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American Sunrise: poems by U.S. Poet Laureate, Joy Harjo is the One Campus, One Book selection for the academic year. UAS has partnered with the Juneau Public Library to celebrate An American Sunrise as part of a Big Read grant from the National Endowment from the Arts.  Events, discussion resources and more are available at

Planning for campus and community events is underway. Copies of the book will be provided to all new UAS students at orientation. Read the book [ebook always available to borrow with your UAID#, print copies). 

"Don't worry about what a poem means. Do you ask what a song means before you listen? Just listen."
—Joy Harjo 

A stunning new volume from the first Native American Poet Laureate of the United States, informed by her tribal history and connection to the land.  In the early 1800s, the Mvskoke people were forcibly removed from their original lands east of the Mississippi to Indian Territory, which is now part of Oklahoma. Two hundred years later, Joy Harjo returns to her family’s lands and opens a dialogue with history. In An American Sunrise, Harjo finds blessings in the abundance of her homeland and confronts the site where her people, and other indigenous families, essentially disappeared. From her memory of her mother’s death, to her beginnings in the native rights movement, to the fresh road with her beloved, Harjo’s personal life intertwines with tribal histories to create a space for renewed beginnings. Her poems sing of beauty and survival, illuminating a spirituality that connects her to her ancestors and thrums with the quiet anger of living in the ruins of injustice. A descendent of storytellers and “one of our finest—and most complicated—poets” (Los Angeles Review of Books), Joy Harjo continues her legacy with this latest powerful collection.

Joy Harjo

Writer, musician, and current Poet Laureate of the United States Joy Harjo—her surname means “so brave you’re crazy”—was born in Tulsa, Oklahoma, and is a member of the Mvskoke (also spelled Muscogee) Creek Nation. One of her earliest memories is a sense of awakening when she first heard Miles Davis’ horn on the radio in her parents’ car. “That music opened an incredible door,” she told NPR. “I could almost see the shape of my whole life.” In Harjo’s early years, she would often hear her mother singing, or find her writing a song at the kitchen table. Of Cherokee, Irish, French, and German descent, her mother loved lyric poetry. She was like fire, Harjo says—always full of inspiration. Unable to afford books, and with just one dress to wear, her mother dropped out of school in eighth grade.

Harjo’s father, who worked as an airline mechanic, descended from Muscogee Creek tribal leadership. Among his ancestors was Monahwee (also known as Menawa), a Red Stick leader who fought Andrew Jackson’s forces in the 1814 Battle of Horseshoe Bend, opposing American expansion. When the Red Sticks were defeated, it set the stage for the removal of the Muscogee people from their homelands. Harjo describes her father as a mystery, relying on anger and alcohol to cope with his sensitive nature. When he left the family, Harjo was eight years old. Her mother remarried a man who was physically and emotionally abusive and forbade singing in their home.

Like her innate connection to music, Harjo loved words, and loved drawing as a child—it was an experience she likened to dreaming on paper, and it was a passion she shared with her grandmother and her aunt, both of whom were talented visual artists. In first grade, she drew a picture of ghosts and colored them green, scandalizing the other students who asserted that ghosts could only be white. She would never forget the vehemence of their reaction. At 16, Harjo escaped her difficult home life to attend the Institute of American Indian Arts in New Mexico. Early in her adult life, she experienced two rough marriages, single motherhood, and battles with alcohol, self-abuse, and panic attacks.

When she discovered poetry, she said, it was a revelation that changed her life. After receiving her BA from the University of New Mexico-Albuquerque, Harjo was accepted to the Iowa Writers’ Workshop, where she received an MFA in creative writing. “A lot of my poetry is inspired by injustice, love, the move for balance, and compassion,” she told Sampsonia Way. “This debris of historical trauma, family trauma… stuff that can kill your spirit, is actually raw material to make things with and to build a bridge … over that which would destroy you” (NPR). Among her influences are the poets June Jordan, Galway Kinnell, Audre Lorde, Judy Grahn, Charles Bukowski, Rubén Darío, Mahmoud Darwish, and Pablo Neruda, as well as John Coltrane and Kaw-Muscogee jazz musician Jim Pepper. Stand-up comedy, too, has been an inspiration: “In both poetry and song, you’re writing concise pieces with a snap to them. Stand-up comedy is similar in that way, except they get laughs” (Sampsonia Way).

