Broken Slivers: Susan Howe’s Concordance

Guest post by W. Scott Howard, Department of English & Literary Arts

image001Susan Howe’s Concordance was first published in 2019 as a limited-edition artist’s book by The Grenfell Press, and subsequently adapted & elaborated for a trade edition from New Directions, released in May of 2020. Together, they represent Howe’s characteristic multimodal poetics in collaboration with letterpress book artists and commercial publishers at the charged figure-ground intersections of texts and textiles, gallery installations, liminal sound sculptures, and abstract minimalist limnings of “leaf-masks / scattered over / into their own / windblown leaves” (NDP, 47).

image003Concordance is a canopy of broken sonic slivers spliced from Howe’s “mid-word […] whispered […] Marginalia” (52, 69, 77) of allusions to and quotations from works by Shakespeare, Milton, Swift, Keats, Coleridge, Emerson, R. Browning, Dickinson, H. James, Yeats, and Stevens among so many others (too numerous to say in this short essay) including field guides (to birds, rocks, and trees), R. A. Stewart Macalister’s The Secret Languages of Ireland, and the writings of Oliver Wendell Holmes Jr., which shape Howe’s keen moments of telepathic contact—“Ghostly step pre-articulate hop” (9)—with her father, Mark DeWolfe Howe (who clerked for Holmes Jr., working tirelessly on a two-volume biography and other collections of his papers, including Holmes’s writings on Common Law). “Whnaholm. Oliver Wendell Holmes Jr. in posthumous life is the Auto-Icon at home. A Howe is not a Holmes. // Shhh, the stone hasn’t been rolled from the sepulcher yet” (9). Howe’s invocations also summon other kindred spirits, including Margaret Fuller, Mary Temple, Fanny Dixwell, and Marian Hooper. Her deft gestures in Concordance are sometimes trembling—“Library canary hopping on twig caged peeps scratches”—and at other times trenchant: “I have composed a careful and on one level truly meant narrative and on another level the Narrative of a Scissor” (18, 15). Howe’s incisive splicings echo her audio editing days with WBAI-Pacifica (c. 1977-1981) when she produced numerous poetry programs that may be heard via PennSound.

Each page in Concordance emerges from Howe’s DIY cut & paste collaging of telepathic transcriptions, “Recovering the lost […] descending from the symbolic relation in cipher” (9, 17). Readers familiar with Howe’s collage poems will recall similar craftivist wordwhorls (which emulate nested manuscripts ‘after’ birds in flight) in Souls of the Labadie Tract (2007), THAT THIS (2010), Spontaneous Particulars (2014), and Debths (2017). Such inter-/intra-textual assemblages may also be found in Howe’s earlier works collected in Singularities (1990)image005 and The Nonconformist’s Memorial (1993); however, her word squares have changed over the years—becoming more imbricate—most significantly following Howe’s encounter (c. 2005) with the “visual and acoustic shock” of the Diary of Hannah Edwards Wetmore (as transcribed by her daughter, Lucy Wetmore Whittelsey) at the Beinecke Library (Spontaneous, 52). Whereas TOM TIT TOT (2014) “opened a new path to follow that began with the poems in Frolic Architecture” (2010), Howe describes her more recent books as “transmitting chthonic echo-signals” (Debths, 11) and “tiptoeing on a philosophical threshold of separation and mourning for an irrevocable past holding to memory, the death of memory condensed through concordance logic lit by a hidden terrain where deepest homonyms lie” (Concordance, 25). Howe’s origami-esque “Hannah doves” in Frolic Architecture have since morphed into a “Flutter about peacock feather on wire,” a typographical skein of “Clefs, chirps, upward glides, falling whistles,” and a netted chain fern of “alarm calls” from woodpeckers and wrens, among many others “skimming Flight” (13, 19, 28, 80).

In her essay of ecstatic prose that accompanies Concordance, Howe gives us clues about her methods: “Hereinafter microscopic reduplications of desire are pieced together through grid logic. In order to facilitate phonetic interpretation I will make up my mouth as if it’s a telegram” (9). image007 As the story goes, after graduating from the School of the Museum of Fine Arts in Boston in 1961, Howe moved to New York and began making notebooks of collaged lists, drawings, illustrations, found text, photographs, quotations, and lines of verse. “By the time her friend, the poet Ted Greenwald visited her studio, she was arranging only words on walls. At his insistence—‘You have a book on a wall, why don’t you just put it into a book?’—Howe dismantled and sequenced her pages as Hinge Picture, her first book of poems” (Curators, Yale Union). All of Howe’s written and performed work embodies her training as a visual artist (among other formative influences, including sculpture and theatre). In a recent interview, she reflects that her “poems are like grids. The breathing spaces are so important” because the grid shapes a balance between chance and discipline. “Something flies out of the grid” (Howard, 233). Howe’s early word drawings, notebooks, collaged broadsides, and bird drawings may be found in the Susan Howe Papers Collection at the Beinecke Library, Yale University.

