All posts by Veronika Schuchter

About Veronika Schuchter

Veronika currently teaches at the University of Oxford and is writing up her thesis on supermodern spaces in contemporary women's writing.

Registration & Programme for CWW Poetry Conference

Contemporary Women’s Poetry: Lines and Landscapes

Friday 5thApril 2019 // Priory Building, University of Brighton in Hastings

Please register here.



8.45-9.15     Registration (Priory Foyer)

9.15-9.30     Welcome (Priory 402)

9.30-10.30    Keynote: Nerys Williams (University College Dublin) (Priory 402) (Chair: Irralie Doel): ‘Things are larger than the personal way of telling. Intimate confession is a project’ (Juliana Spahr): Documentation, lyric and some recent American poetics.

10.30-11.00   Break (Café, 1stfloor)

11.00-12.20   Parallel panels A

  • Writing life (Chair TBC)

Jane Simmons, ‘Motherhood and Loss in the Work of Rebecca Goss and Karen McCarthy Woolf’

Tricia Connell, ‘Call it woman’s work’: The Creative Potential of Motherhood in Carol Ann Duffy’s Poetry’

Sarah L. Webb, ‘Extending Cross-Cultural Lifelines: Collective Healing in an International Writing Contest’


  • Identity (Chair TBC)

Yuting Wu, ‘Black, Chinese, and Lesbian: Multiple Identities and Black British feminism in Meiling Jin’s poetry’

JuEunhae Knox, ‘#Nofilter: Forking Hashed Lightning through Instapoetry, Poe(t/m)-Tagging, and Literary Naturalism’

Jessica Sharville, ‘The Lost Women of Subcultures’


12.20-1.20     Lunch


1.20-2.40      Parallel panels B

  • Postgraduate workshop

Irralie Doel, ‘Critical and Creative Practice’


  • Visual Poetics (Chair TBC)

Alexander Bell, ‘‘Intermedial Strategies in Anne Carson’s Autobiography of Red

Jean Owen, ‘S/KIN: An Experiment in Non-Verbal Poetry

Norinne Betjemann, ‘Emily and Me’


2.40-4.00     Parallel panels C

  • Environment (Chair TBC)

Tuesday Goacher, ‘Reimagining Urbanity: Place Attachment and the Urban Imaginary in Helen Mort’s Division Street

Philip Jones, ‘Already Passing: the Anthropocene, futurity and pessimism in Jorie Graham’s Fast

Jane Ford and Jenna Clake, ‘‘The trees walk backwards in the dark’: Entanglement and the EcoGothic in Kate Kilalea’s Hennecker’s Ditch


  • Time, Place and Space (Chair TBC)

Joanne Dixon, ‘Flight-lines: Literary Epiphany and Contemporary Women’s Poetry’

Nicholas Johnson, ‘Sound, Narrative, and their Vicinity of Place’

Agnieszka Studzinska, ‘What Alice Says?’


4.00-4.30     Break


4.30-5.40     Panel 7: Poetic (Re)Inscriptions and (Re)Imaginations (Chair TBC)

Ruth Stacey, ‘Layering Voices: Using the Prose Poetry Form and Symbolist Poetry Techniques to write the Imagined Memoir of Pamela Colman Smith’

Helen Dixon, ‘Pearlfields: A Poetic Fictional Archive’

Maureen Fielding, ‘Poetry reading’


5.40-6.00     Closing Discussion/Remarks.


6.00-7.00         Wine reception

CFPs for two upcoming CWWA conferences

Contemporary Women’s Poetry: Lines and Landscapes.


Conference website can be found here

5 April 2019, Hastings Campus, University of Brighton

Poetry by women is wide-ranging, diverse and polyphonic. It works through and across lines and landscapes to create individual poems, collections, and bodies of work. Through traversing these in multiple ways, it establishes clusters and constellations which both speak to and disrupt traditions of poetry and poetics. This conference aims to take stock of contemporary women’spoetry, to begin to map the terrain and to articulate some of the lines and landscapes thatwomen’s poetry explores.

