An Historiographical Analysis of Small Presses Publishing American Avant-Garde Poetry and Poetics between 1970-2000
A Research Project funded by the Spanish Ministerio de Ciencia e Innovación
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                • Université du Maine, Le Mans, France
                  14-16 October 2010
        • “Poets and Publishers : Circulating Avant-Garde Poetry (1945-2010)”

Call for Papers

In the second half of the 20th century and the first decade of the 21st, the material conditions of avant-garde poetry’s circulation have come to the attention of critics. With the development of reader-response theory, research about the poets’ ways of informing the larger public of their experiments has come to encompass technical considerations, economic, social and political preoccupations. Small presses–not the vanity presses of former times–thus became the laboratories of the publishing world, picking up on the latest avant-garde movements.

How do these publishers, and the poets who entrust their works to them, contribute to poetic innovation in a publishing context marked by commercial decline of the book and the poem alike? To what extent do small presses convey aesthetic initiatives that would otherwise remain “readerless”? Could one talk, along with American poet Barrett Watten of a “systemic de-totalization” bringing about new configurations of the poetic landscape into networks and archipelagoes?

We are inviting papers that will risk answers to these questions in the context of a wider reflection on the publishing world, its margins and its objects, notably poetic texts inspired and shaped by the recent advances of sociology, philosophy and cultural studies. The aim is a global assessment of the circulation of avant-garde poetry.

300-word proposals in either English, French or Spanish to Hélène AJI (Université du Maine, France, Helene.Aji@univ-lemans.fr) and Manuel BRITO (Universidad de La Laguna, Canaries, Espagne, mbrito@ull.es) by 31 March 2010.

A carnival of feminist cultural activism

3-5 March 2011, York, UK.

This carnival is part-festival, part-conference. We seek to bring together artists, activists and academics from many nations to learn from each other, celebrate our creativity, and advance feminist work.

We ask, can feminist art save the world, and if so, how?

We warmly invite you to send in proposals and ideas for performances, academic papers, presentations, exhibitions & workshops. Informal enquiries welcome, and see the ‘Info’ link above for more details. The deadline for your plans and proposals to reach us is 31st October 2010. Feel free to distribute the CFS and this web site address freely.


are women connected to the Centre for Women’s Studies at the University of York as students, alumni  and staff.


The call for submissions is framed in an open way to encourage a broad range of topics, perspectives and methods of presenting. Surprise us.


What is probable? Possible? Almost impossible?


The event encourages cultural modes that address issues of power and gender in some way. These modes need not be defined as ‘feminist’, a word which has many specific meanings,

not all of which are liberatory in all circumstances. However, we use the word to attract papers and presentations that engage with women and/or gender in their cultural, social, symbolic, legal, sexual, representational, embodied and/or spiritual meanings via forms of art practices.


For the carnival, ‘art’ includes: community theatre, poetry, music, knitting, blogs, song, writing, dance,

digital fiction, zines, podcasts, comedy, performance, puppetry, frockmaking, weaving, painting, gardening,

cooking, pottery,cartoons, sketching, sculpture, posters, comics, twitter and much more.


or even a little bit of the world. What kinds of changes are needed now, and how might they vary in different cultures?

and if so, how?

Can feminist art practices affect people in order to make changes?

Are art practices enough in themselves, or does art need to move people

to social action in order to be worthwhile? How does Third Wave Feminism deploy artistic and craft practices as part of its philosophy? What kinds of feminist community art practices are effective, and what does ‘effective’ mean?


31st October 2010:
Deadline for proposals.
20th November 2010:
All proposals assessed, and successful and unsuccessful presenters contacted.
Registration opens.
30th November 2010:
Confirmation of attendance from all accepted presenters (we recognise that in some cases this will be subject to funding).
15th December:
Draft programme published.
8th January 2011:
Registration for presenters closes.
Earlybird fee for attendees closes.
15th January:
Final programme published.
20th February:
Registration closes.
3rd -5th March:
A Carnival of Feminist Cultural Activism
31st March:
Final date to submit work to be considered for publication.

A publication timetable will be made available shortly after the conference, as this is dependent on the amount and format of the submissions. At least some work will be published by the end of 2011.


