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MSA CFPs Ended in 2022








2023 General Issue of The Space Between: Call for Manuscripts

2023 General Issue of The Space Between: Call for Manuscripts <br /> <br />The Space Between: Literature and Culture 1914-1945 is the annual peer-reviewed journal for The Space Between Society. Like the society, the journal is devoted to interdisciplinary scholarship on the period bracketed by the two World Wars. We are interested in approaches to texts of all kinds, emphasizing research on lesser-known writers and artists and understudied topics of the period, including literary and cultural responses to the First and Second World Wars. We welcome submissions from a variety of disciplines and from scholars around the world, as we seek to approach our period from a broad range of perspectives. <br /> <br />In addition to publishing annual issues of the society\'s peer-reviewed journal on general and special topics, this platform aims to serve as a digital scholarly community for those interested in research on the field of intermodernism. New issues are published digitally in the winter of the volume year. All articles are indexed in the MLA International Bibliography. <br /> <br />We accept submissions on a rolling basis. Manuscripts for the 2023 issue should be submitted for consideration by late December 2022 to allow sufficient time for the peer review and editing process. Queries may be sent to the general editor, Jennifer Nesbitt, at <br />

Conference Location: York, United States
Conference Starts: January 31, 2023
Conference Ends: December 31, 2023

CFP Submission Deadline: December 31, 2022

For more information, contact: Jenifer Nesbitt

“Let me walk to the edge of genre1 ” Ben Lerner’s Poetry, Fiction, criticism and artistic collaborations

“Let me walk to the edge of genre”: Ben Lerner’s Poetry, Fiction, Criticism and Artistic Collaborations <br /> <br />June 28 - July 1 2023, Paris, France <br />Guest of Honor: Ben Lerner <br />Keynote speakers: Daniel Katz, University of Warwick, UK Mary K. Holland, State University of New York, New Paltz, USA Christine Savinel, Université Sorbonne Nouvelle <br /> <br />With three volumes of poetry, three novels, a book-length essay on poetry, and collaborations with artists resulting in four artists’ books, Ben Lerner has established himself as one of the most important writers of his generation in the United States today. <br /> <br />While his poetry and collaborations with artists have been enthusiastically received, the author’s widespread and international success derives principally from his novels, which have generated a considerable number of reviews and scholarly articles since the publication of Leaving the Atocha Station in 2011. These novels are not only notable in how they disturb conventional notions regarding the distinction between the “factual” and the “fictive,” history and fable, on both formal and thematic levels. They additionally rupture generic boundaries in the most material way, often incorporating into fictional contexts poems, essays, prose fragments, or in one instance a short story, that have previously been published under the name “Ben Lerner,” thereby repurposing and re-using writing in ways which trouble many conceptions of authorship and identity, and breaking apart the closed space of “fiction” as such. <br /> <br />Similar tendencies can be seen throughout Lerner’s work, which, as noted, often takes the form of collaboration with other writers or visual artists, and foregrounds the inclusion of generically different forms of writing, or visual art in collision with text. Lerner does not only work in different genres, he forces us to rethink the manners in which genres are defined, and the purposes these definitions serve. <br /> <br />Similarly, his speculations on poetry as “virtual” aim to trouble the conception of the poem as a discrete, finished, and total object in a manner that looks back to the “serial poem” of Jack Spicer or Robert Duncan, while the interwoven dialogues between poetry and prose he has established between his works can even be seen to constitute a kind of serial, autobiographical prosimetrum, in a manner which might recall the ambitious life projects that emerged in the late 19th century and flourished with modernism (with Baudelaire, Benjamin, Rilke, Proust, and Woolf among others). At the same time, Lerner’s work regularly insists on the direct relation of what could seem to be formal or theoretical questions to sociality, friendship and therefore concrete constructions of community, and forms of activism or collective engagement. <br /> <br />This conference will address the full scope of Lerner’s writing and aesthetic endeavors since the publication of his first volume of poetry, The Lichtenberg Figures (2004), so as to better observe the circulation between the different art forms as well the reflections they generate on creation in the contemporary world. <br /> <br />Possible topics include but are not limited to: <br />-Intertextuality, influences <br />-Intermediality and generic porosity <br />-Literature and visual arts <br />-Relations between the fiction and the essays, between the fiction and the poetry <br />-Modern and contemporary poetics <br />-Serial poetry, poetic sequences <br />-Community, at once social, political, and artistic <br />-Commodification and exchange <br />-Rhetoric, persuasion, and political discourse <br />-Originality and translation <br />-Kinship, the family, and social reproduction <br /> <br />Proposals in English of about 300 words as well as a short biography should be emailed by November 5th at with “Ben Lerner Conference Proposal” as a subject heading. <br /> <br />Post-Graduate Workshop: <br />The conference will also feature a workshop for post-graduate and doctoral students working on Lerner, or topics related to 21st century literature with a clear link to Lerner’s concerns (see above-listed topics). Participants will present current research projects (doctoral dissertation, article, book project, etc.) in a small-group setting, led by conference speakers or organizers. For this event, abstracts of about 500 words in English as well as a short CV should be emailed by November 5th at with “Post-Graduate Workshop” as a subject heading. <br /> <br />Organizing committee: <br />Yannicke Chupin, Cergy Paris Université Karim Daanoune, Université Paul Valéry, Montpellier 3. Daniel Katz, University of Warwick Anne-Laure Tissut, Université de Rouen <br /> <br />With the support of: <br />EUTOPIA European University: CY Cergy Paris University and The University of Warwick. <br />Université de Paris Cité et UMR 8225 LARCA – Laboratoire de recherches sur les cultures anglophones (UMR 8225). <br />CY Cergy Paris Université et UMR 9022 Héritages - Culture/s, Création/s, Patrimoine/s (UMR 9022). <br />Université de Rouen et ERIAC – Équipe de recherche interdisciplinaire sur les aires culturelles (EA 4705). <br />Université Paul Valéry - Montpellier 3 et EMMA – Études Montpelliéraines du Monde Anglophone.

