Ashifa Rajwani

First up was Go Set a Watchmen, a novel written more than 50 years ago by Harper Lee, author of To Kill a Mockingbird. Next to hit bookstores – on July 28, with considerably less fanfare and no reports of lineups around the block – What Pet Should I Get? by the late Dr. Seuss.

Writer Ashifa Rajwani spoke with author and associate professor Robert McGill of the 91�Թ�’s department of English about why lost or unpublished manuscripts capture our imaginations – or don’t.

There has been a lot of interest surrounding Harper Lee’s ‘lost manuscript’ and less interest with Dr. Seuss’s unpublished book. Why do you think that is?

Before Go Set a Watchman was released, the controversy was largely about whether Harper Lee had somehow been duped into letting the manuscript be published. The concern was that she was vulnerable to manipulation due to her age and health. The question became not just ‘Should the manuscript be published?’ It became ‘When it comes to older people, how do we deal with matters of autonomy and vulnerability?’ Publication of the book gained a strong symbolic value.

Similarly, the fact that Go Set a Watchman is a novel that Lee previously decided not to publish raises all sorts of questions about literary value – questions without clear answers. What makes a novel deserving or undeserving of publication? Who should get to decide? These are questions that the situation with this novel has encouraged people to debate.

Another thing is that Lee’s literary reputation is based entirely on To Kill a Mockingbird. When first-time novelists hit it out of the park, their second novels are often seen as let-downs. When Lee quit publishing novels after To Kill a Mockingbird, people wondered whether she would’ve been able to produce another novel that was similarly powerful and successful. And that wondering raises other, important questions. How much of success is based on luck – on writing, doing, saying the right thing at the right time? What elements of success are replicable or non-replicable? The publication of Go Set a Watchman is giving us fuel for talking about these things.

The Dr Seuss book hasn't received as much coverage as Go Set A Watchman in no small part because there hasn't been any real scandal. If some evidence were to emerge that Theodor Geisel suppressed the manuscript for a controversial reason -- say, because he decided that he didn't want to publish a book encouraging children to own pets – then there'd be a lot more media attention in a hurry.

Has anything like this happened in the past?

A similar case from the past couple of decades involved another American writer, Ralph Ellison. He made a big splash with his first novel, Invisible Man, which was also about race in the US. After it won the National Book Award in 1953, Ellison kept telling people that he was working on a new novel, but he died in 1994 without publishing it. He left behind a huge, sprawling manuscript. Finally, his literary executor published parts of it as a novel in 1999. But Invisible Man never had the popularity of To Kill a Mockingbird.

How does authenticity come into play when looking at ‘long lost manuscripts’?

For centuries, it’s been a popular device in novels to present a made-up story as a true report by claiming in a preface that the story was discovered in manuscript-form somewhere. Canadian literature has a well-known example in a nineteenth-century novel called A Strange Manuscript Found in a Copper Cylinder. The sort of prefatory claim I’m describing became such a familiar thing over the years that nowadays, even real-life claims by people to have discovered such manuscripts are bound to be treated with suspicion. But that’s part of the appeal of these discoveries: they activate the ‘detective’ element in us.

There was keen interest in Watchman on social media both before and after its release. How important is social media today in the publishing world?

Social media are important to publishing in a lot of ways. For one thing, they’re an extension of word of mouth. Through Facebook and Twitter, or on sites like Goodreads, people tell each other what books they’ve read and what books they’ve liked. Word of mouth is important in terms of selling books; it always has been. What’s unprecedented are the ways in which social media are connecting authors to readers. Plenty of writers are attempting to create relationships to readers by tweeting, visiting book clubs on Skype, things like that. It’s not clear that these things significantly boost book sales for everybody, but they help some authors to make a splash, and online promotion is becoming seen as a new requirement for authors – especially because publishers are putting less money into traditional advertising. The result is that authors – new, lesser known authors, in particular – are liable to feel that they have to pick up the slack by promoting themselves on social media.

