Criticism > Contemporary Literary Criticism > Randall, Dudley (Vol. 135) - Copyright Page

Jeffrey W. Hunter

EDITOR

COPYRIGHTED EXCERPTS IN CLC, VOLUME 135, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

Amerasia Journal, v. 22, 1996. Copyright © 1996 by The Regents of the University of California. All rights reserved. Reproduced by permission.—American Libraries, v. 4, February, 1973. Copyright © 1973 by the American Library Association. Reproduced by permission.—Arizona Quarterly, v. 53, Autumn, 1997 for “Tripmaster Monkey, Frank Chin, and the Chinese Heroic Tradition” by Patricia P. Chu. Copyright © 1997 by the Regents of the University of Arizona. Reproduced by permission of the publisher and the author.—Black Books Bulletin, v. 1, Winter, 1972. Copyright © 1972 by the Institute of Positive Education. All rights reserved. Reproduced by permission of the publisher.—The Black Scholar, v. 6, June, 1975. Copyright 1975 by The Black Scholar. Reproduced by permission.—The Bloomsbury Review, v. 11, September, 1991 for “Frank Chin: His Own Voice” by Frank Abe. Copyright © by Owaissa Communications Company, Inc., 1991. Reproduced by permission of the author.—Chicago Tribune, April 29, 1990 for “Getting by on Charm: A Young Anglo-Indian in 1970s London” by James Idema; October 22, 1995 for “Literature vs. Piety on the Streets of London” by Beverly Fields; December 28, 1997 for “Hanif Kureishi Makes an Excursion into Short Fiction” by David L. Ulin. © 1990, 1995, 1997 Tribune Media Services, Inc. All rights reserved. All reproduced by permission of the respective authors.—College English, v. 34, April, 1973 for in a review of “The Black Poets” by Nick Aaron Ford. Copyright © 1973 by the National Council of Teachers of English. Reproduced by permission of the publisher and the author.—Commonweal, May 18, 1984; April 25, 1986. Copyright © 1984, 1986 Commonweal Publishing Co., Inc. Both reproduced by permission of Commonweal Foundation.—Comparative Literature Studies, v. 34, 1997. Copyright 1997 by The Pennsylvania State University. Reproduced by permission of the publisher.—Crime Time, v. VI, July, 1989. Reproduced by permission.—Critical Quarterly, v. 41, Autumn, 1999. Reproduced by permission of Blackwell Publishers.—Criticism, v. XXIX, Spring, 1987. Copyright, 1987, Wayne State University Press. Reproduced by permission of the publisher.—Critique, v. 38, Winter, 1997. Copyright © 1997 Helen Dwight Reid Educational Foundation. Reproduced with permission of the Helen Dwight Reid Educational Foundation, published by Heldref Publications, 1319 18th Street, NW, Washington, DC 20036-1802.—The Economist, July 15, 1995. © 1995 The Economist Newspaper Group, Inc. Reproduced with permission. Further reproduction prohibited. www.economist.com—English Studies, v. 76, September, 1995. © 1995, Swets & Zeitlinger. Reproduced by permission.—Freedomways, v. 13, Second Quarter, 1973. Copyright © 1973 by Freedomways Associates, Inc. Reproduced by permission.—The Hudson Review, v. XXXVII, Autumn, 1984. Copyright © 1984 by The Hudson Review, Inc. Reproduced by permission.—The Journal of Narrative Theory, v. 21, Winter, 1991. Reproduced by permission.—Kirkus Reviews, v. LXII, June 15, 1994. Copyright © 1994 The Kirkus Service, Inc. All rights reserved. Reproduced by permission of the publisher, Kirkus Reviews and Kirkus Associates, L.P.—The Literary Review, v. 21, 1978 for “A Mosaic View: The Poetics of Maurice Blanchot” by Roland A. Champagne. Reproduced by permission of the author.—Literature Interpretation Theory, v. 6, December, 1995. © 1995 by OPA (Amsterdam) B.V. All rights reserved. Reproduced by permission.—Los Angeles Times Book Review, January 1, 1989; June 3, 1990; April 14, 1991; December 18, 1994. Copyright, 1989, 1990, 1991, 1994 Los Angeles Times Book Review. All reproduced by permission.—The Massachusetts Review, v. XXXVIII, Spring, 1997. Reproduced from The Massachusetts Review, The Massachusetts Review, Inc. by permission.—Midamerica, v. XII, 1985 for “Living ‘Openly and with Dignity’—Sara Paretsky’s New-Boiled Feminist Fiction” by Jane S. Bakerman; v. XVIII, 1991 for “Paretsky, Turow, and the Importance of Symbolic Ethnicity” by Guy Szuberla. Copyright 1985, 1991 by the Society for the Study of Midwestern Literature. All rights reserved. Both reproduced by permission of the publisher and the respective authors.—The Midwest Quarterly, v. XX, Autumn, 1978. Copyright © 1978 by The Midwest Quarterly, Pittsburgh State University. Reproduced by permission.—MLN, v. 113, December, 1998. © The Johns Hopkins University Press. Reproduced by permission.—Modern Language Studies, v. XX, Spring, 1990. Copyright, Northeast Modern Language Association 1990. Reproduced by permission of the publisher and the author.—Ms., v. XIV, February, 1986 for “A Feminist ‘1984’ : Margaret Atwood Talks About Her Exciting New Novel” by Cathy N. Davidson. Reproduced by permission of the author.—Names, v. 41, September, 1993. © 1993 by The American

