Dan Malinowksi and I are organizing a session, “Postwar Variations,” at the 2020 meeting of the American Comparative Literature Association in Chicago, IL, March 19-22, and invite the submission of abstracts through the ACLA portal. Here is the call for papers:
This seminar will take as its starting point the appeal of the injunction on Frank O’Hara’s tombstone to “live as variously as possible” for writers of the last seventy years. Variation enchants and exhausts. It points to difference, but difference contained recognizably within the bounds of a stable point or concept. Variation resists boredom, but it does so without necessarily extending (or losing) the connotations that mark other descriptions of difference: revolution, disruption, development, progress, etc. Variation, then, is an odd demand and one that can characterize aesthetic contexts as well as historical ones.
Variation takes many forms in postwar literature. From Bernadette Mayer’s sonnets to John Keene’s revisionist history, writers have shifted recognizable forms and histories into new forms for different aesthetic and political purposes during the late twentieth and early twenty-first centuries. Not limited to the avant-garde, variation has also been at home in mass culture during this period, evidenced by contemporary cultural formations such as the fourth remake of A Star is Born (2019) or the masses of fan fiction hosted on anarchiveofourown.org. In the tech world, Mark Zuckerberg’s now-infamous credo, “Move fast and break things,” has revealed itself to be a variation on an older form of capitalist accumulation rather than the radical change it originally purported to be. On a larger scale, Giovanni Arrighi’s work has demonstrated the periods of accumulation that structure capitalism vary in context if not form. In short, variation cuts in multiple directions and appears central to any understanding of the later twentieth century and its developments.
Given this, how is variation to be understood? What is the appeal of variation for writers from 1945 until today? How can variation be spotted? What does it mean to be “varied”? What does aesthetic variation do for our conceptions of aesthetic form, politics, or reception? How might we (continue to) theorize variation in the digital age? This seminar invites papers that variously engage with the topic of variation in post-1945 literary and cultural production.
Please submit 150-250 word abstracts with a brief bio through ACLA portal by September 23, 2019. Please contact Dan Malinowski at firstname.lastname@example.org or Bradley J. Fest at email@example.com with any questions.
This fall, my third at Hartwick College, and as 2019-20 Winifred D. Wandersee Scholar in Residence, I’ll be teaching just one class, ENGL 312 Intermediate Poetry Workshop. Here’s the syllabus.
Honored to have the poems “Blason I,” “Blason II,” and “Blason III” in Queen Mob’s Teahouse. These are the first published poems from a brand new project endeavoring to see everyday objects anew by mediating their perception through lenses of poetic and cultural influence. (Former students may recognize in these my own answers to a question I sometimes pose on the first day of class.)
I had the privilege of meeting Richard Siken when I was quite young–an undergraduate at the University of Arizona–and he gave me lots of good advice on the poetry world (and life), conversations I still cherish. Please help him out.
Stroke Recovery Fund for Poet Richard Siken.
Nuclear and Environmental
Alenka Zupančič, “The Apocalypse Is (Still) Disappointing.”
James Livingston, “Time, Dread, Apocalypse Now.
Ted Nordhaus, “The Empty Radicalism of the Climate Apocalypse.”
Jessica Hurley and Dan Sinykin, eds., Apocalypse, special issue of ASAP/Journal.
Brad Plumer, “Humans Are Speeding Extinction and Altering the Natural World at an ‘Unprecedented’ Pace.”
Damian Carrington, “Why The Guardian Is Changing the Language It Uses about the Environment.”
This fall, Hartwick College and the Department of English will present the first four readings of the 2019-20 Visiting Writers Series. All readings take place at 7 p.m. in Eaton Lounge, Bresee Hall at Hartwick College in Oneonta, New York. Admission is free of charge and the public is invited.
New Hartwick faculty member, assistant professor of English Tessa Yang, will read on Wednesday, October 2, 2019.
George Hovis will read on Wednesday, October 16, 2019.
Lauren Russell will read on Thursday, November 7, 2019.
And Alice Lichtenstein will read from her forthcoming novel, The Crime of Being, on Wednesday, November 20, 2019.
For more information, visit the Visiting Writers Series webpage.
I am thrilled and honored to announced that I have been named one of the 2019-20 Winifred D. Wandersee Scholars in Residence at Hartwick College. This award and program will support continued work on my current book project, Too Big to Read: The Megatext in the Twenty-First Century.
For a glimpse into this work in progress, see my essay, “Toward a Theory of the Megatext: Speculative Criticism and Richard Grossman’s ‘Breeze Avenue Working Paper.'”
I have a collaborative essay, “Coda: Writing Briefly about Really Big Things,” in Joseph A. Dane‘s new book, Begging the Question: Critical Reasoning in Chaucer Studies, Book History, and Humanistic Inquiry (Mythodologies II) (Marymount Institute Press, 2019). Though brief, it speaks to some of the ongoing concerns in my megatext project, particularly how to situate the project in the field and in conversation with others. My thanks to Dane for inviting me to collaborate with him on this and including my piece in his book.