Category: Media

Presentations, Popular Culture, and Pavlova: PCAS/ACAS Day One

Presenting at PCAS

Written by Allie Plunk

Our first day in New Orleans began late, but with plenty of excitement! I was going to present my paper, Modernism in Billy Collins‘ Poem “Forgetfulness,” at the PCAS/ACAS conference.

As soon as we arrived at the Royal Sonesta Hotel New Orleans, I checked in and found my room. As I waited for my session to start, fellow presenter Richard Vela introduced himself. He was very friendly and said he was excited to present. A former professor at the University of North Carolina–Pembroke, he was sharing his research on Hispanic poet Julia Alvarez. Though we were supposed to have a third presenter, it ultimately ended up being just the two of us.

Professor Vela acted as Chair for the room, introducing our topics as well as the overall theme of the session: “Poetry and Postmodernisms.” His presentation was first, and his insight into Julia Alvarez was intriguing! Personally, I had never read any of her work, but his presentation was well thought out and ended up tying neatly into mine, as we both addressed Postmodern poets and the intersection of memory and identity.

Though there were some technical difficulties that resulted in me being unable to display my slides, I did my best to read my paper as interactively as possible. The lack of slides definitely threw me off, but I was delighted to hear afterward that no one could tell I was bothered!

Following my presentation, we had a brief Q&A, during which we were able to discuss some key features that might not have made their way into our presentations, such as more of the key factors of postmodernism and how they likely affected Alvarez’s work, and the presence of mythology in Collins’ poem.

Overall, it was an incredibly impactful experience, and I am very grateful to have had the opportunity to present at my very first academic conference. It was a wonderful opportunity to share my research, meet another scholar, and experience what presenting at an academic conference is actually like. I hope it will be the first of many.

Exploring Southern Culture at PCAS/ACAS

Written by Ruthie Passmore

After the first session, we moved on to Southern Gothic 4, which covered folklore, masculinity, and southern decline, led by Chair Grace Becker, and included presentations by Lauren Butte and Kerbie Addis. All three speakers explored how the region’s anxieties refuse to stay buried, shifting from the monstrous myths of local cryptids to the slow violence of environmental and psychological decay.

Grace Becker opened the floor by interpreting William Faulkner’s The Sound and the Fury. She gave a depiction of how the novel captures misogyny and toxic masculinity through Jason’s actions throughout the story, focusing on the femininity and repressed sexuality seen in characters like Caddy and Quentin. I found it interesting to see how these ideas could be explored through the relationships between the characters and the expectations placed on them.

Lauren Butte then began talking about the “Alabama White Thang,” explicating the folklore in a way that was very comprehensible. She explained that sightings began in the early 1900s, with the most recent being August 2026. Being described as anywhere from seven to eight feet tall, white, cat-like, and elusive, the “White Thang” certainly sounded like an intriguing beast. Her presentation showed how folklore can continue to exist and evolve even as the culture surrounding it changes.

Kerbie Addis proceeded to give a brief analysis of literature, cinema, and digital media, exploring Jesmyn Ward’s acclaimed novel Salvage the Bones, the movie Beasts of Southern Wild, and the video game Norco. She focused on the environmental aspects in the Southern Gothic and how this is transcribed across different media platforms. I especially liked seeing how the same concerns can be expressed through different forms of storytelling, rather than being limited to traditional literature.

Shifting to the last session of our day, we got to hear about Vampire Literatures as Decolonizing Practice from three professors from Louisiana State University of New Orleans. The chair and one of the presenters was Lisa Verner, along with colleagues Robin Werner and Elizabeth Lewis, who deconstructed three different texts in an analysis of minority representation in vampire literature.

Robin Werner started by discussing Certain Dark Things by Silvia Moreno-Garcia, and I liked how she focused on the idea of identity in the book. Elizabeth Lewis then talked about The Black Vampyre and shared how her students reacted to it. Lisa Verner wrapped things up by looking at Indigenous literature through Stephen Graham Jones’s The Buffalo Hunter Hunter.

Ultimately, the speakers all shared a common goal: presenting their research, asking for feedback, and ensuring that the books they teach leave a lasting impression on their students. Even though the presentations covered very different subjects, each one demonstrated how literature and other forms of storytelling can be used to examine larger cultural anxieties and give readers new ways of understanding them.

Creole Delights at Arnaud’s

Written by Robin Houghton

Feeling pretty hungry after a busy day at the conference, we visited Arnaud’s, which specializes in Louisiana Creole cuisine. We started boldly with Oysters Arnaud, a collection of baked Oysters: Bienville, Kathryn, Ohan, Rockefeller, and Suzette, as well as Escargots en Casserole—baked snails with a flaky pastry top. The escargot’s earthy taste received mixed reviews; however, the oysters were agreed to be one of the best dishes of the night.

To experience Creole cuisine in its brevity, we chose a wide variety of entrees: a fittingly-shaped Crabmeat Karen, flavorful Chicken and Andouille Gumbo, and a delicious bowl of Turtle Soup. We all loved Arnaud’s savory Crab Cakes, as well as the Shrimp Creole. We even had the opportunity to try Frog Legs Provençale!