Name Society. Reproduced by permission.—The Nation, New York, May 31, 1986; July 9, 1990; April 19, 1999. © 1986, 1990, 1999 The Nation magazine/The Nation Company, Inc. All reproduced by permission.—New England Review and Bread Loaf Quarterly, v. XII, Autumn, 1989 for a review of “The Chinaman Pacific & Frisco R. R. Co.” by Ellen Lesser. Copyright © 1989 by Middlebury College Publications. Reproduced by permission of the author.—New Orleans Review, v. 15, Summer, 1988. Copyright © 1988 by Loyola University. Reproduced by permission.—The New Republic, August 9, 1999. © 1999 The New Republic, Inc. Reproduced by permission of The New Republic.—The New Statesman, May 25, 1984. © 1984 Statesman & Nation Publishing Company Limited. Reproduced by permission.—New Statesman & Society, December 13, 1991; March 3, 1995; May 12, 1995. © 1991, 1995 Statesman & Nation Publishing Company Limited. All reproduced by permission.—New York, July 1-8, 1985 for “All Booked” by Rhoda Koenig. Copyright © 1985 PRIMEDIA Magazine Corporation. All rights reserved. Reproduced by permission of the author./March 15, 1999; July 12, 1999. Copyright © 1999 PRIMEDIA Magazine Corporation. All rights reserved. Both reproduced with the permission of New York Magazine.—The New York Times, June 20, 1994. Copyright © 1994 by The New York Times Company. Reproduced by permission.—Newsweek, April 30, 1984. © 1984 Newsweek, Inc. All rights reserved. Reprinted by permission.— Parnassus, v. 17, 1992. Copyright © 1992 Poetry in Review Foundation, NY. Reproduced by permission.—Reference Quarterly, v. 11, Winter, 1971. Copyright © 1971 by the American Library Association. Reproduced by permission.— Review of Contemporary Fiction, v. IX, Summer, 1989; v. XIII, Fall, 1993; v. XIV, Fall, 1994; v. XVI, Fall, 1996; v. XVII, Fall, 1997. Copyright, 1989, 1993, 1994, 1996, 1997 by John O’Brien. All reproduced by permission.—Salmagundi, n. 73, Winter, 1987. Copyright © 1987 by Skidmore College. Reproduced by permission.—San Francisco Review of Books, Spring, 1989 for “Asian-America’s Identity Crisis: The Myth of the Model Minority” by Tani E. Barlow. Reproduced by permission of the author.—Science-Fiction Studies, v. 16, Part 2, July, 1989. Copyright © 1989 by SFS Publications. Reproduced by permission.—The Sewanee Review, v. CIV, Spring, 1996. Copyright © 1996 by The University of the South. Reproduced with permission of the editor.—Slavic & East European Journal, v. 36, Summer, 1992. © 1992 by AATSEEL of the U.S., Inc. Reproduced by permission.—Sojourner: The Women’s Forum, v. 14, March, 1989. Reproduced by permission of Sojourner Feminist Institute.—The Spectator, June 23, 1984; May 12, 1990; March 11, 1995; May 13, 1995; May 10, 1997. © 1984, 1990, 1995, 1997 by The Spectator. All reproduced by permission of The Spectator.—Substance, v. 55, 1988. © 1988 by the Board of Regents of the University of Wisconsin System. All rights reserved. Reproduced by permission.—Tennessee Studies in Literature, v. 30, 1986. Copyright © 1986 by The University of Tennessee Press. Reproduced by permission of The University of Tennessee Press.—Time, April 16, 1984; February 10, 1986. Copyright 1984, 1986 Time Warner Inc. All rights reserved. Both reproduced by permission from Time.—The Times Literary Supplement, May 1, 1998. © Ian Pinder 1998. Reproduced from The Times Literary Supplement by permission of the author./ October 21, 1994; n. 4829, October 20, 1995; October 27, 1995; December 6, 1996; March 28, 1997; August 13, 1999; November 11, 1999. © The Times Supplements Limited 1994, 1995, 1996, 1997, 1999. All reproduced from The Times Literary Supplement by permission.—Voice Literary Supplement, n. 7, May, 1982. Copyright © V. V. Publishing Corporation. Reproduced by permission of The Village Voice.—The Washington Post Book World, November 12, 1995. © 1995, Washington Post Book World Service/Washington Post Writers Group. Reproduced by permission of the author.—Western American Literature, v. 33, Fall, 1998. Copyright 1998, by the Western American Literature Association. Reproduced by permission.—World Literature Today, v. 55, Autumn, 1981; v. 58, Autumn, 1984; v. 63, Summer, 1989; v. 65, Spring, 1991; v. 65, Autumn, 1991; v. 66, Autumn, 1992; v. 69, Spring, 1995; v. 70, Spring, 1996; v. 72, Spring , 1998; v. 72, Winter, 1998. Copyright 1981, 1984, 1989, 1991, 1992, 1995, 1996, 1998 by the University of Oklahoma Press. All reproduced by permission of the publisher.—The Yale Review, v. 74, January, 1985 for “in a review of The Unbearable Lightness of Being” by Maureen Howard. Copyright 1985, by Yale University. Reprinted by permission of Maureen Howard and the Watkins/Loomis Agency.

