work intertwines notions of justice and faith with her own aesthetic values.

Jayme Russell received her B.A. in Creative Writing and her M.A. in Poetry from Ohio University, where she worked on the literary journal New Ohio Review and worked as an associate editor for the experimental journal Quarter After Eight. Her creative nonfiction appears in Fringe Magazine and Marco Polo. A Creative Non-Fiction Editor for Paragraphiti, Russell’s poetry was a finalist for the 2013 Black Warrior Review Poetry Award.

Peter Twal’s poems have appeared or are forthcoming in New Orleans Review, Bat City Review, smoking glue gun, NAP, DIAGRAM, and elsewhere. His work resembles circuitry with lines that interconnect, regulate and trigger other lines or thoughts, either infinitely or to some termination point.

Alireza Taheri Araghi was born in Tehran, where he translated works by Richard Brautigan and Samuel Beckett into Persian while taking creative writing workshops. He served as a member of the editorial advisory panel for the Iran Language Institute (ILI) magazines and published five short comic stories in the ILI’s Young Learner’s Rainbow. His collection of short stories, I’m an Old Abacus, came out in 2007 (in Persian). He has been published online at The Gloom Cupboard. In 2011, he founded the literary website Paragraphiti.

Mari Christmas‘s fiction has appeared or is forthcoming in The Canary Press, Paragraphiti, and Black Warrior Review. Her work stuns with its control, humor, and pathos, and was the winner of the 2013 Black Warrior Review Fiction Award.

Leo Costigan‘s fiction has been published in Iron Horse Literary Review, for which he won the Discovered Voices Award for Fiction. His narratives track experiences of implicit moral or metaphysical dilemmas with texture and grit.

Emily Grecki‘s fiction deals with notions of physical trauma, artistic representation, and the contemporary experience of growing up. Grecki is a graduate of Amherst College and has worked in the Education Group at Scholastic Publishing.

Christine Texeira, who hails from the magical Pacific Northwest, received her B.A. in English from Whitman College in 2010. Her work involves aspects of magical realism and subtle humor and has been featured in the literary magazines Quarterlife and bluemoon.

Kaushik Viswanath’s fiction has made appearances in literary magazines such as The Pinch, Helter Skelter, and The Wry Writer. In 2012 he received a Special Jury Commendation for Creative Writing from Toto Funds the Arts in Bangalore. In 2013, Viswanath was named to the Long List for Creative Writing Toto Awards by Toto Funds the Arts.

The reading is free and open to the public. Tickets are available at the DeBartolo Performing Arts Center.

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April16x2Come join us for a heaping helping of poetry, fiction, and fun at the Crossroads Gallery for Contemporary Art on April 16, 2014 at 7:30 p.m.!

The reading will include the work of two fiction writers and two poets.

Paul Cunningham’s writing has appeared in publications including Aesthetix, DIAGRAM, A Capella Zoo, Witness, H_NGM_N, The Destroyer, and others. He is the founding editor of Radioactive Moat Press. Cunningham recently finished a collection of poems inspired by Winnie the Pooh that mutates the characters in ways that investigate a host of philosophical, linguistic, and cultural issues.

Jessica Newman’s fiction has been published in elimae, Caketrain, PANK, Redivider and elsewhere. Her work is intensely lyrical and bends any common conception of the relationship between sound, sense, and the written word.

Dev Varma’s fiction has been published in Oxford American Magazine; A Clean, Well-Lighted Place; mojo; and Mikrokosmos and has been nominated for a Pushcart Prize in Fiction. Varma is currently at work on a book project that interrogates the possibility of morality in metafiction as well as the possibility of being both literary and a good human being.

Rachel Zavecz is currently working on a book of apocalyptic poetry and is inspired by a myriad of ideas, including the rise and fall of civilizations, overwrought fashion and pageantry, science fiction and the beautification of the grotesque.

The reading will be at the Crossroads Gallery of Contemporary Art, located at 1045 W. Washington Street, South Bend, IN 46601.

The reading is free and open to the public.

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Come join us for a double serving of poetry and fiction to amp up your intellect. Our second installment of the 2014 First Year MFA Reading series is this Wednesday, April 2nd, 2014 at 7:30 p.m. at The Pool.

Jonathan Diaz’s poetry is undergirded by the complexity of the city he grew up in, Los Angeles. A co-founder and co-editor of the online literary journal Californios, Diaz is interested in writing about California by historical residents of California (from which the literary journal gets its name).

