The COVID-19 pivot from face to face to remote or digital instruction affected every teacher and student across the world. This roundtable invites participants to reflect and discuss teaching in the current moment, as well as during the unplanned (February-April) 2020 pivot.
This panel will consider the cases of writers who have used their platforms to create fictions of self—to misrepresent, self-justify, even blatantly lie about their own lives and realities. The panel is open to considering any act of writing sociopathy, from memoir (e.g., M.E. Thomas’s 2013 Confessions of a Sociopath or Donald Trump’s The Art of the Deal) to fictional works that inhabit the minds of sociopaths (e.g., A Clockwork Orange, Gone Girl) to literary fakers (e.g., James Frey, Danny Santiago, JT LeRoy, Caroline Calloway). Is writing in itself an act of misrepresentation bordering on psychopathy?
In video games such as Life is Strange, the Witcher series, and Telltale’s The Walking Dead, multiple story choices are offered that are the purview not of the protagonist but of the player, who may be forced to choose from a limited set of outcomes but is still in control of the narrative’s pace and flow. Unlike traditional narratives in which the writer is in control of the characters’ choices and their outcomes, video game narratives involve the participant in an interactive shared story with multiple possibilities.
In the 1930s and ‘40s, crime fiction was often published on cheap paper made of wood pulp, and this reputation as faintly disreputable has stayed with it, pursuing it into creative writing classes in which “genre-writing” has traditionally been discouraged. This panel invites creative writers as well as literary scholars to consider crime writing—true crime, mystery and detective fiction, suspense fiction, and film or television drama—in the context of creative writing pedagogy. Is crime writing inherently disreputable? Does this genre have a place in the creative writing classroom?
One immediate side-effect of the current ominous economic climate and general uncertainty of our times has been a downturn in traditional publishing. Even before the COVID-19 crisis, consolidation of publishing houses, the closure of brick-and-mortar bookshops, and the supremacy of Amazon had begun to permanently alter the way creative writing is published. At the same time, creative content on the internet has never been so abundant, with poetry, film, and fiction being shared and streamed in ways that create a flourishing if generally nonremunerative cultural climate. This panel looks at options available to creative writers in the wake of the decline of traditional publishing options.
While it is too soon to fully assess the extent to which the COVID-19 pandemic will stand as a watershed in global human life, creative writers as canaries in the cultural coalmine will be among the first to try to render it comprehensible and are already responding to the seismic shifts. The unexpected changes the pandemic has created have altered all of the processes that sustain human life, the social practices and interactions that are the mainstay of poetry, fiction, and drama, perhaps permanently. Enforced social isolation has caused people from all strata of society to contemplate what it means to be engaged in human culture while at the same time facing the possibility of sudden and random mortality, even mass extinction.
In an age of Twitter rants, allegations of fake news, and increasingly bitter partisan divides, what happens to the novel or poem? Does literary material have to engage with the political? And if it doesn’t, must the political be read between its lines? What are the possibilities for creative work in an era that is increasingly in a state of emergency? This panel asks creative writers to consider the question of political and literary engagement in our political age. Writers of all modalities and genres are encouraged to explore these questions in the context of their own work. This panel asks creative writers to consider the question of a political literary engagement in our political age. Writers of all modalities and genres are welcome.
Stories from ancient Greek myths dot the literary landscape of the early 21st century. To some extent, this has been the result of deliberate planning, as when Canongate began publishing a series of mythological retellings by well-known authors in 2005. But alongside and independent of such coordinated efforts to keep old tales alive for contemporary audiences, offerings from both established authors (David Malouf, Barry Unsworth, Colm Toibin, Pat Barker) and successful newcomers (Madeline Miller, Daisy Johnson) have likewise retold and reimagined mythical narratives in recent years.
For centuries Italy and East Asia have been at the center of numerous economic, political, and cultural exchanges. Studies have mostly focused on the relationship between Italy and China. As Zhang (2018) points out, in the last decade this topic has piqued the interest of a number of scholars on Italy-China issues. In addition to the special issues of the Journal of Modern Italian Studies (2010) and in the Journal of Italian Cinema and Media Studies (2014), books have been published on Italian-Chinese relations such as Marinelli and Andornino (2013) and Chinese migration to Italy (Pedone 2013).
Christopher Newport University’s College of Arts and Humanities
seeks abstracts for the forthcoming
Global Conference on Women and Gender
to be held at CNU, March 18-20, 2021
We have reserved the same theme from our postponed 2020 Conference:
Gender, Politics, and Everyday Life: Power, Resistance, and Representation