My research interests include 20th century Irish, British, and American literature and culture. I have written three books focused on this period - Joyce and the G-Men: J. Edgar Hoover's Manipulation of Modernism (Palgrave Macmillan, 2004); Working-Class Culture, Women, and Britain, 1914-1921 (Palgrave Macmillan, 2000), Names and Naming in Joyce (University of Wisconsin Press, 1994) - and I have co-edited two books focused on literary modernism: Modernism on File: Modern Writers, Artists, and the FBI, 1920-1950 (Palgrave Macmillan, 2008) and Irish Modernism and the Global Primitive (Palgrave Macmillan, 2009).
I am currently working on a book project that focuses attention on the artwork Ireland submitted to compete in the Olympic Games, and I have recently published a preliminary article on that topic: http://estudiosirlandeses.org/2014/02/competing-concepts-of-culture-irish-art-at-the-1924-paris-olympic-games/. I spent much of 2012 on a Moore Fellowship in Ireland researching and hunting through archives for information about the artists who competed for the new Irish Free State at the 1924 Games. For all of 2014, I am on leave researching, writing, and working to finish the book.
My work in the field of modern and twentieth-century Irish literature and culture led to my appointment in 2004 as General Editor for Palgrave Macmillan's new book series in Irish and Irish American literature. The first book in the series was published in 2007; five titles followed in 2008-09, two others in 2010, three in 2011 (Jack Morgan's book won the prestigious Durcan Award for Best Book in Irish Studies), another title followed in 2012, and we now have two other books forthcoming in the series in 2014.
I love my job and can't imagine doing anything else. Sometimes I think a stanza from Wallace Steven's poem "Thirteen Ways of Looking at a Blackbird" sums up my academic life perfectly. He wrote, "I do not know which to prefer.../ The blackbird whistling/ Or just after." Like him, I don't know which I like better: teaching a great class, or just coming off teaching a great class; working on writing a book, or just coming off working on writing a book; reading some great student work, or just having read some great student work. Not a bad quandary, when you thing of all the people you k now who hate their jobs.
I have won several teaching awards since graduating from the University of Miami's doctoral program in 1989 and coming to Kent State, including "Professor of the Year" from the Panhellenic Council at the University of Miami and the 1999 Distinguished Teaching Award from the Kent State University Alumni Association and the University Foundation. After nearly twenty-five years at Kent, my teaching includes graduate and undergraduate seminars and courses on international modernism, British and American modernists, the Harlem Renaissance, modern British and Irish novels, 20th-century British and Irish literature, Irish Postcolonial Literature, modern Irish fiction and poetry, James Joyce and Irish literature and culture, and American 1960s, and Editing and Publishing.
Since my hire in 1990, I have directed four doctoral dissertations in the English department: one on James Joyce that was published as a book with Fairleigh Dickinson University Press in 2003; one on A.S. Byatt and the profession; one on modernist hagiography; and the most recently a dissertation on postnationalism, hybridity, and utopia in Paul Durcan's Poetry (three refereed journal publications have resulted from this study of Yeonmin Kim's). One of my dissertation students was awarded the University's highest award for dissertation research (the David B. Smith Award), and two have received the English Department's highest award for dissertation scholarship--congratulations to Sean Murphy and Melissa Jones for writing such engaging work. In addition, I have directed several Masters theses and have examined twenty-four students in PhD and MA qualifying exams in my field.
Even though I am on leave this year, I'm still available to come in and meet with students, so why not email me, and we can set something up? My office is on the third floor of Satterfield Hall - 302D. I'd be happy to talk with you about being or becoming an English major or to discuss the trials and tribulations of teaching or the realities of graduate work. In my office I've got a commercial-grade espresso machine and a mini fridge stocked with sodas, waters, and seltzers. So you know where to find me. Until then, take care. I hope to see you, and I look forward to watching you succeed in your studies at Kent State University.
An article about the student artwork that adorns my office walls:
One of my favorite things: A really good thesaurus for people who think visually, the Visual Thesaurus: http://www.visualthesaurus.com/
Links to some of my books: http://us.macmillan.com/QuickSearchResultsV3.aspx?search=Culleton&ctl00%24imgGo.x=0&ctl00%24imgGo.y=0
HUNGARIAN GOULASH RECIPE
3 T. or so of olive oil
1 or 2 pats of butter
a small pinch of caraway seeds
2-3 large onions, chopped (or 1-2 huge Vidalia onions, chopped)
2-3 ribs of celery
1/4 c. or so of hot paprika (get the good stuff, the stuff in a can from the Szeged region of Hungary)
2 ½-3 lbs. of room temperature (very imp) chuck roast that you’ve cubed and lightly trimmed yourself. Cut the meat into cubes about half the size of ABC blocks but don’t trim off too much of the fat. It will melt off, don’t worry, but you need the fat on the meat to make the goulash melt in your mouth. The pre-packaged “For Stew” meat the stores sell already-cubed and trimmed is too tough, so get a roast and cut it up yourself. The meat costs the same price, and it’s fresher. Season the cubed meat with a nice sprinkling of salt and freshly ground black pepper.