Deadline 18 Feb, 2019.

Full CFP here


Locations and Dislocations: Places and Spaces in Contemporary Women’s Writing.

International Contemporary Women’s Writing Association Conference, 3-5 July 2019, Algoma University, Sault Ste. Marie, Ontario, Canada

The 2019 Contemporary Women’s Writing Association International Conference theme is inspired by its location at Algoma University in Sault Ste. Marie, Northern Ontario, Canada. Algoma University occupies the historical site of the former Shingwauk Residential School to which displaced Anishinaabe children were sent to receive a colonial “education.” Survivors of the Shingwauk Residential School formed the Children of Shingwauk Alumni Association and have helped guide the development of education here, launching the first major, permanent, residential school Survivor-driven exhibition in a former residential school building in 2018. Algoma University sits alongside Shingwauk Kinoomaage Gamig (an Anishinaabek institution for university studies) on this sacred site set aside for the fulfillment of Chief Shingwauk’s vision of respectful inter-cultural education. Surrounded by iconic Canadian maple bush in the heart of the Great Lakes, Anishinaabe people refer to this region as “Bawating”—“the place of the rapids”—and it has a long history as a meeting and trading place. As a declining steel town, Sault Ste. Marie raises crucial questions about the future of post-industrial cities. The city has staged the often fraught encounter between economic development based on extractive and heavy industries and the preservation of areas of outstanding natural beauty. Sault Ste. Marie is also a border city twinned with Sault Ste. Marie, Michigan, U.S.

Deadline: 1 March, 2019.

Full CFP here

CFP: Contemporary Women’s Poetry: Lines and Landscapes

Friday 5th April 2019, Hastings Campus, University of Brighton

Keynote Speaker: Nerys Williams, University College Dublin

Poetry by women is wide-ranging, diverse and polyphonic. It works through and across lines and landscapes to create individual poems, collections, and bodies of work. Through traversing these in multiple ways, it establishes clusters and constellations which both speak to and disrupt traditions of poetry and poetics. This conference aims to take stock of contemporary women’spoetry, to begin to map the terrain and to articulate some of the lines and landscapes thatwomen’s poetry explores.

We warmly invite critics, poets, editors, publishers, teachers, practitioners and students to join us to delineate and discuss contemporary women’s poetry in all its forms and in its current critical contexts. Topics might include but are not limited to:

  • contemporary currents, trends and themes in women’s poetry
  • categorisation of women poets and women’s poetry
  • ‘experimental’, ‘innovative’ or ‘other’ poetry
  • form and structure
  • sound
  • performance
  • feminist politics and poetics
  • poetry and activism
  • poetry and resistance
  • poetry and the environment
  • geography, landscape and space
  • poetry and politics
  • poetry at times of crisis
  • legacy and influence in contemporary women’s poetry
  • lyric
  • confession
  • poetry and technology
  • creative process and practice
  • poetry anthologies
  • translation
  • editing
  • publishing
  • teaching contemporary women’s poetry



Creative and innovative forms of presentation are welcome. We also welcome submissions from postgraduates and early career researchers, and aim to include a relevant postgrad/ECR career- development panel in the event.

Please send 250 word proposals for 20 minute papers, critical poetry readings (please send proposal and a sample of work) or presentations to by Friday 1st February 2019. Do get in touch via email if you have any questions or queries.

Call: CWW Essay Prize 2019

Contemporary Women’s Writing Essay Prize

The journal of Contemporary Women’s Writing(Oxford University Press) is delighted to announce the launch of the 2019 Essay Prize.  The Contemporary Women’s Writing Essay Prizeaims to encourage new scholarship in the field of contemporary women’s writing, recognise and reward outstanding achievement by new researchers and support the professional development of next generation scholars.

Contemporary Women’s Writing critically assesses writing by women authors who have published approximately from 1970 to the present, especially in essays that reach beyond a reading of a single text in order to challenge existing thinking or extend debates about an author, genre, topic, or theoretical perspective and relate literary analysis to wider cultural and intellectual contexts.