Conference Location: Paris, France
Conference Starts: June 28, 2023
Conference Ends: July 01, 2023

CFP Submission Deadline: November 05, 2022

For more information, contact: Yannicke Chupin

Toward a Media History of Art and Design Education

Call for Papers <br /> <br />\"Toward a Media History of Art and Design Education,\" <br />a session at the Association for Art History Annual Conference <br />12-14 April 2023 <br />University College London, London UK <br /> <br />Instructional forms function surreptitiously, as actors that help determine subjectivity. Yet we rarely think about how ordinary classroom tools actually circumscribe the ideas and practices that come across to students, let alone how these tools convey ideologies or inscribe power structures. We invite proposals for papers that scrutinize the educational media of art and design instruction critically and reflect upon their social effects—from the reinforcement of patriarchy to the modeling of democracy—in a global context. Papers might approach the topic in broad strokes; how, for example, did the advent of photo-mechanical reproduction, moving images, and sound recording transform educational practices and philosophies when these media were introduced? How has the architecture of instructional spaces literally and figuratively placed students in relation to their teachers and to concepts of agency? And what of the design of the pedagogical apparatuses—like drafting tables, blackboards, and taborets—that populate the spaces of European and North American classrooms? Papers also might address the history of specific educational forms—like the wax tablet, plaster cast, squared paper, color wheel, nude model, slide presentation, visualization software, or video lecture. What forms once ubiquitous in art and design instruction have become extinct, and why? Additionally, papers could probe the origin, affordances, and ideologies of specific exercises—like copying, model making, the conceptual prompt, the group critique, or the examination in various socio-cultural contexts. We welcome all submissions, seeking as much range as possible across historical period and geographic area. <br /> <br />Please submit a title and an abstract of no more than 250 words for your proposed paper, as well as your name and institutional affiliation to: <br /> <br />Emily Ruth Capper, University of Minnesota, <br /> <br />and <br /> <br />Jeffrey Saletnik, Indiana University Bloomington, <br /> <br />Submission deadline: November 4, 2022 <br />

Conference Location: London, UK
Conference Starts: April 12, 2023
Conference Ends: April 14, 2023

CFP Submission Deadline: November 04, 2022

For more information, contact: Emily Ruth Capper

\'The Social Hieroglyphic\': Modernist Reading Practices and their Afterlives (NeMLA 2023)

