For more information about the conference, click on the link to go to the full description of Western Literature Association Conference 2018.
For more information about the conference, click on the link to go to the full description of Western Literature Association Conference 2018.
Percival Everett: theory, philosophy and fiction
organized by the ERIAC Research Center (ED 4705)
at the University of Rouen
on May 2ndand 3rd 2019
Percival Everett’s work has been delighting its readers with engaging plots, rich with suspense and surprises. The diverse gallery of his characters offers many an opportunity for sympathy, identification, empathy, criticism, amusement or estrangement. One of the feats achieved in Everett’s work consists in blending sometimes complex theoretical and philosophical backgrounds into his (breath-)taking plots, thus granting further degrees of satisfaction to the attentive readers. The extra layers thus admitted into the reading experience, variously perceptible according to the readers, contribute to the singularity of Everett’s style. Despite the variety in genres, tones and topics from one book to another, all are marked by such tension between realism and theory, illusion and metafiction, all happily resolved in Everett’s unique literary pieces.
Theory and more specifically philosophy feed his narratives, and visibly appear through quotations, of authors’ names, words and sentences, and inform the structures of his novels and stories. Literary criticism, its excesses and deviations are targeted in erasure, for instance, through a parody of S/Zand the absurd behavior of the representatives of the Nouveau Romansociety, as well as in Glyph, in which Roland Barthes is given the part of an inveterate seducer. Mathematics and more precisely logics widely inform Everett’s work, as perceptible in Glyphfor instance, through baby-genius Ralph’s calculations and speculations. Percival Everett by Virgil Russellincludes mathematical formulae (pp.127, 129), refers to Russell, while mathematical symbols even offer their structures to the title of Everett’s poetry collection Re: f(gesture).
Many a passage throughout Everett’s works consists in playful logical arguing, as ironically emphasized through numerous logical links and markers. Dialogues especially bring out the ambiguities and logical discrepancies in communication, hence the numerous opportunities for misunderstanding. At the heart of such playful dialogues, sometimes verging on the absurd, Everett’s studies in Language Philosophies pervade his whole oeuvre, partly turning it into a playfield. The great names of Language Philosophies run throughout his work: Wittgenstein, Austin, White, Russell, Frege appear in Glyph, The Water Cure, Percival Everett by Virgil Russell, to name but a few. According to Everett himself, fiction allows one to try out language structures much more efficiently –and enjoyably-than in readymade, artificial dialogues, disconnected from any actual situation or context. Yet in his fiction many a dialogue, in its forms and structures, is redolent with those artificial test samples, as in The Water Cure, Percival Everett by Virgil Russell, I Am Not Sidney Poitier, with its ontological quiz set by the protagonist’s first name, “Not Sidney”.
More generally Everett’s whole oeuvre abounds in puns, jokes and witticisms. Overtly or more insidiously the many ways in which language escapes its user’s control are being explored, to enhance the infinite possibilities for ambiguity, misunderstanding and creativity offered by language. The distorted passages in The Water Cure bring to the fore the vulnerability of meaning and language while exposing some of the main principles upon which reading and communication rely, mostly anticipation, thus opening ways for prejudice to deviate the speaker’s/writer’s originally intended meaning. Such wide philosophical questions are raised in Everett’s work, through both its topics and forms, with the question of responsibility looming in the background, so to speak, as well as that of the canon and more largely of norms.
Some of the following questions may be pursued:
How do theory and philosophy inform Everett’s narratives in their topics and structures, at the macro- and micro-levels both? How does such massive presence inflect the nature and definition of fiction, allowing for a renewal of the genre? What is the specific part played by metafiction in his work? How does it contribute to blur the limits between tones, genres and possibly art forms while questioning the very creative process? More largely, the emphasis may be laid on the making of books, and the various sources of inspiration flowing into them. To what extent and in what ways do Everett’s writing and painting relate, and what forms does the quest for abstraction take in each? What can narrative and fiction in general bring to the theoretical and philosophical fields?