Harjo has published numerous award-winning books of poetry—including the 1983 classic She Had Some Horses—as well as children’s books and works of nonfiction, including her memoir, Crazy Brave, which took her 14 years to write because she had to face her demons and find the strength to share the pain of her past in a public way. It received the PEN Center USA Literary Award for Creative Nonfiction and the American Book Award. Harjo’s many other awards include the Lifetime Achievement Award from the Native Writers Circle of the Americas; the William Carlos Williams Award from the Poetry Society of America; the Wallace Stevens Award from the Academy of American Poets; the American Indian Distinguished Achievement in the Arts Award; the Ruth Lilly Poetry Prize from the Poetry Foundation; a John Simon Guggenheim Memorial Foundation Fellowship; and two National Endowment for the Arts Creative Writing Fellowships. Harjo has also released five albums of music and poetry and is an award-winning saxophonist and vocalist. She performed for many years with the band Poetic Justice and continues to perform today both solo and with her band the Arrow Dynamics, playing the alto saxophone, guitar, flute, horn, ukulele, and bass. Her album Winding through the Milky Way received a Native American Music Award for Best Female Artist of the Year in 2009.

Known for her contagious sense of curiosity and purpose, Harjo is a founding board member of the Native Arts and Cultures Foundation and has served as a member of the National Endowment for the Arts’s National Council on the Arts. For many years she has also been a professor of American Indian Studies and English at the University of Illinois at Urbana-Champaign; in 2016, she joined the faculty of the University of Tennessee, Knoxville, as Chair of Excellence in Creative Writing. “Throughout her extraordinary career as poet, storyteller, musician, memoirist, playwright and activist, Joy Harjo has worked to expand our American language, culture, and soul,” wrote poet Alicia Ostriker in her citation for the Wallace Stevens Award. Her “visionary justice-seeking art transforms personal and collective bitterness to beauty, fragmentation to wholeness, and trauma to healing.”


Out of recognition that integrating One Campus, One Book selections into UAS courses takes time, two books will be selected each cycle.

Eat Like a Fish: My adventures as a fisherman turned restorative ocean farmer by Bren Smith is the One Campus, One Book Selection for AY 22-23

“Part memoir, part treatise on the life of a professional fisherman, part manual for the future of eating worldwide, this unique book cannot help but make readers think long and hard about the fate of the earth as it faces the challenges of global warming and the outlook for feeding the planet. . . . Smith has now become a visionary leader in cultivating what may turn out to be a primary source of the world’s food. This is a book about a man as well as a book about an idea.” —Booklist (starred review)

Out of recognition that integrating One Campus, One Book selections into UAS courses takes time, two books will be selected each cycle.

Eat Like a Fish: My adventures as a fisherman turned restorative ocean farmer by Bren Smith is the One Campus, One Book Selection for AY 22-23

“Part memoir, part treatise on the life of a professional fisherman, part manual for the future of eating worldwide, this unique book cannot help but make readers think long and hard about the fate of the earth as it faces the challenges of global warming and the outlook for feeding the planet. . . . Smith has now become a visionary leader in cultivating what may turn out to be a primary source of the world’s food. This is a book about a man as well as a book about an idea.” —Booklist (starred review)

Visit Big Read Juneau for the most current event info.  

2021-22 | American Sunrise  

Faculty are encouraged to contact us if:

  • you are considering discussing American Sunrise in your class
  • would like to contribute curriculur resources
  • are interested in serving on the Planning and Selection Committee   

Consider using these resources for approaching this year's themes: challenging definitions of normalcy and health.  This page will be updated regularly and features a bibliography of complimentary books and discussion themes by discipline to compliment this year's selection and provide alternate sources for discussion in academic classes.    

“Don’t worry about what a poem means.
Do you ask what a song means before you listen? Just listen.”