Concordance is Howe’s fourth artist book published by The Grenfell Press, each of which has also subsequently appeared in a trade edition from New Directions. The University of Denver’s Fine Press and Artists’ Books Collection includes all of Susan Howe’s limited editions from image009The Grenfell Press: The Nonconformists Memorial (with six woodcuts by Robert Mangold, 1992); Frolic Architecture (with ten photograms by James Welling, 2010); and TOM TIT TOT (which was hand-printed at The Grenfell Press by Brad Ewing and Leslie Miller and published by MoMA in 2014). TOM TIT TOT is among Howe’s most collaborative letterpress volumes, and features artwork by R. H. Quaytman, the poet’s daughter. In comparison with those previous Grenfell editions that place Howe’s poetry in dialogue with visual art, Concordance gives us sixty pages of Howe’s linguistic prisms rotating in literal / littoral habitats plus a separate hand-sewn five-page letterpress chapbook of her poetic prose, “Envoi.” Forty-six copies of Concordance were printed on Whatman, Somerset, and Japanese Tea Chest at The Grenfell Press, and were bound by Claudia Cohen. The University of Denver’s copy is number 18.

The Grenfell and NDP editions of Concordance echo, emulate, and escape each other; their relationship is one of radical contingency and contiguity. Howe is a poet of reconfiguration; each of her volumes incorporates materials from earlier projects adapted anew. Her work is always changing, following converging and diverging lines of flight, asymptotes. The NDP text offers an introductory prose poem, “Since,” that elaborates upon and rearranges the letterpress chapbook that accompanies the Grenfell edition. (“Envoi” includes passages that are not to be found in the NDP edition, such as: “Are the planets visible? How blind are we to the solution of dreaming and other psychological phenomena. You are where you are steadfast tin word fortress” (np).) The NDP text then reproduces the sequence of Howe’s phanopoetic telegrams from the Grenfell volume, and concludes with a new poem, “Space Permitting,” which collages “drafts and notes Thoreau sent to Emerson and Margaret Fuller’s friends and family in Concord, while on a mission to recover Fuller’s remains from a shipwreck off Fire Island” (NDP, back cover). Although the trade editions (published by New Directions) of Howe’s collaborative, multimodal limited editions provide remarkably affordable and reliable access, the singularity of Howe’s Grenfell Press artist books lives through our ephemeral encounters with their wild materiality. Howe’s artist books image011are deeply experiential, performative, and unpredictably “active beyond the sense” (40).

In all of Howe’s volumes since Souls and FrolicHer scrupulous nonconformity challenges us to “recuperate the hiddenness and mystery of this ‘visible’ world” (Sorting Facts, 10).Her scrupulous nonconformity challenges us to “recuperate the hiddenness and mystery of this ‘visible’ world” (Sorting Facts, 10)., we encounter kinetic, helical skeins of astonishment and inscape pareidolia. Patterns emerge spontaneously, inviting our co-creative listening, reading, and writing as forms of making and acts of rescue. “[D]eep spirit / where rivers / feel torment.” Howe’s poetics is deeply praxical. Her scrupulous nonconformity challenges us to “recuperate the hiddenness and mystery of this ‘visible’ world” (Sorting Facts, 10).

As these two pages from Concordance show, Howe composes her poems (and her essays too) via facing page relationships, which suggests that one way (among countless others) of engaging with her work is to read stereoscopically across and through both pages simultaneously. In fact, Howe encourages such a strategy by way of Oliver Wendell Holmes Sr. “‘Though, as we have seen, the two eyes look on two different pictures, we perceive but one picture. The two have run together and become blended into a third which we see in each’” (16-17). (Howe also conjures the “Rabbit-Duck illusion” (22) as yet another way to encounter her facing pages that hopscotch through the figure-ground magic in Concordance.) Following such invitations, moiré-like afterimages and echoes begin to hover between these facing pages pictured above (as one example) that invoke trees (sycamore, palm, papier-mâché, elm) and a journey across “thorough border, thorough briar // [thorough fluid]” (44-45). Most intriguing (to my eyes and ears) are the references to a “three-dimensional tree, a real tree” in the text that “has been cut down and […] can be uprooted and transported.” Such a tree, it seems, could “have been made out of paper or fabric” if “the play was performed in January or Fe[bruary].” To which play might this passage refer? Howe’s wordwhirls are deeply attuned to synergies among texts & trees, fabrics & folios, recalling the Latin codex (tree trunk) and textus (woven).

