iiinova — where your digital self keeps evolving

Steph Brown @stephjayb.bsky.social · 25/09/2026

Happening shortly! Come help me think about surveillance humanities!

Steph Brown @stephjayb.bsky.social · 23/09/2026

No matter how many times I read it, my response to the line "open minds as open as a trap" in Seamus Heaney's spectacular poem "Whatever You Say Say Nothing" is, roughly,

A toddler who also looks like an enraged old man wearing a Pittsburgh Penguins jersey brandishes both of his tiny fists in celebraion at a hockey game.

130

Steph Brown @stephjayb.bsky.social · 08/09/2026

It calls out one of my favorite thought experiments from the book: what would have happened if you asked 1904 suffragists to solve problems routinely being faced by suffragettes in the 1910s?

Text from page 98 of Watching Women reads "It is worth remembering what an aberration in feminist political tactics the suffrage militancy of the 1910s was. Had you asked a suffragist group composed largely of middle- and upper-class women in 1904 what their strategy would be for physically incapacitating a large number of police officers who had invaded a suffrage meeting with the in-tent to arrest the leaders, using only the implements group members typically carried on their persons at such occasions, while simultaneously moving the police’s targets out of the venue and away from the scene, they’d moving the police’s targets out of the venue and away from the scene, they’d likely have been too astonished at the question to venture an answer."

032

Steph Brown @stephjayb.bsky.social · 04/06/2026

Reading Wanda Coleman's American Sonnets and the final line of this one, "too soon to quit too late to cry," keeps bouncing around in my head like a refrain after the fact.

The text of American Sonnet 39, which reads:

no ZZZs louise, dere’s a virusconspirus

blue paisley terror don’t want gorgeous moon don’t
care about the orange cat gone stray can’t worry
about failures to drop a bomb big enough to blast us
out of privation or into major note. can’t sweat rent

in arrears, renegade raffia or corner-consuming arachnid
or the sooty blackness clogging airwaves brainwaves
and national arteries. or ghost-eyed latinos begging
work at the backdoor while ebony men beg gang-related
donations for magic bullets at the front. i’m

beset by reams of withering promise belly-up and
spasming on my desktop, immobilized in demonic clockrock,
French-roast flooding the split in my noggin, eyes
rafting walls. foot-to-butt—get it crackin’ bitch!
too soon to quit too late to cry

020

Steph Brown @stephjayb.bsky.social · 03/04/2026

The photographer David Taylor came to talk to my grad class this week. This image, from his project COMPLEX, which documents the network of private ICE prisons across the US, has just been staying with me since. www.dtaylorphoto.com/projects/com...

An image from David Taylor's COMPLEX exhibit, titled "Surplus Modular Cell Units, Eloy Detention Complex, Eloy, AZ, 2021," provides an aerial view of a desert scrub landscape, with four rows of modular cell units of difficult-to-determine size stacked against one another.

01310

Steph Brown @stephjayb.bsky.social · 23/03/2026

I'm also grateful that I had space, in my intro essay, to argue that creative literature (and culture broadly) should matter to people working on surveillance, in light of attacks on #HigherEd coming out of the twinning of austerity and #EdTech. Here's the condensed version of that part: 4/

A paragraph clipped from the article, which reads "In this project, literature is, of course, one tool among many. But the virulence with which the study and circulation of literature has been attacked by surveillance capitalism’s architects and cheerleaders suggests
that that attack is worthy of our attention. This is a place where the answers that humanists are developing broadly in defense of their work speaks most directly to surveillance studies, because many of those answers respond directly to the projects of Silicon Valley and venture capital. These answers include vocal rejections of AI and of the kinds of EdTech surveillance that are rendering students less capable of sustained attention and critical thought. They include arguments asserting the value of interpretive skills in the face of attempts to make those skills less accessible, including by surveilling and censoring both students and their teachers. Disciplines like literary studies, Black studies, gender and women’s studies, critical theory, fine arts, sociology, and history have a long, shared history of being the targets of attacks from the entire global spectrum of agents now congealing into authoritarian alliance. These are disciplines that teach students to read, and attacks on university education struck at them first, persistently, and most aggressively, not least because the attackers are illiterate. The limited imaginations behind these attacks can build nothing but cages. And the work that we are doing has always been the work.

