Dear ALECC Members, it is with great delight that we announce the 2024 Alanna Bondar Literary Prize winner, Heather Davis for her book Plastic Matter (Duke UP, 2022). Here is a link to the publisher’s website: https://www.dukeupress.edu/plastic-matter
We would like to express our deep gratitude to the judges for this year’s prize, their generosity in sharing their time, love of reading and writing, and critical appreciation of creative and scholarly works engaging with environmental issues. The judges this year were Finis Dunaway (Chair) and 2022 Alanna Bondar Prize winner, Sonnet L’Abbe, and Paul Huebener. Sonnet was present at ALECC’s 2024 Biennial conference in Waterloo, Ontario to share their announcement to attendees. Claps and hoots followed.
The judges observe, Plastic Matter asks, how can we envision good relations with the non-human when there is no future unsaturated by plastic? Ina work of exquisite prose and sparkling theorizing, Heather Davis argues that the expectations plastic fulfills – of pliability, consumability, and disposability – have shaped Western modernity’s relation to matter itself. Following fascinating analyses of the geological relations of plastiglomerate, and of photography that maps how petrochemicals disrupt time and bodies, Davis proposes that we consider plastic-eating bacteria a new kind of human progeny, a queer kin from whom we can learn new forms of responsibility.
Heather Davis is an assistant professor of Culture and Media at Eugene Lang College, The New School in New York. As an interdisciplinary scholar working in environmental humanities, visual culture, and queer theory she is interested in how the saturation of fossil fuels has shaped contemporary culture. Her most recent book, Plastic Matter (Duke University Press, 2022) explores the transformation of geology, media, and bodies in light of plastic’s ubiquity. She is the editor of the award-winning Desire Change: Contemporary Feminist Art in Canada (MAWA and McGill Queen’s UP, 2017) and co-editor of Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies (Open Humanities Press, 2015). Davis is a member of the Synthetic Collective, an interdisciplinary team of scientists, humanities scholars, and artists, who investigate and make visible plastic pollution in the Great Lakes. Congratulations, Heather, on the success of your book’s launch and winning the Bondar Prize! Great news!
Folks, please send your congratulations also to four amazing Honourable Mentions for this year’s prize. The selection of submitted books made for a competitive year. The Honourable Mentions are as follows:
Aaron Kreuter, Shifting Baseline Syndrome (University of Regina Press, 2022)
Aaron Kreuter’s collection Shifting Baseline Syndrome starts out with a glib tone that belies a genuine grief propelling the poems. Merciless in its skewering of a society that processes nearly all experience through the lens of consumerism, this book casts flora, fauna, and oceans as the straight guys to human bumbling imbecility, then draws us into tender personal mourning for a Jewish grandma whose radical activist sensibilities the poet may or may not have inherited. A poem imagining the possibility of “hik[ing] the land together” with a Palestinian cousin is a particularly timely read. By the book’s end, we hear Kreuter’s satiric wit as a poignant coping strategy honoring the fervent lovers of life and land who have come before.
Aaron Kreuter‘s most recent poetry collection, Shifting Baseline Syndrome, was a finalist for the 2022 Governor General’s Award, and was shortlisted for the 2022 Raymond Souster Award and the 2023 Vine Awards for Jewish Literature. His other books include the poetry collection Arguments for Lawn Chairs, the short story collection You and Me, Belonging, and, from spring 2023, the academic monograph Leaving Other People Alone: Diaspora, Zionism and Palestine in Contemporary Jewish Fiction. A new short story collection, Rubble Children, came out in summer 2024 with University of Alberta Press. A novel, Lake Burntshore, is forthcoming from ECW Press in April 2025. Aaron is an assistant professor in English Literature at Trent University. Find Aaron on X @aaronkreuter; on Instagram @aaronkreuter8.
Tanis MacDonald, Straggle: Adventures in Walking While Female (Wolsak and Wynn, 2022)
Tanis MacDonald’s Straggle: Adventures in Walking While Female shows how the everyday act of walking is tied to the politics of gender and to the claims that people lay to the land each time they set foot in it. Rather than portraying walking as a matter of inspirational wilderness hikes, Straggle uncovers how walking can illuminate what it means to live with trauma, chronic pain, and settler-colonialism. Whether she is screaming in an empty field during a Covid lockdown or walking cautiously through a place where a sexual assault has occurred (that is to say, anywhere), MacDonald reveals the implications of walking in full force. A work of political weight and arresting images, Straggle will change what it means for you to step outside. https://bookstore.wolsakandwynn.ca/products/straggle-adventures-in-walking-while-female
Tanis MacDonald (she/her) is the author of Straggle: Adventures in Walking While Female and six other books. Straggle was awarded an Honourable Mention for the Betsy Warland Between Genres Prize. Tanis has won the Open Seasons Award for Nonfiction in 2021, the Northern Ontario Writers Award for Nonfiction in 2023, and has twice been longlisted for the CBC Poetry Prize. She serves as the General Editor of the Laurier Poetry Series and hosts the podcast Watershed Writers, featuring writers in the Grand River Region. Tanis is a Professor in the Department of English and Film Studies at Wilfrid Laurier University, situated on traditional Haudenosaunee territory. With Ariel Gordon, Tanis co-edited the special “Moving on Land” issue of The Goose (2023). New writing has recently appeared in FreeFall, CV2, Consilience, and Abridged.