Julia Harris’s poetry project, entitled Raw, won the 2013 Laurie A. Lesniewski Award for Creative Writing at Saint Mary’s College. Her nonfiction has appeared in The Avenue, and she has recently finished a chapbook about the deterioration of American sub-culture through the eyes of a split-personality.

Thirii Myint was born in Burma (Myanmar) and lived in Bangkok for several years before emigrating to California with her family. Her work, which invokes a mysticism and fairy tale quality, has been published in Caketrain, The Kenyon Review Online, The Literarian, The Bicycle Review, and elsewhere.

Sarah Roth enjoys writing very short fiction and very long poetry that interrogates notions of embodiment, historical narrative, and configurations of gender. She has work published and forthcoming in Spires literary magazine. She is also currently transcribing and translating a number of orally collected folk tales from Judeo-Spanish to English for publication.

The reading is free and open to the public. The Pool is located in the Central High Apartments Complex: 330 W. Colfax Avenue, Apartment 125, South Bend, IN 46601.

See You There,

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We are excited to have visiting author David Matlin reading from his latest collection, Up Fish Creek Road and Other Stories, this Wednesday, March 26, 2014 at 7:30 p.m. in the Hammes Campus Bookstore.

David Matlin2 Poster JPEG


Matlin is an accomplished novelist, poet, and essayist. His collections of poetry and prose include China Beach, Dressed in Protective Fashion, and Fontana’s Mirror. Matlin’s first novel, How The Night Is Divided, was nominated for a National Book Circle Critics Award. His book Prisons: Inside the New America from Vernooykill Creek to Abu Graib focuses on the spread of the American prison industry on a planet-wide basis. And his work in It Might Do Well with Strawberries extends the previous book’s examination of prisons into an investigation of violence in American culture.

Up Fish Creek Road and Other Stories depicts American history as an interweaving of language and the environment. The book takes up the grand social and political commitments of the nineteenth century without resorting to pleas for nostalgia. Irini Spanidou, author of God’s Snake, writes of the book: “Though these stories are anchored in events unfolding in contemporary times, their power and beauty rest on Matlin’s rhapsodic evocation of America’s past. It is all that has vanished—the majestic wilderness of the land and the heroic spirit of the men who inhabited it, Native Americans and early settlers alike—that comes fully, hauntingly to life, making the present appear eviscerated, not just diminished. The poetic cadence of the prose and the grandiloquent length of the sentences having a hypnotic effect, as all Matlin’s work, Up Fish Creek Road, reads like a dream: there is no linear time; there is no continuous space; depicted events have the mystique and ineffable grandeur of myth. Being dreamlike, the sense of reality is at times incoherent, but the images are always stunning and the sensuous, tactile language that paints them, magnificent.”

The reading is free and open to the public.

Hope to see you there,

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Lisa de Niscia (1993) took some time to talk with us about her writing process, recent whereabouts and more.
Lisa D1. What inspired you to become a writer?
An annoying compulsion to write inspires me, and I suppose I’m trying to make sense out of things I see, hear, feel, and experience. So it makes perfect sense (ha!) that one of the first stories I wrote when I was a kid was about a little girl detective chasing a monkey armed with a pistol.
2. What is your most recent writing project?
I’m working on a novel, and I never talk about my writing before it’s finished.
3. What have you been up to since the MFA program?
Most recently, I started a publishing company called Whitepoint Press.
4. Where does your writing fit into genre?
I don’t like genre; it makes me categorize, and it makes me think of horrible, cliched writing.  But my writing has been described as “contemporary.”
5. What have you been reading lately?
Whitepoint Press submissions
6. What advice would you give to incoming MFA students interested in pursuing a career in writing?
Try to get a day job that doesn’t make you crazy.
7. What was your favorite memory as an MFA student at ND?
I have two: Michael Vore’s amazing ability to drive on ice and Marcela Sulak’s yummy pasta with tofu.
8. What kinds of projects would you like to work on in the future?
Successful ones.
9. What’s the best piece of advice you have received?
To disregard most advice.
10. Who or what inspires your writing the most?
I work part-time as an Adult Literacy Coordinator at the Los Angeles Public Library, and the adult students who come into my office looking for help with their reading and writing are extremely inspiring.


