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[UPDATE] Deadline Extended --- Lucayos -- Issue 2 -- Water
full name / name of organization:
The College of The Bahamas, School of English Studies
Lucayos is looking for submissions of papers 20-25 pages in length on art, film, literature and culture of the postcolonial world. The journal also invites submissions of creative pieces, specifically poetry, life writing, essays, and short stories. Submit works in full by May 31, 2010.
Submissions may be made in three ways: directly to the journal's website (www.cobses.info/ojs) after registering an account; by email to email@example.com; or by post to Lucayos, School of English Studies, The College of The Bahamas, P.O. Box N-4912, Nassau, Bahamas. Please include a 100 word bio with submissions.
ISSUE 2 -- Water
Water is the source of life. It enables existence, survival, fertility. It is a space of movement, creating communities and cultures. It is a site of trade and transport, of transactions of goods, services and people. A site of cross-cultural encounters, it bridges differences of class, ethnicity, race, religion and gender. It is a location of possibility, affording opportunity for new ways of seeing and being. Travelling on, through, over or under water has forever altered the way we perceive our world, our planet. It is revered, a sacred space, a signifier of the spirit, and the sublime. Its influence on our material and spiritual selves is represented in texts and testimonials of all sorts, in art, film, literature, media, criticism.
Water is its own paradox. It can be both literal and metaphoric bridge, yet often constitutes a physical and cultural barrier. It can impede the unfortunate traveler, individual or tribe. Bodies of water which traditionally ferried people and goods to and from their homelands have undergone radical changes as technology, complicit in humankind's insatiable thirst for progress (or what the West has defined as progress), has forever altered the flow of water in counties, countries, continents. Its scarcity heralds increasing tensions among ethnic and national communities. It is, as it has always been, both source and site of conflict. History, variously defined, attests to that. How then does the artist represent the Manichean character of water? How does the artist celebrate its beauty while conscious of its power and ability to consume, destroy? How does the postcolonial scholar read water's claim on identity formation? What, then, is an "Is/land"? How does water complicate our ability to articulate who we are? How does the writer re-conceptualise water? How does the artist represent the problematic relationship of people to water?
Possible points of departure: