The selection committee for the John Updike Tucson Casitas Fellowship has chosen Dr. Sue Norton, Lecturer of English in the Faculty of Arts and Humanities at Technological University Dublin, to serve as the first fellow in residence.
The Fellowship, which will be offered annually by The John Updike Society, consists of a $1000 honorarium and a two-week residency at the Mission Hill Casitas within the Skyline Country Club in Tucson, Arizona. Updike owned and wrote from the Casitas during a part of each year between 2004 and 2009. Located in the Catalina Foothills with a spectacular view of Tucson, the Casitas (pictured below) are owned by Jan and Jim Emery, who generously donated the two-week stay.
Robert M. Luscher, who oversaw the selection process, said the committee chose Norton because of the important contributions that her proposed projects make to Updike studies. During her residency, Norton will work on a critical essay (tentatively titled “Somewhere Between Feminism and Misogyny: Classic Updike on the Modern Syllabus”) and make initial progress on the proposal for an edited collection of essays to celebrate the centenary of Updike’s birth—a volume encouraged by the literary editor at Bloomsbury Publishing.
Norton, whose work has appeared in The Journal of Scholarly Publishing, The Explicator, The Irish Journal of American Studies, The John Updike Review, and other books and journals, previously co-edited two volumes of essays with JUS member 
Laurence W. Mazzeno: Contemporary American Fiction in the European Clasroom: Teaching and Texts (Palgrave Macmillan, 2022) and European Perspectives on John Updike (Camden House, 2018). Norton came to Updike studies through her doctoral work on family in contemporary American fiction, which she completed in 2001 at University College Dublin. Her first article on Updike (The John Updike Review, 2014) was on the “regulating daughter” in the Rabbit novels. She has maintained an interest in the treatment of girls and women in Updike’s writing and beyond. It is on this topic that she will focus during her residency as the 2024 Fellow at the Tucson Casitas.
John Updike was one of only four writers to win the Pulitzer Prize for Fiction more than once. He was also among just a handful of Americans to be awarded both the National Medal of Arts and the National Humanities Medal, which are presented in White House ceremonies. He is widely know for his Rabbit Angstrom tetralogy, which fellow writer Ian McEwan said was his choice for Great American Novel. Updike also wrote poems, and many of the poems published in his final volume, Endpoint, were written at the Casitas.
Writer-scholar residencies in the U.S. are highly competitive and prestigious. Details on the 2025 fellowship and other grants offered by The John Updike Society can be found here.
James Plath, whose most recent published criticism—”Updike’s ‘Wife-Wooing’: The Seven Year Itch and the Soliloquy of Seduction”—appeared in The John Updike Review Vol. 10, No. 1 (Fall 2023), recently spent two weeks researching an essay on Mark Twain and John Updike as a Quarry Farm Fellow.
ABSTRACT: This article provides an innovative perspective on John Updike’s visit to Eastern Europe in the 1960s, including Bulgaria, as reflected in his short story “The Bulgarian Poetess” first published in The New Yorker on March 13, 1965. The inspiration for this interpretation is as much academic as it is anthropological. It comes from Updike’s use of my own surname, Glavanakova, which is not a common Slavic one, for the fictional character of the real-life Bulgarian poetess he met, whom researchers have established to be Blaga Dimitrova. Many have delved into the text aiming at a detailed and, more significantly, an authentic reconstruction of events, places and people appearing in the story (Katsarova 2010; Kosturkov 2012; Briggs and Dojčinović 2015). A main preoccupation of these analyses has been to establish the degree of factual distortion in Updike’s representation of the people and places behind the Iron Curtain. The pervasive imagery of the mirror, implying both its reflecting and doubling function, and the repetitive use of cognates associated with truth and honesty in the story suggest the focus of this article, which falls on the dynamics between authenticity and artifice from the perspective of autofiction by way of illustrating how one culture translates into another “at the opposite side[s] of the world” (Updike, “The Bulgarian Poetess”). In my interpretation, autofiction opens ample spaces for representations and discussions of identity and self-/reflexivity in a transcultural context.
Not everyone who recognizes themselves in a writer’s fiction or poetry is pleased, but William Ecenbarger took delight in recalling his 1983 interview with John Updike that inspired Updike to write “One More Interview.” Then a writer for the Philadelphia Inquirer, Ecenbarger managed to score his interview with Updike through the writer’s mother, Linda. It was no ordinary interview.
Most lists are Top Ten or Top 100, but no one ever accused Art Garfunkel—the quieter half of the Simon & Garfunkel folk-rock duo—of being like “most.” The singer decided to log each book he read, beginning in 1968—the year that the duo’s “Mrs. Robinson,” written for The Graduate soundtrack, won Grammy Record of the Year.