Alain Badiou has emphasized the necessity to reconsider the relationships between philosophy and art at the turn of the 20th and 21st centuries, after the didactic, Romantic and classical schemes have proved to no longer be able to define the relations between art and philosophy. Badiou’s concept of “inesthétique” may offer an angle of approach of the specific place of philosophy in Everett’s art: “By ‘unaesthetic’ I mean a specific way for philosophy to relate to art, itself understood as a source of truths, so that philosophy in no way claims to take art as an object of philosophical study. Against aesthetic speculation unaesthetics describes the strictly internal philosophical effects generated by the independent existence of a few artworks.”
Indeed the reflection carried out in common during the conference may keep as an aim the attempt to bring forth some of the truths produced by Everett’s work, or at least some of the main phenomena observable in the work, as related to our perception of and being in the world. Among them, one may try to highlight both “the ambivalent role and the absolute singularity of the literary fact” (Jean-François Favreau, Vertige de l’écriture, 8), as well as its subversive power. Indeed Everett’s work brings to the fore the nature of the artistic writing as resistance, according to Foucault’s view of literature as “some kind of monster as well as a resource, but also as a formidable resistance”, the “permanence of some subterranean trend in Western thought that has been kept aside by the ruling order” (Favreau, 9). The conference will ultimately have as one of its ambitions to explore the complex interactions between the canon and the margins, creative practice and critical thought, art and philosophy.
Abstracts should be sent to Anne-Laure Tissut (firstname.lastname@example.org) by September 30th2018
My favorite Western of the year thus far has to be The Rider, a film about Native American rodeo performers that takes place in the contemporary western setting of South Dakota’s Lakota-Sioux Pine Ridge Reservation. The film centers on Brady Blackburn, beginning in the aftermath of a head injury suffered in the rodeo ring, and the story is based on the events experienced by rodeo performer Brady Jandreau. Just to underscore the documentary-like elements of the film, not only does Brady the actual rodeo performer play Brady the fictional rodeo performer, but the rest of the Blackburn family is filled out by other Jandreau family members (by Brady’s sister and father).
Among other things, this is a film about recovery from traumatic brain injury. The film is low-key and closely observational of how Brady recovers (and how he doesn’t). In much of the film Brady is by himself, and he’s a compelling screen presence, even as the character is constrained, low-key, quiet. There are several really good scenes of Brady training horses, hanging out with horses, riding horses, or just watching horses. The low-key Brady really comes to life around horses, and the transformation is amazing. His interaction with horses is emotional, psychological, animated, communicative, vibrant.
Without horses, Brady is half a person. Several scenes of Brady stocking shelves in a convenience store contrast sharply with the vibrant scenes involving horses. The risk of further brain injury makes horse riding (and just being around large animals) dangerous. Other side effects of the injury take their toll throughout the film. His friendship with another injured former rodeo performer, Lane Scott (who plays himself in the film), is as therapeutic for Brady as it is for Lane. Still, nothing in Brady’s life brings him to life as much as his time spent with horses (although, in his interactions with Lane, Brady is closer to the person he is when working with horses than he is with any other humans).
The film is written and directed by a Chinese filmmaker, Chloé Zhao, and it actually reminds me of another contemporary Western by a Chinese filmmaker, Ang Lee’s Brokeback Mountain. Like that film, The Rider asks: how do you exist when you have to live your life without the thing you love? can you?
CFP for a special issue of Western American Literature on “The Politics of Public Lands in the Contemporary U.S. West.”
October 2016 ended with dramatic irony on the Western political stage:
Bundy family members were acquitted after occupying Oregon’s Malheur National Wildlife Refuge for over a month; simultaneously, unarmed water protectors in South Dakota were treated as rioters, shot with tear gas and water cannons, and arrested for engaging in unarmed political action on behalf of clean water and the protection of indigenous lands. Since then, the Trump administration has sought to shrink several national monuments, undermining the Antiquities Act of 1906 specifically and environmental protections more generally. Debates about how to value, use, and manage public lands in the American West are as high-profile and controversial as ever, and perhaps even more divisive. How has literature responded? What are the roots of these conflicts? What solutions can engaged scholarship help imagine?
