Justin Everett – författare

When the pulp magazine Weird Tales appeared on newsstands in 1923, it proved to be a pivotal moment in the evolution of speculative fiction. Living up to its nickname, “The Unique Magazine,” Weird Tales provided the first real venue for authors writing in the nascent genres of fantasy, horror, and science fiction. Weird fiction pioneers such as H. P. Lovecraft, Robert E. Howard, Clark Ashton Smith, Robert Bloch, Catherine L. Moore, and many others honed their craft in the pages of Weird Tales in the 1920s and 1930s, and their work had a tremendous influence on later generations of genre authors.In The Unique Legacy of Weird Tales: The Evolution of Modern Fantasy and Horror, Justin Everett and Jeffrey Shanks have assembled an impressive collection of essays that explore many of the themes critical to understanding the importance of the magazine. This multi-disciplinary collection from a wide array of scholars looks at how Weird Tales served as a locus of genre formation and literary discourse community. There are also chapters devoted to individual authors—including Lovecraft, Howard, and Bloch—and their particular contributions to the magazine.As the literary world was undergoing a revolution and mass-produced media began to dwarf high-brow literature in social significance, Weird Tales managed to straddle both worlds. This collection of essays explores the important role the magazine played in expanding the literary landscape at a very particular time and place in American culture. The Unique Legacy of Weird Tales will appeal to scholars and aficionados of fantasy, horror, and weird fiction and those interested in the early roots of these popular genres.

In A Minefield of Dreams: Triumphs and Travails of Independent Writing Programs, Justin Everett and Cristina Hanganu-Bresch highlight both cautionary tales and stories of resounding success that can inspire and provide paths toward addressing the challenges faced by faculty who lead independent writing programs (IWPs). More than a decade after O'Neill, Crow, and Burton's survey of IWPs—and with attention to some of the same programs addressed in that collection—the contributors to this collection assess the state of IWPs at a variety of American and Canadian institutions. The four sections in the book address key issues faced by IWPs: the quest for independence; disciplinarity, labor, and professionalization; curricular reforms, program design, and faculty training and empowerment; and rhetorics of transformation and justice.

Catastrophic storms, searing heat waves, crumbling waterfronts, warming oceans, air-fouling forest fires and mass extinction have become facts of life. Under these conditions, it is difficult to imagine that the global industrial civilization will continue in its present form. This requires us to reconsider the subject of ecocomposition from a new perspective: “What does it mean to teach college writing in the face of this sobering reality?” The introduction reviews the history of ecocomposition and reframes it in light of the apocalyptic turn in climate discourse over the last quarter century as well as the role that ecocomposition theory can play in framing these discussions. Teaching Writing in the Age of Catastrophic Climate Change is organized into four sections. The first section considers the environmental narrative from the viewpoint of climate justice, while the second reframes pedagogies of place in light of the climate catastrophe. The third section examines the intersections of writing studies and the natural sciences, while the fourth section entertains the personal and emotional dimensions of teaching ecocomposition within the framework of catastrophic climate change. If we have been successful, these chapters provide a starting place for having sobering discussions in our classrooms, and considering what ecocomposition means in this unsettling age.