poetry

Edward Taylor Fifty Years Later

In recent decades, poetry performance has been one of the fastest growing arts practices internationally. Since movements such as Beat poetry, jazz poetry, and poetry slam have inspired performance scenes across the English-speaking world and beyond, innovative performance styles have emerged alongside new genres and styles of composition geared towards oral performance. The global reach of spoken word poetry has become highly noticeable in the arena of slam, evidenced by the diverse programmes of initiatives such as the 2005 ‘Poetry International World Slampionship’ in Rotterdam, the ‘Coupe du Monde de Poésie’ in France (since 2007), and the recently established ‘World Poetry Slam Organization’.

 Multilingual poets write at the intersection of language, identity, and cross-cultural communication. Not only does the work of multilingual poets naturally create a space for innovation, but it also often serves as a broader commentary on the interplay between language and power. Every multilingual poet combines, leverages, or silences pieces of their complex identities, negotiating deeply personal nuances as well as socially constructed codes. Multilingual poets may choose to employ self-translation or multiple languages within a single poem, they may write separate works in different languages, or they may confine their work to a single language.

Guest Reviewers

New Writing: the International Journal for the Practice and Theory of Creaive Writing (Taylor and Francis / Routledge) seeks guest reviewers with the requisite expertise for its registry of esteemed guest reviewers.

New Writing is one of the world's leading journals in Creative Writing and Creative Writing Studies.. The Peer Review Board - appointed after extensive international review - deals with the range of submitted material (creative and critical). Occasional additional opinions are sought from guest reviewers with the requisite expertise. 

The journal can be found here: https://www.tandfonline.com/toc/rmnw20/current

A ghost, Avery Gordon writes, “has a real presence and demands its due, your attention” (2008, Ghostly Matters). To answer this demand, our seminar invites submissions that turn their attention to literary and artistic ghosts. After all, ghosts are profoundly literary figures; like poetics, they are defined by their repetitions and returns, and constantly referring to something else, though failing to fully represent it. However, ghosts are not any literary figures. They are haunting, and although they have a strong presence they come into life in place of something absent. Moreover, in their haunting presence, they are signalling “repressed or unresolved social violence” (Gordon, 2008).

Call for Papers

Poetry & Poetics (Critical)

Southwest Popular / American Culture Association (SWPACA)

46th Annual Conference, February 19-22, 2025

Marriott Albuquerque

Albuquerque, New Mexico

https://www.southwestpca.org

Proposal submission deadline: October 31, 2024

Call and Response – A Special English in Africa edition dedicated to South Africa’s revolutionary poet and activist-scholar, Keorapetse Willie Kgositsile.

The MELUS Women of Color Caucus (WOCC) seeks scholars whose literary analysis (i.e., the examination of fiction, poetry, non-fiction, plays, film, music, and/or TV) of works by women of color centers approaches to literary research, especially work that makes visible or accounts for women of color’s invisibility and/or seeks to fill gaps in the canon and archives around experiences. Our models for this work include scholars and theorists such as Saidiya Hartman, Christina Sharpe, and Audre Lorde, and essayists such as Cathy Park Hong, Claudia Rankine, Elissa Washuta, and Carmen Maria Machado. These approaches can include: 

The publication of Northrop Frye’s Anatomy of Criticism in 1957, in some ways, marked the end of New Criticism. The two approaches—structuralism and New Criticism—represent two ways of seeing texts as unities, yet produce entirely different views on key issues, such as how texts might be grouped together, the importance of historical context to the literary text, and the role of broader cultural systems in shaping a text’s meaning. We might wonder now whether or not these issues and ideas from New Criticism and structuralism, rooted in mid-20th century literary theory, continue to offer valuable insights and methodologies.

Call for themed submissions: the "freak" issue (creative writing only - we do not accept academic writing) Puerto del Sol is seeking work which engages with the theme of freak. Freaking, to freak, to be freaked. A freaky thing. Freak has a past: a rotten one. Freak as a scorn, as a label tied around necks by hierarchy, ableism, transphobia, racism. Freak as pushback. Freak getting freaked the freak up. The grotesque growing despite. Revel in it. Leather-clad tunnel vision. Maximalism. That house in the woods we all want to see. Who is brave enough to look? And let me see your browser history. What are you hiding? What is it that lives behind those walls, under the skin, in the darkest corner of the attic?

The E. E. Cummings Society and the Society’s journal, Spring, invite abstracts for 20-minute papers for the 52nd annual Louisville Conference on Literature and Culture since 1900, Feb. 20-22, 2025, at the University of Louisville (https://louisville.edu/artsandsciences/conferences/lclc).

The family can be a place of hidden and haunted spaces, and in these spaces they bring to mind the uncanny, often moving deftly from the ordinary to the extraordinary or supernatural. Families are also notorious receptacles for trauma and are frequently explored in writing from Isabel Allende’s La casa de los espíritus/House of the Spirits to Tara Westover’s Educated.

“Imagining Deleuze’s Romanticism”

 NASSR (North American Society for the Study of Romanticism) 2025 Virtual CFP

Our proposed collection, Unsettling the Lyric, invites interdisciplinary perspectives on the possibilities, as well as the problems, of the lyric as an essential site for reexamining the histories of Indigenous-settler relations and how we express them in the present. As Daniel Heath Justice (Cherokee) argues, “poetry is a particularly compelling literary form for confronting the ruptures of history and the fragmenting effects of settler colonialism.” And the lyric especially  remains as ubiquitous as it is contested.