When my first novel [The Mysteries] came out, Facebook and Twitter hadn’t been invented. The focus of promoting the book was on TV, radio, and periodical interviews and reviews, along with readings at bookstores and festivals. By the time I published Once We Had a Country, a lot of the ‘old’ media venues had scaled back on their book coverage, and a lot of the bookstores had closed. It was disheartening, to say the least. The upside is that social media have helped me to communicate directly with readers and hear their responses to my work. And it is readers, in the end, for whom I’m writing, so getting feedback from them is pretty wonderful.

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Does academic bridging work? Ask this student who just accepted a tenure track position at University of Chicago

sgupta — Wed, 30 Apr 2014 11:00:56 +0000

Does academic bridging work? Ask this student who just accepted a tenure track position at University of Chicago sgupta Wed, 04/30/2014 - 07:00

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From fashion industry worker to English professor

Tim Harrison is having an incredible year:

He recently accepted a job as a tenure-track assistant professor of English at the University of Chicago, a position he chose over three postdoctoral fellowships also offered.

The Milton Society of America honoured Harrison with the Albert C. Labriola Award for the best article published by a graduate student.

And to top things off, he just handed in his thesis exploring how writers from Montaigne to Milton expressed the feeling of being alive.

But this kind of success required big risk and heavy commitment. Harrison transitioned from international fashion professional to mature student to award-winning academic by working full-time at restaurants in Toronto and making the most of support offered by the Millie Rotman Shime Academic Bridging Program at the 91�Թ�.

The Academic Bridging Program is designed for people who have been away from formal education for some time and do not meet the university’s established requirements for direct entry admission. The course is intended to bridge the gap between a student’s prior education and the requirements of first year university courses in Humanities and Social Sciences. (Read more about Woodsworth College's Academic Bridging Program)

Writer Ashifa Rajwani spoke to Harrison about his remarkable academic achievements and why he didn’t think he could get into the 91�Թ�.

You came to the University in a pretty unconventional way. After completing high school, what did you do?

I did very poorly in high school, and spent a number of years working in international fashion and the service industry in Milan, Athens, Capetown, Shanghai and Amsterdam. After meeting my Dutch wife in South Africa and subsequently having my immigration bid to the Netherlands fall through, we moved to Toronto from Amsterdam on two days notice carrying two suitcases.

After you settled in Toronto, you decided you wanted to pursue post-secondary education?

Yes, I really wanted to go back to school, but my academic background was far too poor to get into 91�Թ�. The only way I could enter the University was through the Academic Bridging Program at Woodsworth College (this program acts as a testing ground for people who do not have the appropriate credentials).

It was a bit daunting to go back to school as a mature student, but my experience working abroad gave me confidence. After completing the Bridging Program I entered 91�Թ� as an undergraduate with the intention of doing an English specialist degree and took a full course load while working 40 hours a week in restaurants. It took me two years before I reached my goal of having my studies funded by scholarships, at which point I was able to devote my attention to my studies. I finished my undergrad degree as the top student in the University, and started a direct-entry Ph.D.

What were your initial thoughts of the Department of English?

91�Թ� has a reputation for being big and impersonal, but I discovered a welcoming and friendly environment at the Department of English. When I asked for help, I received it; I also got a lot of encouragement. I found the department to be a nurturing environment. I am especially grateful to my wonderful supervisor, Elizabeth Harvey, and the other members of my supervisory committee, Lynne Magnusson, Paul Stevens, and Alex Gillespie.

Why did you choose to specialize in English?

When I was working abroad, I tried to write novels and really wanted to be a writer. But then I realized that I didn't really know anything about literature. And if I didn't know anything about literature, how could I even attempt to write it? So, at first I specialized in English in order to write better fiction, but I quickly discovered that I was far better at critically analyzing literature than I was at writing it. I also realized that I found the work of literary criticism immensely gratifying.

I started an English degree to become a novelist and finished to become a critic.

What advice do you have for students entering university?

It is important to do what you love. I came to 91�Թ� in hopes of enriching myself and I did. I loved the courses I took and I worked hard. I had the opportunity to learn new things, encounter different works, and gain cognitive skills. These are experiences that can only help you, no matter what you go on to do.

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