In Quentin Tarantino's neo-Western, The Hateful Eight (2015), a British hangman [Tim Roth] settles a dispute between Union and Confederate veterans stranded together in a remote tavern during a Wyoming blizzard by drawing a line down the middle of the room: one side is the South and the other is the North. The ploy fails, as regional schema often do. For all of the insistence on boundaries, the movie and its characters find themselves straddling the dividing line.
This session invites both new close readings of texts and other media that contain fictional religions and more abstract conceptualizations of the phenomenon.
Submit CV and abstract (300 words) by 15 March 201 by 15 March 2016.
We are happy to announce the pending launch of Quarterly Horse: A Journal of [brief] American Studies (quarterlyhorse.org).
The first online "printing" will be released November 2016 with a celebration at the American Studies Association conference in Denver. With an editorial staff now in place, the journal is currently seeking submissions. Essays will be accepted through our online submission management system (see quarterlyhorse.org/cfp).
The William Faulkner Society is planning a panel for MLA 2017 in Philadelphia that will focus on Faulkner in the context of world literature. The expansive scope is designed to reveal a range of possibilities for reading Faulkner individually or in comparison to other figures. Papers topics might include but are not limited to the following:
In the preface to Borderlands, Gloria Anzaldúa declares: "I am a border woman." As simple as it sounds, this statement suggests the individual's agency in the social and cultural production of personal identity as it boldly rejects to acknowledge the power of the state in the process.
To theorize affect is to theorize boundaries: that is, to realize and negotiate between vocabularies and cultures with overlapping and competing taxonomies. As Jonathan Flatley writes in Affective Mapping, "The vocabulary of affect can be confusing, in part because there are many terms—affect, emotion, feeling, passion, mood—and a long history of debate not only about which terms are the right ones and how to distinguish between them, but about what they mean in the first place. And while there is a great deal of excellent recent work on affect in several disciplines....this does not mean that a general consensus, or even a common conversation, has emerged" (12).
Sensing the Midwest: The Work of Michael Martone / SSML 2016 Presidential Panel (June 2-4, 2016. DUE Feb 12, 2016) [EXTENDED DEADLINE]
Although the term is fairly recent, flash fiction—-extremely short narratives typically less than 1000 words—-is not especially new. Kate Chopin, Ernest Hemingway, Yasunari Kawabata, Isaac Babel, and Franz Kafka all wrote provocative fiction that we now label as flash. However, in the past thirty years or so, these short short stories have been all the rage. Anthologies of flash fiction abound, their pages filled with such literary giants as Robert Coover, Joyce Carol Oates, and John Updike, as well as other lesser-known but extremely influential practitioners such Pamela Painter and Michael Martone.
When Henry David Thoreau writes that: 'We are all sculptors and painters, and our material is our own flesh and blood and bones', he attests how the body and expression are intrinsically linked. Bodies become not only a central subject, but a way in which we see and talk about other things. Bodies are not only created, but perform, communicate and create.
[There] are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification.
—Gilles Deleuze and Felix Guattari, A Thousand Plateaus
standing on the map of my political desires
I toast to a borderless future
—Guillermo Gómez-Peña, "Freefalling Toward a Borderless Future"