170

Steph Brown @stephjayb.bsky.social · 23/03/2026

I'm very grateful to the folks at Surveillance & Society (most notably editor @torinmonahan.bsky.social) for putting out an enormous issue that ended up being 15 (!) essays, including contributions by a few bsky folks: @ubisurv.net, @lorefilip.bsky.social, and @dibyaroy86.bsky.social 2/

Image of the issue table of contents, which is live here: https://ojs.library.queensu.ca/index.php/surveillance-and-society/issue/view/1104

142

Steph Brown @stephjayb.bsky.social · 01/02/2026

Nothing against @jeffvandermeer.bsky.social's novel Absolution, but the "ABSOLUTION FOR YOU" button on his website absolutely made me hope for something weirder and more eschatological upon clicking than just being routed to the book's purchase page.

A screenshot from Jeff Vandermeer's Southern Reach Trilogy Website shows a border of transmogrified psychedelic swamp animals around a button that says "ABSOLUTION FOR YOU" against a black backdrop.

0160

Steph Brown @stephjayb.bsky.social · 06/01/2026

I also got to get one of my favorite—and seasonally appropriate!—bits of suffragette poetry into the piece: the one in which suffragette arsonists threaten to ruin everyone’s Christmas mail, for The Cause. /7

Text of a poem from THE SUFFRAGETTE reads: "Christmas, I believe is coming. Soon/its missives will be here.../Haply these may never reach me; haply/they are destined yet/For the blackening or corrosive of the/ardent suffragette."

010

Steph Brown @stephjayb.bsky.social · 06/01/2026

The piece argues that these images work to mobilize viewers against state brutality by making them feel that as viewers, they must make a choice about what tech and policy *mean*. 3/

Poster from the article shows a suffragette prisoner in Walton Liverpool jail, with the slogan "1910: This is the way political prisoners are treated by a Liberal Government."

122

Steph Brown @stephjayb.bsky.social · 27/11/2025

Came out last year between Christmas and the inauguration, so was definitely at top of everyone's mind... utppublishing.com/doi/book/10....

The cover of Watching Women: Militant Suffragists Writer the British Surveillance State, 1905-1924 by @StephJayb.bsky.social. One a white backdrop, a photograph from 1908 shows a procession of suffragist women carrying grates, which was a sign that they had served prison terms for pro-suffrage offenses. At the edge of the photo, a policeman stands with his back to the marchers.

0165

Steph Brown @stephjayb.bsky.social · 22/11/2025

Seeing this graphic a a lot, so added a visual reminder about the Roberts court's role in all this (in red).

Adds a note to the "Federal election donations by the 100 wealthiest Americans" graphic in the article below, to the effect that in January 2010, the Supreme Court ruling in Citizens United v. FEC established that wealthy donors can make essentially unlimited campaign contributions via PACs.

000

Steph Brown @stephjayb.bsky.social · 22/11/2025

Always going to be The Black Jacobins for me

Cover image: C.L.R. James' The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution

150

Steph Brown @stephjayb.bsky.social · 05/11/2025

@mattseybold.bsky.social's proposal to (among other things) reestablish faculty and students' control over their data & work here is...brilliant, actually? (Tho it would strip upper admin of their power to decide WHO gets to buy that data...😢) theamericanvandal.substack.com/p/mamdani-wi...

Text reads: If CUNY is successful in developing internally owned-and-operated substitutes for any or all of its Software As A Service (SaaS) contracts with for-profit EdTech firms (and their private equity owners), the development costs will very rapidly pay for themselves, merely by freeing the associated institutions (and the city) from ongoing Ponzi austerity extraction of public resources at the expense of investment elsewhere in the CUNY system.

CUNY-owned EdTech platforms would provide an additional public benefit by reclaiming student, instructional, and employee data, the reserve currency of technofeudalism which is presently being mined by EdTech operators like OpenAI, Oracle, KKR, Vista and Silver Lake Partners. Universities are currently paying these SaaS providers and their investors twice, first with large subscription fees and again with access and aggregation power over large troves of data produced by members of their campus communities.