Mariam Pirbhai, Garden Inventories: Reflections on Land, Place and Belonging (Wolsak and Wynn, 2023)
Mariam Pirbhai’s Garden Inventories: Reflections on Land, Place and Belonging asks probing questions about whose cultural knowledge, and whose visions of the land, people in Canada are reproducing in our yards, gardens, and public spaces. As an immigrant to Canada, Pirbhai also asks what it means for her to be “another kind of occupant – dare I say, a new kind of settler – on Indigenous lands.” From the cultural histories of grass lawns and tamarinds to the question of whether mulberry trees should be allowed to bear fruit, this perceptive memoir illuminates the politics and pleasures of the plants we nurture and the plants we exile. https://bookstore.wolsakandwynn.ca/products/garden-inventories-reflections-on-land-place-and-belonging
Mariam Pirbhai is full professor in the Department of English and Film Studies at Wilfrid Laurier University, where she specializes and teaches courses in postcolonial and diasporic literatures, and creative writing. Her newly released book of creative nonfiction titled Garden Inventories: Reflections on Land, Place and Belonging (Wolsak & Wynn, 2023), was a 2023 Foreword Indies finalist for Nature/Nonfiction. Pirbhai is also the author of a novel titled Isolated Incident (Mawenzi 2022), winner of the 2024 Independent Publishers’ (IPPY) gold medal for Multicultural Fiction and silver medal for Regional Canadian Fiction, as well as a short story collection titled Outside People and Other Stories (Inanna 2017), winner of the 2018 Independent Publishers’ (IPPY) and 2019 American BookFest awards. She has also authored and edited pioneering academic works on the literatures of the global South Asian diaspora, including Mythologies of Migration, Vocabularies of Indenture: Novels of the South Asian Diaspora in Africa, the Caribbean, and Asia-Pacific (University of Toronto Press, 2009), and has served as President of the Canadian Association for Postcolonial Studies (formerly known as CACLALS), Canada’s longest-running scholarly association devoted to postcolonial and global anglophone literatures. She resides in Waterloo, Ontario, where she is grateful to live and work in the traditional territories of the Neutral, Anishnawbe and Haudenosaunee peoples. The daughter of Pakistani immigrants to Canada, Pirbhai has come to see in this land a deep wellspring of inspiration, as academic, creative writer, gardener and occasional dabbler in landscape painting. Find Mariam at https://mariampirbhai.ca/; on Instagram @mariampirbhai/; or on Facebook, https://www.facebook.com/people/Mariam-Pirbhai/pfbid07RMRFAMctgJtqYUU9ffVK5DXAk8RGdar37cjvvqE9bfMfMeccj8PKGynqdQKjWXhl/;
Wolf, Photo by FREDERICO DI DIO UNSPLASH
Stephanie Rutherford, Villain, Vermin, Icon, Kin: Wolves and the Making of Canada (McGill-Queen’s University Press, 2022)
Stephanie Rutherford’s Villain, Vermin, Icon, Kin: Wolves and the Making of Canada reframes our understanding of an iconic species. Drawing on a diverse array of literary texts and other sources, Rutherford illuminates how affect—including responses like fear, disgust, and devotion—has shaped and structured human-wolf relations. Theoretically astute and strikingly original, this book places the wolf at the centre of the Canadian story to address vital questions of power, nationhood, and sovereignty. Readers will think anew about wolves, while also grappling with the legacies of settler colonialism, the insights of Indigenous knowledge, and the meanings of the nonhuman in the Anthropocene.
Stephanie Rutherford is an Associate Professor in the School of the Environment at Trent University in Peterborough, Canada. Her research inhabits the intersections among political ecology, human-animal relations, and environmental justice. Find Stephanie on X @WolfieProf or https://www.stephanierutherfordphd.com/
The 2024 Association for Literature, Environment, and Culture in Canada (ALECC) biennial conference takes migrations as its theme as it seeks new ways of comprehending and responding to the complexity of migration in the past, present, and future. Migrations, in its plural register, is understood expansively, recognizing its many forms and the modes of unevenly distributed power that shape migrant experiences, whether human or otherwise. We understand migration not only as a consistent theme in planetary human and more-than-human history, but also as a phenomenon that is historically interconnected and shaped.
Our host site, Wilfrid Laurier University in Waterloo, Ontario, is located on the shared traditional territory of the Neutral, Anishnaabe and Haudenosaunee peoples, which is part of the Dish with One Spoon Treaty between the Haudenosaunee and Anishnaabe peoples. This Treaty symbolizes the agreement to share and protect our resources, and not to engage in conflict.
The 2024 ALECC conference invites thoughtful responses to interactions between literal and figurative more-than-human and human migrations. Submissions are welcome on the proposed theme and other related areas of interest from artists, creative writers, and scholars in the environmental arts and humanities, and migration studies, broadly defined.
We welcome those working in the following areas: Indigenous thought and practices, interdisciplinary praxis, pedagogy and climate change migrations, environmental feminisms, critical refugee studies, border studies, ecopoetics and literary studies, animal studies, plant humanities, materialisms, blue humanities, petrocultures and energy humanities, visual art, film, ecomedia studies, environmental histories, mobility studies, health studies, cultural geography, environmental philosophy, cultural studies, and related areas of environmental studies.
Migrations will be an in-person conference. Submission Information
Original deadlines extended! Deadline for preformed panels is now 10 January 2024 and the deadline for paper proposals is 15 January 2024. Proposals must be submitted to conference@alecc.ca<mailto:conference@alecc.ca>.
To propose an individual paper, creative or other work, including a reading (20 minutes), please submit an anonymous (no name included) proposal that includes a title and a 250- to 300-word abstract, noting whether it is a creative or an academic paper. In a separate document (but the same email submission), please send name, proposal title, your preference for a scholarly, creative, or mixed session, any requests for audio-visual equipment, current contact information, and a one-page curriculum vitae (used for funding applications).
To propose a pre-formed scholarly panel or creative session (three to four presenters for a 90-minute session), please submit an anonymous proposal that includes a session title; a 200-word session abstract, including whether it is a creative, academic, or mixed panel; and a 250- to 300-word anonymous abstract for each paper/presentation. In a separate file, please send the session title, any requests for audio-visual equipment, and the names, contact information, and a one-page curriculum vitae for each presenter and the session organizer. Note the deadline for pre-formed panels or creative sessions is 01 December 2023 10 January 2024.
To propose some other kind of format or presentation (e.g., workshops, roundtables, exhibits, performances, lightning talks), please contact the organizing committee in advance of the deadline to discuss proposal submission requirements.
Submissions in English, French, or Indigenous languages will be accepted. Proposals should indicate clearly the nature of the session and all requests for audio-visual equipment and any other specific needs (e.g., space, moveable chairs, outdoor location, etc.). We ask that panel organizers attempt to include a diversity of participants.
Email submissions should include in the subject line the word SUBMISSION, the abstract type (panel, paper, other), and your (or the panel proposer’s) name: SUBMISSION paper Julia Devi, for example, or SUBMISSION panel Bo Kwon. We will acknowledge all submissions.
For more information about the Association for Literature, Environment, and Culture in Canada / Association pour la litt?rature, l’environnement et la culture au Canada, please visit our website at <https://alecc.ca/. All presenters must be paid members of the organization or an affiliate by the date of the conference.
Acknowledging the ongoing, evolving conditions of the COVID-19 pandemic, ALECC will follow municipal, provincial, and federal regulations (if any) and supports voluntary mitigation practices like masking.
