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English and Creative Writing
2010 Lake Forest Literary Festival
Teresa Carmody is the author of Requiem (Les Figues Press, 2005), and two chapbooks: Eye Hole Adore(PS Books, 2008), and Your Spiritual Suit of Armor by Katherine Anne (Woodland Editions, 2009). Other work has appeared in various publications, including Bombay Gin, Fold Appropriate Text, Luvina, American Book Review, emohippus greeting cards 1-3 and more. She was one of the organizers of the original Ladyfest in Olympia, Washington, and co-organizer (with Matias Viegener and Christine Wertheim) of Feminaissance, a colloquium on women, experiments and writing at the Los Angeles Museum of Contemporary Art. She is cofounder and co-director (with Vanessa Place) of Les Figues Press, hailed by critic Terry Castle as “an elegant vessel for experimental writing of an extraordinarily assured and ingenious sort.”
Lily Hoang’s short novel Changing (Fairy Tale Review Press) received a 2009 PEN/Beyond Margins Award. Her first book Parabola won the Chiasmus Press Un-Doing the Novel Contest in 2006. She is also the author of the forthcoming novels The Evolutionary Revolution (Les Figues Press, Apr. 2010) and Invisible Women (StepSister Press, 2011) and the collaborative short story collection Unfinished (Jaded Ibis Press, 2011). With Blake Butler, she co-edited the anthology Thirty Under Thirty, due out in April 2011 from Starcherone Books. She is serves as Associate Editor at Starcherone Books and Editor at Tarpaulin Sky. She can be found virtually athttp://bigother.com.
Gretchen E. Henderson earned her B.A. summa cum laude from Princeton, M.F.A. from Columbia University, and Ph.D. from the University of Missouri-Columbia. She has taught creative writing and literature at Knox College, the University of Missouri, Barnard College, and at the high school level. Her fellowships include artist residencies from the Virginia Center for the Creative Arts, Anderson Center for Interdisciplinary Studies, and Vermont Studio Center, with genre-bending publications in varied journals including The Iowa Review, Denver Quarterly, New American Writing, Black Warrior Review, Notre Dame Review,Fourteen Hills, The Southern Review, Alaska Quarterly Review, Caketrain, and elsewhere. Among other awards, her work has been runner-up for the AWP Award Series in the Novel and nominated for a Pushcart Prize. She currently lives and works in Gambier, Ohio. Some “Exhibits” from her Galerie de Difformité can be found at: http://doubleroomjournal.com/8/Henderson.html and an invitation to participate in her project can be found at: http://difformite.wordpress.com/.
Angela Jackson, poet, playwright and fictionist was born July 25, 1951 in Greenville, Mississippi. Her father, George Jackson, Sr. and mother, Angeline Robinson Jackson moved to Chicago where Jackson attended St. Anne’s Catholic School. Fascinated with books, Jackson frequented the Kelly Branch Library and admired Chicago’s Gwendolyn Brooks. She graduated from Loretto Academy in 1968 with a scholarship to Northwestern University. In 1977, Jackson received her B.A. degree from Northwestern University and went on to earn her M.A. degree from the University of Chicago.
At Northwestern University, Jackson joined FMO, the black student union. Influenced by artist Jeff Donaldson and visiting poet Margaret Walker, she was invited by Johnson Publishing’s Black World magazine editor, Hoyt W. Fuller, to join the Organization for Black American Culture (OBAC), where she stayed as a member for twenty years. At OBAC, Fuller mentored young black writers like Haki Madhubuti (Don L. Lee), Carolyn Rodgers, Sterling Plumpp and others. Jackson was praised as a reader and performer on Chicago’s burgeoning black literary scene. First published nationally in Black World in 1971, Jackson’s first book of poetry, Voodoo Love Magic was published by Third World Press in 1974. She won the eighth Conrad Kent Rivers Memorial Award in 1973; the Academy of American Poets Award from Northwestern University in 1974; the Illinois Art Council Creative Writing Fellowship in Fiction in 1979; a National Endowment For the Arts Creative Writing Fellowship in Fiction in 1980; the Hoyt W. Fuller Award for Literary Excellence in 1984; the American Book Award in 1985; the DuSable Museum Writers Seminar Poetry Prize in 1984; Pushcart Prize for Poetry in 1989; ETA Gala Award in 1994; Illinois Authors Literary Heritage Award in 1996; six Illinois Arts Council Literary Awards; five for fiction and one for poetry; The Carl Sandburg Award; Chicago Sun-Times Friends of Literature Book of the Year Award; an Illinois Art Council Creative Writing Fellowship in Playwriting in 2000; and in 2002, the Shelley Memorial Award of the Poetry Society of America.