Anticipating notions of modern cryptography, Marx famously observed in <<Capital Vol. I>>, that value “does not have its description branded on its forehead; it rather transforms every product of labour into a social hieroglyphic.” Therefore, to understand the “product of [this] labour”--the commodity form–we must learn how to read (as in, decode) the “social hieroglyphic.” Reading, for Marx, thus becomes a site of significant contention as it leads to the making and unmaking of our social world. This panel seeks to examine ways in which the modernist era encountered processes of “social hieroglyph[y]” in the literary marketplace and turned the act of reading into a distinct practice with serious stakes. While modernists like Gertrude Stein and Bob Brown (1929-30) were developing their reading-machines (e.g. the “readie”) as Sue Currell has shown, newer manuals such as Walter Pitkin’s <<The Rapid Reading>> (1929) and James Mursell’s <<Streamline Your Mind>> (1936) with their experiments on eye-training were rapidly transforming the scene of reading. At the same time, works like Percy Lubbock’s <<The Craft of Fiction>> (1921) and E. M. Forster’s <<Aspects of the Novel>> (1927) were setting up two opposing poles of writerly fidelity: form versus life. By 1932, as Heather Fielding (2018) shows, Woolf would critique the middlebrow writer for “incoherently refusing to choose between these two sides.” On the other hand, to echo Adrian Bingham (2004), the popular press was transforming the general public’s reading habits for good. Women’s magazines like <<Good Housekeeping>> (1922) and <<Woman’s Own>> (1932) were attracting audiences and even tabloids like <<The Daily Mail>> were beginning to devote exclusive pages to women’s issues, celebrity news, and “housewifery.” Punctuating these tectonic shifts in the literary marketplace, of course, were the ravages of WWI and the interwar years of political upheaval and psychological remaking. Taking into account these complex negotiations, how do we decrypt the social hieroglyphics of modernist reading practices? <br /> <br /> <br />We seek paper proposals on topics that include, but are not limited to, the following themes: <br /> <br />-- Modernist writers as readers and theorists <br /> <br />-- Scenes of reading/writing in modernist works <br /> <br />-- Modernist lecture tours, public readings, and radio broadcasts <br /> <br />-- Wartime reading/reading in the trenches/wartime communications <br /> <br />-- Circulation of newspapers, magazines, and propaganda <br /> <br />-- Modernism and ways of reading (close reading, distant reading, middle reading, mere reading, surface reading, micro-sociological reading, reparative reading, paranoid reading, weak theory, and such likes) <br /> <br />-- Technologies/techniques of modernist readings (e.g. gramophone, radio, collage, montage, reading machines, etc.) <br /> <br />-- Modernism between critique (New Criticism, Frankfurt School and their afterlives) and post-critique (Sedgwick, Latour, Felski, and others) <br /> <br />Please consider sending an abstract by September 30 to For more information or questions/concerns, feel free to contact Anwita Ghosh at (PhD Candidate, Department of English, Fordham University).

Conference Location: Buffalo, New York, USA
Conference Starts: March 23, 2023
Conference Ends: March 26, 2023

CFP Submission Deadline: September 30, 2022

For more information, contact: Anwita Ghosh

MSA 2022 accepted roundtable: call for one or two additional speakers

Due to a late withdrawal, we are seeking one or two additional speakers for the scheduled roundtable \\\"Make it New Now: Teaching Modernism with and through Contemporary Literature\\\": <br /> <br />At the centenary of modernism’s annus mirabilis, this roundtable will assess how literary modernism is now situated and taught in relation to the literature of the first two decades of the twenty-first century. As English departments shrink and curricula diversify, modernism is increasingly likely to occupy a compressed space within syllabi spanning a long twentieth century. Do we continue to position modernism as radically generative, the enduring point of reference for formal and stylistic experimentation? Or are modernist works more productively linked to the contemporary by topical issues? Can teaching modernism with and through contemporary literature advance the principles of the new modernist studies, or does modernism in the long view lose specificity and diversity? How might approaches to modernism’s new be enriched by deeper engagement with our own now? How might pedagogical imperatives contribute to emerging models of meta- or neo-modernism? Speakers will address particular challenges and strategies for teaching modernism with and through contemporary literature and culture. Grounding statements in specific texts and classroom practices, they may address, for example, pairings or groupings of texts and/or the uses of fictional, biographical, and filmic engagements with modernism; they may also address pedagogical methods and curricular contexts. The aim is to establish some points of departure for a broader, audience-inclusive discussion about the teaching of modernism today. <br /> <br />Please send 200-250 word proposals to by 8:00 a.m. CST on Monday, September 12. Note that roundtable presentations are to be no more than 10 minutes. <br /> <br />Please also note that MSA program regulations stipulate that you may present on one panel or one roundtable, but not both: <br /> <br />You may participate only once in each of the following categories: <br />-Seminar, either as leader or as participant <br />-Panel or roundtable, as participant (you may also chair a different panel or roundtable) <br />-Digital exhibit <br />-Workshop, as leader (you may participate in multiple workshops) <br />-\\\"What Are You Reading?\\\" session <br /> <br />See full conference details here: <br />

Conference Location: Portland, USA
Conference Starts: October 27, 2022
Conference Ends: October 30, 2022

