In this this interview, Carrie Tippen talks with Conor Picken and Matthew Dischinger about their edited collection, Southern Comforts: Drinking and the US South from Louisiana State University Press’s Southern Literary Studies Series.

This collection of seventeen essays focuses on the mythologies and representations of alcohol production, distribution, and consumption (or rejection) in the literature and culture of the US South. Picken and Dischinger argue in the introduction that the relationship between the US South and alcohol has been overdetermined in popular imagination. The region is simultaneously known for its “dry” counties, temperance laws, and religious teetotalers as well as “hard­drinking authors, bootleggers, moonshiners, and distillers, to name but a few.” Picken and Dischinger interrogate the assumption that alcohol consumption is a community-building activity, arguing that drinking together, like eating together, often obscures underlying and persistent inequalities of race, class, and gender. Representations of Southern drinking culture tend to reify rather than resist hegemonic power structures. The collection explores and deconstructs these contradictory stereotypes through analysis of literary, historical, and pop culture representations of drink and drinking. Essays focus on a variety of texts and subjects from female blues singers, male country musicians, and Mardi Gras cocktails to the works of Flannery O’Connor, Carson McCullers, William Faulkner, and John Kennedy Toole – among many other representations in literature and film.

Conor Picken is an Assistant Professor of English and the Faculty Director of the Compassio Learning Community at Bellarmine University. His teaching and research encompass 20th- and 21st-century American Literature, southern literature, modernism, and social change.

Matthew Dischinger is a Lecturer at Georgia State University. Matt works at the intersections of American Studies, Southern Studies, and Postcolonial Studies. His research explores contemporary U.S. Multi-Ethnic literatures, literary melancholia, and speculative aesthetics.

Carrie Helms Tippen is Assistant Professor of English at Chatham University in Pittsburgh, PA, where she teaches courses in American Literature. Her 2018 book, Inventing Authenticity: How Cookbook Writers Redefine Southern Identity (University of Arkansas Press), examines the rhetorical strategies that writers use to prove the authenticity of their recipes in the narrative headnotes of contemporary cookbooks. Her academic work has been published in Gastronomica, Food and Foodways, American Studies, Southern Quarterly, and Food, Culture, and Society.

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The fact that secrecy and the concealment of information is important in today’s China is hardly a secret in itself, yet the ways that this secrecy is structured and sustained in such a vast society is not especially well understood. A lot more must be at play than simply the PRC state’s vast censorship apparatus when it comes to obscuring everything from the leadership’s private lives to dark chapters of country’s recent history.

Margaret Hillenbrand’s Negative Exposures: Knowing What Not to Know in Contemporary China (Duke University Press, 2020) sheds unique light on the operation of what she calls China’s culture of ‘public secrecy’. Focusing on the storied afterlives and artistic re-purposings of photographic images from key junctures of China’s twentieth-century – the Nanjing Massacre, the Cultural Revolution and the Tiananmen Square protests – Hillenbrand shows how they expose the subtle contours of what it is permissible and what impermissible to know. The book’s highly original and at times haunting exploration of photographic afterlives in art, literature and online offers up a nuanced but also forceful picture of how secrecy reigns in the PRC, and indeed beyond.

 Ed Pulford is a postdoctoral researcher at the University of Amsterdam. His research focuses on friendships and histories between the Chinese, Korean and Russian worlds, and northeast Asian indigenous groups.

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The Jātaka tales, or stories of the Buddha’s previous lives as a bodhisatta, are included in the Pāli Canon and have for centuries been a rich source of inspiration in Theravada Buddhism. In addition to these classical Jātaka, a number of other non-canonical Jātaka tales emerged in Southeast Asia and were widely circulated throughout the region. Collections of these tales are conventionally referred to as the Paññāsa Jātaka, or the “Fifty Jātaka”. Once considered minor and apocryphal, the Paññāsa Jātaka are now recognized as the lifeblood of the region’s literature and an important source of traditional culture.