We welcome proposals for a three day conference
and festival of academic papers, presentations,
performance, exhibitions & workshops.
The event is designed to inspire, celebrate &
challenge understandings of women,
grassroots art and politics.
We ask: can feminist art change the world if so, how?
and we invite responses from activists, artists and academics.
street theatre :: poetry :: music :: knitting :: zines :: digital fiction :: podcasts :: dance :: performance :: painting :: puppetry :: frockmaking
aweaving :: gardening :: cooking :: sketches :: pottery :: bloggs :: song :: cartoons :: writing :: sculpture :: posters :: comics :: twitter ::

Please send a 300-word proposal for
papers, panels, exhibitions, workshops and
performances plus a 50-word biography
by 31 October 2010 to:
or post to:

Carnival of feminist cultural activism
Centre for Women’s Studies
University of York
Yo10 5DD


Website: http://www.feminist-cultural-activism.net

Contact name: Ann Kaloski

11th International Connotations Symposium

Poetic Economy: Ellipsis and Redundancy in Literature

Eberhard Karls Universitaet Tuebingen

July 31 – August 4, 2011

Call for Papers

What is it that distinguishes poetic language from ordinary kinds of utterance? We probably wouldn’t listen to poets if they weren’t any better at using language than we are. But then poets have always striven to speak the “real language of man,” or, as T. S. Eliot put it, “Every revolution in poetry is apt to be […] a return to common speech.” Accordingly, we wouldn’t listen to poets either (at least poets seem to think so) if they wouldn’t use language the way we do. In the history of poetics, the question of poetic language has frequently been addressed in what one might call economic terms. Sir Philip Sidney points out that the (musical) nature of verse demands “the words […] being so set as one cannot be lost, but the whole woorke failes,” which implies not only that there is, ideally, one right way of choosing and placing words but also that there is a right number: too many or too few words would destroy the work. This seems plausible and may provide an answer to our initial question: whereas most of us need too many or use too few words to make a point, poets get the number exactly right. But in practice, things aren’t perhaps quite so obvious. For what about the fact that poetry (and other forms of literature) is frequently elliptical? Only think of Emily Dickinson’s fragmentary syntax, which often lacks the function words that might establish a coherent utterance. And what about the notion that literary art deletes, condenses and compresses elements of language, that Dichtung is Verdichtung (as Kafka and others put it)? But there is also the contrasting notion that literature, and poetry in particular, is marked by an excess, superfluity and redundancy of words and other elements of language. There are not only baroque ideals of style with their emphasis on copia verborum, there is also Keats’s dictum that poetry “should surprise by a fine excess,” or there is the notion held in pragmatics that the effect of an utterance which is not primarily due to the proposition put forward but to a wealth of “weak implicatures” (such as attitudes, feelings and states of mind) should be called poetic.

One way of resolving these apparent contradictions would be to consider the question of “too little” or “too much” not in absolute but in relative terms. An aphorism may have too many words and a Victorian novel may lack the very words needed for a reader to regard it as a success. But this leaves us with the tricky question of decorum: what is the idea or purpose to which a particular number of words is appropriate and by which we measure the verbal economy of a literary work of art?

The venue will be a beautifully situated hotel in the Black Forest (near Freudenstadt), which is partly owned by Tuebingen University (see http://www.zollernblick-lauterbad.de).

As the emphasis of the Connotations symposia is on critical debate, talks will be 30 minutes, leaving another 30 minutes for discussion.

Please send your proposal by October 1, 2010 to symposium2011(at)connotations.de


The Fourth Annual Japan Writers Conference will be in Tokyo this year at the Ekoda Campus of Nihon University College of Art on October 9-11, 2010.