— Joy Harjo

Teacher Resources and Discussion Questions

Book Discussion Questions

  1. The preface to An American Sunrise describes the Indian Removal Act of 1830 from the perspective of indigenous peoples who were “rounded up with what [they] could carry,” and is accompanied by a map showing one trail the Muscogee Creek Nation took to “Indian Territory.”  Were you familiar with the Indian Removal Act and the Trail of Tears before reading this collection? If so, did this account differ from or add to what you had previously heard? How so? If not, what surprised you most about this account?
  2. In “Exile of Memory” (p.6), the speaker is warned by “one who knows things” not to return to her ancestral homeland, and is asked if she knows “how to make a peaceful road / Through human memory.” Why do you think she chooses to return despite this warning? What do you think she means at the end of this poem when she says, “I will sing [my leaving song] until the day I die” (p. 19)?
  3. “Grief is killing us. Anger tormenting us. Sadness eating us with disease,” reads one section in “Exile of Memory” (p. 10). In what ways can trauma be passed down from generation to generation?
  4. “We are in time. / There is no time, in time. / We are in a traditional Mvskoke village, far back in time,” the speaker says in one section of “Exile of Memory” (p. 17).  Where else in the collection does Harjo challenge assumptions about time and/or blur past, present, and future? Have you ever been in a place where you felt the blurring of past, present, and future?
  5. The prose section on page 29 states that “Until the passage of the Indian Religious Freedom Act of 1978, it was illegal for Native citizens to practice [their] cultures. This included the making and sharing of songs and stories.” What are the roles songs and stories play in a culture? Are there songs, stories, poems, prose pieces, or other practices that are important in your culture? How would the future of your culture be impacted without them?
  6. In “Washing My Mother’s Body” (p. 30), the speaker imagines washing her mother’s body after her death. How does this poem relate to the larger act of historical returning that takes place in the collection? Can you think of times in your own life when you felt you needed to make peace with things “left undone”? If so, did reading this poem make you think about those experiences in a new way?
  7. Harjo brings up music and song throughout the collection, in “Mvskoke Mourning Song” (P. 51), “Singing Everything” (p. 53), and “Rabbit Invents the Saxophone” (p. 75). “Mama and Papa Have the Going Home Shiprock Blues” (p. 37), “Falling from the Night Sky” (p. 54), and “Welcoming Song” (p. 104) are labeled as songs. Were there other poems that seemed like they could be songs even if they weren’t labeled as such? If so, why? What qualities do you think music and poetry share? Are there things music can do that a poem cannot, and vice versa?  
  8. Many of Harjo’s poems are about the relationship between humans and nature. In “Honoring,” for instance, Harjo asks the reader, “Who sings to the plants / That are grown for our plates” (p. 68)? What might Harjo be asking us to realize or remember about the natural world?
  9. One way to talk about a poem is to describe its form. An American Sunrise includes poems in a range of forms, distinguished by elements such as line length (short lines, long lines, prose), line breaks (where a line starts and ends), stanza shape, capitalization, and punctuation, to name just a few. Are there places where one or more of these choices affected how you read a particular poem?
  10. Throughout the collection are interview excerpts, songs, quotes, and poems from outside sources. How did their presence enhance (or detract from) your engagement with the collection? If they enhanced your engagement, which of them most resonated with you? Why?
  11. In “Tobacco Origin Story” (p. 81), Harjo recounts a tale of how the tobacco plant came to the Muscogee Creek People. In what ways is this origin story connected to—and disconnected from—the present day that the speaker describes? Are there particular stories that have been passed down in your own cultural heritage that you find relevant to your life today?
  12.  “Becoming Seventy” (p. 87) is an exploration of memories ranging from the birth of a daughter to the “Star Wars phenomenon,” presented in lines that get longer as the poem progresses. If you were to write a meditation on memory, what would it look like and what would you choose to include? What do you think the speaker means when she says that “All memory bends to fit” (p. 94)?
  13. “Beyond” (p. 95) is the only poem in the collection that is offered both in English and in translation (“Ren-Toh-Pvrv,” p. 96). Why do you think Harjo might have wanted to offer this particular poem in both languages? How is language tied to cultural identity, and how can it be a tool for oppression or survival? What did you notice about the ways Harjo approaches both the colonial legacy of the English language and the original language of her ancestors in the collection?
  14. Untitled prose passages written by Harjo appear throughout the collection, many of which involve Harjo’s grandfather from several generations back, Menahwee. What impact did reading these plainly spoken passages have for you? Did you learn anything you didn’t know from these passages? Did they build on your reading of any of the poems? Which ones and how so?
  15. The book’s title poem, “An American Sunrise,” appears on page 105. What are some of the different meanings or connotations you can think of for this phrase, here and elsewhere in the book? Why do you think Harjo chose this title for her collection?
  16. The last poem in the collection, “Bless this Land” (p. 106) harkens back to the song “This Land is Your Land,” a famous American folk song by Woody Guthrie, written after the song “God Bless America” by Kate Smith. How does this poem build on or challenge those songs? How does Harjo emphasize the history of native peoples and the land in this and other poems? Has reading An American Sunrise affected your understanding of American history?