Chris Baker and Pasuk Pongpaichit have translated twenty-one of the best-known tales from the Thai collection of the Paññāsa Jātaka in their recently published book From the Fifty Jātaka: Selections from the Thai Paññāsa Jātaka (Silkworm Books, 2019). In addition to the elegant and approachable translations, Baker and Phongpaichit have included an insightful introduction on the Paññāsa Jātaka and have also provided synopses of all sixty-one tales. Both an entertaining and informative book, “From the Fifty Jātaka” will be appreciated both by the layman as well as the scholar.

Please join us as we explore these fascinating tales and the origins of some risqué Thai tree names on today’s podcast.

Alex Carroll studies Buddhist Studies at the University of South Wales and is primarily interested in Theravāda and early Buddhism. He lives in Oslo, Norway and can be reached via his website here.

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Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization?

I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Contemporary Literature and the Quest for the Past (University of Chicago Press 2013); as editor, The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018), and with Uli Baer, an edited book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen. He's published several books on poetry after the Holocaust and on writings about the Palestinian expulsion. In 2018 Amir published a book with the artist Gerhard Richter, called Zeichnungen/רישומים, a book which brings together 25 drawings by Richter from the cycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German.

Eshel first encountered Celan in Hebrew translations before learning German himself. I read Celan in (my native) German but not until I have moved to America and started writing and mostly speaking in English. Amir and I met, in a way, as an Israeli and a German, via Celan's poetry. We talked about the experience of reading Celan, how being estranged by language can come close to grasping another's experience that we will never know, and why poetry never quite lives only in a familiar idiom.

Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It"

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Paradox is a sophisticated kind of magic trick. A magician's purpose is to create the appearance of impossibility, to pull a rabbit from an empty hat. Yet paradox doesn't require tangibles, like rabbits or hats. Paradox works in the abstract, with words and concepts and symbols, to create the illusion of contradiction. There are no contradictions in reality, but there can appear to be. In Sleight of Mind: 75 Ingenious Paradoxes in Mathematics, Physics, and Philosophy (MIT Press, 2020), Matt Cook and a few collaborators dive deeply into more than 75 paradoxes in mathematics, physics, philosophy, and the social sciences. As each paradox is discussed and resolved, Cook helps readers discover the meaning of knowledge and the proper formation of concepts―and how reason can dispel the illusion of contradiction.

The journey begins with “a most ingenious paradox” from Gilbert and Sullivan's Pirates of Penzance. Readers will then travel from Ancient Greece to cutting-edge laboratories, encounter infinity and its different sizes, and discover mathematical impossibilities inherent in elections. They will tackle conundrums in probability, induction, geometry, and game theory; perform “supertasks”; build apparent perpetual motion machines; meet twins living in different millennia; explore the strange quantum world―and much more.

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Mary Wollstonecraft Godwin Shelley wrote Frankenstein, or The Modern Prometheus when she was nineteen years old on a bet. The novel spawned two centuries of creatures that turn against their makers. It examines the limits of scientific innovation, whether the quest for knowledge must be tempered by morality, and why human beings tend to ostracize, persecute and sometimes kill anything that does not look like them. I spoke with Julie Carlson, a professor at the University of California, Santa Barbara and the author of a gripping biography of Mary Shelley's family, England's First Family of Writers: Mary Wollstonecraft, William Godwin, Mary Shelley (among other books). Shelley's mother was Mary Wollstonecraft, the first modern feminist and a free thinker vilified for her ideas of equality. Her father was a philosopher. In some ways, Mary Shelley was an experiment herself. We also discussed what it means that a woman wrote the first science fiction novel, and why the book and the "daemon" Shelley imagined still proves so powerful today, 200 years after its first publication.

Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It"

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Throughout her new book, HandiLand: The Crippest Place on Earth (University of Michigan Press 2019), Elizabeth A. Wheeler uses a fictional place called HandiLand as a yardstick for measuring how far American society has progressed toward social justice and how much remains to be done. In a rich array of chapters, Wheeler considers the new prominence of youth with disabilities in contemporary young adult and children’s literature. From these and other sources, she derives principles for understanding social justice from the everyday experiences of adults and families with disabilities, including her own. Wheeler intersperses literary analysis with personal memoir in an effort to fashion tool kits for those whose “work, ideas, and hands touch young people with disabilities,” which is all of us.