083

Steph Brown @stephjayb.bsky.social · 27/10/2025

Finishing up Peter J. Kalliney's _The Aesthetic Cold War_ and going to hang on to this paragraph as an example of the kind of reflection and work for which there are no shortcuts, and that a humanities education prepares us to do:

A passage from the conclusion of Kalliney's book, The Aesthetic Cold War. The text reads: It took me a long time to make decent sense of the archival record I encountered. Ingrained habits of thought prevented me from understanding the data I found. I had to unlearn many of the assumptions I brought to the project. When I started working on cultural diplomacy initiatives, I was prepared to read every utterance through the lenses of conspiracy and cynicism. How did the United States and the Soviet Union coopt and defang and reroute the literature
of decolonization, I wanted to know? How did the cold war's partisans
recruit and corrupt intellectuals from the decolonizing world? The temptation to interpret the archival record from this perspective was even greater when I turned to the punitive measures state agencies visited upon writers. I anticipated writing a book detailing how large states first tried to bribe writers, resorting to coercion and intimidation when lavish conferences and generous book deals did not do the trick. There was, however, a problem. Neither the archives I consulted nor the literary texts themselves seemed to support such a reading.

0201

Steph Brown @stephjayb.bsky.social · 21/10/2025

Poetry haul from my first visit to Palabras Bilingual Bookstore in Phoenix last week 💜 Came away feeling that I would live there if I could…

Poetry collections by Sally Wen Mao, Ariel Francisco, and Jacqueline Balderama against a white background

020

Steph Brown @stephjayb.bsky.social · 17/10/2025

Speaking of, this is happening this afternoon:

150

Steph Brown @stephjayb.bsky.social · 26/08/2025

Re-organizing my work schedule for the next few days because my pre-order of "Claude McKay: Letters in Exile" arrived a week early 💜💜💜

The cover of "Claude McKay: Letters in Exile," edited by Brooks E. Hefner and Gary Edward Holcomb shows a black-and-white of McKay in a suit and overcoat, sitting on a low concrete wall with a bridge in the background. He is clearly swinging his feet, which are blurred.

060

Steph Brown @stephjayb.bsky.social · 24/07/2025

Read @biancatherosestone.bsky.social's What Is Otherwise Infinite in the same week as Koleka Putuma's Collective Amnesia and it was the perfect accidental pairing--excellent on their own, and better together.

Two books sitting on a wooden table: Keleka Putuma's Collective Amnesia, whose cover shows a person in an elaborate face covering and a dark dress holding an infant in a light-colored dress, and Bianca Stone's What is Otherwise Infinite with a green overlay on an originally sepia-toned painting of a demon leaning across two rocks with the sea in the background.

020

Steph Brown @stephjayb.bsky.social · 12/06/2025

If you'll be at the Modernist Studies Association conference in Oct and want to talk surveillance: just received the acceptance for the Surveillance Modernity, Surveillance Modernisms seminar. Join us! (MSA registration coming soon!) @moderniststudies.bsky.social @modernistudies.bsky.social

A description of the seminar, which reads:

This seminar considers surveillance, broadly conceived, as a practice of modernity. In keeping with the theme of the conference, it encourages considerations of surveillance infrastructures as constitutive of, and responses to, modernity. It asks whether our definitions of modernity and modernism might reveal them to be coeval with surveillance as an increasingly institutional, corporate, transnational, and state-based mode of control.

The late 19th and early 20th centuries saw the expansion of surveillance-based state power at the level of nations and empires (including emergent US imperial ambitions in the Caribbean, Latin America, and the Pacific). However, the seminar will not limit its consideration of the entanglement of modernity and surveillance to these decades, and may include work that takes up surveillance modernity outside a strictly delineated historical modernism. Similarly, work that considers non-state infrastructures (of e.g. the factory, the ship, the corporation, the university) are welcome. The seminar will query how different media forms, working at scales that vary from the compactness of the passport, the poem, and the case file up to the expansiveness of the census, the sociological study, the epic, and the ordinance survey, registered emerging surveillance culture. It will ask, broadly, how surveillance practices and the institutions from which they emerged shaped modernist aesthetic practice? Similarly, it encourages participants consider the affordances of modernism to reveal the dynamics, desires, impulses, and demands that underlay various surveillance infrastructures as they evolved.

071

Steph Brown @stephjayb.bsky.social · 10/06/2025

Overwhelmed with the amount of new reading I need to do, I have naturally embarked on a re-read of Glissant’s Poetics of Relation

Édouard Glissant’s Poetics of Relation, translated by Betsy Wing, lays on a marble countertop. Its paperback cover is white with a light blue map of the Caribbean islands, taken from Willem Janszoon Blaeu’s 17th century _Map of the Americas_.