The journal Western American Literature seeks original scholarship for a special issue on public lands in the U.S. West. Essays might address:
• indigenous responses to the notion of public lands or to attempts to degrade or colonize native homelands, and unusual political coalitions formed in response to these threats
• affective, legal, cultural, spiritual, recreational, and/or historical claims that literature makes on/for public lands
• masculinity in the West as (re)negotiated in relation to public lands
• recent (re)inventions of the frontier in literature and popular culture
• problems that climate change creates for public land management and potential solutions articulated by environmental justice literature and scholarship
• movements to diversify public land management agencies such as the National Park Service
• movements to decolonize public lands
• historical roots of contemporary conflicts surrounding public lands
• new narrative forms emerging to address public lands in the twenty-first-century West
Please send proposals of 400-500 words to Jennifer Ladino at email@example.com by June 30, 2018. Depending on the number and quality of submissions, this special issue might feature three standard-length (6,000-8,000 word) articles or a larger number of shorter pieces. Full-length essays will be due November 15, 2018.
Please find below the CFP for the IV International Conference on the American Literary and Cultural West: The West Travels Beyond Itself: New Spaces, New Voices, New Forms. University of the Basque Country (UPV/EHU), Vitoria-Gasteiz (Spain). 8-10 October 2018.
The IV International Conference on the American Literary and Cultural West, The West Travels Beyond Itself: New Spaces, New Voices, New Forms, organized by the REWEST research group (Research in Western American Literature and Culture, www.ehu.eus/rewest), seeks for papers which expose the contemporary revision and revival of the West and as a literary and cultural form of representation, as well as of its global impact. The Conference will privilege transnational and interdisciplinary approaches aiming to understand the artistic production of space and a cultural site whose iconography has moved beyond national limits and literary and artistic borders.
The aim of the Conference is to propose a site of debate about the revision and revival of the West as an ideological and cultural concept. We aim at analyzing the new dimensions of the global, multicultural, multicontextual, multidisciplinary 21st century West. In this light, papers can address a variety of issues ranging from (but not only):
– The West travels beyond itself
– The West looks at Europe
– Europe looks at the West
– The influence of the cultural myths of the Old West in the present century
– The new literary voices of the West
– “Other” western narratives
– Environmental literature of the American West
– Reimagining women in the West
– Western masculinities
– Western mythologies
– The American West in popular culture
– The West and its new forms of expression
– New Western music
– New Western cinema
– The West in the arts
– The West and the new digital forms of communication
– The West in television
– The West in comics and graphic novels
Papers should not exceed 2.000-3.000 words (approx. a 20 minute delivery). Although English will be the official language of the Conference, papers in Spanish and Basque will also be accepted.
Please submit your proposal (300 words) plus a brief bio-note (200 words) to the Conference organizers by April 30th, 2018. Proposals should be submitted via e-mail to firstname.lastname@example.org.
CALL FOR PAPERS
2018 Western Literature Association Conference
Indigenous Hubs, Gateway Cities, Border States
The 2018 annual conference of the Western Literature Association will take place October 24-27 at the Chase Park Plaza Hotel in St. Louis, Missouri. “Indigenous Hubs, Gateway Cities, Border States” is derived from this location. This region, at the confluence of the Missouri and Mississippi rivers, has been urban for thousands of years. Cahokia, known for its impressive earthen mounds, is directly across the river from today’s St. Louis, and once housed the largest pre-Columbian civilization north of Mexico, a hub for trade, communication, and transportation throughout indigenous North America. Long before St. Louis was known as the “Gateway to the West,” it was nicknamed “Mound City.”
St. Louis is also a borderland, shaped by French, Spanish, and U.S. contact and conquest. With Missouri’s 1821 entry into the nation as a slave state, St. Louis became envisioned as a gateway to western freedom even while it maintained southern bondage. During the Exoduster movement, St. Louis indeed became a gateway to freedom for many African Americans migrating away from postbellum southern oppression. Today St. Louis continues to serve as a microcosm of the United States’s racial histories, and of both stubborn divisions and promising coalitions across lines of race, class, region, and nation. “Indigenous Hubs, Gateway Cities, Border States” is meant to evoke these confluences and crosscurrents.