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The University of Notre Dame Creative Writing Program, the Snite Museum of Art, and Spoken Word club of Notre Dame will co-host the second annual Wham! Bam! Poetry Slam! on March 20th from 5:00 to 7:00 p.m.

A poetry slam is a competitive event in which individual poets perform their work and are judged by random members of the audience. The rules for the competition are simple. Poems can be on any subject and in any style but must be original creations of the performers. Each poem must take less than three minutes to perform, and these performances may not use props, costumes, musical accompaniment, or memorization aids. Each poet will go through two rounds of performances. Judges are selected from the audience to rate each performed poem on the basis of the presentation of the poem and its content. In each of the two rounds of scoring, the highest and lowest of the judges’ scores are thrown out, and a tabulator calculates each contestant’s score.

Poets interested in competing may register from March 3rd until all 12 spots are filled. Registration can be done by either calling or emailing Coleen Hoover at (574)-631-7526 or hoover.14@nd.edu and providing name and contact information. Only registered poets will be considered for the competition, and the randomly selected competitors will be announced at the event.

This celebration of the creative intersection of literary performance and visual arts is part of the Snite Museum’s regular Third Thursday programming. Junior Marc Drake, president of the Spoken Word ND group on campus, will serve as the event’s master of ceremonies.

The opening reception will begin at 5:00 p.m. with the Slam starting at 5:15 p.m.

The event is free and open to all. All Museum galleries will be open for viewing. Free parking is available in the B1 lot south of the football stadium after 4:00 p.m.

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Black Took Collective PosterBlack Took Collective will be reading at the University of Notre Dame in the Digital Visualization Theater on March 19, 2014 at 7:30 p.m. The event is sponsored by the Institute for Scholarship in the Liberal Arts, the Creative Writing Program, the Department of English, the Department of Africana Studies, First Year Studies, and Multicultural Student Programs and Services.

Black Took Collective is a group of Black post-theorists who perform and write in hybrid experimental forms, embracing radical poetics and cutting-edge critical theory about race, gender, and sexuality. The Collective comprises three members:

Duriel E. Harris is the author of two print collections: Drag (Elixir Press) and Amnesiac (Sheep Meadow Press) and the sound compilation “Black Magic” (forthcoming  from Asian Improv Records). With Scott Rankin, she is co-author of the poetry video Speleology (2011), a jury selection of the 2011 International Literary Film Festival, the 2012 Zebra Poetry Film Festival (Berlin), and the 2012 Visible Verse Festival (Vancouver).  Current projects include the AMNESIAC media arts project, funded in part by the University of California Santa Barbara Race and Technology Initiative, and “Thingification”—a one-woman show. Selections from “Thingification” have been featured internationally, and it made its New York City workshop debut off off Broadway at The Wild Project for the 11th Annual Fresh Fruit Festival in July 2013. In 2014 “Thingification” will travel to Amsterdam by invitation of the Amsterdam School for Cultural Analysis and the Dutch Embassy.  Harris is an associate professor of English at Illinois State University where she teaches creative writing and poetics. (www.thingification.org).

Dawn Lundy Martin is the author of A Gathering of Matter / A Matter of Gathering (University of Georgia Press 2007), winner of the Cave Canem Prize; DISCIPLINE (Nightboat Books 2011), which was selected by Fanny Howe for the Nightbook Books Poetry Prize and a finalist for both Los Angeles Times Book Prize and the Lambda Literary Award; Candy, a limited edition letterpress chapbook (Albion Books 2011); and The Morning Hour, selected by C.D. Wright for the 2003 Poetry Society of America’s National Chapbook Fellowship. Her forthcoming collections include The Main Cause of the Exodus (O’clock Press 2014) and Life in a Box is a Pretty Life (Nightboat Books 2014). Martin is also at work with Erica Hunt on an anthology of experimental writing by black women in North America and the Caribbean (Kore Press 2015). She has written a libretto for a video installation opera that has been chosen for the 2014 Whitney Biennial. An associate professor of English in the Writing Program at the University of Pittsburgh, Martin lives in Pittsburgh Pennsylvania and East Hampton, New York.