This is a call for presentation proposals. All published writers, translators, editors, agents and publishers who would like to lead a session are invited to submit proposals. Those who have presented at past conferences are (of course) welcome to submit new proposals. But we especially encourage proposals from new submitters. One of the strengths of the Conferences is its variety, and the best way to foster variety is to feature new presenters each year.
Please forward this to any friend or colleague who would be interested. If you know someone the conference organizers might approach—either living in Japan or planning to visit Japan next fall—please send us your suggestion. If you have contact information, that would be a great help.
Detailed information follows, but briefly, a proposal needs to include information a brief bio, including publication credits, the type of presentation you wish to make, a title, a summery of 50 words, a longer abstract (150 words) and any special requests you might have. Standard sessions are fifty minutes long, but if you have something special in mind, please let us know and we will accommodate if possible.
Presentations on all genres and all aspects of writing and publishing are welcome. The deadline for presentation proposals is June 1, 2010.
As in the past, the Conference will be free and open to all who wish to attend. This is possible because all the presenters and organizing staff volunteer their time and talent, and the use of the site is donated by the hosting institution. As a result, the Conference cannot offer any payment, reimbursement, lodging, or help in securing visas or travel permits. So please don’t ask.
Proposal Guidelines
When planning your proposal, keep your audience in mind. Your listeners will be writers and others concerned with creating the published written word, such as translators, editors, publishers, and agents. While teaching, literary studies and private self-expression are certainly worthy activities, they are not the focus of this Conference. Ask yourself as a writer or other word professional these questions:
What information do you have which could be useful to others?
What writing, rewriting, editing, or marketing techniques have worked for you?
What topic would make for a lively and enlightening discussion?
What publishing or other professional opportunities do you know about?
What will an attendee take away from your fifty-minute session that he or she will find worthwhile?
You may submit more than one proposal.
The only qualification one needs to be a presenter is to have published. This does not mean that you need to have published a lot or in some high-profile journal. Your book (if you have a book) does not have to be on a best seller list. You do not have to have won any awards or to have appeared on TV. You simply need to have written, edited, translated, or otherwise worked on a piece of writing which has made it to the public eye. That is, published.
Proposal Deadline and Format
Using the following format, please send your ideas for a presentation by June 1, 2010. Send your proposal in the body of an email (no attachments) to both these addresses:
In your subject line give your name, “JWC,” and the date.
In the body of the email, give:
1. Your name (or names)
2. Contact information (email, telephone. These remain confidential.)
3. Your publications (Need not be complete, but give names of journals and genre for short pieces; title, publisher and date for books; venues and dates for plays, and so on)
4. Title of presentation. (20 words or less)
5. Type of presentation (short lecture with Q&A, craft workshop, panel discussion, reading with Q&A, etc.)
6. Short summary of the presentation (50 words or less)
7. Abstract of the presentation (150 words or less)
8. Personal and professional biography (50 words or less. Include mention of your publications, as this will be part of the Conference program)
9. Anything else, such as special equipment needs or questions.
Your proposal doesn’t have to be a “finished” document to submit. There will be time to shape and polish your ideas for a presentation. But there are a set number of session slots available and if you are interested in having one of them, please let us know soon. Again, the deadline is June 1, 2010.
John Gribble
Bern Mulvey
Co Co-ordinators,
2010 Japan Writers Conference

We are sorry that the CCWE Esoteric Poetry Competition has been cancelled.

If  you have arrived here via the UK’s  Southbank Poetry Library or the  Poets & Writers magazine published in America you will already  know there are many  comptetitions in which to enter your poem/s. But if you have arrived here via another route these are good paces to look.

The 2010 Synge Summer School takes place from 1 – 4 July 2010.

This theme is “Re-Imagining Irish Drama “.

Further Info from their website:

If you have queries about the programme, please feel free to contact Patrick Lonergan, the Director of the School at patrick.lonergan@nuigalway.ie

The theme for the 2010 Synge Summer School is “Re-Imagining Irish Drama”. Our intention is to consider how Irish drama has changed in recent years, and to ask where we might be heading in the future.

Lectures are given by leading academics and journalists. As always, there will be papers about the works of J.M. Synge, but we’ll also consider many other major dramatists, from Shakespeare to Sean O’Casey, from Beckett to Sebastian Barry, and from Brian Friel to Sarah Kane.

Confirmed speakers include Anne Fogarty, Shaun Richards, Christopher Murray, Graham Saunders, Mark Phelan, Lisa Fitzpatrick, Patrick Lonergan, Patrick McCabe, and more to be announced.

Special events this year include a visit to the Mermaid Arts Centre in Bray to see the world premiere of Dermot Bolger’s new play, The Parting Glass. That event will be followed by a post-show discussion. We will also hear a reading by Patrick McCabe at the Brokagh Centre in Laragh.