COPYRIGHTED EXCERPTS IN CLC, VOLUME 135, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Biamonte, Gloria A. From “Funny Isn’t It?: Testing the Boundaries of Gender and Genre in Women’s Detective Fiction,” in Look Who’s Laughing: Gender and Comedy. Edited by Gail Finney. Gordon and Breach Science Publishers, 1994. Reproduced by permission.—Davidson, Arnold E. From Margaret Atwood: Vision and Forms. Edited by Kathryn Van Spankeren and Jan Garden Castro. © 1988 by the Board of Trustees, Southern Illinois University, Reproduced by permission.— Filipczak, Dorota. From “Is There No Balm in Gilead?: Biblical Intertext in Margaret Atwood’s ‘The Handmaid’s Tale,’” by Dorota Filipczak in Literature and Theology at Century’s End. Edited by Gregory Salyer and Robert Detweiler. © 1995 by The American Academy of Religion. Used by permission of Oxford University Press, Inc. and the author.— Finnell, Susanna. From “Unwriting the Quest: Margaret Atwood’s Fiction and ‘The Handmaid’s Tale,’” in Women and the Journey: The Female Travel Experience. Edited by Bonnie Frederick and Susan H. McLeod. Washington State University Press, 1993. © 1993 by the Board of Regents of Washington State University. All rights reserved. Reproduced by permission of the publisher and the author.—Freibert, Lucy M. From “Control & Creativity: The Politics of Risk in Margaret At

wood’s ‘The Handmaid’s Tale,’” in Critical Essays on Margaret Atwood. Edited by Judith McCombs. G. K. Hall & Co., 1988. Copyright © 1988 by Judith McCombs. The Gale Group.—Fynsk, Christopher. From “Crossing the Threshold: On ‘Literature and the Right to Death,’” in Maurice Blanchot: The Demand of Writing. Edited by Carolyn Bailey Gill. Routledge, 1996. Selection and editorial matter © 1996 Carolyn Bailey Gill. Chapter © Christopher Fynsk. All rights reserved. Reproduced by permission.—Goodkin, Richard E. From “Killing Order(s): Iphigenia and the Detection of Tragic Intertextuality,” in Autour de Racine: Studies in Intertextuality. Edited by Richard E. Goodkin. Yale French Studies, 1989. © 1989 by Yale University. Reproduced by permission of the publisher and the author.—Green, Jennifer M. From “Subject, Object, Camera: Photographing Women in ‘The Unbearable Lightness of Being,’” in Sexuality, the Female Gaze, and the Arts: Women, the Arts, and Society. Edited by Ronald Dotterer and Susan Bowers. Susquehanna University Press, 1992. Reproduced by permission.—Hartman, Geoffrey. From “Maurice Blanchot,” in The Novelist as Philosopher: Studies in French Fiction 1935-1960. Edited by John Cruickshank (1962) by permission of Oxford University Press. © Oxford University Press 1962.—Hess, Deborah M. From Politics and Literature: The Case of Maurice Blanchot. Peter Lang, 1999. © 1999 Peter Lang Publishing, Inc. All Rights Reserved. Reproduced by permission.—Hill, Leslie. From Blanchot: Extreme Contemporary. Routledge, 1997. © 1997 Leslie Hill. All rights reserved. Reproduced by permission.—Howells, Coral Ann. From Margaret Atwood. St. Martin’s Press, 1996. Copyright © 1996 by Coral Ann Howells. All rights reserved. Reproduced with permission of St. Martin’s Press, LLC.—Huffer, Lynne. From “Blanchot’s Mother,” in The Place of Maurice Blanchot. Edited by Thomas Pepper. Yale French Studies, 1998. Copyright © 1998 by Yale University. All rights reserved. Reproduced by permission of the publisher and the author.—Irons, Glenwood. From Feminism in Women’s Detective Fiction. Edited by Glenwood Irons. University of Toronto Press, 1995. Reproduced by permission.—Irons, Glenwood. From “New Women Detectives: G Is for Gender-Bending,” in Gender Language and Myth: Essays on Popular Narrative. Edited by Glenwood Irons. University of Toronto Press, 1992. Reproduced by permission.—Kaleta, Kenneth