The winner of the 2018 Essay Prize was Sabine Sharp (Manchester University, UK) for “Her Strange Origins, Her Odd Sisters: Monstrous Genders and Mutant Genres in Larissa Lai’s Salt Fish Girland Hiromi Goto’s ‘Hopeful Monsters.’”


The winning entry will be:

  • Submitted for publication in Contemporary Women’s Writing
  • Awarded one year’s free membership of the Contemporary Women’s Writing Association, including one year’s free subscription to Contemporary Women’s Writing
  • Awarded a choice of Oxford University Press books to the value of £100

Other entries of sufficient quality may also be considered for publication.

Entry Requirements

The Contemporary Women’s Writing Essay Prizeis open to anyone currently registered for PhD study or within three years of completion. Entrants may be asked to provide formal confirmation of their status.


Essays must be 7,000-9,000 wordsin length.  The deadline for submission is 1stFebruary 2019.  The entry must not be under consideration for publication elsewhere.  Submissions must comply with the journal’s Instructions to Authors – click hereto view.  Entrants must submit essays by the standard Online Submission procedures – click hereto view.  Please ensure that you select ‘Essay Prize’ in the ‘Submission Type’ box.

Essays should meet the general aims and scope of the journal of Contemporary Women’s Writing– for more information please click here.  Please note that essays submitted for publication will be subject to the standard Peer Review process.  Entries will be judged by members of the Contemporary Women’s Writing Editorial Board and a member of the Contemporary Women’s Writing Association Executive Committee.

Writing Wrongs 2018 Conference

We are delighted to confirm that registration for our 2018 CWWA conference, Writing Wrongs, is now open.Writing Wrongs will take place on 20-21 September 2018 at Northumbria University, Newcastle, UK.We look forward to welcoming our delegates and keynote speakers, Professor Clare Hemmings (London School of Economics, UK) and Ruvani Ranasinha (Kings College London, UK).
Congratulations to Poonkulaly Gunaseelan and Olivia Heal who have been awarded this year’s CWWA Postgraduate Travel Bursaries.
Any queries about the conference can be addressed to the organisers, Rachel Carroll and Mel Waters, at

Angela Carter for the twenty first century: fireworks and strange worlds

Cambridge University Institute for Continuing Education, Madingley Hall  June 22-24 2018

Gina Wisker, Marie Mulvey Roberts- tutors ; Paulina Palmer guest talk. This course offers the opportunity for us to re-explore and celebrate the work of the influential writer Angela Carter. We will use new scholarship, new biographical information, and established passions  for her work to consider her rewriting of fairytale (The Bloody Chamber); energising the Gothic (The Magic Toyshop, Nights at the Circus); surrealism and art (The Holy Family Album and the exhibition Strange Worlds );  her contributions to  twenty and twenty first century writing, popular culture, film (The Company of Wolves), scifi and feminism (The Passion of New Eve, Wise Children). It builds on the ground breaking Jan 2017 conference Fireworks (   and offers the chance for us to ignite and  reignite new fascinations with her work and its influence.

CWW Essay Prize 2018

The 2018 Contemporary Women’s Writing Essay Prize has been awarded to Sabine Sharp for her essay “Her Strange Origins, Her Odd Sisters: Monstrous Genders and Mutant Genres in Larissa Lai’s Salt Fish Girl and Hiromi Goto’s ‘Hopeful Monsters.’”

The following submissions were selected for Special Commendation:

Megan Sormus, “Grrrl Revlonution: The Cosmetic Grrrling of Women in Emma Forrest’s Cherries in the Snow

Rebecca Walker, “A Language of Her Own: Willful Displacement and Feminist Subjectivity in Jhumpa Lahiri’s In Other Words

Congratulations to our worthy winner!