Appel à communications (Please scroll down for the English version)
Depuis le tournant du 21ième siècle, les enjeux inhérents au changement climatique se sont avérés indissolubles des menaces qui pèsent sur les milieux côtiers et marins. Les scientifiques partout dans le monde ont mis en évidence combien le réchauffement planétaire est entremêlé avec les phénomènes d’élévation des températures et du niveau de la mer, avec l’acidification des océans, l’effondrement des populations halieutiques, le blanchissement des récifs coralliens et le nombre croissant d’espèces marines en voie d’extinction. Nous en sommes venu.e.s à reconnaître que l’avenir de la Terre, une planète bleue avant tout, et de tou.te.s ses habitant.e.s, a partie intimement liée avec le bleuissement des esprits. Dans la cadre du 10ième congrès bi-annuel qui se tiendra près de la Méditerranée, dans le Sud de la France, il semble opportun de convier artistes et universitaires d’horizons distincts à adjoindre leurs efforts à ceux des collègues de l’Université de Perpignan Via Domitia (UPVD) qui se sont engagé.e.s dans un vaste programme de recherche interdisciplinaire intitulé Sea More Blue. Impliquant des disciplines multiples, le projet Sea More Blue—au titre délibérément poétique et grammaticalement trouble—appelle à se départir de cadres théoriques et conceptuels à la fois anthropocentriques et enracinés dans la terre. L’objectif principal de ce projet transversal est de s’aventurer dans des dimensions de l’expérience et des savoirs largement inexplorées, afin de révéler et promouvoir des manières de percevoir le monde et de vivre plus bleues, permettant peut-être de répondre en partie à l’urgence de la situation.
Dans le sillage du tournant bleu ayant récemment marqué la recherche en écocritique (un tournant ayant également marqué le vaste champ des humanités écologiques, jusqu’alors majoritairement centrées sur des questions vertes), divers projets transdisciplinaires ont fait surface qui attirent notre attention sur les profondeurs insondables des écosystèmes marins et sur les enjeux brûlants qui en découlent. Pour mieux voir le monde en bleu et préserver la santé des océans et des mers sur le long terme, il nous faut puiser inspiration dans la créativité et la circulation exubérantes de la matière, des êtres et des récits, dans cette grande masse d’eau qui évolue de façon dynamique à travers le monde entier et depuis la naissance de notre Terre-Mère symbiotique.
Rien ne saurait enfermer les océans et les mers. Par d’innombrables entrelacements, les océans et les mers sont reliées à la terre, aux bassins versants, aux rivières, aux nappes phréatiques, et même au ciel, à la lune et au soleil. L’eau des mers connaît des fluctuations au gré de phénomènes atmosphériques, gravitationnels et de variations des températures qui régulent les marées, les courants, le climat, ainsi que les cycles de l’eau, enchevêtrant ainsi les humains et toutes les formes de vie terrestres et marines dans la grande toile bleu-vert du vivant. En remontant à la source de ces courants bleus qui coulent jusque dans nos veines, il est grand temps de prêter attention à la perméabilité et la fluidité, aux forces d’attraction et à la labilité qui caractérisent aussi les différentes catégories, les champs de recherche, épistémologies et productions culturelles jusqu’ici cartographiés par le monde universitaire. Alors que les frontières entre tous ces domaines longtemps cloisonnés s’avèrent significativement poreuses, en particulier du point de vue des humanités et des arts écologiques, des spécialistes évoluant dans des disciplines très variées ont entrepris de reconnecter différents types de savoirs et de s’emparer d’une multiplicité de prismes pour appréhender le vivant.
OIKOS, l’équipe de l’UPVD dédiée à une écopoétique interdisciplinaire, a mené ces dernières années des travaux et publications croisant diverses approches de problèmes naturels et culturels à travers le prisme kaléidoscopique du réenchantement. Pour étudier plus particulièrement les façons complexes, merveilleuses, mais aussi effrayantes, dont la substance et les formes marines sont animées, dotées d’agentivité et intriquées avec les activités, les corps et les récits des humains, ce congrès vise à promouvoir des approches bleues tressant l’écopoétique avec les humanités et les sciences. Ce 10ième symposium d’EASLCE se propose d’étudier les récits, les performances, les actions, les pratiques, les politiques et les productions artistiques qui participent d’une restauration des liens partiellement rompus entre formes de vie et milieux marins et terrestres.
Nous invitons en priorité les intervenant.e.s à penser et performer avec des êtres, des œuvres, des éléments et des lieux marins du grand large jusqu’au littoral. Pourra être étudiée la valeur de l’ecopoïesis ancrée dans des lieux liminaux telles les lagunes et les zones côtières, qui forment des écotones, ou des zones de contact mi-terrestres, mi-aquatiques. On pourra éventuellement se pencher sur des rivières, des fleuves ou des bassins versants qui font déjà affluer une écopoétique bleue plus subtilement connectée aux mondes marins et qui nous intiment déjà des changements de paradigmes découlant de ces autres types d’écotones. Enfin, il pourrait s’avérer intéressant d’étudier des lieux liés à la mer dans une perspective plus diachronique, soit des endroits qui furent jadis submergés et dont l’eau s’est retirée au cours du temps, laissant derrière elle des traces d’une histoire ancienne et bleue qui nous invite à poser un regard radicalement différent sur des zones désertiques, des forêts ou des plaines à présent envisagées comme étant aux antipodes des milieux marins.
On pourra se focaliser sur des rencontres et des formes de communication interspécifiques susceptibles de vaincre l’aliénation dont souffrent les formes de vie et les milieux bleus. Cette aliénation tient en partie à notre manque de familiarité avec la mer et ses habitants, à leur apparence souvent étrange pour nous, à notre manque d’accessibilité à eux. Il pourra être utile de confronter des approches matérielles de l’évolution, de la constitution et de la dépendance des humains envers la mer avec les récits mythiques de mondes marins qui ont longtemps façonné notre perception, nos représentations et les façons de vivre des mammifères conteurs et terrestres que nous sommes. L’étude de groupes et de sous-cultures partageant un ensemble de pratiques, de récits et de valeurs liées à la mer pourrait par ailleurs aider à mieux cerner ce que d’aucun.e.s pourraient appeler des spiritualités bleues. Seront particulièrement bienvenues les communications portant sur des productions écopoét(h)iques (qu’elles soient contemporaines ou anciennes, et qu’il s’agisse de littérature, de cinéma, de roman graphique ou bande dessinée, de danse, de musique, de théâtre, de sculpture, de peinture, de photographie ou de jeux vidéo par exemple) qui déconstruisent et réinventent nos imaginaires et nos récits traitant du devenir de la mer et de l’humanité.