CFP Submission Deadline: September 16, 2022

For more information, contact: Ella Ophir

International T. S. Eliot Society Meeting

43rd Annual Meeting of the International T. S. Eliot Society <br /> <br />23-25 September 2022 <br /> <br />This cfp can also be found at our website ( You can help us to advertise this easily attended conference far and wide: please distribute widely and post this link on your own social media sites. <br /> <br />Call for Papers <br /> <br />The Society invites proposals for papers to be presented at our annual meeting, this year held in St. Louis, MO from 23-25 September (Friday to Sunday). Clearly organized proposals of about 300 words, submitted as Word or PDF documents, on any topic reasonably related to Eliot, along with brief biographical sketches, should be emailed by June 1, 2022, to, with the subject heading “Conference Proposal.” <br /> <br />Each year the Society presents the Fathman Young Scholar Award to the best paper given by a new Eliot scholar. Graduate students and recent PhDs are eligible (degree received in 2018 or later for those not yet employed in a tenure-track position; 2020 or later for those holding a tenure-track position). If you are eligible for the award, please mention this fact in your submission. The award, which includes a monetary prize, will be announced at the final session of the meeting. <br /> <br />Memorial Lecturer: We are pleased to announce that our Memorial Lecture will be delivered this year by Doug Mao. It will be titled “The People of 1922.” The lecture will focus on how people are represented in The Waste Land?. What affective and dispositional textures come into play in such representations, and with what result? <br /> <br />Douglas Mao is Russ Family Professor in the Humanities at Johns Hopkins University. He is the author of Solid Objects: Modernism and the Test of Production (Princeton, 1998); Fateful Beauty: Aesthetic Environments, Juvenile Development, and Literature 1860-1960 (Princeton, 2008); and Inventions of Nemesis: Utopia, Indignation, and Justice (Princeton, 2020). He is also the co-editor, with Rebecca Walkowitz, of Bad Modernisms (Duke, 2006) and the editor of The New Modernist Studies (Cambridge, 2021) as well as the Longman Cultural Edition of E. M. Forster\'s Howards End (2009). Professor Mao has been president of the Modernist Studies Association and held a Guggenheim Foundation Fellowship. Formerly Senior Editor of ELH, he currently serves as Series Editor of Hopkins Studies in Modernism, from the Johns Hopkins University Press, and as a member of the editorial boards of ELH, Textual Practice, Modernism/ modernity, English: the Journal of the English Association, and The Journal of Wyndham Lewis Studies. <br /> <br />Peer Seminars <br />The peer seminar format offers the opportunity to share your work in a more in-depth way with a group of participants who share your interests. Participants will pre-circulate short position papers (5 pages) by September 1; peer seminars will meet to discuss the pre-circulated papers for two hours on the first day of the 2022 Society conference, on Friday morning, the 23rd. Membership in each peer seminar is limited to twelve on a first-come, first-served basis. Please enroll by July 31st, by sending an email with the subject line “peer seminar” to with your contact information. <br /> <br />The Society will award a prize, sponsored by The T. S. Eliot Studies Annual, to the best seminar paper presented by an early-career scholar. Graduate students and recent PhDs who attend a seminar are eligible (degree received in 2018 or later for those not yet employed in a tenure-track position; 2020 or later for those holding a tenure-track position). For consideration, papers must be submitted as Word or PDF documents attachments to by September 1 with the subject line “Seminar Prize Submission.” The winning paper will present original research and a persuasive argument in clear and fluent prose; it will also respect the length requirements of a typical position paper (5 pages double-spaced). The winner will receive a monetary prize and a copy of the following year’s Annual. <br /> <br />Peer Seminar leaders include Casey Andrews, of Whitworth University, Kevin Rulo (Catholic University of America), and Ron Bush (Oxford), who will be leading a virtual seminar on Zoom <br /> <br />Peer Seminar 1: Eliot on Peacemaking, War, and Reconstruction <br />led by Casey Andrews <br />Whitworth University <br /> <br />The famous lines in The Waste Land that link the dead of the Great War to the ancient militarisms of the classical past are but a small sample of the many facets of T. S. Eliot’s responses to the problems and possibilities of war. This seminar intends to engage in conversation about Eliot’s responses to war through his various genres as well as his work as a publisher and editor. But besides the typical discussions of modernism as representation of and response to violence and trauma, this seminar encourages thoughtfulness about the resources in Eliot’s work for thinking about peacemaking and