Jan Harris

Harris' poetic landscape is apocalypse, imagined and real. Full of hydroponic lettuce, empty cul-de-sacs, unrequited raptures, our own resilient bodies, and the intimacy of isolation-this is a dystopian collection to relish.-Amalie Flynn, author of Wife and War: The Memoirjust a stranger in a strange strange place-Kevin MorbyJan Harris's Isolating One's Priorities in a Time of Crisis reads like a mystic whispering danger where "the sounds of our own voices unimaginable" howl from a phantom of recycled mornings. Harris uses the ouroboros to circle around you as she guides you toward meaning in this chaotic time-Harris knows you are afraid, she doesn't take that away from you, she just joins you in empathy, almost as if " o]ur lives ran parallel until we met in the knot." Isolating One's Priorities in a Time of Crisis contains palpable, surreal moments where the reader must confront the typhonic mind of the virtual human hollow-gram we have been hiding behind. She guides the reader through this human terror of monotony in time, yet still she guides your eyes to the living stars, "declaring that the stars / are not dead but are hidden / from one another like us." Harris's work is one you read again and again because her love for lavishing language cannot be denied. I will never stop learning from Jan Harris-you are safe with Harris as she shows you the darkness, but softly reminds you that the "wildflowers crowd the] meadows and in the shadows / green things begin to grow." Harris's writing is gritty, surreal, and intrepid.-Robyn Leigh Lear, Poetry Editor for WAXING & WANING: A LITERARY JOURNAL and Creative Director for April Gloaming Publishing-and forever a student of Dr. Jan from long ago

M1 F2. A sitting-room Frances, middle-aged and unmarried, is ecstatically awaiting the arrival of legendary mega star of stage and screen Ezzlie Harlow. Loyal fan Frances, unbeknown to Ezzlie, has offered her very humble end-of-terrace home to the down on her luck singer. Harlow's agent, eager to be rid of his fading star, has bundled her off with a one way ticket to what she thinks is a little manion with servant; he forgot to mention Little Mansion is the name of the village at the back of beyond. Both The Fan and The Star are in for shocks, betrayal and a reversal of fortune, as they learn from each other to be careful what you wish for, because it might come to pass. An excellent comedy drama in one act for two women and one man that was presented as part of The Camden Festival Fringe in 2011 under the title The Fan and the Star and the Star and the Fan.

Analyzing the complex interaction between the material and immaterial aspects of new digital technologies, this book draws upon a mix of theoretical approaches (including sociology, media theory, cultural studies and technological philosophy), to suggest that the ‘Matrix’ of science fiction and Hollywood is simply an extreme example of how contemporary technological society enframes and conditions its citizens. Arranged in two parts, the book covers:theorizing the Im/Material Matrixliving in the Digital Matrix. Providing a novel perspective on on-going digital developments by using both the work of current thinkers and that of past theorists not normally associated with digital issues, it gives a fresh insight into the roots and causes of the social matrix behind the digital one of popular imagination. The authors highlight the way we should be concerned by the power of the digital to undermine physical reality, but also explore the potential the digital has for alternative, empowering social uses. The book’s central point is to impress upon the reader that the digital does indeed matter. It includes a pessimistic interpretation of technological change, and adds a substantial historical perspective to the often excessively topical focus of much existing cyberstudies literature making it an important volume for students and researchers in this field.

Analyzing the complex interaction between the material and immaterial aspects of new digital technologies, this book draws upon a mix of theoretical approaches (including sociology, media theory, cultural studies and technological philosophy), to suggest that the ‘Matrix’ of science fiction and Hollywood is simply an extreme example of how contemporary technological society enframes and conditions its citizens. Arranged in two parts, the book covers:theorizing the Im/Material Matrixliving in the Digital Matrix. Providing a novel perspective on on-going digital developments by using both the work of current thinkers and that of past theorists not normally associated with digital issues, it gives a fresh insight into the roots and causes of the social matrix behind the digital one of popular imagination. The authors highlight the way we should be concerned by the power of the digital to undermine physical reality, but also explore the potential the digital has for alternative, empowering social uses. The book’s central point is to impress upon the reader that the digital does indeed matter. It includes a pessimistic interpretation of technological change, and adds a substantial historical perspective to the often excessively topical focus of much existing cyberstudies literature making it an important volume for students and researchers in this field.