En outre, les scientifiques dont le terrain implique un engagement corporel et affectif avec leur objet d’étude sont invité.e.s à réfléchir aux changements induits dans leur perception de « l’environnement » qu’ils et elles sont censé.e.s étudier en toute objectivité. Ces mêmes scientifiques pourront s’interroger sur l’impact potentiel d’une telle implication personnelle sur leurs méthodes de recherche et de communication scientifique. Parallèlement, les communications auscultant le régime de vérité des productions écopoétiques en des termes permettant d’articuler des réalités écologiques, biologiques, géologiques et éthologiques seront particulièrement appréciées. Il sera notamment crucial de mettre en lumière les spécificités des paysages immergés. Ceux-ci sont à appréhender à l’aune de géographies sous-marines, en prêtant attention aux paysages sonores, olfactifs et haptiques qui génèrent des manières de percevoir, de se mouvoir et de communiquer proprement extra-terrestres et ainsi difficiles à saisir pour nous autres humains. On pourrait alors tenter de mesurer la profondeur des différentes dimensions par le truchement desquelles les expérimentations écopoétiques ont pour dessein de révéler des façons sous-marines d’habiter le monde. A l’inverse, on pourra également dévoiler comment certaines œuvres offrent au contraire des visions qui s’avèrent problématiques à la fois parce qu’elles sont sérieusement éloignées des réalités qui composent les mondes bleus, et parce qu’elles tendent à entretenir des illusions anthropocentriques qui vont encore dans le sens du désenchantement et de la surexploitation des ressources pourtant en quantités limitées.
L’une des questions centrales de ce colloque portera sur le potentiel des arts pour créer des expériences immersives susceptibles d’augmenter, ou de réduire, notre capacité à voir et sentir de façon plus bleue. Par ailleurs, les penseurs et penseuses qui travaillent avec les savoirs écologiques traditionnels (TEK) peuvent contribuer à une meilleure compréhension de la subtilité avec laquelle les récits, les pratiques et les rituels des peuples premiers sont bien souvent informés par une observation empirique qui ruisselle jusque dans leurs productions écopoétiques. En fin de compte, ce symposium ambitionne de démontrer le rôle majeur qui revient à la littérature et aux arts pour faire évoluer les paradigmes éminemment terrestres élaborés en premier lieu par les humains pour explorer le monde. Nous entendons démontrer qu’un tel changement de paradigmes et plus susceptible d’advenir lorsque les arts et les humanités s’avèrent imprégnés par les sciences et vice versa. De façon tout aussi essentielle, cela semble également vrai lorsque les savoirs occidentaux se constituent en dialogue avec les savoirs traditionnels.
Les propositions pourront correspondre à des communications standard de vingt minutes ou bien prendre la forme d’ateliers prédéfinis avec trois ou quatre contributions associées. On envisagera la possibilité d’accueillir des formes de communication plus créatives ou s’inscrivant dans la recherche narrative. Les propositions (300-400 mots) sont à envoyer pour le 15 septembre 2023 au plus tard à seamoreblue.easlce@gmail.com.Les retours du comité scientifique sur les propositions seront transmis vers le 15 novembre 2023.
Les frais d’inscription seront calculés et communiqués au moment de la publication des résultats de la sélection par le comité scientifique, avec des tarifs préférentiels pour les membres d’EASLCE et des associations-sœurs (ASLE et autres branches de la même organisation), pour les membres associé.e.s d’OIKOS, pour les inscriptions précoces (avant le 15 novembre) et pour les jeunes chercheureuses et personnes sans financement.
Copyright Béné Meillon
Call For Papers
Since the turn of the century, the stakes inherent in climate change have turned out to be indissoluble from the threats affecting coastal and marine ecosystems. Scientists around the world have provided evidence that global warming is interlinked with rising sea levels, with the warming and acidification of oceans, with the dwindling of fish populations, the bleaching of coral reefs, and with an increasing number of endangered marine species. As a matter of fact, we have come to realize that the future of our predominantly blue Earth and its myriad co-dwellers hinges in great part on the blueing of our minds. For the 10th bi-annual EASLCE symposium to take place by the Mediterranean in the South of France, it seems fitting to invite academics and artists from diverse backgrounds to join the local effort started at the University of Perpignan Via Domitia (UPVD) to launch an extensive interdisciplinary research program called Sea More Blue. Engaging multiple scientific disciplines at once, the Sea More Blue project—with its poetic, grammatically queer formula—sounds a call to depart from anthropocentric land-based studies and frameworks. The overall aim is to venture into largely uncharted dimensions of experience and knowledge to discover and promote urgently needed ways of blueing our perception, worldviews, and ways of life.
In the wake of the blue turn recently occurring in ecocriticism—a turn also affecting the wider, predominantly “green” field of the ecological humanities—various cross-disciplinary projects have emerged which draw attention to the unfathomable depths of marine ecosystems and related burning issues. To see more blue and keep our oceans and seas thriving in the long run, we must seek inspiration in the exuberant creativeness and circulation of matter, beings, and narratives throughout one dynamic body of water, both around the globe and since the beginning of life on our symbiotic planet.
Oceans and seas know no real boundaries. Reaching out in countless ways, oceans and seas connect with land, watersheds, rivers, underground water tables, and even with the sky, the moon, and the sun. Marine water fluctuates following atmospheric, gravitational, and temperature variation phenomena that rule the tides, the currents, the weather, and the cycles tying saltwater with fresh water, thus interweaving humans and other-than-human lifeforms in the great blue-green web of live. Tapping into the blue currents of the earth that run all the way through our own veins, it is high time we minded the permeability and fluidity, the pull and lability likewise intermingling the different categories, research fields, epistemologies, and cultural productions that have been mapped out so far in academia. As the boundaries between them are turning out to be quite porous, especially from the standpoint of the ecological humanities and arts, scholars and scientists of diverse backgrounds have started reconnecting different types of knowledge, thus grappling with a multiplicity of lenses to apprehend the living world.
The UPVD transdisciplinary ecopoetics team known as OIKOS has previously run several events and publications bringing together different takes on natural and cultural issues apprehended through the kaleidoscopic lens of reenchantment. To look specifically into the complex, wonderful, but also awful, ways in which marine matter and forms are animate, agential, and entangled with our human activities, bodies, and discourses, this conference aims to foster the braiding of various approaches to blue ecopoetics, humanities, and sciences. This 10th EASCLE symposium specifically seeks to study those narratives, performances, actions, practices, policies, and artistic productions that can help restore the partly broken bonds between sea and land creatures, ecosystems, and places.