reconstructing society. Though not a pacifist in the mode of someone like his friend Virginia Woolf, Eliot still offers nuanced and complicated views about the problems of war and the potential for peace-building. Relatedly, his stated theories and literary imaginings of reconstructing societies damaged by war (or configured in ways that support and sustain militarism) offer possible resources for those of us today seeking to address the structural violence of our current social systems. This seminar hopes for conversation about the wide range of Eliot’s engagement with diverse views on peace, war, and reconstruction. <br />Possible approaches include but are not limited to: <br /> <br />Eliot and the peace movement <br />Eliot and the aesthetics of peace <br />Interdisciplinary peace studies approaches to Eliot <br />Eliot’s collaborations with combatants and peace workers <br />Eliot’s influence on antiwar, pacifist, and internationalist voices <br />Eliot and post-World War II reconstruction <br />Building just, equitable, and nonviolent societies <br />Wartime as problem and possibility <br />Responding to war, violence, and trauma in Eliot’s work <br /> <br />Charles Andrews is Professor of English at Whitworth University, where he teaches courses in modern British, Irish, and postcolonial literatures as well as film studies. He is the author of Writing against War: Literature, Activism, and the British Peace Movement (2017). In addition to writing on T. S. Eliot, he has published articles and chapters on peace studies approaches to several figures including Virginia Woolf, Leonard Woolf, George Bernard Shaw, Aldous Huxley, and Vera Brittain. He is currently completing a monograph entitled “Challenging the Nation: The English Modernist Novel as Political Theology,’ which explores literary resources for resisting militarism, civil religion, and the enchantments of the nation-state. <br /> <br /> <br />Peer Seminar 2: “The Waste Land at 100” <br /> led by Kevin Rulo <br /> Catholic University of America <br /> <br />A hundred years ago, writing to his old English teacher, Professor Felix Schelling, in July of 1922, Ezra Pound famously held up Eliot\'s Waste Land as the “justification of the ‘movement,’ of our modern experiment, since 1900.” Pound’s claim for the poem\'s centrality was justified: The Waste Land has remained at the center of lively and still compelling conversations over the century that followed its publication. In this year of the great poem\'s centennial, we invite seminar papers on any aspect of The Waste Land—its connections to contemporaneous modern works; its afterlives in literature and other arts; the ways that critical, theoretical, and social conditions of understanding in our own day have changed how we approach the poem. We hope the papers and our discussion in this seminar will help us appreciate the continuing power of Eliot\'s poem as well as helping us frame the poem and the poem\'s project in new ways for this new century. <br /> <br />Kevin Rulo is clinical assistant professor of English at the Catholic University of America in Washington, D.C. He is the author of Satiric Modernism (2021), which examines the flourishing of satire in experimental art and literature from the twentieth century to the present, including in Eliot’s The Waste Land. His articles and essays have appeared in The Review of English Studies, Neohelicon, and Christianity and Literature. Most recently, “Eliot and Skin” was published as part of a special forum on “Eliot and the Biological” in Volume 3 of The T.S. Eliot Studies Annual. <br /> <br />Peer Seminar 3 (remote): “Reading Eliot with Ron Bush” <br /> led by Ron Bush <br /> St. John’s College, Oxford <br />(note: this conference will meet over Zoom at a day and a time before the Eliot conference convenes in person in St. Louis.) <br /> <br />Ron Bush is Emeritus Drue Heinz Professor of American Literature and Emeritus Research Fellow at St. John\'s College, Oxford, where since 1997 he has taught courses in American literature from the beginnings the present, and also in 20th-century English literature, especially modernist poetry and fiction. (Previously he taught at Harvard and Caltech.) He is as well a senior fellow at the Institute for English Studies at the University of London’s School for Advanced Studies. Bush is the author of The Genesis of Ezra Pound\'s Cantos and T. S. Eliot: A Study in Character and Style; the editor of T. S. Eliot: The Modernist in History; and co-editor of Prehistories of the Future: The Primitivist Project and the Culture of Modernism and of Claiming the Stones/Naming the Bones: Cultural Property and the Negotiation of National and Ethnic Identity. Among his recent publications are articles on Eliot, Pound, Joyce, Nabokov, and Roth, as well as the chapter on “Modernist Poetry and Poetics” in The Cambridge History of Twentieth-Century English Literature. His major work in progress is a multi-volume textual and genetic study of Ezra Pound’s Pisan Cantos, culminating in a critical edition of the suite based on its full manuscript record.