140

Steph Brown @stephjayb.bsky.social · 16/05/2025

I almost took The Dragon Can't Dance off my Caribbean Lit syllabus this semester, so of course this is the semester that our class discussions and their papers keep coming back to it over and over. (The lesson here is "don't sleep on Earl Lovelace," I guess.)

The cover of Earl Lovelace's novel "The Dragon Can't Dance" shows a man dressed as a dragon for Trinidad Carnival. He is painted bright red and wearing enormous wings and pitchfork, with black paint covering his head and horns. He wears trainers and cutoff jean shorts, and is walking down a residential street.

030

Steph Brown @stephjayb.bsky.social · 14/05/2025

Nothing says Summer 2025 like your new bathing suit being detained by tariff enforcement.

A Fed-ex shipping update screen showing a shipment from Oldenzaal, Netherlands suffering a "Clearance Delay" in Memphis, TN.

042

Steph Brown @stephjayb.bsky.social · 01/05/2025

In the UK suffrage movement too: one of the first thing the East London Federation of Suffragettes did when WWI broke out (maybe even before?) was establish milk centers so that working class women had access to unadulterated milk.

An image from the cover of the Sept 26, 1914 issue of Sylvia Pankhurst's paper, the "Woman's Dreadnought," shows several women, most of them holding small children, in a wood-floored room in the East London neighborhood of Bow. An especially chonky little boy sits in the foreground, looking at the camera and holding a milk pail. The caption reads "Our Bow Milk Centre."

031

Steph Brown @stephjayb.bsky.social · 29/04/2025

Finally reading Many-Headed Hydra, and while "superlucration" might not be plain speech in the way "surplus value" is, I do enjoy how it gets at the dragonish lucre-hoarding aspects of the extremely wealthy. We're living in the era of superlucration, y'all.

Text reads, "Sailors thus produced surplus value above the costs of production, including their own subsistence; the political arithmetician called this process "superlucration." Petty thus originated the labor theory of value by refusing to think of workers in moral terms." The word "superluctraion" is circled in blue ink.

Cover image of Peter Linebaught and Marcus Rediker's "The Many Headed Hydra: Sailors, Slaves, Commoners, and the Hidden History of the Revolutionary Atlantic" includes several small pencil sketches at the top, with the rest of the cover image taken from "Badia di Manfredonia" (1790).

040

Steph Brown @stephjayb.bsky.social · 30/01/2025

Don't let ICE just wave any old piece of paper at you. Great that Pima County is giving their workers a primer on administrative v. judicial warrants.

Excerpt from the article quoted in the original post reads: "According to the National Immigration Law Center, “Unlike a judicial warrant, an administrative warrant does not authorize a search.” Administrative warrants can be signed by ICE officials, whereas judicial warrants must be signed by judges."

071

Steph Brown @stephjayb.bsky.social · 09/01/2025

I'm not at MLA this week, but my book is! Stop by the @uoftpress.bsky.social table and send me pics! (Piling them up on my coffee table isn't the same...)

A pile of five copies of a large, white, hardback book, titled Watching Women: Militant Suffragists Write the British Surveillance State, 1905-1924, sitting on a light wood coffee table.

092

Steph Brown @stephjayb.bsky.social · 06/01/2025

Rafe Dalleo did an amazing job editing the Journal of West Indian Lit Special Issue on George Lamming. So proud to have contributed, alongside Linden Lewis, Yutaka Yoshida, @jackieretalis.bsky.social, Tohru Nakamura, and Amílcar Peter Sanatan! Read the issue here: www.jwilonline.org/downloads/vo...

A promotional poster for the Journal of West Indian Literature, Volume 33, Issue 1, Novembe 2024. The left half of the poster shows the cover of the journal which says "Special Issue on George Lamming, edited by Raphael Dalleo." Most of the cover is a pencil sketch of Lamming with fluffy white hair and glasses, and pink, yellow, and light blue accent shadowing. The right half of the poster is a list of the journal contributors.

0141

Steph Brown @stephjayb.bsky.social · 19/12/2024

🎉Obligatory Edith Garrud tossing a constable*🎉 *not really a constable, actually her very obliging husband dressed as a constable.

A series of six black and white photographs in which Edith Garrud, a suffragette dressed in an ankle-length coat and enormous hat, demonstrates how to sweep the legs out from under a taller man in a constable's uniform and put him in a shoulder lock. Garrud's hat remains in place throughout.