Participants are primarily invited to think and perform with marine creatures, works, elements, and milieux, from far off oceanic areas all the way to the shore. Papers might zoom in on the value of an ecopoiesis anchored in liminal places such as lagoons and coastal areas, which form ecotones and contact zones between water and land. Scholars may also potentially look at rivers and watersheds to reveal how those do flow into a blue ecopoetics that is subtly tied to the sea indeed, and that is already gesturing to a shift in paradigms following from these other types of ecotones. Finally, it could be of interest to look at places that are connected to the sea from a more diachronic perspective, i.e. places which used to be submerged in ancient times, which are thus possibly still marked by an ancient blue history, and thus encouraging a radically different perspective onto deserts, forests, plains, or any other place now perceived as antipodes to marine ecosystems.
A specific focus on cross-species encounters and communication may help counter the alienation from our lives which marvelous marine beings and milieux suffer from—in part because they too often seem unfamiliar and strange, and in part because they are mostly inaccessible to us. Material approaches of humans as evolved from, made of, and dependent on salt water and beings could be confronted with mythical stories of sea worlds that have long shaped our perception, representations, and ways of life as land-dwelling and story-telling mammals. The study of specific subcultures or groups of people sharing sets of stories, practices, and values revolving around the sea could provide a better grip on what might be called blue spiritualities. Speakers are particularly prompted to look at ecopoet(h)ic productions—be they contemporary or older, and from various forms of literature to film, graphic novels, dance, music, drama, sculpture, painting, photography, and video games for instance—that creatively challenge and reinvent our imaginaries and our narratives of becoming with the sea.
In addition, scientists whose fieldworks have induced corporeal and affective involvement with their objects of study are invited to reflect on how such a personal implication may have changed their perception of the “environment” that they are supposed to be investigating objectively. Such scientists are moreover invited to ponder how this might have impacted their research methods and scientific communication style. Simultaneously, papers scrutinizing the accuracy and truth régime of artistic productions in terms articulating ecological, biological, geographical, and ethological understandings will be of specific interest. It will be crucial, amongst other things, to shed light onto the specificities of seascapes as underwater geographies, soundscapes, odorscapes, and feelscapes that generate ways of perceiving, moving, and communicating that are properly outlandish and hence hard for humans to seize. Participants could probe to what extent ecopoetic experiments are designed specifically to speak worlds about underwater ways of dwelling. Conversely, ecocritics are encouraged to look at texts or works of art that craft seriously problematic worldviews in that they are vastly disconnected from the actual processes at work in blue worlds while they simultaneously feed into anthropocentric illusions and thus further lean into disenchantment and into the overexploitation of limited resources.
One of the key questions that we should ask ourselves is thus how immersive experiences through art may augment our capacity to see and feel in bluer ways. Furthermore, scholars working with Traditional Ecological Knowledges can help us understand the subtle ways in which Indigenous storytelling, practices, and rituals may be informed by empirical observation that has long trickled down into ecopoetic productions. Ultimately, the purpose of this symposium is to provide evidence of the great role literature and the arts might play in helping us move away from the earthly paradigms Westerners have been navigating the world with so far. We hope to demonstrate that such a paradigm shift can occur most effectively when the arts and humanities turn out to be permeated with the sciences and vice versa, and most importantly, when Western scholarship is carried out in conversation with Traditional Ecological Knowledges.
Proposals can take the standard form of individual twenty-minute presentations or of pre-formed panels with three to four connected papers. We will also welcome creative approaches and papers adhering to narrative scholarship. Proposals must be sent by September 15th 2023, to seamoreblue.easlce@gmail.com. Notification of acceptance by the scientific committee will be sent out by Nov 15th 2023.
Registration fees will be calculated and posted around the time of acceptance, with special fees for EASLCE members and members of affiliate institutions (ASLE and ASLE branches), for early-bird registration (before Nov 15th 2023), and for students as well as unwaged participants.
Biblographie sélective/Selective Bibliography
Alaimo, Stacy. “States of Suspension: Trans-Corporeality at Sea,” ISLE: Interdisciplinary Studies in Literature and Environment, in “Material Ecocriticsm,” ed. by Heather Sullivan and Dana Phillips. 19.3 Summer 2012: 476-493.
—. “Dispersing Disaster: The Deepwater Horizon, Ocean Conservation, and the Immateriality of Aliens.” Disasters, Environmentalism, and Knowledge. Eds. Sylvia Mayer and Christof Mauch, the Bavarian American Academy, the Universitätsverlag, Heidelberg, Germany, 2012: 175-192.
—. “Oceanic Origins, Plastic Activism, and New Materialism at Sea.” Material Ecocriticism, Eds. Serenella Iovino and Serpil Oppermann. Bloomington: Indiana University Press, 2014: 186-203.
—. “The Anthropocene at Sea: Temporality, Paradox, Compression.” Routledge Companion to the Environmental Humanities, ed. Jon Christensen, Ursula K. Heise, Michelle Niemann. 2017: 153-162.
Amimoto Ingersoll, Karin. Waves of Knowing: A Seascape Epistemology, 2016.
Braverman, Irus and Elizabeth Johnson, eds. The Law and Life of the Sea. Duke UP, 2020.
Carson, Rachel. The Sea Around Us. [1951] Edinburgh: The Canons, 2021.
—. The Edge of the Sea. [1995] Boston: Houghton Mifflin Company, 1998.
Cohen, Jeffrey Jerome and Lowell Duckert, Eds. Elemental Ecocriticism: Thinking with Earth, Air, Water and Fire. Minneapolis: University of Minnesota Press, 2015.
Corbin, Alain. Le territoire du vide : l’Occident et le désir du rivage, 1988.
De Bruyn, Ben. The Novel and the Multispecies Soundscape. Palgrave Studies in Animals and Literature 23. Cham: Palgrave, 2020.
Deloughrey, Elizabeth. Allegories of the Anthropocene, Duke UP, 2019.
—. “The Oceanic Turn: Submarine Futures of the Anthropocene.” Humanities for the Environment: Integrating Knowledge, Forging New Constellations of Practice, edited by Adamson, Joni and Michael Davis, London and New York: Routledge, 2017, 242-258.
Dobrin, Sidney I. Blue Ecocriticism and the Oceanic Imperative. London: Routledge, 2021.
Guillotreau, Patrick. Blue Economy: An Ocean Science Perspective. Springer, 2022.
Haraway, Donna. Staying with the Trouble: Making Kin in the Chthulucene. Durham: Duke University Press, 2016.
Hessler, Jane. Tidalectics: Imagining an Oceanic Worldview through Art and Science, 2018.