For dessert, we had the Chantilly Pavlova, Baked Alaska, and a New Orleans staple: Bananas Foster. The latter two desserts — which were served flamed — were a highlight of our meal. Arnaud’s was a wonderful introduction to Louisiana Creole, and we left full and happy, a satisfying conclusion to our day.

Conclusion

Our first day at PCAS/ACAS was a busy one, but it was also an incredibly rewarding experience. From presenting our own research to listening to scholars discuss poetry, Southern Gothic literature, folklore, and decolonization, we were able to see just how many different perspectives can come together at an academic conference. Beyond the presentations themselves, getting to experience New Orleans added another layer to the day. Between the conference sessions and our exploration of New Orleans, our first day at PCAS/ACAS was a great beginning to what would become an unforgettable conference experience.

Here’s Looking at You, LEAP: A Night with Casablanca

Written by Allie Plunk

Last Thursday, LEAP Ambassadors got the chance to step back in time and experience the classic film Casablanca at River Oaks Theatre!

Once we arrived, we quickly found our seats and settled in for the show. Before the film began, Robert Saucedo, River Oaks Theatre’s Artistic Manager, shared a few brief remarks before introducing film critic Joe Leydon. Leydon dedicated the screening to his late wife, Anne Leydon, and shared a touching message about how people live on through the things they love. For Anne, that was Casablanca.

Released in 1942, the romantic drama follows American expatriate Rick Blaine (Humphrey Bogart), the owner of a nightclub and gambling den in Casablanca, a city in French Morocco that has become an important stopping point for refugees fleeing the German occupation. For many refugees, Casablanca is a necessary stop on the journey to Lisbon and, eventually, freedom in America.

Rick, however, has no interest in leaving. Content to remain neutral in the war, he seems determined to look out for himself and avoid getting involved in anyone else’s problems. That changes when Ilsa Lund (Ingrid Bergman) unexpectedly walks back into his life.

Rick and Ilsa had once shared a passionate romance in Paris before the German occupation, but their relationship ended abruptly when Ilsa left Rick without explanation just as they were supposed to escape the city together. Now, Ilsa is married to Victor Laszlo (Paul Henreid), a resistance leader being pursued by the Third Reich. With Ilsa back in his life, Rick is forced to confront the conflict between his desire to remain neutral and the love he still has for her. The result is a story full of romance, tension, and unexpected twists that kept all of us guessing until the very end.

On the car ride home, we had plenty to discuss. One of the biggest topics was Rick himself. We talked about how he is an objectively morally gray character—especially for a protagonist from a film of that era—and compared him to the morally complicated characters we see so often in modern movies.

All in all, Casablanca gave us plenty to think about, and it was a fun opportunity to experience one of Hollywood’s most iconic films together!

Number One Fans: Misery at the Alley Theatre

Written by: Allie Plunk

On the first day of our LEAP Retreat, LEAP students travelled to the Alley Theatre for a performance of Stephen King’s Misery. To make this event even more memorable, we were joined by several alumni which gave us a group of 19 people!

​The story follows author Paul Sheldon (Chris Hutchinson), who has finally written what he thinks will be his masterpiece when he gets into a car accident that shatters his legs. He is rescued by his self-professed “number one fan,” a woman by the name of Annie Wilkes (Elizabeth Bunch). At first, she acts normal enough, but things very quickly take a turn for the worst. Married in real life, the actors gave a wonderful performance, leaving us wondering how they manage to create such believable characters while still going home together each night. Having just seen the movie a few weeks before, it was very interesting to see the difference in the details and presentation of the story as it was adapted for the stage.

​One of the most striking elements of the play was the set. Split into three distinct parts, the set rotated on a turntable to create a seamless transition between the room where Paul is held captive, the rest of the house, and outside. We were all astonished by the level of detail that went into the set, from the numerous images of Paul Sheldon, to the inclusion of a working staircase. Another practical piece of the performance that we enjoyed were the special effects. We had a good time figuring out how they incorporated stage blood and prosthetics to enhance the gorier elements of the story.

​Having finally finished the Misery trifecta– the novel, movie, and play– I found the differences between the three mediums incredibly striking. The novel contained much more prosaic passages, as well as backstory and lengthened character development, especially for Annie Wilkes, than either the movie or play. The movie, however, shifted and condensed elements of the novel, such as the addiction that Paul develops to the pain medication Annie provides him and his reliance on imagination to endure his captivity, while adding in the perspective of the town Sheriff that is investigating his disappearance. The play retains many of these elements, several lines of dialogue taken directly from the movie, though Annie’s characterization relies on much more of the actor’s discretion, removing much of her backstory entirely. Despite these differences, each preserves the core of the story: the dangerous, disruptive nature of obsession.

​Overall, Misery proved to be a fascinating example of how a story can evolve across different mediums while retaining its central themes. Both entertaining and thought-provoking, it was a memorable highlight of our retreat and gave us a deeper appreciation for the art of adaptation.