image017Concordance documents Howe’s tenaciously adjacent pursuit of “EDITORIAL EMENDATIONS IN THE COPY-TEXT[S]” of the multifarious sources from which she pulls “phonological spirits from another world to scatter visible shadow-mortality over the presence of the violent unknown-no-matter-what” (62, 16). Her volume is a vital fabric of haptic and happenstance encounters among archives and artifacts, gifts and ghosts—one of which concerns Howe’s father, Oliver Wendell Holmes Jr., Otis P. Lord, Emily Dickinson, a concordance to Shakespeare’s plays, and Hamlet.

image019Howe’s father, as noted above, clerked for Holmes Jr., who (for the office of Associate Justice of the Massachusetts Supreme Judicial Court) was preceded by Judge Lord, who, in 1880, gave to Dickinson a copy of Mrs. Mary Cowden Clarke’s Complete Concordance to Shakespeare (1844-1845), which is among Howe’s many source texts along with Cynthia MacKenzie’s Concordance to the Letters of Emily Dickinson (2000). Through MacKenzie’s concordance, Howe’s Concordance documents this telling passage from Dickinson’s August, 1885 letter to Judge Lord’s niece, Abbie C. Farley: “‘An envious Sliver broke’ was a passage your Uncle particularly loved in the drowning Ophelia’” (vi).

image021In The Grenfell Press edition, this page appears last, in the position of a pastedown endpaper preceded by a semi-opaque flyleaf, which intimates a ludic disclosure of one of the book’s animating secrets. The NDP edition places this page (without flyleaf) in the text’s front matter, which effectively translates one of the artist book’s shaping esoteric mysteries into the paperback’s exoteric homage to Dickinson’s relationship with Lord, highlighting their shared enthusiasm for Shakespeare’s plays.

Following the death of Lord’s wife, Elizabeth Farley, in 1877, Lord and Dickinson became close friends. Dickinson astutely circumvented his proposal of marriage (as her extant letters from November and December of 1882 imply). Fifteen manuscripts in Dickinson’s hand survive (between 1878 and 1882) from her correspondence with Lord; those letters include incisive (sometimes coded) references to Othello, Antony and Cleopatra, King Lear, and Hamlet—several of which find their ways into Howe’s Concordance, including “undiscovered country” (20, 25) from Hamlet and Dickinson’s letter 752 (14 May 1882); and “since Cleopatra died” (19) from Antony and Cleopatra and Dickinson’s letter 791 (c. 1882). (Recalling that Howe’s paternal grandfather was also a Mark Antony illuminates the playfulness of her essay, “Since,” and her fondness for “Skeletal affinities, compound nonsense, stutters, obsolete dipthongs, joins and ellipses, homophones, antonomasia […] My Antonomasia” (13, 26).)

image023Within this context of Emily Dickinson’s and Otis P. Lord’s mutual passion for Shakespeare’s plays, Susan Howe’s Concordance amplifies “Sound clusters passing through phonological nets called names but opening as if by magnet to myriad elected affinities” (27). Howe’s factual telepathy transmits a “Lost Notebook” of sonic-image-texts from their correspondence via synergistic connections without connectives indwelling among her numerous source texts. Howe’s constructivist-intuitive artistry patiently and lovingly collages those apposite materials—photocopying and transcribing, scissoring and taping, folding unfolding over and through and over again—until the chance magic of dynamic cutting sparks regenerative “[s]epulchral Light” (39). During her lecture at Harvard Divinity School on April 24, 2019, Howe described Concordance as a “tent of paper scraps” and “a mass of quotations.” The Grenfell and New Directions editions suggest a variety of other likenesses, many of which speak through the language of trees and birds, such as “leaf-masks scattered over into their own windblown leaves” (47) and “wings grey, under tan-cove[n] [esoera onmmea]” (90).