New Book: Clever Girls and the Literature of Women’s Upward Mobility

Clever Girls and the Literature of Women’s Upward Mobility by Mary Eagelton

This book follows the figure of ‘the clever girl’ from the post-war to the present and focuses on the fiction, plays and memoirs of contemporary British women writers. Spurred on by an ethic of meritocracy, the clever girl is now facing austerity and declining social mobility. A public discourse of ‘opportunity’, ‘aspiration’ and ‘choice’ is often experienced as an anxious and chancy process. In a wide-ranging study, the book discusses the challenge to femininity and women’s embodiment; the pressures of class and racial divisions; the new subjectivities of the neoliberal era; and the generational conflict underpinning austerity. In so doing, this study explores one of the dominant social narratives of the post-war period.

CFP Ludics & Laughter as Feminist Aesthetic: Angela Carter at Play

Call for Proposals

Ludics & Laughter as Feminist Aesthetic: Angela Carter at Play

Feminist writer, Angela Carter, has been read as a demythologizer, as a deconstructionist avant la lettre, as the doyenne of postmodernism, and a polemicist.  She was a great lover of art and film, commemorated at the 2017 festival in Bristol (Mulvey Roberts & Croft). She has been revered as the major revisionist of the fairytale and fable, especially in terms of their gendered presuppositions; and her name is invariably associated with the carnivalesque. Carter’s engagement with European philosophy has been expertly assessed (Yeandle). She is a superb stylist, especially of the gothic, and a Borgesian encyclopaedia of intertextual references.  Most recently, her affinities with decadence (Tonkin) and surrealism have been expertly unearthed (Watz and Dimovitz).  And, importantly, a biography has finally been published (Gordon).  However, there is still a key component of Carter’s work and technique that needs focussed attention.  Rummaging about in the diverse literary and cultural histories of Europe, as she said, was like being in a giant rumpus room.  To miss this fact, her pleasure in the rumpus room, is to miss another fundamental aspect of Carter’s work that has not yet been fully elaborated: its humour and its play.

Feminism is rarely seen as playful, and certainly not as fun or funny, at least not in a positive sense–and not from outside its borders.  Feminism from the outside is often personified as dour, perhaps perverse, bloody-minded and, even (oh, my!) hysterical.  Yet we have the perfect example of a feminist writer who played her heart out, whose ludic sensibilities reframe the way in which we perceive the world.  A writer whose bloody-mindedness was anything but dour; whose perversity performed the “double somersault of love” before our eyes; who confidently played up the histrionics and laughed them out of earshot: Angela Carter.

Carter once wrote that The Order of Things “grew out of the uncontrollable laughter that shook Foucault as he read a page [of Borges] that, simply, overturned all the ways in which he had been taught to think” (Burning Your Boats 42).  He was, she continues, “enchanted by the possibilities of wholly other systems of thought, systems that revealed the limitations of our own” (42). This enchantment in other-worldly, playful and liminal systems of thought certainly applies to Carter, and it is this aspect of Carter’s feminist strategy that we seek to evaluate in this volume. We seek to reclaim “play” as a feminist language.

Salman Rushdie famously called Carter a “one-off.”  In this international collection of essays, we will consider that ludics and laughter contribute to this originality and to her unique feminist aesthetic. We seek research on Carter’s oeuvre which foregrounds “play,” and “humour” as key components of her work and of her significance to readers and feminists nearly 30 years after her death.  Possible topics are various and certainly not restricted to the following possibilities: aspects of play in surrealism; linguistic play; the play of performance and the performance of play; gendered subjectivity; the comedic aspects of the carnivalesque; tropes at play; comedy and humour as strategies.  In the ludic spirit, essays may choose to “play” themselves in ways that reveal the possibilities for a critical feminist ludics.  Similarly, essays that wish to play foul with our contention are equally welcome.


We seek proposals of no more than 500 words. Proposals should be accompanied by a brief biography and must be submitted by May 1, 2018, to be considered for acceptance.  A decision will be made by May 20th, when we will notify of acceptance.

Complete essays of @ 7,000 words will be expected by September 1, 2018, with a goal for publication by early 2019.  Submit inquiries to any of the co-editors:

Dr. Jennifer Gustar, UBC, Canada

Dr. Sarah Gamble, Swansea, Wales

Dr. Caleb Sivyer, Bristol, England

Initial proposals should be sent to by May 1, 2018.