 Ronaldo V. Wilson, PhD is the author of Narrative of the Life of the Brown Boy and the White Man (University of Pittsburgh, 2008), winner of the 2007 Cave Canem Poetry Prize, and Poems of the Black Object (Futurepoem Books, 2009), winner of the Thom Gunn Award and the Asian American Literary Award in Poetry in 2010. Wilson is also an Assistant Professor of Poetry, Fiction and Literature in the Literature Department of the University of California, Santa Cruz. His latest books: Farther Traveler: Poetry, Prose, Other is forthcoming from Counterpath Press, and Lucy 72 will be released by 1913 Press. He was recently an Artist in Residence at the Headlands Center for the Arts, where he worked on a dance/video project, playing with elements from his sound album Off the Dome: Rants, Raps, and Meditations.

The reading is free and open to the public.

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In this next installment of the Alumni Interview Series, we got the chance to catch up with Campbell Irving (2004). He gave us insight into how a busy lawyer with a family can still get creative work done.  

1. When did you know that literature was something you could love all your life?
That is an excellent question, primarily because it stumps me. I wish I had some epiphany, some “pick up and read” moment a la St. Augustine wherein my eyes were opened. But sadly that’s not there. I loved stories as a kid. Loved them. Read as much as I could and then I stopped. I hit 12 or so and I stopped. I was a “Cliff’s Notes” student throughout high school and then when I got to college, to Notre Dame, I decided majoring in English made sense because I had this utterly ant-climatic vision of attending law school, so that’s what I did. And when you’ve denied yourself the joy of reading, the joy of literature, out of sheer ignorance or laziness for a while, and then you have these incredible teachers at your disposal, it does slowly trigger something in you. I’m a Southerner, so I began reading William Faulkner and wouldn’t stop reading him throughout my college summers. If I could pick a time when enjoyment turned to love, though, I would have to say the second time I read Jean Toomer’s Cane. First time was a skim for class. Second time was in the summer, after roofing all day, and then with nothing else to do, actually reading that book. That book is something every literate person should read.

2. Give us your fondest memory of your MFA years at Notre Dame.
There are quite a few. I had a radio show during my MFA years at WVFI. It was actually resurrected from my undergraduate days when the incredibly talented Kara Zuaro and I co-hosted. During the MFA, it was the incredibly talented Angela Hur and myself. The take away there is that in both instances I had a great time and in both instances I was the slow one on the program. One time during the MFA years, we performed a radio play written by Kevin Ducey with a number of other MFAers (Corey Madsen and Kelly Kerney, I believe were both involved). To perform anything ”written by Kevin Ducey” is an honor, but that was tremendously fun. Great as that was, though, I think the ultimate highlight was a reception hosted by the Program and the Irish Studies department where I got to share a glass(es) of whiskey with Seamus Heaney. That was an event that ekes its way up the Kid #1 birth-Kid #2 birth-wedding line. Rarefied air. He was purely one of the truly kindest and most humble people I think I’ve ever met. Treated me like a prince, and truth be told, compared to many of the other MFA writers in my group, I was nothing special. Incredible night.

3. Can you describe your motivations for pursuing a career in law after the MFA?
Another excellent question with another humdrum answer. Law school was something I always wanted to pursue. It made sense to me to do it, even at a young age. My vision was just to go to college and then law school, work and then die. The problem was I happened upon Valerie Sayers and a number of other writers as an undergrad that inspired me to pursue the MFA while I still could. While I was still young and writing and literature were fresh to me, and they could enjoy the prominent place in my life that they deserved. So, I got very lucky and was accepted at Notre Dame where I cannot effectively describe what an incredible time I had. Ironically, the MFA inspired me to (eventually) return to my plan of attending law school. Law school, and I can say this now with a least some distance from it, does make you a better technical writer. That was one motivation. The MFA, for me, made me a more mature writer, but I was still in a theoretical world where you have just tons of leg room to really explore language and voice and narrative and all of that wonderful stuff. I was not a good technical writer, however, unlike many of the other MFA students. I was too lost in my own world to really become better at that part of it. But, law school did help me improve. How much, I don’t know. There was a lot of ground to make up for. But at least I had/ have the confidence to say that I did improve. The other motivation for law school was that it was a way for me to make a living, raise my family, and when the time presented itself, write. Throughout law school, and even now that I’m actually practicing, I would read up on these great writers who had other careers that were at least somewhat disengaged from literature. But I must say I very much enjoy what I do in my 9-to-5 (or 8-to-8, but who’s counting). It is very, very different from writing, but good different.