One Campus, One Book is the common reading program at UAS-Juneau.  It's a celebration of literature and the relationships and communities that develop between readers and writers.  Discussing a common book can also provide a safe venue for beginning difficult dialogues.  The program grew out of the Student Success Forum with the goal of helping foster community and compassion on campus.  The program's first year (2010) featured David Issay's Listening is an Act of Love and a corresponding campus oral history project ( The UAS Listening Project) collected the stories of students, faculty and staff.   In 2012 the program was formalized as a program of the Egan Library, a selection committee established and in 2013 these program goals and criteria were adopted.  


The UAS One Campus, One Book program will:

  • Begin an exploration of interdisciplinary approaches
  • Create opportunities for learning in and out of the classroom.
  • Foster student, staff and community participation and identification as contributing members of an intellectual community.
  • Promote reading and "foster a page-turning togetherness".*

       *based on DC We Read 2009

The One Campus, One Book (OCOB) program aligns with the mission and goals of the UAS First Year Experience (FYE) Program to support academic success and persistence, ease educational and social transitions to college, and foster student engagement in the UAS Community.  OCOB activities incorporate two FYE student learning outcomes:

First year students participating in OCOB activities will:

  1. Develop a strong network of peers and professionals including:
    1. One faculty member they consider a mentor
    2. One staff member they feel can offer support
    3. Five peers that are conducive to their social and academic success
  2. Develop strong connections to the UAS campus by attending at least five events on the Don't Miss List

Criteria for book selection:

  • The extent to which the book matches program goals (touches on interdisciplinary perspectives and has the potential for integration into curriculum, is not too challenging in terms of reading level or topic).
  • Has the potential for a variety of related program (themes).
  • The book won’t have likely been assigned reading during high school.
  • Accessibility: The book is between 250-350 pages in length, engaging, college-level reading and not a text-book
  • Accessibility: is available currently in paperback
  • Accessibility: bulk ordering of the book won’t require a reprint of the title.
  • The author may be available to visit campus (within our modest budget).

Core Planning and Selection Committee:

Please email committee chair, Jonas Lamb ( ) if you are interested in participating on the committee or for information about the next selection.  

Jonas Lamb, Assistant Professor of Library Science/Public Services Librarian, Chair  

UAS First-Year Experience Committee working group members.   

Faculty & Staff Reviewers (2019): Lisa Richardson, Allison Neeland, Nathan Bodenstadt, Jen Ward, Dylyn Peterson, Callie Ziegler

Previous One Campus, One Book Selections

Information about previous OCOB selections and links to audio/video when available.  

2020: If Our Bodies Could Talk: Operating and Maintaining a Human Body by James Hamblin

Invited speaker, James Hamblin, discussed his work as a public health professional and author in the midst of a global pandemic. The conversation included questions from participants and was moderated by Jonas Lamb [watch].

2019: Cancelled

2018: Spare Parts: Four Undocumented Teenagers, One Ugly Robot, and the Battle for the American Dream by Joshua Davis 

Invited speaker, Oscar Vazquez, one of the teenagers whose trials and triumphs are documented in the book, visited with UAS classes (Spanish), had a luncheon with the UAS Student Veterans and Family Association and provide the afternoon keynote, "La Vida Robot, STEM, and Immigration"during the Power & Privilege Symposium. [watch]  

Campus screenings of the feature film, Spare Parts and the documentary Underwater Dreams, illustrated how the boys left an enduring legacy that has inspired generations of young Latino advocates to raise their voice on issues of immigration, the DREAM act and equitable access to STEM education.

Spare Parts author, Joshua Davis, recorded a welcome video for incoming UAS students.  [watch]

2017: Station Eleven by Emily St. John Mandell

UAS partnered with the Juneau Public Libraries on their NEA Big Read Grant.  An initiative of the National Endowment for the Arts in partnership with Arts Midwest, the NEA Big Read broadens our understanding of our world, our communities, and ourselves through the joy of sharing a good book.  Station Eleven served as a starting place for a community wide conversation on the themes of remembering and coping with historical trauma through cultural and artistic forms, boosting community knowledge of emergency preparedness and infectious disease prevention, and promoting kindness and respect for different perspectives despite humans’ sometime violent and intolerant nature.  Fewer events were hosted on campus this year due to the abundance of  community-wide events held by JPL and other Big Read partners. 