Jue, Melody. Wild Blue Media: Thinking Through Sea Water, Duke University Press, 2020.
Musard, Olivier, et al. Underwater Seascapes: From Geographical to Ecological Perspectives. Springer, 2014.
Neimanis, Astrida. Bodies of Water. Bloomsbury Publishing, 2017.
Petit-Berghem, Yves et Tiphaine Deheul. « Le paysage sous-marin existe-t-il ? De la connaissance à la reconnaissance d’un concept émergent. » Géoconfluences, novembre 2018.
Roorda, Eric, ed. The Ocean Reader: History, Culture, Politics. Durham: Duke University Press, 2021.
Sarano, François. Le retour de Moby Dick, ou ce que les cachalots nous enseignent des océans et des hommes. Actes Sud, 2017.
——-. Au nom des requins, Actes Sud, 2022.
Scales, Helen. The Brilliant Abyss, Bloomsbury, 2021.
Singer, Christoph. Sea Change: The Shore from Shakespeare to Banville, 2014.
Soren, Frank. A Poetic History of the Oceans: Literature and Maritime Modernity, 2022.
Wong, Rita and Dorothy Christian. Downstream: Reimagining Water, Wilfrid Laurier University Press, 2017.
Copyright Béné Meillon
Comité Scientifique/ Scientific Committee
Clément Barniaudy, Université de Montpellier
Françoise Besson, Université de Toulouse
Angela Biancofiore, Université de Montpellier
Nathalie Blanc, LADYSS, CNRS
Laurent Botti, CRESEM, Université de Perpignan Via Domitia
Ben de Bruyn, Université Catholique de Louvain, Belgique
Margarita Carretero, Universidad de Granada
Claire Cazajous-Augé, Université de Toulouse & Membre associée au CRESEM, UPVD
Cecilia Claeys, CRESEM, Université de Perpignan Via Domitia
Margarita Carretero González, Universidad de Granada, Espagne
Joanne Clavel, LADYSS, CNRS
Nathalie Cochoy, Université de Toulouse
Marine Dassé, CRESEM, Université de Perpignan Via Domitia
Sidney Dobrin, University of Florida, USA
Elise Domenach, ENS Lyon
Caroline Durand-Rous, CRESEM, Université de Perpignan Via Domitia
Anne-Laure Fortin-Tournes, Université du Mans
Carmen Flys-Junquera, Universidad de Alcala, Madrid
Jean-Michel Ganteau, EMMA, Université de Montpellier
Xavier Garnier, IUF, Université Sorbonne Nouvelle – Paris 3
Caroline Granger, Membre associée au CRESEM, Université de Perpignan Via Domitia
Véronique Guglielmi, Espace-DEV, Université de Perpignan Via Domitia
Hélène Guillaume, CRESEM, Université de Perpignan Via Domitia
Reinhard Hennig, President of EASLCE, University of Agder, Norway
Terry Harpold, University of Florida, USA
José Manuel Marrero Henríquez, Universidad de Las Palmas de Gran Canaria, Espagne
Nicolas Inguimbert, CRIOBE, Université de Perpignan Via Domitia
Serenella Iovino, University of North Carolina, Etats-Unis
Lorraine Kerslake, Universidad de Alicante, Espagne
Raphaël Lagarde, CEFREM, Université de Perpignan Via Domitia
Philippe Lenfant, CEFREM, Université de Perpignan Via Domitia
Maud Loireau, Espace-DEV, Université de Perpignan Via Domitia
We welcome chapters examining climate fiction and science fiction novels, short stories, YA literature, graphic novels, comics, films, television, games, material culture, and other media.We have confirmed contributors from a dozen countries on six continents.
Interested authors should submit a 300-word abstract, a 200-word biography, and a sample of a previously published chapter or article to the Dropbox folder at https://bit.ly/Transgender_Science_Fiction no later than September 1, 2023.
A sampling ofconfirmed contributors includes:
“Towards a Latin American Queer Feminist Cli-Fi through Trans Representations: From Caribbean Afro-Futurism to Neo-Gauchesca,” Victoria Jara, PhD, Departments of Languages and Cultures, Film Studies, and Gender, Sexuality, and Women’s Studies, University of Western Ontario, Canada
“Gender in/on the Brain: Plasticity and Non-Human Transness in Chi Ta-wei’s Novel The Membranes,” Alberto Poza Poyatos, MA, Department of Arts and Humanities, Universitat Oberta de Catalunya, Spain and Gabriel Remy-Handfield, PhD, Australian Centre on China in the World, Australian National University, Australia
“Exploring Transgender Identities through African Mythologies in Nnedi Okorafor’s Lagoon and Akwaeke Emezi’s Freshwater,” Gibson Ncube, PhD, Department of Modern Foreign Languages, Stellenbosch University, South Africa
“Queer Fusion Technologies and the Monsters We (Do Not) See in Akwaeke Emezi’s Pet and Bitter,” Oluwadunni Talabi, PhD, and Corina/Cori Wieser-Cox, MA, Linguistics and Literary Studies Department, University of Bremen, Germany
“Rivers Solomon’s Utopian Postnaturalism,” Michael Mayne, PhD, Queer Studies Department and English Department, Denison University, USA
“Speculative Disidentifications: Multiple Gender and Multiplication of Species in the Novels La comemadre by Roque Larraquy, La mucama de Omicunlé by Rita Indiana, and Ornamento by Juan Cárdenas,” Cristián Opazo, PhD, Facultad de Letras, Pontificia Universidad Católica de Chile, Chile; Ignacio Pastén Lopez, MA, Latin American, Iberian and Latin Cultures Program (LAILaC), City University of New York (CUNY), USA
“‘Truth is a matter of the imagination’: Redefining Vulnerability and Revisioning the Politics of War and the Poetics of Transgender Identities in The Left Hand of Darkness,” Khamsa Qasim, PhD, Department of English, International Islamic University, Pakistan
“Identity in Flux: Gender, Race, and the Politics of Transition in Chana Porter’s The Seep,” Jamiee Cook, MA, Department of English, University of California, Santa Barbara, USA and Maite Urcaregui, PhD, Department of English and Comparative Literature, San José State University, USA
“Organ/ic Gender and Trans*-planted Selves in Manjula Padmanabhan’s The Island of Lost Girls and Harvest,” M.A. Miller, PhD, Department of Women’s, Gender, and Sexuality Studies, Washington State University, USA
“Rethinking the Genealogy of ‘Trans’ in Relation to ‘Monstrosity’ in Mary Shelly’s Frankenstein and Larissa Lai’s Salt Fish Girl,” Sezgi Öztop Haner, PhD, Department of English Literature, Dumlupınar University, Türkiye
“Reactionary and Recuperative Readings of Dr Jeckyll and Sister Hyde,” Mike Stack, PhD, Department of Psychosocial Studies, Birkbeck, University of London, UK
“Euphoria, Dysphoria, Genre, and Body-Swapping in The Skin I Live In and Sense8,” Allison Rittmayer, PhD, Department of English, Northwestern State University of Louisiana, USA
“Unpacking Time Loops in See You Yesterday,” Joshua Bastian Cole, PhD, Department of Performing and Media Arts, Cornell University, USA
“A Trans-ing of Liminal Gender in Michael Faber’s Under the Skin,” Nicole Anae, PhD, Department of Literary and Cultural Studies, Central Queensland University, Australia
“‘Like hair colour’: Transbody Fluidity and Wish Fulfillment in The Runaways and Other Comics,” Pritesh Chakraborty, PhD, Department of English, Acharya Sukumar Sen Mahavidyalaya, India
“‘Not as before’: Sir Tristran’s Trans* Variance as Queer Body Positivity in Camelot 3,000,” Gabriel Schenk, DPhil, and Mercury Natis, MA, Department of Language and Literature, Signum University, USA
“‘As real a girl as anyone’: Subverting the Superhero Trope in April Daniels’ Dreadnought,” Anamarija Šporčič, PhD, Department of English, University of Ljubljana, Slovenia
“Challenging Conventions and Shaping Identity: A Comparative Analysis of Transgender Narratives in Ninefox Gambit and The City in the Middle of the Night,” Lenka Filipova, PhD, English Department, Freie Universität Berlin, Germany
We are committed to including a broadly international group of scholarly contributors.