Considering the embedded allusions to Hamlet and to Ophelia in particular—including   “Weeping […] Willows” (68)—another possibility is to encounter these spellbinding assemblages as broken slivers from pendent sonic boughs. Howe’s vitalist-materialist wordwhorls thus bend and break Hamlet against the grain, transfiguring the play’s pivotal sliver (so admired by Dickinson and Lord) into a multimodal codex where “Some birds are more silvery” (90), as the covers to The Grenfell Press edition reflect and refract. Concordance remixes echoes from a handful of Shakespeare’s plays, including A Midsummer Night’s Dream, fashioning Puck’s story about the elves’ acorn-cups into “a paper hat” (10) for “the moving person [in] the figure” (46), returning anew on the NDP edition’s front cover via R. H. Quaytman’s photography and Leslie Miller’s design.

Works Cited:

Curators. “Susan Howe—TOM TIT TOT.” Portland, OR: Yale Union, 2013, http://yaleunion.org/susan-howe/ [.]

Howard, W. Scott. Archive and Artifact: Susan Howe’s Factual Telepathy. Northfield, MA: Talisman House, 2019.

Howe, Susan. Concordance. New York: New Directions, 2020.

—. Concordance. New York: The Grenfell Press, 2019.

—. Debths. New York: New Directions, 2017.

—. Spontaneous Particulars: The Telepathy of Archives. New York: New Directions, 2014.

—. Sorting Facts; or, Nineteen Ways of Looking at Marker. New York: New Directions, 2013.

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University Libraries Statement in Support of Black Lives Matter

On May 25, 2020, George Floyd was murdered by Minneapolis police officers. On March 23, 2020, Breonna Taylor was murdered by police officers after being awakened in the middle of the night in her own home in Kentucky. On February 23, 2020, Ahmaud Arbery was murdered while jogging in Georgia. These are the names we hear today, but there are countless others whose lives were tragically cut short in acts of violence going back to the earliest days of colonization. The inhumanity we see today is a result of unchecked white supremacy that has perpetuated a culture in which police brutality and violence towards Black bodies is normalized, in which police are not held accountable for their actions by the law, and in which there is no justice for Black communities.

In response Black organizers are leading a multiracial coalition of people across the United States and in other countries, and have marched in protest against these injustices and the killings of Black people, only to be met with an increasingly militarized and violent response by police. We commit to act in solidarity with Black Lives Matter protesters who are currently engaged in a Week of Action to pressure those in positions of authority to act. We condemn the police and mob brutality that has terrorized Black communities for centuries, and the justice system that has failed Black Americans.

We need to look inward, to our own organization and our own overwhelmingly-white profession. Libraries strive to expand access to information, provide spaces for learning, and preserve knowledge. But people of color often do not feel welcomed in our spaces or seen in our collections. The status quo is not acceptable. The leadership team of the Libraries is committed to creating an equitable workplace and community and we understand that it is our obligation to do the heavy lifting on this important work. We recognize that Black, Indigenous, and People of Color (BIPOC) leaders within both our local community and the larger profession have contributed enormous thought and effort into how to make meaningful change, and we will be humbly guided by their work in our efforts.

In close collaboration with University Libraries faculty and staff and the DU community, we commit to:

  • Reviewing commitments made in our 2016 “Open Letter from University Libraries Faculty” to ensure that we are not falling short of them,
  • Hiring and retaining BIPOC employees not by tokenizing individuals based on their racial/ethnic identities, but by creating a welcoming and actively anti-racist institutional culture,
  • Not asking BIPOC to do emotional and intellectual labor for white people new to anti-racist work,
  • Reviewing and then revising or eliminating policies and procedures that disproportionately impact communities of color (e.g. borrowing and lending policies, fine and fees structures, security protocols, collection development guidelines),
  • Challenging our own prejudices and supporting our community by calling attention to crucial, critical underrepresented voices as we build our collections,
  • Being careful to use appropriately sensitive language in describing the materials we collect and provide access to,
  • Addressing inequities perpetuated by racist, exclusionary technology, 
  • Recognizing that our budget is a political document; it says almost everything about what, and who, we support.

Libraries exist to serve their communities through access to information for research, teaching, and personal and professional growth as well as spaces for collaboration. By acknowledging the power and responsibility that comes with this role, we will remake our organizational and professional culture so that it supports and contributes to an anti-racist higher education institution and community. 

In solidarity,

Michael Levine-Clark, Dean

Carrie Forbes, Associate Dean

Jack Maness, Associate Dean

Merisa Bissinger, Director of Business and Operations

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DU Know About Earth Day?

DU Clarion, April 20, 1970

The University Libraries’ Sustainability Committee highlights a history of Earth Day at the University of Denver (DU) in this online exhibit. DU has participated in Earth Day since its inception on April 22, 1970. This year, 2020, marks the 50th anniversary of Earth Day, which gave a voice to an emerging public consciousness about the state of our planet.