Conference Location: St. Louis, MO, USA
Conference Starts: September 23, 2022
Conference Ends: September 25, 2022

CFP Submission Deadline: July 31, 2022

For more information, contact: John Whittier-Ferguson

Modernism 1922: Celebrating Distinctions

Modernism 1922 Celebrating Distinctions <br /> <br />14-17 September 2022 free online event <br /> <br />Call for Papers <br /> <br />The conference Modernism 1922: Celebrating Distinctions will honour 1922 as annus mirabilis for modernism. <br /> <br />In 1922, Virginia Woolf’s Jacob’s Room, T.S. Eliot’s The Waste Land, James Joyce’s Ulysses and Katherine Mansfield’s The Garden Party and Other Stories appeared in print for the first time. R.M. Rilke’s Duineser Elegien were completed. Ludwig Wittgenstein’s Tractatus Logico-Philosophicus had its first ‘non-piratic’ edition. Piet Mondriaan’s neo-plastic paintings and writing peaked. It was the year in which modernism was blooming in different art forms across the globe — cf., Brazil’s ‘Semana de Arte Moderna’, the Bauhaus exhibition in Calcutta, Modanizumu in Japan. <br /> <br />As within each modernist work of art so among modernist events, there is both diversity and mutual influence. This conference aims to uncover new views on what set the 1922 modernist events apart, but also on how they compare and impacted each other, e.g., with regard to art ideology, aesthetics, philosophy, religion. <br /> <br />Keynote speakers are: <br /> <br />Clare Hutton (Loughborough University), Women and the Making of Ulysses <br /> <br />James C. Klagge (Virginia Tech), Wittgenstein’s Tractatus and the Great War <br /> <br />Philomeen Lelieveldt (Netherlands Music Institute), Ido Eyl’s visit to the French Musical Avantgarde <br /> <br />Michael North (UCLA), 1922: A Centenary Dismemberment <br /> <br />We welcome papers from different disciplines, particularly those that pursue an interdisciplinary approach to this seminal modernist moment. Please submit a 250-word proposal and short biography (as a pdf or docx attachment) before 16th June 2022 to: and We also welcome artistic contributions - short film, music and visual arts. <br />

Conference Location: Remote , Fully online
Conference Starts: September 14, 2022
Conference Ends: September 17, 2022

CFP Submission Deadline: June 16, 2022

For more information, contact: Greg Chase

Charles Reznikoff: Inscriptions (1894-1976) International Conference

Charles Reznikoff: Inscriptions (1894-1976) <br />International Conference <br />Université Paris Nanterre, France <br />June 1st-3rd, 2023 <br /> <br />Keynote speakers: Norman Finkelstein, Michael Heller. <br /> <br /> <br /> The career of the poet Charles Reznikoff (1894-1976) may be viewed as a lifetime spent recording the present and the past that frames the world of this first generation American, whose parents fled the pogroms in Russia at the end of the nineteenth century. In many ways a poet of New York, Reznikoff was also the keeper of a poetic heritage tied to a long history. Readers of Reznikoff will for instance be familiar with the fabled sacrifice of his Russian grandfather’s Hebrew verse, hastily thrown in the fire and the layered response Reznikoff’s writing, often quizzical if not experimental, offers to the theme of destruction and loss. The poet’s dedication to his own vocation as a writer is equaled by a resolve to retrieve the voice of those whose experience is yet to be heard, yet to be inscribed. The overarching theme of “inscriptions” thus provides an entry into the relationship Reznikoff never ceased to explore between the landscapes he observed walking the streets of Manhattan and his native Brooklyn but also those he witnessed thanks to his experience as a lawyer and through the memory of Jewish culture, recounted from the vantage point of the Bible in his 1959 collection of poems, Inscriptions: 1944-1956. <br /> The publication history of his work bears witness to the determination to leave a mark. His first book of poems, Rhythms was privately printed in 1918 in a basement in Brooklyn, New York, followed by Rhythms II in 1919. Reznikoff’s independence from commercial publishing was only briefly interrupted when New Directions put out two volumes in the 1960s (By the Waters of Manhattan; Testimony). Over the course of his lifetime, Reznikoff’s resolve to establish a print legacy never subsided, using his own press, teaching himself to typeset for instance his 1927 collection, Five Groups of Verse. Reznikoff’s writing has never ceased to inflect the course of American poetry and after his death, avant-garde publishers resumed the work of durably inscribing his poetics (Black Sparrow Press; Black Sparrow Books). <br /> Reznikoff’s work remains nonetheless somewhat enigmatic, for he is a poet of many roots and as many facets. Precision and spareness, the humble qualities for which his work is most often recognized, have nonetheless secured his reputation as a rare craftsman, while the range of his writing as a poet, translator, playwright, one-time screenwriter, and novelist, combined with the acutely ethical nature of his concerns, have far extended his readership If his sense of poetic exactness has been seen as an echo of his initial legal training, so could the sense of advocacy often implicit in his work be said to stem from this same background. Yet Reznikoff’s connection with the law must also be balanced with his preoccupation for the Law from a religious perspective. As for the role played by Judaism as a source in Reznikoff’s poetry, it is no longer understated, though the specific scope of that resonance within his work is still being investigated. On a similar note, visions from a past tradition combine effortlessly in Reznikoff with a sense of sight and observation in an urban context that, much like his “objectivist” fellow-poets Louis Zukofsky, George Oppen and Carl Rakosi, celebrates the ordinary, the simple and the plain, yet immediately question it from a social, political, and cultural standpoint, revealing the world of the poor, the downtrodden and disenfranchised. <br /> It is no doubt this constant to-and-fro, this richly polychromatic witnessing that testifies to Reznikoff’s enduring relevance on so many delicately interwoven levels of interpretation. For at least the last three decades, his work has been discovered and rediscovered, translated and re-translated, across the Atlantic and in the Southern Americas in particular. Increasingly cited by French poets as a model for the invention of new formal approaches to poetic practice, his singular contribution to reflections on the document, the archive, the law, and the writing of history has garnered renewed critical recognition, and it has found new audiences and resonances in adaptations to the stage. <br />This international conference, the first entirely dedicated to the American poet Charles Reznikoff in France, will seek to explore it through: <br /> <br />- Reznikoff’s Legacy Today. <br /> <br />- Reznikoff & History. <br /> <br />- Reznikoff & Documentary Poetry, Archives and Witnessing. <br /> <br />- Stage Adaptations of Reznikoff’s Work (including but not limited to his plays). <br /> <br />- Reznikoff & the Law. <br /> <br />- Reznikoff & Judaism. <br /> <br />- Reznikoff & the City. <br /> <br />- Reznikoff and the Ordinary <br /> <br />- Reznikoff & Simplicity. <br /> <br />- Reznikoff & Rhythm. <br /> <br />- Reznikoff and Objectivism Now. <br /> <br />- Reznikoff and Autobiography. <br /> <br />- Reznikoff and the Shoah. <br /> <br />- Reznikoff in France and in French. <br /> <br />- Reznikoff in Spanish. <br /> <br />- Reznikoff and Translation. <br /> <br />Abstracts of 250-300 words, in English or in French, along with biographical statements of 150 words, should be submitted at by June 1, 2022. Replies to follow by 15 July 2022. <br /> <br />Organizing committee: Xavier Kalck (Université de Lille, France), Fiona McMahon (Université Paul Valéry Montpellier 3, France) and Naomi Toth (Université Paris Nanterre, France). <br /> <br /> <br /> <br />