4. Were there specific skills that you picked up in the MFA Program that lead to your success as a lawyer?
Absolutely. The ability to think creatively is critical. People sometimes think the life of a lawyer is either very thrilling and sexy, like you see on television, or very dull and rote. In my limited experience, neither is exactly true. However, you do need passion for it (like in the television shows) and you need to be organized. I am better at the former, to be very honest. But you also have to be creative. The answers to questions aren’t always simple. You can’t always plug in a law or legal case to explain something, and you can’t simply argue emphatically without some backup. When the answer is hard to determine, you have to be able to dissect what’s in front of you, imagine it going in various directions, and then see how an answer or an assumption deals with those directions. The intellectual and creative processes are very similar to what I try to do when writing a story. I think that’s why I enjoy it. So, you have thinking creatively, but also the ability to really dissect language and break it down to its base elements. This latter skill is something that, for me, does not come naturally, but was learned through editing my work during the MFA Program, as well as reading others’ works. The other skill, and I’m not sure this is technically a skill, is curiosity. I think curiosity is a much undervalued element of writing. You want to learn about the world as you write about it. How things work, who people are, all these questions are, for me, the most exciting elements of writing fiction. I work in-house for a large company. And my clients cover a very large swathe of provisions and fields, as well as countries and cultures. The only way I can do my job and not get fired is if I have that same curiosity that I was given great freedom to pursue during my MFA years. That freedom really allowed me to make curiosity part of my everyday, part of who I now am. And it’s carried over to my work now as an attorney. For example, I’m an environmental lawyer. Before this job, I had very little interaction with environmental issues. Now, it’s something I dedicate crazy hours to with no scientific or technical background. But, curiosity carries me forward, and humility (a trait honed against the backdrop of being very average compared to other MFA students) keeps me from collapsing when I make my numerous mistakes.

5. What creative projects are you working on now? How do you find time to work on them?

Campbell with KidsI am actually working on a novel right now, and have been for a while. I used to pride myself on writing copiously as an undergrad and MFA student. None of it very good. But now, the process has been slowed considerably. My writing times are very early in the morning and very late at night. I have two active, crazy little ones, and so on my weekends, I try to dedicate as much time with them as I can. So, similar to law school when both of them were born, my free time, my writing time, is during their sleeping hours. My wife also writes, so it works out ok on the marriage end. But, I tend to write best when in a fever, when I cannot concentrate on anything else. So, that makes for some rough Friday and Saturday nights when I am awoken the next morning at 5 am by small hands smacking me across the face. I also have 2 short stories that I am returning to for some substantial edits.  

6. Could you go into your inspiration for what you’re working on now?
The novel is based very loosely on a tragedy that took place in what I consider my home town of Douglas, Georgia, many years ago. There are a litany of factual differences, so as to be its own story. I am trying to explore the two sides of it. The family who has lost a loved one and the people who were behind it. One of the blessings of studying the law, at least this is true of me, is that you gain a different perspective on the various actors involved in something criminal. That doesn’t mean the lines are blurred at all. God forbid there’d be chaos. But there is complexity. Complexity surrounding those who do something unspeakable and those who must then deal with it. I had the great pleasure during law school of contributing to an academic work dealing with juvenile criminals. That, mixed with some of the personal research I did both during my undergrad and MFA days, has hopefully prepared me to do the subject justice. If it hasn’t, then I might be the worst MFA alum in Notre Dame history.