All items featured were gathered from the University Libraries Special Collections and its government documents holdings. For more information about the history of Earth Day, visit www.earthday.org or the DU Libraries Research Help Center.

Join the DU Center for Sustainability in Virtual Earth Week 2020! They have a great line up of ways to appreciate our planet from our homes, wherever that may be! Check out the schedule for the week on their Facebook event page.

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COVID-19 and DU Libraries

Stay up to date with DU Libraries’ COVID-19 updates on our website. Please check that site for any information or updates.

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Winter 2020 Finals Week at AAC

Changing Library Hours

Taking into consideration the public health recommendations for social distancing and potential reduced staff capacity in the short-term, the DU Libraries will need to change its finals operating hours.

We will not be extending hours for finals, but will be operating on a modified schedule. Please see our Alerts page for details.

Midnight Coffee (March 16-17)- CANCELLED

Due to concerns over the Coronavirus, we will no longer be able to offer free coffee during finals.  We apologize for the inconvenience.

Zero Waste Finals (March 11-17)- CANCELLED

Zero Waste Finals at the AAC will be on weekdays from Wednesday March 11 through Tuesday March 17, and we’re aiming to achieve a high diversion rate!  What does that mean?  It means that the library is hoping to divert as much as possible of the building’s compostable and recyclable waste from the landfill. Will you help us achieve our goal? Stop by the main floor of AAC to play games and win prizes like KIND bars, tea, and library swag.

Join the So Long Single Use pledge! Help save the planet by reducing your use of single use plastics. Take a pledge to be more sustainable.

 

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Fall 2019 Finals Week at AAC

Winter Interim is almost here! Stop by AAC during week 10 and finals week for some support to help you through the end of the quarter.

Changing Library Hours

Starting on Friday November 15, AAC will be open 24 hours to give you more time to study. The building will open on Friday November 15 at 7 a.m., and remain open until the regular close of business on Wednesday November 20 (technically, Thursday at 2 a.m.). The library will be closed on the following dates:

  • November 28 – December 1
  • December 5
  • December 25 – January 1

For more information, visit our Hours page.

Late Night Breakfast (November 11)

On Monday, November 11, University Libraries will host a late night breakfast from 7-10 p.m. in AAC 290. This event is intended to provide students with a break from their late cram sessions, including free coffee and snacks, board games, and stress-relief tips.

Stress Relief (November 13)

On Wednesday, November 13, University Libraries and the Health and Counseling Center are hosting a Stress Relief Event in the Anderson Academic Commons room 290 from 10 a.m. to 2 p.m. We will have therapy dogs, massage therapists, crafts, snacks, and flu shots.

Midnight Coffee (November 17-18)

Get your caffeine buzz on Sunday November 17 and Monday November 18 from 8 p.m. to midnight at AAC. The Front Porch Cafe will serve free drip coffee during those times to keep your study sessions going.

Zero Waste Finals (November 13-19)

Zero Waste Finals at the AAC will be November 13-19, and we’re aiming to achieve a high diversion rate!  What does that mean?  It means that the library is hoping to divert as much as possible of the building’s compostable and recyclable waste from the landfill. Will you help us achieve our goal? Stop by the main floor of AAC to play games and win prizes.

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Featured Tool: Research Guides

Need help getting started on a paper or project? The DU Library provides access to 900+ databases to support your scholarship, but the amount of options can be overwhelming. The DU Librarians have multiple methods of assisting you with your work. In addition to Research Center options (including consultation appointments and quick reference help via in-person ask, phone, email, or chat) there is another option to help you get started on your own. Enter, the Research Guides

(Screen shot) DU Library homepage. Cropped and indicated by blue square is the 'Research Guides' search box.

The DU Librarians have carefully curated hundreds of resource guides that can help you discover and narrow down the databases and credible web sources that will get you started or keep you going in the research process. Simply enter your desired research topic in the ‘Research Guides’ search box on the DU Library homepage or click on the ‘Research Guides’ link above the box to peruse categories and other breakdown types of available guides. One of the best ways to locate your desired page is to view all of the guides organized by ‘Subject’. There are currently 59 subject options ranging from Art & Art History, to ChemistryEconomicsMarketingSocial Work, and so many more! 

(Screen shot) DU Library Research Guides header, reads: "Welcome to Research Guides!"

