In The Necessary Angel, Wallace Stevens argues that the relationship between arts is migratory, similar to the relationship between the external and internal worlds: "The world about us would be desolate except for the world within us. There is the same interchange between these two worlds that there is between one art and another, migratory passings to and fro, quickenings, Promethean liberations and discoveries." How have poets historically conceptualized the relationship between poetry and the visual arts? How has this relationship been manifested in poetic practice? How do we read collaborative or interart forms?

The Southern Literature and Popular Culture area of the Midwest Popular Culture Association seeks panel and paper proposals for the annual Midwest Popular Culture Association/American Culture Association conference, this year to be held at the Book Cadillac Westin in Detroit, MI from Friday 30 October to Sunday 1 November.
The area seeks papers whose topics address any aspect of Southern literature or popular culture. This includes works by southerners OR about the south. Topics might address, but are not in any way limited to:
- Literature
- Film
- Drama and performance
- Humor (Blue Collar Comedy, etc.)
- Music and Visual art

There seem to be two ideas regarding what is called "creative," "expressive," or "personal" writing in composition discourses. In one view, creative writing is seen as the work of the lone genius, who creates the Literature studied by English departments. Such a view, while having fallen out of favor in composition studies, is still considered viable in creative writing departments. Furthermore, as Susan Miller argues, it continues to haunt composition in the form of the split between composition and literature departments, and student writing and "real" writing. In the other view, creative writing is deemed overly subjective, apolitical, and generally inconsequential.