This is a volume of literary, film, and media theory and criticism guided by both transgender studies and climate fiction/science fiction studies. To be competitive, abstracts must:
Show how transgender studies and climate fiction/science fiction studies can each provide perspectives typically overlooked, ignored, or downplayed by the other field.
Engage one or more key scholarly works from both transgender studies and climate fiction/science fiction studies, demonstrating the value of diverse approaches to analyzing literature, film, and other media. (If you do not list specific writings from both transgender studies and climate fiction/science fiction studies that you will draw upon, you have not addressed this point.)
As the result of this dialogue between transgender studies and climate fiction/science fiction studies, provide insights into literature, film, and other media that neither transgender studies nor climate fiction/science fiction studies can offer by itself.
Any abstract that does not explicitly address the above three points in depth will likely be rejected.
Solid first drafts of full chapters are due by February 1, 2024, and final versions that cross-reference other chapters extensively are due April 1, 2024. At least one author of each chapter must have already completed their doctorate. In your 200-word biography, please note the year and university where you earned your doctorate. Only previously unpublished works will be considered.
Abstracts and biographies should be submitted as Word documents, and previously published chapters or articles should be submitted as PDFs. Both Word files and PDFs should contain the author’s name in the file names. Please include your email address in your biography file, or there will be no way to contact you.
Chapter proposals are invited for Postcolonial Ecofeminist Literature. Interested authors should submit a 300-word abstract, a 200-word biography, and a sample of a previously published chapter or article to the Dropbox folder at https://bit.ly/PostcolonialEcofeministLiteratureProposals no later than June 10, 2023.
This is a volume of literary theory and criticism guided by both postcolonial and ecofeminist insights. To be competitive, proposals must:
Show how postcolonial studies and ecofeminism can each provide perspectives typically overlooked, ignored, or downplayed by the other field.
Engage one or more key theorists from both postcolonial studies and ecofeminism, demonstrating the value of diverse approaches to analyzing literary texts.
As the result of this dialogue between postcolonial studies and ecofeminism, provide insights into literature that neither postcolonial studies nor ecofeminism can offer on its own.
Any proposal that does not explicitly address the above three points in depth will likely be rejected.
A sample of confirmed chapters includes:
“Eco-trauma in Hala Alyan’s Writings: A Postcolonial Ecofeminist Study,” Pervine Elrefaei, Cairo University, Egypt
“Postcolonial Ecofeminist Perspectives on Philippine Literature,” Christian Jil Benitez, Ateneo de Manila University, Philippines
“Beyond the Binary: Postcolonial Ecofeminism in Indian Women’s Writing in English,” Gurpreet Kaur, SOAS (School of Oriental and African Studies), University of London, UK
“Postcolonial Ecofeminism and Recolonized Nature in Kaine Agary’s Yellow-Yellow,” Youngsuk Chae, University of North Carolina at Pembroke, USA
“Rethinking Family through Postcolonial Ecofeminism in Doris Lessing’s Fiction,” Selcuk Senturk, Kafkas University, Türkiye
“Alaska Toxic: Reading Masculinity, Militarism, and the Coloniality of Petroculture in Mei Mei Evans’ Oil and Water,” B. Jamieson Stanley, University of Delaware, USA
“‘Nature’s answer to hysteria’: Postcolonial Ecofeminist Encounters in Joan Lindsay’s Picnic at Hanging Rock (1967),” Nicole Anae, Central Queensland University, Australia
“The Karoo, The Veld, and the Co-Op: The Farm as Microcosm and Place for Change in Schreiner, Lessing, and Head,” Elena D. Karshmer, Florida International University, USA
“Narratives in the Blue Humanities: Intersecting Tides of Postcolonial and Maritime Ecofeminism in Amitav Ghosh’s The Hungry Tide,” Mohammed Muharram, University of Bremen, Germany
“The Ecocritical Exegeses of Olive Schreiner’s The Story of an African Farm,” Sandy Burnley, Michigan State University, USA
We seek a broadly international group of scholarly contributors. Authors will be notified whether their proposals are accepted by July 15, 2023. Solid first drafts of full chapters are due by November 15, 2023, and final versions that cross-reference other chapters extensively are due February 1, 2024. At least one author of each chapter must have already completed their doctorate. In your 200-word biography, please note the year and university where you earned your doctorate. Only previously unpublished works will be considered.
Abstracts and biographies should be submitted as Word documents, and previously published chapters or articles should be submitted as PDFs. Both Word files and PDFs should contain the author’s name in the file names. Please include your email address in your biography file, or there will be no way to contact you.
Past books by the editor of Postcolonial Ecofeminist Literature include:
Join early career scholars Dr. Rina Garcia Chua, Dr. Anita Girvan, Dr. Brent R. Bellamy and Dr. Melanie Dennis Unrau for a conversation about publishing and getting published in the environmental humanities. From different embodied perspectives, and from different points in our careers and publishing, we will share our experiences, ideas, lessons, “coulda shoulda wouldas” and possibilities around publishing. We invite participants to share collective questions and conversations in an emerging “community of practice” kind of way.