The Synge Summer School is a gathering of people who are enthusiastic about Irish theatre and drama. Each year, we welcome participants from many different professions (academics, students, teachers, public servants, theatre practitioners, journalists, and people from many other walks of life), and from many different countries ( Ireland, the US, Canada, Australia, Italy, France, Spain, Turkey, China, Japan, and elsewhere).

Participants attend a series of talks, seminars, and social events over the course of a long weekend (from Thursday afternoon to Sunday evening) in the beautiful setting of Avondale House in County Wicklow.

Lectures are given by leading scholars of Irish drama. This year, they focus not only the works of J.M Synge but also on other Irish dramatists: Sean O’Casey, Brian Friel, Samuel Beckett, and many others. We’ll also be hearing papers that aim to place Irish drama in an international context, discussing the place of Shakespeare within the Irish theatre, and the relationship between Samuel Beckett and the controversial English dramatist Sarah Kane.

Lectures usually last for between 45 minutes and an hour, and are followed by about 30 minutes of discussion, which all participants are welcome to contribute to, if they wish. Lectures are intended to be accessible to both academic and non-academic audiences. A reading list has been provided: it is not essential to read any of the play on the list in advance, but doing so may enhance your appreciation of the lectures.

Seminars This year, we are offering four seminars; participants select one from that list. A seminar is a small group of people (usually no more than eight), who will meet twice (on Friday and Saturday mornings) to discuss a specific theme. The discussion will be led for about 90 minutes by a dedicated specialist, who will ensure that all participants have an opportunity to share their views with each other. Seminar participants should read the recommended plays in advance. Seminars are intended to take place in a relaxed, friendly and informal setting; as with the lectures, they will prove rewarding for both academic and non-academic participants. Seminar participants are advised to read the appropriate texts in advance – see the reading list for more information.

Social events . This year’s special events include a visit to the Mermaid Arts Centre in Bray to see the world premiere of Dermot Bolger’s new play, The Parting Glass. It is set on the night that Thierry Henry’s left hand broke many an Irish heart in the World Cup qualifiers in 2009. It tells the story of old friends now on the cusp of fifty who are stopping to make sense of their lives, loves and losses – who are trying to fathom their place as exiles in the Ireland that emerged in their absence, and the boom and bust story of the nation that once had room for them.


Call for Papers:

RMIT UNIVERSITY, in association with the Katherine Mansfield Society


4-5 JUNE 2010


Dr Sarah Ailwood (University of  Canberra)
Dr Melinda Harvey (RMIT University, Melbourne)

Confirmed Keynote Speakers:

Emeritus Professor Vincent O’Sullivan (Victoria University, Wellington) Editor (with Margaret Scott) of The Collected Letters of Katherine Mansfield: Volumes 1-5 (1984–2008).

Professor Sue Thomas (La Trobe University, Melbourne)Author of The Worlding of Jean Rhys (1999) and (with Ann Blake and Leela Gandhi) England through Colonial Eyes in Twentieth-Century Fiction (2001)

Symposium Sponsors:

Consulate-General of New Zealand, Victoria

Symposium Overview:

This symposium provides an opportunity for scholars in Australia, New Zealand and all over the world with a forum to present papers on all aspects of Katherine Mansfield’s life, work and times.

Topics for the symposium include, but are not limited to:

* Mansfield’s ‘Underworld’ – promiscuity, penury, Dostoevsky

* Mansfield and the ‘Blooms Berries’ – KM’s relations with and opinions of the Bloomsbury Group and Modernist writing generally

* Who owns Mansfield? The biographer? New Zealand? Postcolonialism? Feminism?

* Mansfield the Modernist

* Mansfield and the Modernist magazine – The New Age, Rhythm, The Blue Review, The Athenaeum

* Mansfield the critic

* Mansfield the translator

* Fictional representations of Mansfield in literature, theatre and film

* Women, place, expatriatism and tourism

* Mansfield’s influences/the influence of Mansfield on other artists

We stress that papers on works, artists, places and ideas that shed light on Mansfield’s milieu, methods, reception or reputation in literary canons and literary histories (Modernism, New Zealand literature, feminist literature, postcolonial literature, and so on) but do not refer to her directly are very welcome.

