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"Snow Fiction."
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Snowflakes fall
In this illustrated poem in honor of the victims of the 2012 shooting in Newtown, Connecticut, falling snowflakes celebrate the uniqueness of life, its precious, simple moments, and the strength of memory.
BOOK
On Linden Square
After a heavy snowfall, Stella Mae Culpepper goes to the park and starts sculpting, and soon all of her neighbors, normally detached and indifferent, are working together to build a fantastic snow creature.
Book
The Long Winter of 1880/81
The story of the winter of 1880/81 in the central United States has been retold in historical fiction, including Laura Ingalls Wilder’s The Long Winter, as well as in local histories and folklore. What story does the meteorological data tell, and how does it measure up when compared to the fiction and folklore? What were the contributing factors to the severity of the Long Winter, and has it been or could it be repeated? Examining historical and meteorological data, reconstructions, and reanalysis, including the Accumulated Winter Season Severity Index, the Long Winter emerges as one of the most severe since European-descended settlers arrived to the central United States and began documenting weather. Contributing factors to its severity include an extremely negative North Atlantic Oscillation pattern, a mild to moderate El Niño, and a background climate state that was much colder than the twentieth-century average. The winter began early and was particularly cold and snowy throughout its duration, with a sudden spring melt that caused subsequent record-setting flooding. Historical accounts of the winter, including The Long Winter, prove to be largely accurate in describing its severity, as well as its impacts on transportation, fuel availability, food supplies, and human and livestock health. Being just one of the most severe winters on record, there are others in the modern historical record that do compare in severity, providing opportunity for comparing and contrasting the impacts of similarly severe winters.
Journal Article
The Shape of the Signifier
The Shape of the Signifieris a critique of recent theory--primarily literary but also cultural and political. Bringing together previously unconnected strands of Michaels's thought--from \"Against Theory\" toOur America--it anatomizes what's fundamentally at stake when we think of literature in terms of the experience of the reader rather than the intention of the author, and when we substitute the question of who people are for the question of what they believe.
With signature virtuosity, Michaels shows how the replacement of ideological difference (we believe different things) with identitarian difference (we speak different languages, we have different bodies and different histories) organizes the thinking of writers from Richard Rorty to Octavia Butler to Samuel Huntington to Kathy Acker. He then examines how this shift produces the narrative logic of texts ranging from Toni Morrison'sBelovedto Michael Hardt and Toni Negri'sEmpire. As with everything Michaels writes,The Shape of the Signifieris sure to leave controversy and debate in its wake.
eBook
Donkey Hodie. Season 1, episode 31, Snow day/Snow surprise challenge
It's a snow day in Someplace Else! Will Panda's pals want to do all his favorite snow activities from Planet Purple? Then, Bob Dog wants to win a glowy, snowy, floating fun ball, so he thinks of things he's good at to play Gameshow Gator's new snow game.
Streaming Video
“Only a Light Wreath of The New-Fallen Snow”?: Ecogothic Tropes and the Diffractive Gaze in Nathaniel Hawthorne’s “The Snow-Image”
In the article I discuss Nathaniel Hawthorne’s ecological imagination as problematized in his lesser-known short story “The Snow-Image: A Childish Miracle” (1849). Although Hawthorne wrote the story for children, it carries a darker gothic undertone, illustrating the problematic aspect of the Romantic nature/culture division. The focus of my inquiry are the potential ecological implications. The analytical framework is taken from Andrew Smith and William Hughes’ edited collection Ecogothic (2013), in which several scholars work towards a definition of an environmentally conscious variety of the gothic genre. Using some of their findings and concepts along with selected ecocritical and New Materialist theories, I interrogate Hawthorne’s highly ambiguous and shifting tropes of nature which reveal the correlation between the crisis of the imagination and that of the environment. I argue that the central trope of the snow-child and the trajectory of the narrative conceal a Frankensteinesque subplot employed to critically rethink nature as a transcendental experience.
Journal Article