Assistant Professor of English
Phone: ext. 2272
- PhD in English: Indiana University, Bloomington, 2010
- MA in Classical Studies: Indiana University, Bloomington, 2007
- MA in English: Indiana University, Bloomington, 2007
- BA in English: The College of New Jersey, 2004
Patrick joined the faculty at Centenary University in the fall of 2012. He teaches courses in Shakespeare, drama, classical literature, the history of the English language, and the Bible. Aside from a brief sojourn to the Midwest—developing scholarly and pedagogical skills, as well as an unhealthy attachment to college basketball—he is a lifetime resident of New Jersey. Beyond the academy, Patrick is an active critic of theater in New York and New Jersey, mostly for The Star Ledger, New Jersey’s largest newspaper. His current reviews can be found at the following locations: http://connect.nj.com/staff/pmaley/posts.html and http://exeuntmagazine.com/author/patrick-maley/, and older reviews can be found here: http://www.stagemagazine.org/author/patrick-maley/
Dr. Maley’s research engages a wide range of issues concerning drama, theater, performativity, and critical theory, with a primary focus on modern and contemporary drama of the United States and Ireland. Playwrights that are a consistent focus of his scholarship include Brian Friel, Eugene O’Neill, Suzan-Lori Parks, Conor McPherson, Marina Carr, and Tarell Alvin McCraney. Dr. Maley’s current book project (and the subject of his recent Senior Seminar courses), After August: Blues, August Wilson, and American Drama, examines August Wilson’s influence on our thinking about American drama both prior to and after his career. It argues that the ethos and aesthetic of blues, pioneered in theater by Wilson, reveals twentieth-century American dramatists wrestling with issues of race, sexuality, gender, and social identity through the performative expressions of their plays.
“Performing Ancestry: August Wilson, The Piano Lesson, and the Performative Neo-Slave Narrative,” Callaloo. Forthcoming.
“Performance and the Swirl of Dramatic Tradition: Toward a Model of Aesthetic Influence as Contagion,” in Transforming Contagion: Risky Contacts Among Bodies, Nations, and Disciplines (Rutgers UP, forthcoming).
“Desire Under Dylan: Robert Falls, Bob Dylan and the Domestic Tragedy of Eugene O’Neill,” The Eugene O’Neill Review, 37:1 (2016).
“‘The Play is set in the Theatre’: Conor McPherson and the Late-Modernism of the Theatrical Event,” Irish Studies Review 22:2 (2014).
“Mary Tyrone’s Crisis of Agency: Long Day’s Journey into Night, Ordinary Language, and the Tragic Humanism of Modern American Drama,” The Eugene O’Neill Review, 35:1 (2014).
“Dwelling in Dissonance: Brian Friel’s The Freedom of the City, Posterity, and History,” Field Day Review, 9 (2013).
“What Is and What Aint: Topdog/Underdog and the American Hustle,” Modern Drama, 56:2 (June 2013).
“Aeneas in Baile Beag: Brian Friel’s Translations, the Aeneid, and the Humanism of the Field Day Theatre Company,” New Hibernia Review, 15:4 (Winter 2011).