City of Strangers

Exploring the everyday experiences of workers from India who have migrated to Bahrain, this study contributes significantly to our understanding of politics and society among the Persian Gulf states and of the migrant labor phenomenon that is an increasingly important aspect of globalization. "Andrew M. Gardner expertly combines in-depth ethnography with theoretical sophistication in this important look at the complex linkages between labor, migration, globalization, and the structural violence that accompanies the new world economic order. Gardner follows the labyrinthine paths of migrant workers in the Gulf, drawing on powerful qualitative data to complicate existing assumptions about the lives of skilled and unskilled workers in the Middle East's fastest growing region. Beautifully written and compelling, the book sheds light on a population and area of the world that remains understudied despite its rapid emergence onto the global market."—Pardis Mahdavi, Pomona Colleg

Wooster Magazine: Summer 2004

This edition of the Wooster Magazine was published in the Summer of 2004. Five students are featured for their Independent Study projects: Kate Matthews, Samantha Ferm, Pat McKenzie, Hanneke Hoekman, and Angela Zombek. Wooster\u27s improv group called Don\u27t Throw Shoes is featured from page twenty-six to thirty. The Class Notes section is featured from page thirty-one to sixty-three from the class of 1931 to 2004. Births, adoptions, and obituaries end the section. Page sixty-four has a story of Wooster\u27s first \u27museum\u27 (cabinet of curiosities) in Old Main and its most curious artifact, a skull that supposedly was Nat Turner\u27s.https://openworks.wooster.edu/wooalumnimag_2001-2010/1026/thumbnail.jp

Felix Academicus: Tales of a Happy Academic

This book is a potpourri of thirty-two essays and poems written by Skip Eisiminger between the turn of the twenty-first century and mid-2006. As the enclosed works will show, Eisiminger is an academic who—though he has since retired—looked forward to Monday mornings throughout the nearly forty years he spent happily teaching in Clemson University\u27s Department of English. The collection opens with a secular-humanist essay that was written for a contest sponsored by a religious foundation. After it was completed, however, the author learned that the final judge was a fundamentalist Christian. Needless to say, it did not win, place, or show. The book closes with some speculations on immortality, one aspect of which depends heavily on this essay! In between is a wildflower garden of sacred and profane efflorescences.https://tigerprints.clemson.edu/cudp_mono/1012/thumbnail.jp

Amrit Singh and the Birmingham Quean: fictions, fakes and forgeries in a vernacular counterculture

For a literary critic preparing a scholarly edition of a text like this within an epistème that disparages the theory underpinning it for being tainted with the gestural idealism of 1968 and the neon-glare of 1980s high postmodernism, the crucial question is how to reconcile the commitment to authenticity ingrained in historicist textual studies (perhaps the critic’s only viable disciplinary inheritance) with the author’s implicit antagonism to any such quietist approach. The encounter inevitably becomes a battle of wills. In the course of the current project, this theoretical struggle escalates exponentially as doubts concerning the authenticity (and indeed the existence) of both writer and manuscript are multiplied. If a thesis can be retrospectively extrapolated from this project, it is the argument that fiction is demonstrably a tractable forum for research in the Arts and Social Sciences: all the more tractable for its anti-authenticity. The critic’s loss is the novelist’s gain. Specifically, in this case, the faithful historian of late twentieth century literatures, languages and cultures can solve the key dilemma of the subject by working under the auspices of Creative Writing. Only in this way can justice be done to the most cogent intellectual trend of the posmodern period (perhaps its defining feature): one that revelled in its own pluralities, ambiguities and contradictions, and resisted all the unifying, teleological models of ‘history’ that had been implicated in the century’s terrible ‘final solutions’. In other words, only fiction can tell the history of a culture that rejects that history. If this means condoning forgery… so be it

The Whitworthian 2006-2007

The Whitworthian student newspaper, September 2006-May 2007.https://digitalcommons.whitworth.edu/whitworthian/1091/thumbnail.jp