Jackson’s published poetic works include: The Greenville Club, 1977 (chapbook); Solo in the Boxcar Third Floor E, 1985; The Man with the White Liver, 1987; Dark Legs and Silk Kisses: The Beatitudes of the Spinners, 1993; and All These Roads Be Luminous: Poems New and Selected, 1997, which was nominated for the National Book Award. Her plays include Witness!, 1970; Shango Diaspora: An African American Myth of Womanhood and Love, 1980; and When the Wind Blows, 1984 (better known as the eta production entitled, Comfort Stew). Where I Must Go (2009) is her first novel.
Jackson lives and works in Chicago, Illinois.
Shelley Jackson is the author of the story collection The Melancholy of Anatomy, the novel Half Life, and hypertexts including Patchwork Girl, My Body, and The Doll Games. The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated a number of children’s books, including The Old Woman and the Wave; Sophia, The Alchemist’s Dog; and the forthcoming Mimi’s Dada Catifesto. Her stories and essays have appeared in numerous anthologies and journals including Conjunctions,McSweeney’s, The Paris Review and Cabinet Magazine. In 2004 she launched her project SKIN, a story published in tattoos on 2095 volunteers. She is the co-founder, with artist Christine Hill, of the Interstitial Library, and headmistress of the Shelley Jackson Vocational School for Ghost Speakers and Hearing-Mouth Children. She teaches at the New School University and lives in Brooklyn.
Vanessa Place is a writer, a lawyer, and co-director of Les Figues Press. She is author of Dies: A Sentence (Les Figues Press, 2006), La Medusa (Fiction Collective 2, 20008), and Notes on Conceptualisms, co-authored with Robert Fitterman (Ugly Duckling Press, 2009); her nonfiction book, The Guilt Project: Rape, Morality and Law is forthcoming from Other Press. Place is co-founder of Les Figues Press, described by critic Terry Castle as “an elegant vessel for experimental American writing of an extraordinarily assured and ingenious sort.”
S.L. Wisenberg is the author of a fiction collection,The Sweetheart Is In, an essay collection, Holocaust Girls: History, Memory & Other Obsessions, as well as The Adventures of Cancer Bitch, based on her award-winning blog , and published in 2009. She has an MFA in fiction form the University of Iowa Writers’ Workshop and a BS in journalism from the Medill School of Journalism at Northwestern University. She was a reporter for the Miami Herald and has published prose and poetry in The New Yorker,Ploughshares, Colorado Review, Tikkun and many other places. She’s received a Pushcart Prize and awards and fellowships from the Illinois Arts Council, Fine Arts Work Center in Provincetown and the National Endowment for the Humanities. She is co-director of the MA/MFA in Creative Writing program at Northwestern University, and also teaches in the University of Graham School of General Studies. She was the graduate faculty recipient of the 2006-2007 Distinguished Teaching Award, presented by Northwestern University’s School of Continuing Studies. Her latest book, according to the online review Bookslut, “is funny, damned funny.” The reviewer also noted that the book is “far more selfless than most illness memoirs. Its eyes rove outward more than almost anything else I’ve read in the genre.” Library Journal noted: “Wisenberg brings her serious writing chops to bear in unflinching observations on breast cancer, cancer research, and teaching.”