Abstracts of 300 words and a brief bio of 30 words should be submitted to Dr Sarah Ailwood (Sarah.Ailwood@canberra.edu.au) and Dr Melinda Harvey (melinda.j.harvey@rmit.edu.au) by Monday 15 March 2010.


RMIT University, the primary venue for the symposium, is located in the Melbourne CBD. For information regarding the City Campus go to http://www.rmit.edu.au/browse;ID=cxlc0nabtrud

The performance of Gary Abrahams’ Something Childish But Very Natural on Saturday 5 June at 8pm will be held at La Mama Theatre in Carlton, a 15-20 minute walk from RMIT University. For delegates who would prefer to take public transport, trams 1, 3, 5, 6, 8, 16, 64, 67 and 72, which stop outside RMIT University on Swanston Street (near the corner of La Trobe Street, opposite the State Library of Victoria), will take you to Carlton.


The central location of RMIT University means that accommodation within walking distance of the symposium is in plentiful supply.

The Jasper Hotel, a 4-star hotel located 500m (or a 5 minute walk) from RMIT University, has agreed to offer symposium delegates a special RMIT University corporate rate of $140 per night or $155 including full breakfast. To receive this rate quote the block name ‘Katherine Mansfield – RMIT’. For more information regarding the Jasper Hotel go to http://www.jasperhotel.com.au/.

Other good bets for accommodation are the Oaks and Mantra apartment chains. See http://www.oakshotelsresorts.com/ and http://www.mantra.com.au/. For other options, including special rates, we suggest Wotif: http://www.wotif.com/hotels/australia-melbourne-hotels.html.


To and From Tullamarine Airport:

From Tullamarine aiport, we recommend you take a taxi or the Skybus. A taxi from Tullamarine Airport to Melbourne CBD should cost you $50-$60.

If that’s beyond your budget then the next best thing is Skybus. Skybus links Tullamarine Aiport to Southern Cross Station in the Melbourne CBD. Fares are $16 one-way or $26 return. For information regarding ticketing and timetabling go to http://www.skybus.com.au/ .

In and Around Melbourne:
If you’re staying at the Jasper Hotel or in the Melbourne CBD, then you will be able to walk to all symposium venues. For longer journeys, Melbourne has an excellent tram, train and bus network. There are a variety of ticketing options (2 hour, daily, weekly, etc.). Tickets can be bought at Metcard retail outlets. For information regarding routes and timetables go to http://www.metlinkmelbourne.com.au/

Any Questions?
Contact the convenors – we’re happy to help.
Melinda Harvey: melinda.j.harvey@rmit.edu.au
Sarah Ailwood: Sarah.Ailwood@canberra.edu.a

WMA Forum

Word and Music

Association Forum (WMAF),

founded in 2009 under the auspices of the

International Association for Word and Music Studies (WMA),

offers ‘emerging scholars’ additional opportunities

to present papers—including but not limited to work in progress

—and to establish a network of scholars who share an interest

in word and music studies.

The central event of the Forum will be a biennial conference,

held in alternating years with the WMA international conferences.

Word and Music Forum:

First International Conference

November 4-6, 2010

Technische Universität Dortmund

Call for Papers

The first conference of the WMAF will be held at the

Technische Universität Dortmund from

November 4 to 6, 2010.

The conference will consist of two parts: one will explore

“Time and Space in Words and Music”, raising questions

about the relationship of time and space in intermediality,

exploring their role in such phenomena as beginnings

and endings, in repetition, in cyclical versus linear time,

or in narrativization/musicalization of time and space.

The other part will include a number of open colloquia

devoted to a discussion of works in progress.

We are very pleased that

Prof. Peter Rabinowitz of Hamilton College

will hold the keynote address at this inaugural conference.

In order to allow adequate time for discussion

papers must not exceed 20 minutes.

Please submit abstracts of ca. 300 words

plus a brief biographical statement (ca. 50 words) to wmaforum@googlemail.com

by May 1, 2010.

You should also indicate whether your paper

is intended for the conference topic or for

the open forum of works in progress.