073

Steph Brown @stephjayb.bsky.social · 19/12/2024

A seasonally appropriate one that didn't make it into the book (but that I squeezed into a different article that's coming out soon): The Suffragette threatening to cover everyone's Christmas cards in acid if women aren't given the vote:

A poem excerpt from the December 20, 1912 issue of The Suffragette. The verses read:

Christmas, I believe is coming. Soon
its missives will be here…
Haply these may never reach me; haply
they are destined yet
For the blacking or corrosive of the
ardent suffragette.

010

Steph Brown @stephjayb.bsky.social · 17/12/2024

Just realized that the poster on the dust cover of Barbara Green's Spectacular Confessions is the print that hangs in my office--appropriate given what an outsize role her work plays in my own... (And with that, I have gotten myself out of alphabetical order, a sign that I should resume tomorrow!)

The cover of Barbara Green's Spectacular Confessions: Autobiography, Performative Activism, and the Sites of Suffrage, 1905-1938 (1997). The image is adapted from Hilda Dallas's "Votes for Women, Wanted Everywhere" poster, designed for the Women's Social and Political Union in 1909, and shows a suffragette in a white dress with a purple sash and green hat holding aloft a copy of the newspaper "Votes for Women."

140

Steph Brown @stephjayb.bsky.social · 17/12/2024

Even though he wasn't at UofA long, getting to read some of Sony Coráñez Bolton's Crip Colony (www.dukeupress.edu/crip-colony) while he was here and it was in progress was a privilege.

The cover of Sony Coráñez Bolton's "Crip Colony: Metizaje, US Imperialism, and the Queer Politic of Disability in the Philippines" shows the title on a black background, above a partial image of Julie Lluch's "Spoliarium"

150

Steph Brown @stephjayb.bsky.social · 17/12/2024

I still have conversational shorthands from the late Greg Colomb's The Craft of Argument that every UVa English grad of a Certain Era would probably recognize.

A cover image of The Craft of Argument: the title on an abstract purple and magenta background, with the names of the four authors: Joseph M WIlliams, Gregory G Colomb, Jonathan D'Errico, and Karen Tracey

170

Steph Brown @stephjayb.bsky.social · 10/12/2024

Insisting that even in end-of-semester mode I can get some slow reading done, I’m really enjoying Imani D Owens’ TURN THE WORLD UPSIDE DOWN, which so far has convinced me that yes, I do need to think more about Eric Walrond…

The book TURN THE WORLD UPSIDE DOWN: EMPIRE AND UNRULY FORMS OF BLACK FOLK CULTURE IN THE US AND CARIBBEAN by Imani Owens, resting on a coffee table, has brightly colored close up birds (finches?) and foliage on the cover

020

Steph Brown @stephjayb.bsky.social · 27/11/2024

The project thinks about how Caribbean writers moving around the (former) British empire used fiction to convey experiential aspects of migrant surveillance. The newest bit of this is on George Lamming’s The Emigrants, in the forthcoming November issue of the Journal of West Indian Literature. 12/

A black-and-white photo of a pensive George Lamming, resting a pencil on the corner of his mouth and leaning against a pillar.

120

Steph Brown @stephjayb.bsky.social · 27/11/2024

My new(ish) book project is an extension of my obsession with the Jamaican/Harlem Renaissance/Black Atlantic vagabond Claude McKay. (For me as for so many modernists-by-training, McKay has been the gateway into doing a whole book about C20 Caribbean writers.) 11/ muse.jhu.edu/issue/44250

The first page of an academic article, "Marseille Exposed: Under Surveillance in Claude McKay's Banjo and Romance in Marseille" by Stephanie J. Brown. The abstract reads: "This article examines the representation of surveillance in Claude McKay’s Romance in Marseille and the influence of surveillance on the novel’s aesthetics. It uses McKay’s 1929 novel Banjo as a prior representation of Marseille that establishes the historical constraints under which characters in Romance navigate the social world of Quayside, the city’s international working-class quarter. The article argues that McKay depicts an important moment in which state and corporate actors create networks of transnational surveillance that aim at securing an advantageous global distribution of labor for capital. McKay’s novel examines the mechanisms through which surveillance controls the mobility of racialized and gendered bodies, and depicts the strategies of resistance that such characters deploy more and less successfully against these often-violent mechanisms."

