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).
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Congratulations to Poonkulaly Gunaseelan and Olivia Heal who have been awarded this year’s CWWA Postgraduate Travel Bursaries.
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Any queries about the conference can be addressed to the organisers, Rachel Carroll and Mel Waters, at writingwrongs2018@gmail.com.
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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 (www.getangelacarter.com)   and offers the chance for us to ignite and  reignite new fascinations with her work and its influence.

https://www.ice.cam.ac.uk/course/angela-carter-21st-century-fireworks-and-strange-worlds

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

https://www.palgrave.com/gb/book/9783319719603#aboutBook

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.

Proposals:

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 Jennifer.gustar@ubc.ca

Dr. Sarah Gamble, Swansea, Wales s.gamble@swansea.ac.uk

Dr. Caleb Sivyer, Bristol, England caleb.sivyer@uwe.ac.uk

Initial proposals should be sent to Jennifer.gustar@ubc.ca by May 1, 2018.

 

 

 

Contemporary Women’s Writing Essay Prize 2018

Contemporary Women’s Writing Essay Prize
CWW Essay Prize 2018

The journal of Contemporary Women’s Writing (Oxford University Press) is delighted to announce the launch of the 2018 Essay Prize.  The Contemporary Women’s Writing Essay Prize aims 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.

The winner of the 2017 Essay Prize was “The Affective Politics of Resistance in the Work of Opal Palmer Adisa” by Elisa Serna – Martinez (Universidad de Granada, Spain). The essay will be available to read free online shortly.

Prize
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 Prize is 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.

Submission
Essays must be 7,000-9,000 words in length.  The deadline for submission is  1st February 2018.  The entry must not be under consideration for publication elsewhere.  Submissions must comply with the journal’s Instructions to Authors – click here to view.  Entrants must submit essays by the standard Online Submission procedures – click here to 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.

The Goldsmiths Writers’ Centre in association with the New Statesman presents the winner of the Goldsmiths Prize 2017, Nicola Barker.

The Goldsmiths Writers’ Centre in association with the New Statesman presents the winner of the Goldsmiths Prize 2017, Nicola Barker.

Nicola Barker reading from her winning novel, H(A)PPY, and in conversation with Dr Tim Parnell, literary director of The Goldsmiths Prize.

Imagine a perfect world where everything is known, where everything is open, where there can be no doubt, no hatred, no poverty, no greed. Imagine a System which both nurtures and protects. A Community which nourishes and sustains. An infinite world. A world without sickness, without death. A world without God. A world without fear.

Could you … might you be happy there?

H(A)PPY is a post-post-apocalyptic Alice in Wonderland, a story which tells itself and then consumes itself. It’s a place where language glows, where words buzz and sparkle and finally implode. It’s a novel which twists and writhes with all the terrifying precision of a tiny fish in an Escher lithograph – a book where the mere telling of a story is the end of certainty.

Nicola Barker was born in Ely in 1966 and spent part of her childhood in South Africa. She is the author of ten previous novels – including Wide Open, Darkmans, The Yips and In the Approaches – and two short story collections. She has been twice longlisted and once shortlisted for the Man Booker Prize, has won the IMPAC, the John Llewellyn Rhys and the Hawthornden Prizes, and was named one of Granta’s 20 Best Young British Writers in 2003. She lives and works in east London.

Date and Time

Wed 24 January 2018

19:00 – 22:00 GMT

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Location

LG02, Professor Stuart Hall Building (PSH)

Goldsmiths, University of London

New Cross

London

SE14 6NW

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CWWA 2018 Membership

Dear CWWA member,

CWWA Membership Form 2018

Thank you for all of your support in 2017 and we hoped you’ve enjoyed your year as a member of the CWWA. Journal subscribers can look forward to one more 2017 issue ofCWW – a special issue on Margaret Atwood ed. by Fiona Tolan. Vol. 11, Issue 3 features articles by leading scholars on Atwood’s work and includes an interview with the author.
We very much hope you are able to renew for 2018 and ask that you complete and forward the attached membership form to membership@the-cwwa.org ork.myler@newman.ac.uk before the end of the year. PayPal is our preferred method of payment but there are also options for payment via bank transfer or cheque.

Here is a reminder of some of the benefits of membership and our plans for the coming year:

  • Membership includes print subscription to the award-winning OUP journalContemporary Women’s Writing.
  • Unwaged/students have an option to join with or without the journal subscription.
  • You will receive a member’s newsletter to coincide with the release of each issue ofContemporary Women’s Writing. If you have had recent publications or have events to promote then please contact Fiona at F.Tolan@ljmu.ac.uk for inclusion in the e-bulletin.
  • You can contact other members via the mailing list.
  • Members receive a reduced registration fee for CWWA conferences.
  • Members are invited to write a profile and list their research interests on our website.
  • 20% Discount on Oxford University Press books.
  • Members are eligible for nomination to the Association’s executive committee.

 Plans for 2018: 

  • The 2018 CWWA Student Essay Prize, deadline 1st February 2018 (for details see below and here)
  • The CWWA has been approved as a nominating body for REF2021. Those wishing to be considered for nomination should submit supporting evidence (up to 2 pages) mapped against the criteria given in Annexe E: Nomination Information (See REF2021 website) and a CV to the CWWA Chair (r.carroll@tees.ac.uk) by 6 December 2017.
  • We will be hosting a 2018 UK conference, ‘Writing Wrongs’ – CFP will follow shortly.
  • After successful events with Fay Weldon in 2016 and Kamila Shamsie in 2017, the executive committee welcomes suggestions from members for our sponsored author event at Literary Leicester in November 2018.
  • Our new website will be launching shortly and remember to follow us on twitterand on Facebook for regular updates.

Symposium: Angela Carter and Japan

Angela Carter and Japan

University of East Anglia

Saturday 30 June 2018

Plenary speaker: Dr Charlotte Crofts (University of the West of England)

Angela Carter testified to the time she spent in Japan as life-changing, both personally and professionally. It was, in her own words, where she ‘learnt to be a woman and became radicalised’. While conscious of the traps of European exoticization, she in turn, as the lover of a Japanese man, found herself caught up in power struggles between ethnicities, genders and nations. The years Carter spent in Japan proved to be a turning point in her career, prompting speculative, radical and fantastic forms of writing.

This one-day symposium is devoted to the influence of Japan on the life and work of Angela Carter, and more broadly, to any aspect of the relation between Carter’s writing and Japan. Topics might include but are not restricted to:

  • Japanese cities and landscape
  • Romance in Japan
  • Manga and Anime
  • Japanese literary figures
  • Gender relations in Japan
  • Kabuki performances of gender
  • The Japanese language
  • Bunraku puppet theatre
  • Irezumi
  • Carter’s experience of Japan
  • Japanese sexualities

The University of East Anglia is a fitting location for Angela Carter and Japan. Carter taught here, as did Lorna Sage, one of Carter’s most important advocates and critics. The University is the home of the British Archive for Contemporary Writing and theBritish Centre for Literary Translation, together with the Centre for Japanese Studies.

Proposals for papers (c. 300 words), to be accompanied by a short biography, should be sent to angelacarterandjapan@yahoo.com

Closing date: 22nd of January, 2018