{"id":35,"date":"2022-08-15T17:02:21","date_gmt":"2022-08-15T17:02:21","guid":{"rendered":"https:\/\/shirleyjacksonstudies.org\/?page_id=35"},"modified":"2026-03-20T13:47:17","modified_gmt":"2026-03-20T13:47:17","slug":"call-for-submissions","status":"publish","type":"page","link":"https:\/\/shirleyjacksonstudies.org\/?page_id=35","title":{"rendered":"Call for Submissions"},"content":{"rendered":"\n<h3 class=\"wp-block-heading\"><strong>Calls for Proposals for Vol. 4, Issue 2&#8211;Bodies &amp; Embodiment in Jackson [deadline: May 31, 2026]<\/strong><\/h3>\n\n\n\n<p class=\"\"><em>Shirley Jackson Studies<\/em> invites proposals exploring the role of the body and embodiment in the works of Shirley Jackson. The bodily experience\u2014fear, appetite, illness, gendered expectations, and the social regulation of bodies\u2014shapes both the psychological and supernatural dimensions of Jackson\u2019s work, which frequently interrogates the boundaries between self and society, mind and body, domestic space and physical vulnerability.<\/p>\n\n\n\n<p class=\"\">From the ritualized violence of \u201cThe Lottery\u201d to the embodied psychic sensitivity of Eleanor Vance in <em>The Haunting of Hill House<\/em> to the vulnerability of Miss Strangeworth\u2019s aging body in \u201cThe Possibility of Evil\u201d to \u201cThe Daemon Lover,\u201d in which the anxiety of a woman alone in a public space manifests itself through exhaustion and disorientation, Jackson\u2019s texts reveal how bodies become sites of discipline, anxiety, transformation, and resistance. Her depictions of domesticity, motherhood, illness, appetite, and social conformity invite rich discussion through lenses such as gender studies, disability studies, affect theory, and horror studies.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"\">This panel seeks papers that examine how Jackson\u2019s work represents the body as a locus of power, vulnerability, and social control. Possible topics include, but are not limited to:<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Gendered bodies and domestic confinement<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Food, appetite, and consumption<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Illness, disability, and mental health<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Ritual, violence, and sacrificial bodies<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Embodiment and haunting<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Bodies and space (houses, rooms, domestic architecture)<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Adolescence, sexuality, and bodily anxiety<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; The grotesque or abject body<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Social discipline and conformity<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Feminist and queer readings of embodiment<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Affect, sensation, and the body in horror<\/p>\n\n\n\n<p class=\"\">\u00b7 &nbsp; &nbsp; &nbsp; Adaptations of Jackson\u2019s works and the visualization of bodies<\/p>\n\n\n\n<p class=\"\">We welcome papers engaging any of Jackson\u2019s fiction, nonfiction, and adaptations.<\/p>\n\n\n\n<p class=\"\"><strong>Submission Guidelines<br><\/strong>Please use <a href=\"https:\/\/docs.google.com\/forms\/d\/e\/1FAIpQLSedLLYPLHFeypbU8u39BctGhCXxWWIV_4UoJgzIE1NJee29lA\/viewform?usp=sharing&amp;ouid=117203472903246023837\">this link<\/a> to submit a proposal and professional bio by May 31, 2026.<br><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Call for Proposals for Vol. 4, Issue 1&#8211;Jackson &amp; Animality [deadline extended: Feb. 1, 2026]<\/strong><\/h3>\n\n\n\n<p class=\"\">Jonas, Merricat\u2019s feline companion in <em>We Have Always Lived in the Castle<\/em>, is possibly the most recognizable animal in Jackson\u2019s oeuvre, casting his spells on various covers of the novel. He has been variously interpreted as a domestic animal, the adored pet of one of modern literature\u2019s most iconic \u201ccrazy cat ladies\u201d; a familiar, connecting Merricat and her sister Constance to a long history of both fictional and historical witches; and a non-human agent, whose complex bond with Merricat troubles the boundaries between culture and nature, human and animal, self and Other.&nbsp; Cats also appear as conspicuous actors in stories such as \u201cThe Man in the Woods\u201d, \u201cMy Uncle in the Garden\u201d and in many of Jackson\u2019s domestic tales. She herself kept many cats, including one named Shax, in honour of a demon described in the seventeenth-century grimoire, <em>The Lesser Key of Solomon<\/em>. Elsewhere, other animals, perhaps most notably the dog featured in her short story \u201cThe Renegade\u201d, have severed a powerful symbolic function. We seek submissions that examine the role, symbolism, and presence of animals (of all kinds) in the literature of Shirley Jackson. While much attention has been given to Jackson\u2019s uncanny, domestic, and psychological horror, comparatively little has focused on the non\u2010human beings that populate her world\u2014pets, pests, wild animals, spectral animals, animal imagery\u2014and how they contribute to her themes of otherness, fear, the pastoral\/domestic, power, and human anxiety.