By Laura-Amalia Oulanne
A fictional umbrella, doll, or tombstone can engage readers as lived bodies with a lifetime of experience interacting with the material world of things. Continue reading “Intriguing and Indifferent Things on the Page”
CfP Irish literature and periodical culture – Leuven 1-3 December 2022
Periodicals have played an important role in the production, mediation, dissemination and reception of Irish literature. By exploring the intersections between Irish writers and the (transnational) periodical press, this conference aims to further scrutinise the ways in which periodical culture in Ireland has impacted writers’ careers, codified the development of literary genres and conventions, and influenced the course of Irish literary history and the canon more generally.
See the conference website for all information. Deadline abstracts: 6th of May 2022
Uncovering and Recentring the Migrant Short Story
By Laura Gallon
The short story is an international form with various traditions and migrant authors are at the forefront of the current ‘short story revival’
Continue reading “Uncovering and Recentring the Migrant Short Story”
Tales of (Dis)connection
By Lisa Feklistova
Consider the witch. Why did she frighten Europeans, once upon a time?
Journée d’études / Study Day on Short Crime Fiction – 14 October 2022, Université Catholique de Lille
Call for Papers
Modern detective fiction is usually considered to have started with Edgar Allan Poe’s three Dupin short stories and it is certain that the Sherlock Holmes short stories in The Strand magazine brought the new genre to the attention of the world. Other notable writers who helped shape the genre in the early 20th century, including G. K. Chesterton and Melville Davisson Post, stuck to the short form and managed both to innovate and to produce works which are still appreciated today. For Ellery Queen, writing in 1942, it was still possible to state that “the original, the ‘legitimate’ form” of detective fiction “was the short story”[1] and to perceive the detective novel as an inflated short story. According to Catherine Ross Nickerson, “[t]he mechanisms of a detective narrative are more apparent in a short story, since there is less upholstery for hiding the ropes and pulleys. The shorter form also forces writers to make a more clear decision about whether to focus on the puzzle or on the character.”[2]