The William Dean Howells Society welcomes submissions for two panels at the 2015 American Literature Association conference in Boston in May 2015.

Panel 1: A Radical Howells

Science fiction has often been considered to be a narrative genre that is particularly well suited to explore alternative realities and speculative scenarios. Authors such as Darko Suvin (1979), Fredric Jameson (2005), and, most recently, Seo-Young Chu (2011) have suggested that these scenarios are much less investigations of our possible future or alternative past, as they are about an interrogation of the readers' present conditions and the present's utopian potential. What can the present be, other than what it is?

The International Journal of Literary Linguistics (IJLL) is an open-access, peer-review journal published by Johannes Gutenberg-Universität Mainz (Germany) that is dedicated to the publication of original research at the interface of literary studies and linguistics. The journal provides an innovative forum for articles participating in the recent reshaping of the field of literary linguistics under the influence of pragmatics, functional linguistics and cognitive studies. It aims at contributing to a new, dialogic understanding of literary production and reception. The journal invites contributions from scholars working on different languages and literatures.

FIRST CALL FOR PAPERS
SEVENTH ANNIVERSARY SESSIONS OF THE SCIENCE FICTION, FANTASY, HORROR, AND LEGEND AREA
Online at NEPCA Fantastic: http://nepcafantastic.blogspot.com

2015 Conference of The Northeast Popular Culture/American Culture Association (NEPCA)
Colby-Sawyer College in New London, New Hampshire
Friday 30 October and Saturday 31 October 2015
Proposals by 1 June 2015

I am looking for papers for multiple panels for the PCA/ACA Motherhood/Fatherhood Area on any aspect of motherhood and or fatherhood in popular culture.

Heteronyms and pseudonyms highlight the gaps between authorship and personal identity. Kierkegaard's imaginary personas, nineteenth-century British women writer's male pseudonyms, and Fernando Pessoa's literary alter egos are just a few prominent examples that illustrate the ways in which a work's reception is shaped by the creative mask through which it is published. The impact of such creative identities has recently been spotlighted in two events: During this year's Whitney Biennial, the Yams, a collective of black artists, withdrew their work in protest of the museum's inclusion of Joe Scanlan's Donnelle Woolford project.

When Seamus Heaney died last August, he seemed to be a kind of figure the literary world had not known for some time: a poet who had academic cachet and a common touch, and perhaps more to the point, a general readership; a poet absorbed by his own art yet seemingly equally at home as a critic; a fiercely exacting writer who was also something of a smiling, public man on two continents; a thoroughly international presence who never let go of the local. For this session, I'd hope to assemble a range of presentations that would explore from various perspectives the nature of Heaney's particular (to stop short of saying 'unique') career and achievement, and the inferences we might draw from it about poetry and its audience(s).