Carrie Lane is a Professor of American Studies at California State University, Fullerton and author of A Company of One: Insecurity, Independence, and the New World of White-Collar Unemployment. Her research concerns the changing nature of work in the contemporary U.S. She is currently writing a book on the professional organizing industry. To contact her or to suggest a recent title, email [email protected].

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Throughout her new book, HandiLand: The Crippest Place on Earth (University of Michigan Press 2019), Elizabeth A. Wheeler uses a fictional place called HandiLand as a yardstick for measuring how far American society has progressed toward social justice and how much remains to be done. In a rich array of chapters, Wheeler considers the new prominence of youth with disabilities in contemporary young adult and children’s literature. From these and other sources, she derives principles for understanding social justice from the everyday experiences of adults and families with disabilities, including her own. Wheeler intersperses literary analysis with personal memoir in an effort to fashion tool kits for those whose “work, ideas, and hands touch young people with disabilities,” which is all of us.

Carrie Lane is a Professor of American Studies at California State University, Fullerton and author of A Company of One: Insecurity, Independence, and the New World of White-Collar Unemployment. Her research concerns the changing nature of work in the contemporary U.S. She is currently writing a book on the professional organizing industry. To contact her or to suggest a recent title, email [email protected].

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While there are still occasional uses of it today, the term "Central Europe" carries little of the charge that it did in the 1980s and early 1990s, and as a political and intellectual project it has receded from the horizon. Proponents of a distinct cultural profile of these countries―all involved now in the process of Transatlantic integration―used "Central European", as a contestation with the geo-political label of Eastern Europe.

In Transatlantic Central Europe: Contesting Geography and Redefining Culture beyond the Nation (Central European University Press, 2019), Jessie Labov discusses the transnational set of practices connecting journals with other media in the mid-1980s, disseminating the idea of Central Europe simultaneously in East and West. A range of new methodologies, including GIS-mapping visualization, is used, repositing the political-cultural journal as one central node of a much larger cultural system. What has happened to the liberal humanist philosophy that "Central Europe" once evoked? In the early years of the transition era, the liberal humanist perspective shared by Havel, Konrád, Kundera, and Michnik was quickly replaced by an economic liberalism that evolved into neoliberal policies and practices. The author follows the trajectories of the concept into the present day, reading its material and intellectual traces in the post-communist landscape. She explores how the current use of transnational, web-based media follows the logic and practice of an earlier, 'dissident' generation of writers.

Jessie Labov is the Director of Academic and Institutional Development at McDaniel College Budapest, and a Resident Fellow in the Center for Media, Data and Society, at Central European University.

Steven Seegel is a professor of history at the University of Northern Colorado.

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Nicholas R. Jones’s book, Staging Habla de Negros: Radical Performance of the African Diaspora in Early Modern Spain (Penn State University Press, 2019), analyzes white appropriations of black African voices in Spanish theater in the sixteenth through eighteenth centuries, when performing habla de negros—how Africanized Castilian was commonly referred to—was in fashion. Jones problematizes long-held beliefs among literary critics and linguists that habla de negros as represented in dominant Spanish literature was exclusively racist stereotypes, and instead seeks to theorize habla de negros as a radical performance that “allow[s] black expression and black sensibilities to emerge whether there are black bodies present or not.” This elegant book demonstrates that black voices, speakers, bodies, subjects, were visible, present, and constitutive parts of the early modern Castilian soundscape and society and succeeds in drawing modern readers’ attention to their importance. By centering black historical and literary figures, Jones shows how black populations of early modern Spain participated in the formation of Black experience beyond Brazil, the Caribbean and the United States.

Elizabeth Spragins is assistant professor of Spanish at the College of the Holy Cross. Her current book project is on corpses in early modern Mediterranean narrative. You can follow her on Twitter @elspragins.

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