Organizing Committee:

Emily Petermann (Konstanz)
Mario Dunkel (Dortmund)
Beate Schirrmacher (Stockholm)

The Seamus Heaney Centre for Poetry

Queen’s University Belfast
15-17 September 2010




Keynote speakers:
Sir Christopher Ricks: “The strength of Hill’s unrelenting, unreconciling mind.”,
William Logan:  “Lowell’s Skunk: Heaney’s Skunk”,
Angela Leighton:  “Justifying Time in Contemporary Poetry”

Panel of poet-publishers:
Michael Schmidt, Don Paterson, Peter Fallon

Reading by Belfast Poets:
Michael Longley, Ciaran Carson, Medbh McGuckian, Sinéad Morrissey, Leontia Flynn

Call for Papers

Papers and proposals for panels are invited on all aspects of contemporary British and Irish Poetry.  Please send abstracts of no more than 500 words by 1 May 2010 to Gerry Hellawell, Seamus Heaney Centre for Poetry, Queen’s University Belfast, Belfast, BT7 1NN or to g.hellawell@qub.ac.uk

Topics which may be covered include, but are not restricted to:
Poetry and gender
Poetry and mythopoeia,
Poetry and postmodernism,
Migrant, diasporic and postcolonial identities,
American influences,
New developments in British and Irish poetry,
Poetry in Scotland,
Poetry in Wales,
Poetic form,
Women’s poetry,
Poetry publishing,
Regional poetry,
The sound of poetry,
Poetry and translation,
The relationship between the academy and contemporary poetry

15 to 17 September 2010
Belfast, United Kingdom

Website: http://www.qub.ac.uk/schools/SeamusHeaneyCentreforPoetry/BritishandIrishContemporaryPoetryConference/

Contact name: Edward Larrissy


April 17, 2010


14th-15th JUNE  2010 University of GlasgowKeynote panellists include Michael Schmidt, Michael Symmons-Roberts,
Kei Miller, Sara Maitland and Michelene Wandor.

“…there is no reading of a work which is not also a ‘re-writing’.”

– Terry Eagleton

A recent exhibition at the Glasgow Gallery of Modern Art consisted of a bible, laid open alongside a supply of pens, with the invitation, “If you feel you’ve been excluded from the Bible, please feel free to find a way to write yourself back in.” The comments scribbled in the margins—and the very notion of ‘writing in the Bible’—became the subject of a widespread controversy, resulting in the gallery’s decision to place this bible inside a perspex cube, effectively sealing it off and protecting it from what might be deemed ‘undesirable’ commentary. Visitors were still invited to write comments, but now they were written on sheets of paper that were then selected by gallery staff and inserted between the bible’s pages.

In light of this very present debate, Re-Writing the Bible: Devotion, Diatribe and Dialogue invites poets, writers, and scholars to engage with interdisciplinary questions surrounding the phenomena of retellings or revisions of Bible in creative writing. These retellings have a heritage that, arguably, starts within the books of the Bible itself and stretches across many literatures and traditions; poets and writers in every age filter biblical themes and images through the
focus of their own period and practice. Dante, Milton, Bunyan, Blake, Yeats, Owen, H.D, Plath, Kinsella, Hill; the list is long, diverse, and continues to grow.

This symposium asks why contemporary writers have chosen to rework this particular source text, and what stances they have taken towards it: faithful, using creative writing as a means of prayerful reflection or theological exegesis? Or furious, a railing against the Bible’s injustices and absences? Or a mixture of both, a sometimes difficult, sometimes delightful kind of dialogue? If every reading is also a re-writing, then it follows that every re-writing is also a reading, and for this reason many biblical scholars are fascinated by the literary ‘afterlives’ of the scriptures, the ways in which the Bible is sustained by creative imaginations in cultural settings and times very distant from its own writing and compilation.

We are seeking 20-minute papers from a variety of disciplines and perspectives, including but not limited to: literature, theology, biblical studies, critical and cultural theory, history, politics, and so on. We will consider papers on all forms of ‘creative writing’: poetry, novel, short story, sermon, liturgy, prayers, songs, political writing, theatre, and so on. Our emphasis is on twentieth and twenty-first century works, but we will also consider abstracts on rewritings from other periods. We would be particularly interested in papers looking at spaces that often go unexplored by research in retelling and revisioning, such as biblical romance novels, evangelical speculative fiction, biblical archetypes in autobiography, contemporary liturgy, or popular music. There is the possibility that proceedings will be published.

Please send abstracts (approx. 200 words) to rewritingbible2010@gmail.com, by no later than 19th April 201

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