Although the ninth biennial international conference at the University of Prince Edward Island is still a few weeks away, I’m pleased to circulate the call for papers for a collection of essays on the conference theme, to be edited by me and Andrea McKenzie.
“Nothing is ever really lost to us as long as we remember it.”
—The Golden Road (1913)
“And even if you are not Abegweit-born you will say, ‘Why … I have come home!’”
—“Prince Edward Island” (1939)
The University of Toronto Press has expressed interest in publishing a collection of essays entitled L.M. Montgomery and Cultural Memory, using papers presented at the ninth biennial conference hosted by the L.M. Montgomery Institute as a starting point. We invite the submission of full-length papers that consider these issues in relation to Montgomery’s fiction, poetry, life writing, photographs, and scrapbooks, as well as the range of adaptations in the areas of film, television, theatre, tourism, and online communities.
A term that originated in the field of archaeology and that now resonates in a wide range of disciplines, cultural memory refers to the politics of remembering and forgetting, sometimes in opposition to official versions of the past and the present. Within textual studies, the term invites us to consider the ways in which the past, the present, and the future are remembered, recorded, and anticipated by members of a collective and encoded into text. As a result, cultural memory touches on a number of key concerns, including identity, belonging, citizenship, home, community, place, custom, religion, language, landscape, and the recovery and preservation of cultural ancestries.
But what versions of Prince Edward Island, of Canada, of the world do Montgomery’s work and its derivatives encourage readers to remember? How do gender and genre (not to mention religion and power) affect and shape Montgomery’s selective and strategic ways of remembering in her fiction and life writing? What acts of memory can be found in the depiction of writers, diarists, letter writers, oral storytellers, poets, and domestic artists in her fiction? What roles do domesticity, nature, conflict, and war play in the shaping and reshaping of cultural memory? To what extent do nostalgia and antimodernism drive Montgomery texts in print and on screen? How have these selective images of time and place been adapted to fit a range of reading publics all over the world?
All submissions should rely on relevant theory and scholarship that will help anchor discussions of Montgomery’s work within the field of cultural memory. They should refer to the Seal editions of Montgomery’s fiction (except for Rilla of Ingleside and The Blythes Are Quoted, for which papers should refer to the recent Penguin Canada editions). All citations (including references to Montgomery texts) should be given in endnotes and be accompanied by a bibliography of references; for more information, consult chapters 16–17 of the Chicago Manual of Style. Submissions should include two files: in the first, a paper of 5000–6000 words (including endnotes), and in the second, a bibliography of all sources consulted as well as a bionote of a maximum of 100 words.
Please submit your files as Word files to the volume editors: Dr. Benjamin Lefebvre (email@example.com) and Dr. Andrea McKenzie (firstname.lastname@example.org) by 15 September 2012. Queries are welcomed at any time.