Conference Location: Nanterre (92), France
Conference Starts: June 01, 2023
Conference Ends: June 03, 2023

CFP Submission Deadline: June 01, 2022

For more information, contact: Fiona McMahon

Taos 2022 Connections

To MSA members and beyond, <br /> I want to draw your attention to an unusual opportunity to hear from leading scholars of D. H. Lawrence from around the world, to find a hearing for your own work, and to develop connections with the various D.H. Lawrence societies, globally. The DHLSNA (in the U.S and Canada) particularly welcomes and supports scholars, new and old, actively, in myriad ways, throughout our careers. <br /> 1922 was a year of extraordinary transatlantic travel for Lawrence, as he embarked, eastward, from England to Ceylon and Australia, then to Taos, New Mexico, and Mexico Taos itself remains today a mecca for writers and artists. Come explore the major sites and arts of Taos with us this summer (-Holly A. Laird, Co-Director): <br /> <br />15th International D.H. Lawrence Conference, <br />NEW DATE: July 18-23, 2022, Taos, New Mexico: <br />Early Bird Registration still available and Abstracts due April 30, 2022. <br /> <br /> The 15th International D.H. Lawrence conference—while open to all considerations of Lawrence’s work and life--is especially interested in proposals reassessing Lawrence’s work 100 years earlier, in the 1920’s; in exploring Lawrence’s transatlantic literary journey eastward; his engagement with Mexico, New Mexico, and North America, and his ideas of democracy and “the open road”; in studying the immeasurable influence Lawrence’s criticism has had on the study of American literature; in examining interconnectivity between artists—dance, ritual, music, visual arts as well as writing—and aspects of modernism across the arts; as well as interdisciplinary studies that deepen our sense of Lawrence’s engagement with Native peoples and cultures. <br /> Papers are welcome from scholars, graduate students, and the public. Papers should last no longer than 20 minutes and will be followed by 10 minutes of questions. A limited number of virtual presentations will be accepted (maximum 1 per session). Fellowships are available for graduate students. Please mention on your submission that you would like to be considered for either a virtual presentation or a graduate fellowship. <br /> If you would like to contribute, please send an abstract of 350 words to Dr. Nanette Norris, c/o, by midnight on April 30, 2022. Submissions will be assessed by the Academic Program Committee, and responses will be issued by May 15, 2022 The abstract should include the following information as part of the same file (in either MS Word or pdf format): <br />• Your name, postal address, telephone number, and email address <br />• The name of the institution (if applicable) at which you are registered <br />• A short bio <br />The conference is being held at the Sagebrush Inn, Taos, New Mexico. For further details, see <br /> <br />