Dr. Micaela Martinez, Assistant Professor at the Columbia University, New York, UAS Biology and Math Alumna gave the lecture: The Clockwork of Epidemics, Health & Disease [watch select 092217 from playlist]

Two films interpretting future worlds (Mad Max and The Circle) were screened on campus.  A game night featuring the board game, Pandemic was held in student housing as were weekly book discussions. 

UAS created a website for the project [view the archived website]

2016: Mixed: Multiracial College Students Tell Their Life Stories

Invited speaker, Christina Gomez, co-editor of Mixed visited with 3 classes on the Juneau Campus (Humanities, Spanish, Sociology) and had a lunch time conversation about educational journeys, graduate school, advocacy and passions with the UAS students in the Alaska Native Science and Engineering Program (ANSEP). 

Gomez participated and lectured as part of the 1st UAS Power and Privilege Symposium on November 9th, 2016.  Her talk titled "The Act of Dreaming: Undocumented Students in the United States" is archived [ watch, select Session5_Gomez from the playlist). 

Gomez also gave the One Campus, One Book lecture, "Negotiating Identity in America" as part of the Evening at Egan series on November 11th, 2016.  [ watch, select 111116 from the playlist]

2015: Blonde Indian: An Alaska Native Memoir by Ernestine Hayes

“One of the most important books to come out of Alaska. There have been other great memoirs by Alaska Natives, but few if any have been made with such disarming humor, such bravery and such warmth.”  --The Anchorage Press

Hayes' visited 15 classes on the Juneau and Sitka campuses, attended a reception in her honor held by the UAS Honors Program and participated in 3 community events culminating in her Evening at Egan Lecture, "An Animate World", Nov. 6th, 2015 [watch, select 11_6_2015 from playlist].

Hayes moderated the panel, "The Making of Never Alone" an interdisciplinary discussion focusing on the video game, Never Alone (Kisima Ingitchuna), winner of the 2015 British Academy Games Award: Best Debut.  The panel featured cultural ambassadors Ishmael Hope and Amy Fredeen and a team from E-Line Media appeared via video (Matt Swanson — Producer, Ian Gil — Lead Designer, David Koenig — Technical Director, Casey McDonnell — Art Director).  The discussion raised the question, how can new media platforms be used effectively to tell traditional stories in order celebrate indigenous language, contribute to decolonization efforts and share a vibrant, in-tact culture with younger generations? 

Hayes' donated the pre-publication Blonde Indian manuscript and author's correspondence to the Egan Library.  It can be viewed online in ScholarWorks@UA. Access to original manuscript materials are restricted to in-library use at the University of Alaska Southeast Egan Library and requires pre-approval from a reference librarian. Researchers are encouraged to use the online version of this collection.

Blonde Indian was selected by Alaska Writer Laureate, Frank Soos and the Alaska Center for the Book as the inaugural selection for Alaska Reads 2016, a statewide celebration of Alaskan literature.  Hayes' travelled extensively throughout the state during the month of February and free copies of Blonde Indianwere distributed to public libraries courtesy of the Alaska State Library.     

In March 2016, Hayes was featured on "The Artist" @ 360 North.  The event was recorded and rebroadcast later on 360 North public television and on YouTube.  Additional info about "The Artist @360". [watch]  

Native Voices: Native Peoples' Concepts of Health and Illness an exhibition on loan from the National Library of Medicine was hosted @ Egan Library September-December 2015  

The  Juneau Public Library collected interviews on campus as part of their StoryCorps grant “Every Voice Matters: Recording and Sharing Alaska Native Educational Experiences”.  UAS students and faculty facilitated interviews at the Egan Library.  Recordings will be available on CD at the Juneau Public Libraries in Summer 2016.  Select interviews from the project can be streamed from KHNS (Haines, AK Public Radio).  