C. From Hanif Kureishi: Post Colonial Storyteller. University of Texas Press, 1998. Copyright © 1998 by the University of Texas Press. All rights reserved. Reproduced by permission of the University of Texas Press.—Kinsman, Margaret. From “A Question of Visibility: Paretsky and Chicago,” in Women Times Three: Writers, Detectives, Readers. Edited by Kathleen Gregory Klein. Bowling Green State University Popular Press, 1995. Reproduced by permission.—Klein, Kathleen Gregory. From “Watching Warshawski,” in It’s a Print!: Detective Fiction from Page to Screen. Edited by William Reynolds and Elizabeth Trembley. Bowling Green State University Popular Press, 1994. Reproduced by permission.—Li, David Leiwei. From “The Formation of Frank Chin and Formations of Chinese American Literature,” in Asian Americans: Comparative and Global Perspectives. Edited by Shirley Hune and others. Washington State University Press, 1991. © 1991 by the Board of Regents of Washington State University. All rights reserved. Reproduced by permission of the publisher and the author.—Ling, Jinqi. From “Performing the Margins,” in Narrating Nationalisms: Ideology and Form in Asian American Literature by Jinqi Ling. © 1998 by Oxford University Press. Used by permission of Oxford University Press, Inc.—Melhem, D. H. From Heroism in the New Black Poetry: Introductions & Interviews. The University Press of Kentucky, 1990. Reproduced by permission.—Misurella, Fred. From Understanding Milan Kundera: Public Events, Private Affairs. University of South Carolina Press, 1993. Copyright © 1993 University of South Carolina. Reproduced by permission.—Pope, Rebecca A. From “Friends Is a Weak Word for It: Female Friendship and the Spectre of Lesbianism in Sara Paretsky,” in Feminism in Women’s Detective Fiction. Edited by Glenwood Irons. University of Toronto Press, 1995. Reproduced by permission.—Quasha, George and Charles Stein. From “Publishing Blanchot in America — A Metapoetic View,” in The Station Hill Blanchot Reader: Fiction & Literary Essays. By Maurice Blanchot, translated by Lydia Davis, Paul Auster, and Robert Lamberton. Station Hill, 1999. Copyright © 1999 by Station Hill Press, Inc./Barrytown Ltd. Afterword copyright © 1999 by George Quasha and Charles Stein. All rights reserved. Reproduced by permission.—Randall, Dudley. From “Broadside Press: A Personal Chronicle,” in The Black Seventies. Edited by Floyd B. Barbour. Porter Sargent Publisher, 1970. Copyright © 1970 by Floyd B. Barbour. Reproduced by permission.—Reddy, Maureen T. From “The Feminist Counter-Tradition in Crime: Cross, Grafton, Paretsky, and Wilson,” in The Cunning Craft: Original Essays on Detective Fiction and Contemporary Literary Theory. Edited by Ronald Walker and June Frazer. Western Illinois University, 1990. Reproduced by permission.—Rubenstein, Roberta. From Margaret Atwood: Vision and Forms. Edited by Kathryn Van Spankeren and Jan Garden Castro. © 1988 by the Board of Trustees, Southern Illinois University. Reproduced by permission.—Wilson, Ann. From “The Female Dick and the Crisis of Heterosexuality,” in Feminism in Women’s Detective Fiction. Edited by Glenwood Irons. University of Toronto Press, 1995. Reproduced by permission.

PHOTOGRAPHS APPEARING IN CLC, VOLUME 135, WERE RECEIVED FROM THE FOLLOWING SOURCES:

—Kundera, Milan, photograph. Archive Photos, Inc. Reproduced by permission.—Kureishi, Hanif, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.—Marcellino, Fred, illustrator. From a jacket of The Handmaid’s Tale, written by Margaret Atwood. Anchor Books, 1998. Copyright © 1998 by Anchor Books. Reproduced by permission Mc-Clelland & Stewart, Ltd.—Paretsky, Sara, 1999, photograph. Reproduced by permission.—Randall, Dudley, photograph. Yancey Hughes. Reproduced by permission of Yancey Hughes.