I am delighted to announce that we at the Kelly Writers House have a new Assistant Director for Development. On July 1, Arielle Brousse is making her return to the Writers House after several years of superb work on the staff of the development department at The Franklin Institute here in Philadelphia. Having been a work-study student at the Writers House for four years as an undergraduate, and an active member of the “hub” (our Planning Committee) Arielle is “thrilled to bring my experience back home.” At The Franklin Institute, Arielle worked on everything from non-preferred State appropriations and competitive federal government grants to designing punchy flyers, writing custom-tailored proposals, and helping to plan cultivation events. The switch from working at a science museum to working once again for a literary arts center might require a bit of re-adjustment, but she is confident she'll be able to handle it: if anyone in the hub ever needs a Spock costume or a Galilean thermometer, she's got you covered.
Tuesday, May 19, 2009
returning home
I am delighted to announce that we at the Kelly Writers House have a new Assistant Director for Development. On July 1, Arielle Brousse is making her return to the Writers House after several years of superb work on the staff of the development department at The Franklin Institute here in Philadelphia. Having been a work-study student at the Writers House for four years as an undergraduate, and an active member of the “hub” (our Planning Committee) Arielle is “thrilled to bring my experience back home.” At The Franklin Institute, Arielle worked on everything from non-preferred State appropriations and competitive federal government grants to designing punchy flyers, writing custom-tailored proposals, and helping to plan cultivation events. The switch from working at a science museum to working once again for a literary arts center might require a bit of re-adjustment, but she is confident she'll be able to handle it: if anyone in the hub ever needs a Spock costume or a Galilean thermometer, she's got you covered.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
