Born in Pittsburgh in 1925, Gerald Stern is one of America’s most prominent, vibrant, and idiosyncratic contemporary poets. He is the author of eighteen collections of poetry (most recently Galaxy Love, W.W. Norton, 2017) and four collections of essays (most recently Death Watch, Trinity UP, 2017) and the recipient of numerous awards, including the Wallace Stevens Award and the 2014 Frost Medal. He has established himself as a distinctive voice that is accessible and sophisticated, gregarious and visionary. This roundtable will provide a lively critical examination of Stern’s work from a variety of perspectives and then invite discussion.
The proposal H.R. 861, a bill recently introduced to terminate the U.S. Environmental Protection Agency, prompts us to address the directions of ecocritical discourse in order to attend to the current material-specific, aesthetic, and rhetorical renderings of changing landscapes on a warming planet. What kind of citizenry is possible in environments overflowing with toxic waste? How do fossil fuels shape the imaginaries of urban and rural ecologies? What are the limits and possibilities of forensic and material analyses to shed light on catastrophic degradations of the environment without recuperating or fabricating disgust?
Call for papers: Erasure (FPC n° 14)
Erasure in poetry can take on various aspects. It can be the result of the poet’s revising her own work, or of a manipulation, possibly distortion, of an existing work. In the first case, it is part of the way a text is improved by being made more concise, more compact, and so more powerful. In the second, it can be either a textual substraction (we can think on Ezra Pound’s work on T.S. Eliot’s Waste Land), or a rewriting of the source text so as to remove part of its content and its form and so change its formal and semantic mechanisms.
Call for papers: The Sentence (FPC n° 13)
The sentence is defined as the linguistic unit that makes up most texts, whether poetic or not; it is structured into an autonomous shape in which lexical elements are organised along syntactic relations and offer a semantic unity which is in turn inscribed in the text’s logical and discursive organisation.
As a formal element in the poetic text, the sentence is here viewed as offering two sides: its syntactic dimension and its textual function. In the context of poetic modernity these two dimensions are subjected to developments and experimentations that can contribute to the formal statute of poeticity.
‘Writing Romantic Lives’A One Day Postgraduate Symposium, hosted by Romanticism @ Edge Hill University & Keele UniversityCFP for a one-day postgraduate symposium on 25th November 2017 ‘The best part of human language, properly so called, is derived from reflection on the acts of the mind itself.’ – S. T. Coleridge This postgraduate conference is held in celebration of the 200th anniversary of S. T. Coleridge’s Biographia Literaria (1817), an experimental combination of life writing, philosophy, and literary criticism.
Pomona Valley Review is looking for poetry, short fiction, and artwork for our 11th issue this July. PVR needs quality work from undergraduates, graduates, and professionals alike from any college campus, but all are welcome to submit. Quality is our only criterion. Please see our website for details on submitting online and for free versions of previous issues. Deadline is May 31st.
How has technological ingenuity affected the lives of humans? Has technology permanently altered our experience of reality? Are there still fundamental pillars of the human condition that remain and will always remain unchanged?
Academic papers are invited under any of the above themes and may be concerned with literature, philosophy or technology.
- Open to submissions of prose, poetry, critical essays and artwork.
- Prose and Academic Essays - Max. 3,000 words per entry.
- Poetry and Visual Art - Up to 5 works per entry.
An “Aesthetic Apartheid” occurs when the artistic innovations of a minoritized group are neglected due to their difference.  The focus on white and western innovations in literature have created the assumption that non-white avant-garde poetry, "however singular its ‘voice’ is not ‘formally innovative’.” Examples of this bias are evident in monographs about the avant-garde, in which people of color are far too often excluded. Dorothy Wang writes that “anyone who has spent time in avant-garde poetry/and or critical circles in the States [….] knows that these circles are overwhelmingly unpigmented.”
For the NeMLA 49th Annual Convention, April 12-15, 2018, in Pittsburgh, this session is seeking proposals exploring new approaches to Hopkins’s poetry consistent with the theme of NeMLA 2018, Global Spaces, Local Landscapes, and Imagined Worlds. Papers should explore poems and other writings by Hopkins that engage the apocalyptic, imagined worlds, urban and rural landscapes (seascapes and skyscapes), including but not limited to topics such as nature and naturalism, natural theology, the environment, sustainability, science, and Darwinism. Please submit your proposal on NeMLA site @ http://www.buffalo.edu/nemla/convention/callforpapers/submit.html
This panel reflects on the place of confusion in British and American modernism. Confusion has not been traditionally considered a proper scholarly response to textual analysis; critics are supposed to interpret a text rather than allow themselves to experience its uncertainties. What happens when we explore the confusion we feel when reading not as something to be worked through, but as something to be worked with? Building on affect theorists’ work on how our feelings can influence the way we read, such as Eve Sedgwick’s reparative reading and Rita Felski’s reflective and post-critical reading, how can considering confusion change both our experience of reading and our critical practices?