Below is an example of one Research Guide navigation bar where users can open pages for different types of materials with varying points of focus on the general topic, APA style citation for Business.

(Screen shot) Title and navigation bar included in the Research Guide "APA Style Guide for Business: Introduction 6th ed."

Each guide is personally created by a DU Librarian who is available for consultations to assist you in navigating the resources linked to each page and support your academic endeavors further as needed. The guides are thoughtfully made with known projects and assignments in mind, and to include alternative approaches to each topic, various types of resources and brief descriptions of each, as well as tips and tricks to limit the time you spend exploring the databases and set you up for success. Check out the Research Guides or reach out to the Research Center at AAC for more help!

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Spring Finals 2019 at AAC

Spring Finals Week at AAC.

Summer is almost here! Stop by AAC during week 10 and finals week for some support to help you through the end of the long quarter.

Changing Library Hours

Starting on Friday June 7, AAC will be open 24 hours to give you more time to study. The building will open on Friday June 7 at 7 a.m., and remain open until the regular close of business on Wednesday June 12 (technically, Thursday at 2 a.m.). The library will be open for summer quarter with regular operating hours.

Stress Relief (June 5)

On Wednesday, June 5, University Libraries and the Health and Counseling Center are hosting a Stress Relief Event in the Anderson Academic Commons room 290 from 10 a.m. to 2 p.m. We will have therapy dogs, massage therapists, aromatherapy, crafts, snacks, and a pop-up clinic. See the Facebook event for details.

Midnight Coffee (June 9-10)

Get your caffeine buzz on Sunday June 9 and Monday June 10 from 8 p.m. to midnight at AAC. The Front Porch Cafe will serve free drip coffee during those times to keep your study sessions going.

Zero Waste Finals (June 10-13)

Zero Waste Finals at the AAC will be June 10-13, and we’re aiming to achieve a high diversion rate!  What does that mean?  It means that the library is hoping to divert as much as possible of the building’s compostable and recyclable waste from the landfill. Will you help us achieve our goal? Stop by the main floor of AAC to play games and win prizes.

Posted in News & Events

Battling the Japanese Beetle – Expert Talk on June 19 at AAC

A Japanese beetle sits on white flowers. Text says Battling the Japanese Beetle. A talk with expert Betty Cahill about managing the invasive species. June 19, 6-8 p.m. AAC 290. RSVP with a bit.ly link.

On June 19, join DU Libraries’ Sustainability Committee, and the DU Bridge Community Garden for a talk about the Japanese beetle infestation plaguing Colorado plants.  The Japanese beetle has arrived along the Front Range in many neighborhoods and is causing severe summer plant destruction and concern by home owners. Expert Betty Cahill will explain the pest’s life cycle and the plants that can be affected in each stage of its development. She’ll cover cultural, organic and other management options for both adult beetles and their larvae.

This talk is open to everyone in our community. RSVP here. The event will take place June 19 from 6-8 p.m. in AAC 290.

Betty Cahill is a freelance writer and garden instructor and currently writes the popular garden “Punch List” column for the Denver Post Grow section which covers what to be doing in your landscape and vegetable garden weekly during the growing season and monthly during the fall and winter. She has been teaching gardening classes around the metro area for several years including Denver Botanic Gardens, garden centers, garden clubs and libraries. For additional gardening tips, information and stories, follow her on her blog.

Event: Battling the Japanese Beetle

Date: June 19

Time: 6-8pm

Place: AAC 290

Free, but please RSVP

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One Day For DU – University Library Association

#1Day4DU. May 22, 2019. Powered by the DU Bookstore
#1Day4DU
May 22, 2019
Powered by the DU Bookstore

One Day For DU is the University’s largest annual event for uplifting meaningful DU causes. This year, The University Library Associaton’s project will support information literacy.

Please consider supporting the University Library Association’s One Day For DU project this year and help us achieve our goal of raising $5,000. Visit the ULA One Day website to donate.

Your gift will provide much needed grants to enable faculty to redesign their courses to integrate the University Libraries’ resources and incorporate training for their students in information literacy – the set of skills necessary to navigate a world of information abundance. These redeveloped courses will enhance critical thinking skills in this era of fake news, and will teach students how to successfully navigate the overwhelming amount of information that comes at them. While the library collections are vitally important, so too is the ability to discover and critically assess the information they contain. Through this project, we will create high-impact learning experiences for students, deepening their engagement and development, and preparing them for substantive impact on the world. 

Today you can help the library collaborate with faculty to enable our students to confidently engage with the myriad sources of information that all of us face every day. Thank you!

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