Dr. Brent Ryan Bellamy is an instructor at Trent University where he teaches Climate Change Fiction, Contemporary Literature, and Worldbuilding across Media. His recent publications include An Ecotopian Lexicon (U of Minnesota P, 2020) and Remainders of the American Century: Post-Apocalyptic Novels in the Age of US Decline (Wesleyan UP, 2021). For more information, see brentryanbellamy.com.
Dr. Melanie Dennis Unrau (she/her) is a settler of mixed European ancestry living on Treaty 1 territory in Winnipeg. Melanie is a Research Affiliate at the University of Manitoba Institute for the Humanities and a Visiting Fellow at St. John’s College (University of Manitoba). She is the author of Happiness Threads: The Unborn Poems (Muses’ Company, 2013), a co-editor of Seriality and Texts for Young People: The Compulsion to Repeat (Palgrave, 2014), and a former editor of Geez magazine and The Goose: A Journal of Arts, Environment, and Culture in Canada. Melanie is working on a book titled “The Rough Poets: Petropoetics and the Tradition of Canadian Oil-Worker Poetry,” which is on contract with McGill-Queen’s University Press.
Dr. Rina Garcia Chua is a Jack and Doris Shadbolt Fellow in the Humanities at Simon Fraser University and she completed her PhD in Interdisciplinary Studies from the University of British Columbia Okanagan. She is the editor of the first anthology of Philippine ecopoetry, Sustaining the Archipelago, which was published with the University of Santo Tomas Publishing House in 2018 and is co-editor of Empire and Environment: Ecological Ruin in the Transpacific, forthcoming with the University of Michigan Press in October 24, 2022. Rina is also the co-diversity officer for the Association for the Study of Literature and the Environment (ASLE), poetry editor of Tiger Moth Review in Singapore, and co- editor of The Goose: A Journal of Arts, Environment, and Culture in Canada.
Dr. Anita Girvan (she/they) is Associate Professor of Cultural Studies at Athabasca University, a mother of 2 humans and a learner from, and nurturer of plant-life. Currently situated on W̱ SÁNEĆ/Lekwungen lands as a settler of Afro-Caribbean diaspora, Girvan’s work lies at the crossroads of Cultural Politics, Environmental Humanities, and Political Ecology, through anti/de-colonial and critical race lenses. Girvan’s current SSHRC-funded research project is entitled “E-Race-sures, Renovictions and Reclamations: Cultural-Material Production in Canada.”
Our newsletter is live! Check out the 2022 ALECC newsletter here for a note from the President, Lisa Szabo-Jones; updates from members; conference highlights; photos; and more!
Chapter proposals are invited for The Routledge Handbook of Trans Literature (hereafter simply The Handbook), to be published within the series Routledge Literature Handbooks in 2023. We especially welcome ecocritical proposals at the intersection of transgender literature and such topics as The Anthropocene, Climate Fiction (Cli-Fi), Ecology, and Nature Writing. We seek a broadly international group of scholarly contributors.
Interested authors should submit a 300-word abstract, a 200-word biography, and a sample of a previously published chapter or article to the Dropbox folder at https://bit.ly/Routledge_Handbook_of_Trans_Literature no later than September 1, 2022. Abstracts and biographies should be submitted as Word documents, and previously published chapters or articles should be submitted as PDFs. Both Word files and PDFs should contain the author’s name in the file names. Please include your email address in your biography file.
Authors will be notified whether their proposals are accepted by October 1, 2022. Solid first drafts of full chapters are due by February 1, 2023, and final versions that cross-reference other chapters extensively are due April 1, 2023. All authors must have already completed their doctorates. In your 200-word biography, please note the year and university where you earned your doctorate. Only previously unpublished works will be considered.
Each chapter will provide a comprehensive survey and analysis of a clearly defined subject at the interface of transgender studies and literature, with chapters grouped into two parts. Part I examines core topics that inform contemporary trans literary theory and criticism, while Part II explores diverse literary genres, movements, and periods through a trans lens.
Confirmed contributors include:
Part I. Core Topics
Activism and Trans Literature, Sunaina Jain, PhD, Department of English, Mehr Chand Mahajan DAV College for Women, India
Culture and Trans Literature, Nicole Anae, PhD, Department of Literary and Cultural Studies, Central Queensland University, Australia
Discourse Analysis and Trans Literature, Katja Plemenitaš, PhD, Department of English and American Studies, University of Maribor, Slovenia
Nondualist Philosophies and Trans Literature, Peter I-min Huang, PhD, Department of English, Tamkang University, Taiwan
Paradox and Trans Literature, Libe García Zarranz, PhD, Department of Teacher Education, Norwegian University of Science and Technology, Norway
Settler Hegemony and Trans Literature, Nicholas Birns, PhD, School of Professional Studies, New York University, USA
Space and Trans Literature, Jackson Jesse Nash, PhD, Arts and Humanities Department, The Open University, England
Visibility and Trans Literature, Tesla Cariani, PhD, Center for the Study of Women, Gender and Sexuality, Rice University, USA
Part II. Genres, Movements, and Periods
Creative Writing as Trans Literature, Nicole Anae, PhD, Department of Literary and Cultural Studies, Central Queensland University, Australia
Medieval Literature as Trans Literature, Kristen Carella, PhD, Department of English, Assumption University, USA
Minor Literature as Trans Literature, Aaron Hammes, PhD, Department of Sociology, John Jay College of Criminal Justice, USA
Modernist Literature as Trans Literature, Rebekah Taylor-Wiseman, PhD, Department of English, Brenau University, USA
Mystery and Detective Fiction as Trans Literature, Casey A. Cothran, PhD, Department of English, Winthrop University, USA
Picture Books as Trans Literature, Joshua Hill, PhD, Department of Early Childhood Education, University of Maine Farmington, USA
Poetry as Trans Literature, Trace Peterson, PhD, The Fox Center for Humanistic Inquiry, Emory University, USA
Renaissance Literature as Trans Literature, Katarzyna Burzyńska, PhD, Faculty of English, Adam Mickiewicz University, Poland
Travel Writing as Trans Literature, Lenka Filipova, PhD, English Department, Free University Berlin, Germany
Young Adult Literature as Trans Literature, Michelle Deininger, PhD, Humanities Department, Continuing and Professional Education, Cardiff University, Wales
