I’m excited to announce a bunch of newly written (and co-written) articles and reviews have been accepted for publication and are forthcoming soon:
McCutcheon, Mark A. “Reading poetry and its paratexts for evidence of fair dealing.” Studies in Canadian Literature / Études en littérature canadienne, in press.
—-. “Paratextual and ‘sampladelic’ techniques for ‘committing centonism’ in contemporary poetry published in Canada.” Cento-Texts in the Making: Aesthetics and Poetics of Cento-Techniques from Homer to Zong!, edited by Manuel Baumbach, Bochumer Altertumswissenschaftliches Colloquium series, in press.
—. “Frankenstein meets the FAANG five: figures of monstrous technology in digital media discourse.” Beyond Modern Science: Essays on Frankenstein and STEAM for Charles E. Robinson, edited by Robin Hammerman. Delaware UP, in press.
A mad mash of Billie Eilish, Deadmau5, Lil Jon, Carly Rae Jepsen, Armand Van Helden, Public Enemy, Young Galaxy et al:
The general idea here’s a thick mix–2-4 tracks playing at most times* (all in the key of Gm/Bb)–seeking to scramble copyright bots’ capacity to discern properties; and in the process to share a genre-bent (#twotone) music mix for use in your socials that hopefully won’t get taken down by copyright bots. Which are just the worst judges of #fairuse and #fairdealing. (If you do use this mix but find your socials take it down, I’d welcome a comment about it.) What CV Dazzle is to face recognition tech, a mix like this wants to be to automated copyright enforcement. And a coda to #fairdealingweek. (* except the intermezzo with Sasha’s “Xpander”)
This mix, btw, began as an improvised #ValentinesDay jam for my basement #rollerskating fam…which I add to reflect how critique proceeds as a labour of love.
Downloadable-file version: TBA. Here’s the full track list:
“Alien is the thing that made me want to write the books and the screenplays for the show,” says Ty Franck—half of the authorial team known by their nom de plume, James S.A. Corey—on the 16 Dec. 2020 episode of The Expanse Aftershow. Talking with Thomas Jane, director of season 5’s third episode, “Mother”, and Wes Chatham, Franck expounds:
“The movie Alien is the single largest influence on The Expanse. I saw that movie when I was, like, I think ten or eleven, and it never left my mind…so, the two characters in Alien that are what The Expanse is, is Parker and Brett. Two guys in jumpsuits walking around fixing pipes on a spaceship, and they’re treating it like a job. They’re not starfleet, they’re not admirals, they’re not like Klingons. They’re a couple of guys with pipe wrenches fixing stuff and complaining they don’t get as much money as everybody else…those guys, those two guys are the foundation of The Expanse.”
As a scholar of science fiction’s representations of labour, I find Franck’s reflection a helpful specification of the source material for The Expanse’s refreshingly sympathetic depictions of organized labour. I find three particular things striking about his words here:
It’s a clear, co-authorial assertion of labour and working-class perspective as an oppositional premise (“they’re not…”), and thus as both an aesthetic and an ethos;
It’s an open acknowledgment of intertextual influence and (unlicensed) adaptation, and so it models transformative fair use (as does a lot of SF, to be fair); and
In the process of explaining Alien’s influence, Franck also names—inadvertently, perhaps, but suggestively—two other SF classics, viz., “foundation” and “the thing.”
This weekend I’m giving a talk at the Interdisciplinary Workshop on the Technique of Cento Texts, hosted by the Ruhr-Universität Bochum. The poem I’ll be discussing as a case study is “Ravel” by Mary Dalton, from her book of centos, Hooking (Véhicule P, 2013). I’m sharing an annotated copy of that poem here so other delegates can read it, since it is hard enough to find in Canada, never mind elsewhere. (I’m sharing this copy under educational fair dealing auspices, and will delete it from this post after the weekend.)
Recently, a colleague accidentally referred to Wang Chung as the Wu Tang Clan, and to Leonard Cohen as Ol’ Dirty Bastard. Most took this as a good joke. I took it as a DJ challenge. Here’s an hour-long mix in which Cohen duets with ODB and Wang Chung jams with the Wu Tang Clan. You do two-tone your way, I’ll do mine.
English professors don’t often get press inquiries, but a writer for EnergyWire, an oil business-facing news service, contacted me last week to ask what I think of the video for Justin Bieber’s new song “Holy.”…
Just in time for #CanadaDay, I thought I’d share a DJ mix in which I improve US country anthems (by the late great Kenny Rogers, and Taylor Swift, among others) with infusions of UK drum & bass (and, yes, some CanCon rock too — cue to the 20-minute mark to hear The Guess Who meet Shy FX).#PlayItLoud #BlameCanada