Sauté onions in olive oil and butter for some 7-10 mins., until translucent. Add a small pinch of caraway seeds and stir. Add the paprika, stir, and let the paprika cook into the onions for about a minute or so. Stir. Just to add flavor, add a carrot that’s been rough-cut into three or four sections, and two celery sprigs or ribs with their leaves still on. Stir, and cook for about two minutes.
Next, add the cubed meat, stir well--and here’s the easy part—lower the flame to a SIMMER, put the lid on your pot, and walk away. Juice from the onions, from the celery, from the fat in the meat, and from the condensation in the pot will provide all the liquid you need to cook the meat. Keep your eye on it, though, and stir generously every 10-15 minutes or so. If you feel compelled to add about ¼ c. of water before you walk away from the pot, go ahead. I was skeptical, too, in the beginning. (That’s cute. That’s what makes you so endearing.)
Let this simmer on the stove over a very low flame for about two and a half to three hours. You don’t want it bubbling, just simmering lightly. Taste it occasionally and add salt and freshly ground black pepper to taste. After two and a half hours or so, if you’d like, you can add one or two potatoes cut into chunks, two sliced carrots, a sliced rib of celery, and a handful of frozen sweet peas. By its third hour, your Hungarian Goulash should be ready to serve over noodles, over spaetzel, or by its own bad self. Some people like a dollop of sour cream served with each bowl. My friend Barbara told me that if you make this “right,” you won’t see any onions in the goulash when it’s done (they’ll have melted, vaporized, whatever). That’s only happened for me twice. Oh well.
Scholarly, Creative & Professional Activities
- “Silence, Memory, Forgetting: Responding to Kent State, 1970.” Remembering May 4 and Kent State, 1970. Ed. Carole Barbato and Laura Davis. Kent: Kent State University Press, 2010. 7 pages. Forthcoming.
- Irish Modernism and the Global Primitive. Ed. Maria McGarrity and Claire Culleton. New York: Palgrave Macmillan, Jan. 2009.
- “Introduction.” With Maria McGarrity. Irish Modernism and the Global Primitive. Ed. Maria McGarrity and Claire Culleton. New York: Palgrave Macmillan, 2009: 1-16.
- “The Gaelic Athletic Association, Joyce, and the Primitive Body.” Irish Modernism and the Global Primitive. Ed. Maria McGarrity and Claire Culleton. New York: Palgrave Macmillan, 2009: 215-34.
- Modernism on File: Modern Writers, Artists, and the FBI 1920-1950. Ed. Claire Culleton and Karen Leick. New York: Palgrave Macmillan, Feb. 2008.
- “Introduction: Silence, Acquiescence, and Dread.” With Karen Leick. Modernism on File: Modern Writers, Artists, and the FBI, 1920-1950. Ed. Claire Culleton and Karen Leick. New York: Palgrave Macmillan, 2008: 1-19.
- “Extorting Henry Holt & Co.: J. Edgar Hoover and the Publishing Industry.” Modernism on File: Modern Writers, Artists, and the FBI, 1920-1950. Ed. Claire Culleton and Karen Leick. New York: Palgrave Macmillan, 2008: 237-52.
- Joyce and the G-Men: J. Edgar Hoover’s Manipulation of Modernism. New York: Palgrave Macmillan, June 2004.
- Working-Class Culture, Women, and Britain, 1914-1921. New York: St. Martin's Press, Jan. 2000; London: Macmillan Press, Ltd., 2000.
- Names and Naming in Joyce. Madison: University of Wisconsin Press, Oct. 1994.
- 20th Century Literature and Culture
American Conference for Irish Studies
International Association for the Study of Irish Literature
International James Joyce Foundation
Modern Language Association
Modernist Studies Association
W.B. Yeats Society of New York
OFFICEDepartment of English
Spring 2014 Office Hours: On sabbatical
Fall 2014 Office Hours: On research leave
CONTACT INFOPhone: 330-672-1709
COURSES TEACHINGSummer 2014
- ENG 34005 - 030 Brit / Irish Lit 1900 - Present
- HONR 40096 - 022 Individual Honors Work
- HONR 40099 - 009 Senior Honors Thesis / Project
- ENG 89199 - 008 Dissertation I
- ENG 22073 - 001 Maj Mod Writ Brit And Us
- ENG 30072 - 001 Editing / Publishing Fic / Nonfic