7.  Given all your commitments do you still make time to read? If so, what are you reading? Would you recommend it? Why?
Reading is something you have to make time for. It’s not easy. Work, kids, marriage, volunteer groups, taking care of sickly parents, etc. You just have to make time for it. When I am writing, or trying to write, I tend not to read a lot of literature. The reason for that is I am easily inspired. I’m not so set in my ways that I know how to write the way I want no matter what masterpiece may be calling me otherwise. This is one of problems with being a “Cliff’s Notes” student in high school. I haven’t matured creatively compared to the very successful MFA students I got to work with. Every piece of fiction or poetry I read demands my emulation. For example, I read “The Sister’s Brothers” last year by Patrick DeWitt. Great book. Funny, simple, but still fascinating. Perfectly “good” reading for a confused lawyer. But, when I went to write, I suddenly started drafting out dialogue in his cool, deadpan way that wasn’t me writing, it was me imitating, miserably, Patrick DeWitt. I had the same experience with ”The Brief Wondrous Life of Oscar Wao” by Junot Diaz. The book is so incredible, to me, and the character so worthy of your time, of your late hours, that I felt pressured to try to be like that even knowing I could not. So, when I am trying to write, I tend to read a lot of history and philosophy. I am right now going through the Oxford History of the United States series and I just finished Being Given by Jean Luc Marion (a personal hero). The one exception I have made recently, however, is Valerie SayersThe Powers. I made the exception for a few reasons. One was that she is one of the most special and important friends and mentors of my life, so I have to. Another reason is that I cannot write relationships the way she does. I cannot write female characters the way she does, though it would be a dream. However, when I read The Powers, which is wonderful by the way, and I sit down to imitate Valerie Sayers, what happens is not so much that I get derailed like with some other writers I read. Instead, what I end up doing is I write the female characters powerful and complex (or my attempt at such), and the relationships, familial, physical, etc., with the understanding that all of what I am writing is going to be changed dramatically. But, in my failing efforts, I will at the very least come to a greater understanding and appreciation of those female characters and those relationships through the exercise. I’ve read all of her works, so I know when I am drifting into Sayersisms in my own writing and can adjust when I have done a poor job. That’s the beauty of reading a great writer’s work when you’re comfortable with them and know them well enough to recognize when you aren’t being truthful to your voice, but you can still glean a great deal from that mistake. That’s why The Powers is so tremendous. That’s why she is, too.

Campbell Whole Family


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New at the Browning: Special Screening of Documentary About Catholic Anti-Vietnam War Protestors.

Visiting Director Joe Tropea will be screening his documentary Hit and Stay: A Story of Faith and Resistance at the University of Notre Dame in the Browning Cinema at the DeBartolo Performing Arts Center March 6th, 2014, at 7:00 p.m. The screening is co-presented by the Cushwa Center for the Study of American Catholicism and the Department of English.


Hit and Stay tells the story of the Catonsville Nine, a Maryland group of Catholic activists protesting the Vietnam War, and those who joined them through interviews with many of the participants, as well as observers ranging from political critic Noam Chomsky to historian Howard Zinn, as the activists went to prison or underground, tangled with the FBI, and ultimately helped change Americaʼs mind about the war.

The film has garnered many prizes and honors, including an Audience Award from the 2013 Chicago Underground Film Festival, Best Documentary Feature from the 2013 Sidewalk Film Festival, and Official Selections from the Maryland Film Festival, the Kansas City Film Festival, and the Indie Memphis Film Festival, as well as many others.

Joe Tropea is a public historian, writer, and filmmaker. He has been making films and video for over a decade, writes occasionally for the Baltimore City Paper, IndyReader, Baltimore Brew, and the history blog underbelly, and is Curator of Photographs and Moving Images at the Maryland Historical Society. This is his feature directorial debut.

After the screening, Tropea will be joined by Professor William O’Rourke, author of The Harrisburg 7 and the New Catholic Left and Professor of English at the University, for a discussion of the film and the lasting influence of the Cantonsville Nine and other Vietnam-era protestors.
See you there,
Suzi G

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We are excited to announce that the first installment of the Spring 2014 Notre Dame MFA Student Reading Series will be held this Wednesday night!

First Year Readings

Three students from the Notre Dame MFA Program in Creative Writing will be reading at the University of Notre Dame at the Pool at Central High School, 330 W. Colfax Ave. Apt. #125, on March 5, 2014 at 7:30 p.m. This is the initial reading in the Spring 2014 Notre Dame MFA Student Reading Series, which seeks to showcase literary talent from the graduate Creative Writing program.

March 5
This reading will include the work of two fiction writers and one poet. Jace Brittain’s hyper-lyrical fiction finds inspiration from his travels in Germany and his readings of Franz Kafka, Thomas Bernhard, and Lydia Davis. For Brittain, the story is as much in its telling as it is in its plot. Suzi F. Garcia’s poetry has been published in the Yalobusha Review, Word Riot, and others. Her poetry is often somehow visceral and somewhat lilting, and expresses her interests in race, gender, and a relationship to the literary and theoretical canon. Garret Travis’s work earned him the John Ed Bradley and Matt Clark Awards for Fiction from Louisiana State University and has been published in the New Delta Review. His current novel-in-progress is set in a future dystopia and explores themes of surveillance, multimedia, and the effects of technological proliferation on the human experience.

We can’t wait to see you there!

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