Hello, I hope this finds you all in good health and spirits. The Journal of the Short Story in English is planning a Special Issue on the short fiction of Edward P. Jones. Proposals should be sent by June 21, 2021.<\/p>\n
Call for papers \u2013 Journal of the Short Story in English<\/em> \u2013 N\u00b080, Spring 2023 Edward P. Jones, who won the Pulitzer Prize for his novel The Known World<\/em> in 2004, is also known for \u00ab his commitment to the short story, the literary genre in which he is clearly very comfortable \u00bb (Graham 2006). The Washingtonian\u2019s two collections to date, Lost in the City<\/em> (1992) and All Aunt Hagar\u2019s Children<\/em> (2006), testify to his distinctive voice and vision, and have earned him the PEN\/Hemingway Award (1993) and the Lannan Literary Award for Fiction (1994) as well as the PEN\/Malamud Award for excellence in the art of the short story (2010). Today Jones, who has taught creative writing at the Universities of Virginia and Maryland and at George Mason University (VA), teaches at George Washington University in D.C. Proposals of approximately 300 words should be sent by June 21, 2021 along with a short bio-bibliography. Completed articles (not to exceed 6,000 words) must follow the MLA Style Manual and include an abstract in French (not to exceed 250 words). Submissions will be peer-reviewed and are due by 31 January, 2022. Am\u00e9lie Moisy<\/p>\n Ma\u00eetre de Conf\u00e9rences<\/p>\n Universit\u00e9 Paris Est Cr\u00e9teil<\/p>\n Maison des Langues et des Relations Internationales Hello, I hope this finds you all in good health and spirits. The Journal of the Short Story in English […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[99],"tags":[372,248,278],"class_list":["post-1912","post","type-post","status-publish","format-standard","hentry","category-cfp","tag-edward-p-jones","tag-literature","tag-short-story"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"Admin","author_link":"https:\/\/afea.fr\/news\/author\/yanb\/"},"uagb_comment_info":0,"uagb_excerpt":"Hello, I hope this finds you all in good health and spirits. The Journal of the Short Story in English […]","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/1912"}],"collection":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/comments?post=1912"}],"version-history":[{"count":2,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/1912\/revisions"}],"predecessor-version":[{"id":1939,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/1912\/revisions\/1939"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/media?parent=1912"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/categories?post=1912"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/tags?post=1912"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSpecial Issue on Edward P. Jones<\/p>\n
\nThe reader is affected by the special resonance of Jones\u2019s stories. They are set in D.C. in the 20th and 21st centuries and center on African American Washingtonians, most of them originally from the South. The city in which the characters live, one of neighborhoods rather than monuments and museums, and the focus on day to day experience, creates an intimacy with the text. And, as Neely Tucker has pointed out, Lost in the City<\/em> and All Aunt Hagar\u2019s Children<\/em> echo one another : \u00ab There are fourteen stories in Lost<\/em>, ordered from the youngest to the oldest character, and there are fourteen stories in Hagar\u2019s<\/em>, also ordered from the youngest to the oldest character. The first story in the first book is connected to the first story in the second book, and so on. To get the full history of the characters, one must read the first story in each book, then go to the second story in each, and so on \u00bb (Cited in Wood 51). Jones presents a complex world – he often \u00ab alternate[s] between back story and front story \u00bb (Graham 2008), delving into the misdeeds of the seemingly good and casting a gentler light on unsympathetic characters. He digresses or effects deictic shifts to provide unexpected information \u2013 abrupt shifts beyond the story being narrated, which, as Christopher Gonzalez notes, \u00ab broaden the storyworld in which his characters reside, so that each individual story, while tightly yoked to each of the others, also pushes against and extends the spatial and temporal boundaries set by the story cycles in their entirety (Wood 201). Moreover, Jones\u2019s otherwise simple style, which integrates southern folk expressions, can be haunting. It was inspired, he says, by the Bible : \u00ab I was moved by the poetry but it also occurred to me that the world of those people had come through clearly and movingly even though the various writers had told the Biblical stories in an almost reportorial fashion \u2013 no overwhelming, intrusive emotional insertions \u00bb (Cited in Wood 29).
\nIn the growing body of commentary on Jones, a special issue on his short stories should find a place of choice. Jones, who turns 70 this year, has been the subject of many interviews and articles. Among others, the JSSE<\/em> published Daniel Davis Wood\u2019s article \u00ab To See the Lives of Others Through the Eyes of God: The Affectivity of Literary Aesthetics in the Short Stories of Edward P. Jones \u00bb in 2016, and most recently, Jones\u2019s work was discussed on p.1 of the New York Times Book Review<\/em>, in A.O. Scott\u2019s series \u00ab The Americans \u00bb (\u00ab Edward P. Jones\u2019s Carefully Quantified Literary World \u00bb, August 16th, 2020). Wood edited a collection of critical essays on Jones\u2019s complete oeuvre, Edward P. Jones: New Essays<\/em>, in 2011, and James W. Coleman published Understanding Edward P. Jones<\/em>, on his life and work, in 2016. Although there has been one M.A. thesis on Jones\u2019s short stories, Richard Kermond\u2019s \u00ab Evil and Suffering in the Short Stories of Edward P. Jones \u00bb (2010), no other volume exclusively devoted to his short fiction has been published so far.
\nThe aim of this issue of the Journal of the Short Story in English<\/em> (N\u00b080, Spring 2023), is to further the critical appreciation of Jones\u2019s art by laying stress on his imaginative and transformative power. We will apply to his short stories his statement about Alice Walker\u2019s \u00ab The Flowers \u00bb \u2013 \u00ab In the end, I say simply, a story should be about some change, large or small, in the universe of a person or people \u00bb (Cited in Wood 36) \u2013 and concentrate on instances of change. The questions of how Jones\u2019s cycles, and individual stories, thematically and stylistically illustrate personal and historical change, as well as of Jones\u2019s creative licence with facts, will be broached. Conversely, the issue will explore the effect of recurrences in forms, figures, and settings, and the nature of Jones\u2019s authorial voice.
\nTopics contributors might discuss include, but are not limited to, the following:
\n\u00b7 History and creation
\n\u00b7 Renewing the Southern tradition
\n\u00b7 Fate and its twists
\n\u00b7 Capitalism and progress
\n\u00b7 Work and dreams
\n\u00b7 Authority and rebellion
\n\u00b7 Mothers and children
\n\u00b7 Lovers and spouses
\n\u00b7 Peer groups, cronies, friends
\n\u00b7 Detail and essence
\n\u00b7 The fleeting and the lasting
\n\u00b7 The poetry of the everyday
\n\u00b7 The city
\n\u00b7 Nature
\n\u00b7 The uncanny and the supernatural
\n\u00b7 Humor and tragedy
\n\u00b7 Goodwill and indifference
\n\u00b7 Ineffectiveness and agency
\n\u00b7 Hesitancy and eloquence
\n\u00b7 Variety and repetition
\n\u00b7 Redemption
\n\u00b7 Endings<\/p>\n
\nPlease send all queries and proposals to the guest editor, Am\u00e9lie Moisy, Universit\u00e9 Paris Est Cr\u00e9teil, Cr\u00e9teil, France (moisy).<\/p>\n
\nmoisy<\/p>\n","protected":false},"excerpt":{"rendered":"