140

Steph Brown @stephjayb.bsky.social · 27/11/2024

...and by obsessively fighting the British government over her right to cosplay as a British police officer on a global stage. 8/

A black and white photograph from 1919 labelled "Women Police Motor-Cycling Squad." Four women dressed in what appear to be (but are not!) official police uniforms sit mounted on motorcycles, with a fifth in a sidecar, across a street in London. Mary Allen is in the center of the frame, astride her motorcycle and looking directly at the camera.

120

Steph Brown @stephjayb.bsky.social · 27/11/2024

It also documents two former suffrage militants’ post-militancy interactions with the surveillance state. Sylvia Pankhurst became an East London advocate for the rights of sailors’ and soldiers’ wives, a communist, an anti-imperial activist during the Italian fascist invasion of Ethiopia. 6/

A typescript page from one of Sylvia Pankhurst' foreign office files, dated 1947, on the topic of her pro-Ethiopia activism. An indiscreet officer, D.W. Lascelles, reports that "We agree wholeheartedly with you in your evident wish hat this horrid old harridan should be choked to death with her own pamphlets." [Hard disagree, DW: Sylvia now, Sylvia forever!]

160

Steph Brown @stephjayb.bsky.social · 27/11/2024

If you ever need someone to decipher the scrawl that rural farmboys who moved to the big city and became bobbies learned ca. 1900, I’m your girl. 5/

The Home Office file of George Lansbury, dated 1914. The cover is visible, and the writing is illegible partly-to-entirely illegible.

140

Steph Brown @stephjayb.bsky.social · 28/05/2024

If you want to talk about non-trivial Oreo-related evil deeds:

A grocery store display of many neon green packages of Sour Patch Oreos, with a sign underneath that says "Sour. Sweet. Oreo."

100

Steph Brown @stephjayb.bsky.social · 06/02/2024

Marlon James' Brief History of Seven Killings

The cover of Marlon James' A Brief History of Seven KIllings, which is bright yellow and has a hummingbird hovering between "of" and "Seven."

041

Steph Brown @stephjayb.bsky.social · 27/12/2023

Going through some back-issues of Moko and slowed way down over this selection of paintings from Carlos Esteves. "El Rey Pajáro Pescador"(2015) might be my favorite... mokomagazine.org/wordpress/pa...

000

Steph Brown @stephjayb.bsky.social · 30/11/2023

The Rolling Stone obit saying what we should, and won't, hear from our paper of record: www.rollingstone.com/politics/pol...

From the Rolling Stone Obituary of Henry Kissinger: "Every single person who died in Vietnam between autumn 1968 and the Fall of Saigon – and all who died in Laos, and Cambodia, where Nixon and Kissinger secretly expanded the war within months of taking office; as well as all who died in the aftermath, like the Cambodian genocide their destabilization set into motion – died because of Henry Kissinger. We will never know what might have been, the question Kissinger’s apologists, and those in the U.S. foreign-policy elite who have stood in or who imagine themselves standing in Kissinger’s shoes, insist upon when explaining away his crimes. We can only know what actually happened. What actually happened was that Kissinger materially sabotaged the only chance for an end to the war in 1968 as a hedged bet to ensure he would achieve power in Nixon’s administration or Humphrey’s. A true tally will probably never be known of everyone who died so Kissinger could be national security adviser."

022

Steph Brown @stephjayb.bsky.social · 04/10/2023

Reminder from Jennie Xie's collection The Rupture Tense

A line from a page of text, underlined in blue pen, reading "Forge papers, declare sovereignty."

030

Steph Brown @stephjayb.bsky.social · 24/09/2023

Sunday morning oof: this piece by Lorna Finlayson on the social conditioning of academics newleftreview.org/sidecar/post...

Article text: "With departments closing all around us, and for reasons that often have nothing to do with their ‘performance’ or with anything their members have or haven’t done, the idea that we might save ourselves by keeping our heads down is, at best, a hope that they’ll come for someone else first."

053

Steph Brown @stephjayb.bsky.social · 15/09/2023

David Golumbia was one of my first real mentors when I was a fully out-of-my-depth grad student. I always admired the force of his convictions and the fearlessness of his writing, which we'll all need a little more of now that he is gone.

Tweet from @TulsaProvost with text: I am very sad to inform this place, which he pretty much hated, that @dgolumbia died this morning. Any of his friends can contact me for further information. The love he shared with his friends and his brilliant research and writing are his legacy." dated 7:13 September 14, 2023

072