For this special issue of Reconstruction (Issue 13.1) we are looking for writers of published works to write narrative essays on the question, “How did I write that?” In an age of creative pedagogy and the persistence of manifestos, which we do not discount, we wish to collect (make available for insight and inspiration) a series of narratives in which writers focus on the “after the fact.” Are you amazed that something came out of you which you didn’t know was there? Focusing on the scene of a particular work, we would like you to narrativize (and perhaps, during or subsequently, theorize), the twists and turns, the difficulties, the plans and their alterations that could not have been predicted in advance. We are looking for established and emerging writers willing to submit themselves to the personal, the singular, to admit their vulnerabilities as writers, even as we recognize that these issues come up in works of all kinds from the most confessional kind of writing, to “abstract” or language oriented work, and this range also includes attempts to address broad social and political issues of all kinds.
We are looking for essays, that are, for the most part, a minimum of 2,000 words, though longer essays are especially welcome. This length is necessary to do the following 1) introduce the nature of your work to the audience; 2) invoke and perform the specificity, the power that such a critical narrative might bring to those interested in the creative process(es); 3) to think seriously the mystery of composition, the mysteries that the writer confronts in (to rework Lacan’s depiction of the analyst) working “from the position of the one who doesn’t know,” or at least doesn’t know several things until after the fact, seeing them as a dream through which one has lived.
We will consider writers from all genres and dispositions, including hybrid and collaborative work, as long as they are willing to take seriously the question of the unpredictable in the compositional process and the “lines of flight” from one’s original intentions that necessarily take place in the scene of successful (and by extension, ultimately unclassifiable) writing, writing that, even if the genre appears recognizable, necessarily bears the remainder which the author has experienced in the writing but which may be unrecognizable in its finished form.
Nota Bene: Reconstruction is a an open access journal that receives over 1500 unique visits per day, and is read in over 100 countries. Thus, the opportunity to promote one’s work to an academic audience here is not negligible, but of course should only be considered as a side effect of what we hope will be a serious resource for authors and scholars alike.
Please submit complete essays between now and Oct. 1 to Alan Clinton (reconstruction.submissions_at_gmail.com) and Angela Flury (aflury_at_depauw.edu). Inquiries of all kinds are also welcome.
Reconstruction: Studies in Contemporary Culture (ISSN: 1547-4348) is an innovative online cultural studies journal dedicated to fostering an intellectual community composed of scholars and their audience, granting them all the ability to share thoughts and opinions on the most important and influential work in contemporary interdisciplinary studies. Reconstruction publishes three Themed Issues and one Open Issue per year.
Send Open Issue submissions (year round) to: reconstruction.submissions_at_gmail.com and submissions for Themed Issues to the appropriate editors listed on the site at www.reconstruction.eserver.org
Reconstruction also accepts proposal for special issue editors and topics. Reconstruction is indexed in the MLA International Bibliography.
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