We welcome proposals on any aspect of the literatures of the North American West, but especially encourage panels and papers that explore the following topics:
St. Louis (or other western places) as Indigenous Hubs, Gateways, or Borderlands
The African American West
Jazz and Blues and the American West
The Art and Literature of Black Lives Matter
St. Louis Freedom Suits
The Work of Distinguished Achievement Award Winner Percival Everett
The Critical Legacy of Distinguished Achievement Award Winner José E. Limón
The deadline for submissions is June 15, 2018. Please submit questions to Michael K. Johnson or Emily Lutenski at WLAConference2018@westernlit.org.
For more information, see http://www.westernlit.org/wla-conference-2018/.
Photo credits: Mural at Ponderosa Steakhouse, W. Florissant Ave., Ferguson, MO. 2014. 6’x8′. Image courtesy of COCA—Center of Creative Arts. Photo © Michael Kilfoy.
6 July 2017
Dear WLA Presenters and Members:
Boozhoo! Hello from the land of 10,000 lakes!
Registration for the WLA 2017 conference in the Marriott City Center in Minneapolis, MN is now open! Early registration ends September 20, 2017, so please try to save yourselves some money! Note to registrants: guest status means spouse, partner, sibling, grandparent—anyone coming along to be your cheerleader or to enjoy the Twin Cities while you are involved with WLA business. Guest status does not refer to a WLA member who is not presenting a paper.
We are excited to be welcoming you to beautiful Minnesota, a landscape that was first inhabited over 12,000 years ago by the ancestors of our many Native communities. The mighty mythic Mississippi owes its creation to the last Ice Age, and you will be able to explore its banks and falls while visiting Minneapolis. Fort Snelling , built in 1819 as Fort Saint Anthony as one of the first western military outposts, is now a National Historic Site and worth a visit while you attend WLA. The West of WLA begins on the west banks of the Mississippi, and we have a program of nearly 300 presentations to enrich your minds and expand your vision of western North American writers, playwrights, filmmakers, storytellers, poets, and scholars.
We encourage you to come in time for our Wednesday evening kickoff, which features two Minnesota treasures—Minnesota Poet Laureate Joyce Sutphen and storyteller Kevin Kling—to get you feeling Minnesota. Other featured writers are Will Weaver, Linda LeGarde Grover, and Heid Erdrich. Our Distinguished Achievement Award recipient playwright Rick Shiomi will be bringing some actors. We will be announcing an amazing band shortly that adds to the celebration of Minnesota greats!
You can begin your registration process at
Our conference hotel is the Marriott City Center in the heart of downtown Minneapolis. Reservations must be made by 26 September 2017 or until the block is full to assure the conference room rate of $150/night. Our group rate is available 3 days prior to and 3 days following the dates of our conference based on availability. When making your reservation, inform the reservation agent that you are receiving the Western Literature Association group rate for your visit. Reservations can be made at: https://aws.passkey.com/e/49008766 or 1-877-303-0104.
Once again, WLA has contracted with United Airlines for a 5% discount for WLA members. United has numerous domestic and international flights to the Minneapolis/St. Paul International Airport daily. For your discount, please book online at united.com/meetingtravel. Use the code ZY5Y175071. MSP also serves all major North American airlines.
We will send ground transportation information later this summer. Travel to and from the airport is easy via light rail. Amtrak also arrives and departs from the beautifully restored Union Station in St. Paul. Light rail then provides ground transportation into downtown Minneapolis as well. Many of you are Uber and Lyfft customers and have that option as well.
We are hard at work on the conference program. As soon as the first program draft is completed, we will put it on the conference website and alert all participants via ConfTool. Please note your two deadlines: September 20, 2017 for early conference registration and September 26, 2017 for your guaranteed hotel group rate.
Miigwech, thank you, WLA colleagues! We look forward to serving as your hosts to the 52nd Annual Conference of the Western Literature Association, 25-28 October 2017.
Florence Amamoto (email@example.com)
Susan Maher (firstname.lastname@example.org)
Reminder: If you want your conference paper considered for the Manfred award (creative writing) or the Taylor or Grover awards (best grad student papers), please send final copies to us (copy both co-presidents) by Aug. 15. Grad students wishing to be considered for the Owens awards (to foster diversity), please send application material to Lisa Tatonetti (email@example.com) by Aug. 15. More detailed descriptions of WLA awards on the WLA website.