Call For Papers: On the Theme of “Endings”
BSJ: The B.S. Johnson Journal – email: email@example.com
Deadline for submissions: 25th July 2017
The editors of BSJ: The B.S. Johnson Journal request academic papers, essays, interviews, creative works or remembrances on the theme of endings. Johnson’s novels featured a range of innovative endings; from the “almighty aposiopesis” of Albert Angelo, to the unexploded bomb in Christie Malry, to the metafictional imposition of the House Mother in House Mother Normal. In the interests of exploring endings and the ways in which they can define, fix or unsettle the meaning of texts, we are seeking submissions that engage with our theme; be it a creative piece with an interesting ending, a theoretical engagement with Johnson’s work, or an interpretation of the wider connotations of the theme: limits, finality, death.
We welcome academic papers of between 6,000 and 8,000 words and essays of between 500 and 2,500 words (papers will be thoroughly peer-reviewed and must conform to academic standards, essays do not need to meet these requirements and are usually more journalistic or personal in style). Short stories, poetry and innovative forms are welcome at any length, short or long. Suggestions for reviews may also be made to the editors, but making contact first is recommended to avoid reviewers overlapping. Although submitted work need not be directly about B.S. Johnson, the journal aims to promote his legacy and therefore favours work that display a commitment to truth, formal innovation or working class modernism.
Here’s a taster of Erkembode who’ll appear soon at our 9th birthday.
The Other Room
9th birthday and 9th anthology launch
Erkembode, Juxtavoices, William Rowe
Wednesday 5th April, 2017
The King’s Arms, 11 Bloom Street, Salford, M3 6AN
Poetry Performance Evening: Colin Herd, Iain Morrison, and Vicky Sparrow
- Five Leaves Bookshop, Nottingham
- Wednesday 29th March 2017 (19:00-20:30)
Colin Herd is a poet, fiction writer and critic based in Edinburgh. His first collection of poems too ok was published by BlazeVOX in 2011 and a second full-length collection Glovebox was published by Knives Forks and Spoons Press in 2013. Colin’s work has been anthologised in the Forward Book of Poetry 2015 and Dear World and Everyone in It (Bloodaxe, 2013).
Currently based in Edinburgh, Iain Morrison has a frequently collaborative practice as a writer, working in poetry and live literature. Projects have included Subject Index a durational installation of the complete poems of Emily Dickinson developed in residency at Forest Centre+ and toured to Berlin’s SOUNDOUT! New Ways of Presenting Literature Festival in 2014, and a night of drag queen poetry at Scottish Poetry Library in 2016 which bagged him a Creative Edinburgh award. Publishing includes MARQUE, a pamphlet with If A Leaf Falls Press (2017), and poems in anthologies and magazines including Kakania (Austrian Cultural Forum 2015), HOAX and Gutter. A first collection comes out with Vagabond Voices later this year.
Vicky Sparrow is completing a PhD on the poet-activist Anna Mendelssohn at Birkbeck, ersity of London. Her writing can be found in datableed, Kakania, Litmus and the Literateur and she serves as reviews editor for the Journal of British and Irish Innovative Poetry. Her first pamphlet Notes to Selves is published by Zarf.
Admission for this event is £3 and refreshments will be available. Booking is recommended. To attend this event, please RSVP to firstname.lastname@example.org
PPS READING # 2: *STUART CALTON ~~ CAITLÍN DOHERTY ~~ JOHN DE WITT ~~ IMOGEN CASSELS (Cambridge, 10th Feb 2017)
The second reading in the Poetry Performance Series (PPS) features two visiting poets – Stuart Calton, from Manchester, and John De Witt, from Paris – alongside Cambridge’s Imogen Cassels and Caitlín Doherty. There will also be a book table. Please feel free to circulate info to those who might be interested.
Stuart Calton is the author of the following books: Blepharospasms (2016), Live at Late Dilated Ileum (2015), The Torn Instructions for No Trebuchet (2013), Three Reveries (2010), The Corn Mother (2006), The Bench Graft (2004), United Snap Up (2004), and Sheep Walk Cut (2003). As a musician, he is the incomparable dictophonist TFH Drenching. His book Wimpy and André has just been released from MATERIALS press and will be on-sale on the night. A poem in ten sections, setting forth the interrelations between protagonists Wimpy, Climpy, Sandy and André, in a potentially infinite selection of mixed scenarios. Amongst other sounds, the poem includes the sounds of a car alarm, the thin barking of a radically rationalised trick poultice, a shout, a voice, silence, static, galloping and The Lark Ascending played triple-speed nine octaves up like rain on a steel bin-lid over a rave synth line.
“Just too big. Firstly way too big. And then just right.”
Caitlín Doherty is the author of O (Foule Press, 2012) and Satellites (Tipped Press, 2012).
About the latter, China Miéville has written in the Guardian:
“Doherty, an outstanding young poet, uses our orbital trash, the bric-a-brac of communication tech and a deflating space race as a hook for her interrogations. Even a familiar notion is reinvigorated: the pathos of the first dog in space is not a subject previously untouched, but in her eulogy to Laika, Doherty marries cool rigour and generosity without sentimentality, and if you can get to the end without tearing up you’re stronger than I.”
Doherty is also the poetry editor of the journal Salvage, and her new book, Our Party, is forthcoming from Critical Documents.
“could you plan on my improvement
could it be wagered thus
a silk drape and a massage of the air
a yankee candle and the Tory grandee
JOHN DE WITT
John DeWitt was born in Mexico City, later moved to Nashville, and now lives in Paris. He is the author of Ends (Tipped Press, 2011), and Visceral Apocrypha (Shit Valley, 2013) and co-wrote, with Rosa Van Hensbergen, as Bill Ding, Buildings (Tipped Press, 2012).
“Nevermind spirits, it was motherfucker(!)
Motherfucker how could you have me at the end of my legs
He shook his fist at the chairs, at the light, maybe even at the flowers in the garden
as motherfucker has such a small mouth for the world
and such a ponytail floating in the wind”
Imogen Cassels is from Sheffield and reads English at Cambridge. She was a Young Poet on the Underground in 2015, and in 2016 was a winner of the Poetry Business New Poets Prize. Her poems have appeared in Blackbox Manifold, The Literateur, Ambit, and the LondonMagazine.
“Somewhere they are watching rockets bombing
with fireless grace. Somewhere we end up
fucking in our sleep, and are disturbed by waking.”
Friday 10th February , 7.30pm.
Judith E. Wilson Drama Studio, English Faculty Building, Cambridge.
Email David Grundy (email@example.com <mailto:firstname.lastname@example.org>), Rosa Van Hensbergen (email@example.com <mailto:firstname.lastname@example.org>) or Janani Ambikapathy (email@example.com <mailto:firstname.lastname@example.org>) for further details.
The 4th tape of poet James Davies making and describing his work ‘Yellow Lines Drawn on Sheets of A4 Paper and then Placed in a Box’