Conference Location: Taos, NM, USA
Conference Starts: July 18, 2022
Conference Ends: July 23, 2022

CFP Submission Deadline: April 30, 2022

For more information, contact: Holly A. Laird

D.H. Lawrence Virtual Graduate Student Conference

D.H. Lawrence Virtual Graduate Student Conference, April 23, 2022. Abstracts are welcome on any topic in D.H. Lawrence studies, including any aspect of his fiction, poetry, essays, literary contacts, and place in modernism and/or literary history. We are especially interested in papers relating to the topic of relationships: love, hate, friendship, family, courtship, and marriage. The online conference will use the Zoom meeting platform but will follow the traditional format of in-person meetings. Each session will be led by a Chair and featue a respondent, a senior Lawrence scholar who will provide constructive commentary on the papers. Our aim is to enable as many students as possible to participate without budgetary pressures. There is no conference fee, but D.H. Lawrence Society of North America (DHLSNA) membership is required for presenters (student rate \$10 USD). Please email an abstract of 200-300 words plus concise curriculum vitae to Ron Granofsky, Professor Emeritus, Department of English and Cultural Studies, Mcmaster University, Hamilton, Ontario, Canada, at by February 28, 2022. Acceptance notices will be sent by March 14, 2022.

Conference Location: Virtual, International
Conference Starts: April 23, 2022
Conference Ends: April 23, 2022

CFP Submission Deadline: February 28, 2022

For more information, contact: Ron Granofsky

1922 Turned Upside Down

Australasian Association for Literature Conference, 2022 <br /> <br /> <br />‘1922 Turned Upside Down’: Call for Papers <br /> <br /> <br />Venue: Western Sydney University, Parramatta City Campus <br />Date: 2–3 June 2022 <br /> <br />Confirmed Keynote Speakers: <br />Associate Professor Deborah Pike, University of Notre Dame Australia Assistant Professor Heidi Stalla, Yale-NUS College, Singapore <br /> <br /> <br />The Australasian Association for Literature warmly welcomes proposals for its 2022 conference on the theme ‘1922 Turned Upside Down’. <br /> <br />The year 1922 has long been celebrated as an annus mirabilis of literary and, more broadly, of cultural production, the high-water mark of “high modernism”. One hundred years on, this conference seeks to reconsider this established view. Beyond the literary works usually cited as defining 1922 – James Joyce’s Ulysses, T. S. Eliot’s The Waste Land and Virginia Woolf’s Jacob’s Room – what other significant works appeared that year in literature, film, music, architecture, and the visual arts? What did 1922 mean for the arts in places, cultures, and languages beyond those of the Anglophone North Atlantic? And how does expanding our scope in these ways challenge our understanding of that famous year? <br /> <br />At the same time, this conference aims to assess the value of choosing a single calendar year as a historical and critical category. How, for instance, might attention to marginalised forms of cultural production across the globe change how we think about time and history with regards to modernism? <br /> <br />In this way, we seek papers which think again about the inherited historical narratives which have celebrated 1922 as modernism’s defining year. In particular we invite proposals for papers (20 minutes) and organised panels of three or four presenters. Topics include but are not limited to: <br /> <br />• papers which move beyond established canons to address Australasian, Pacific and any other form of ‘Global’ modernism; <br />• papers which consider instances of popular culture, from genre fiction through fashion to magazines; <br />• papers which critique the theoretical assumptions that underwrite critical attention to a single calendar year or, by extension, to modernism itself as a period category; <br />• papers which reflect on the legacies of modernism, regarding formal experimentation, concepts of innovation, and the models of creativity conventionally aligned with modernism; <br />• papers which consider the perhaps belated and oblique influence of modernist works across different times and places; <br />• papers which return to canonical works to consider the effects they continue to have in 2022 and how they might be re-read now; <br />• papers which compare particular aspects of the cultural contexts of 1922 to cultural contexts of the globalised world(s) of 2022. <br /> <br /> <br />Please send 250-word proposals along with presenter contact details and a brief biographical note to by Monday 28 February 2022. <br /> <br />Conference Organising Committee: Dr Jumana Bayeh (Macquarie University), Associate Professor Mark Byron (University of Sydney), Dr Lorraine Sim (Western Sydney University), Professor Anthony Uhlmann (University of Western Sydney). <br />

Conference Location: Sydney, Australia
Conference Starts: June 02, 2022
Conference Ends: June 03, 2022

CFP Submission Deadline: February 28, 2022

For more information, contact: Lorraine Sim