2014:  Log from the Sea of Cortez by John Steinbeck

Steinbeck and Ricketts scholar Katie Rodger visited the Juneau campus for a series of class visits, reception and an Evening at Egan Lecture, 'Discovering Science: Finding the Story', Oct. 10th, 2014 [watch]  

Artist and socio-ecological activist Colleen Flanigan visited the Sitka and Juneau campuses for a series of class visits and presentations on Merging Art and Environmental Sciences.  

2013: At the Mouth of the River of Bees by Kij Johnson

Kij Johnson visited the Juneau campus for a series of class visits, the one-night only production of a staged reading and an Evening at Egan Lecture.

UAS Drama Club S.C.R.I.P.T performed "Finding True North", Nov. 6th 2013
Kij Johnson presented and Evening at Egan lecture, Egan Library, Nov. 8th, 2013 [ watch]

Narrative Endeavors: Visual and Literary Art Exhibition.  One night only student art show with open mic and Google Hangout with Kij Johnson.  Downtown Gallery, April 4th, 2014.   

John Marzluff, author of Gifts of the Crow: How perception, emotion, and thought allow smart birds to behave like humans presented a different perspective on this year's OCOB theme of human-animal communication and communicating with the other at a Sound and Motion Lecture on April 18th, 2014.  

2012: Being Caribou by Karsten Heuer  

Karsten Heuer and Leanne Alison visited the Juneau campus for a series of lectures, film screening and classroom visits. Gwich’in elder Randall Tetlichi was elder-in-residence on the Juneau Campus and gave another perspective on related themes.

Gwich’in elder Randall Tetlichi presented an Evening at Egan lecture, Egan Library: Nov. 9th  2012 [watch ]
Leanne screened the related film, Egan Lecture Hall followed by a Q&A, Nov. 15th 2012 [watch]
Karsten presented an Evening at Egan lecture, Egan Library, Nov. 16th 2012 [watch]
Sarah Ray, OCOB 2012 Committee Chair

2011: The Truth About Stories by Thomas King

2010: Listening is an Act of Love by David Isay

Book Nomination Form

Do you know of a great book that could help build community and begin difficult conversations on campus through the OCOB program?  Feel free to nominate a title that is not included in our short list.  Each selection cycle the committee reviews more than 20 titles, many are from campus community nominations.   From these reviews and author availability, a short list of titles is made available for broader campus input.  We look forward to adding your nominations to the ongoing consideration pool.  Please keep in mind the program goals, selection criteria and we'd love to hear your ideas for related programming. 

For examples, check out some common reading titles from these publishers:
Penguin/Random House 
Harper Collins 
National Association of Scholars 

NPR Book Concierge

Internship Opportunities:

Interested in Interning with the OCOB program? Talk to your advisor and contact to discuss options.

The OCOB Student internship will provide students with experience in the management, marketing and promotion of arts and culture events by assisting in the production of the campus-wide common reading program, One Campus, One Book and related campus and community events. This internship will also incorporate independent networking around the City and Borough of Juneau with the purpose of determining how arts and culture organizations develop, budget, staff, coordinate logistics, and evaluate their programs and events.  Duties vary between Fall and Spring Internship opportunities and each interested student is encouraged to work with their faculty advisor and OCOB faculty sponsors to adapt the internship to meet their program needs.  The OCOB internship can be adapted to meet a variety of programatic needs including Humanities, Communication, English and more.  Student interns can also choose to enroll at either 291/391/491 levels and typically for 3 credits (requires 150 clock hours).  These internship opportunities are open until filled.  Deadline to apply for fall is May 1 of the prior year and the deadline for the spring internship is December 1.  Funding may be available to cover internship credit/tuition costs.     

Objectives:  One objective of the internship will be to provide the student an opportunity to actively participate in the management, marketing and promotion of an arts and culture event.

Interns will:

  • Attend regular OCOB committee planning and other related meetings/trainings (budget/CMS). 
  • Review and critically evaluate potential book titles for selection
  • Assist in book orders and author visit planning
  • Create promotional materials, surveys and content for print, web (CMS training provided) and social media
  • Assist in event scheduling, promotion and event logistics.
  • Develop written and oral communication skills by discussing and promoting OCOB programs and events with students and in the community
  • Develop confidence and communication skills serving as coordinator of correspondence and communication with invited author, publisher and other guest speakers/performers.

Questions about the internship?  Contact Jonas Lamb ( or call 907-796-6440


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