<\/p>\n\n\n\n<p class=\"\">Topics might include (but are not limited to):<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"\">Animal metaphors and imagery in Jackson\u2019s short stories and novels<\/li>\n\n\n\n<li class=\"\">Posthumanist, post-structuralist, or queer ecological perspectives on Jackson\u2019s treatment of animals (i.e., submissions that draw on theories by Donna Haraway, Timothy Morton, Jacques Derrida, Gilles Deleuze and F\u00e9lix Guattari, etc.,)&nbsp;<\/li>\n\n\n\n<li class=\"\">Pets \/ domestic animals and their symbolic, psychological, or social roles<\/li>\n\n\n\n<li class=\"\">Historical and literary accounts of witches\u2019 familiars<\/li>\n\n\n\n<li class=\"\">Wild animals, pests, vermin: fear, disgust, horror, thresholds between civilized\/domestic (human) and wild (animal)<\/li>\n\n\n\n<li class=\"\">Animality, as in what makes something \u201chuman\u201d vs. \u201canimal\u201d in Jackson\u2019s works, especially boundaries\/border crossings<\/li>\n\n\n\n<li class=\"\">Animal\/human transformation, anthropomorphism, or the uncanny in relation to animals<\/li>\n\n\n\n<li class=\"\">How animal presence contributes to atmosphere, Gothic horror, or the uncanny in Jackson<\/li>\n\n\n\n<li class=\"\">Ethical or ecological readings: nature vs. culture in Jackson, environmental anxieties, animal rights etc.<\/li>\n\n\n\n<li class=\"\">Comparative approaches: Jackson vs. other writers who use animals in horror\/domestic fiction<\/li>\n\n\n\n<li class=\"\">Adaptations that include or reinterpret animals in Jackson\u2019s work (film, TV, stage etc.)<\/li>\n<\/ul>\n\n\n\n<p class=\"\">Please send abstracts &amp; contact information <a href=\"https:\/\/docs.google.com\/forms\/d\/e\/1FAIpQLSedLLYPLHFeypbU8u39BctGhCXxWWIV_4UoJgzIE1NJee29lA\/viewform?usp=dialog\">via this form<\/a>. Deadline is February 1, 2026.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong><strong>Call for Proposals for Vol. 3, Issue 2 &#8211;Jackson in an Age of Anxiety [deadline extended: June 15, 2025<\/strong>]<\/strong><\/h3>\n\n\n\n<p class=\"\">Shirley Jackson\u2019s fiction is pervaded by a profound sense of anxiety, unease and even dread. In the short story \u201cNightmare\u201d, a young secretary undertakes a mundane errand that spirals into a horrific ordeal in which the very fabric of reality begins to warp and distort. In a similar tale, titled \u201cParanoia\u201d, an ordinary businessman finds himself the victim of a nefarious plot that gradually expands to encompass even his own family. Elsewhere, in works like the 1958 novel <em>The Sundial<\/em>, anxiety grows to apocalyptic proportions, as the world itself appears to be nearing its cataclysmic end.&nbsp;<\/p>\n\n\n\n<p class=\"\">In many of Jackson\u2019s stories and novels, the anxiety that seizes her characters is intimately linked to contemporary political and cultural concerns. The unease experienced by so many of her characters is bound up with rigid constructions of gender and sexuality (<em>The Haunting of Hill House<\/em>, <em>The Bird\u2019s Nest<\/em>, \u201cElizabeth\u201d, \u201cThe Demon Lover\u201d), oppressive social norms (\u201cThe Lottery\u201d), and tense socio-political dynamics (<em>The Sundia<\/em>l, \u201cThe Intoxicated\u201d). Thus, the majority of Jackson\u2019s characters can be read as struggling to navigating the \u201cAge of Anxiety\u201d that was the immediate post-World War II era and the early part of the Cold War, while others experience unease due to the severely limited possibilities open to them in the years before the civil rights movement, gay liberation and second-wave feminism. For many of these characters, anxiety is not simply a nebulous fear but a direct consequence of occupying a marginalised identity at a time when neither security nor basic rights were assured.<\/p>\n\n\n\n<p class=\"\">In the contemporary moment, Shirley Jackson\u2019s work resonates more than ever, as political instability, social fragmentation, economic uncertainty and concerted attacks on human rights evoke a pervasive sense of dread.This call seeks papers that explore how Jackson&#8217;s texts speaks to, reflects, or anticipates our current age of anxiety. How do her portrayals of paranoia, surveillance, alienation, domestic unease, and societal pressure illuminate the psychological and cultural tensions of both her time and ours? How do her portrayals of isolation, conformity, domestic dread, or supernatural horror speak to the present moment? What can Jackson&#8217;s narratives teach us about the cultural currents of fear in both her time and ours?<\/p>\n\n\n\n<p class=\"\">We welcome proposals that engage with Jackson&#8217;s work through diverse critical lenses, including (but not limited to):<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"\">Cultural or historical trauma<\/li>\n\n\n\n<li class=\"\">Anxiety in relation to gender, sexuality, race and class<\/li>\n\n\n\n<li class=\"\">Surveillance and paranoia<\/li>\n\n\n\n<li class=\"\">Social conformity and marginalization<\/li>\n\n\n\n<li class=\"\">The uncanny in everyday life<\/li>\n\n\n\n<li class=\"\">xenophobia, groupthink, or mob mentality<\/li>\n\n\n\n<li class=\"\">The unreliable self<\/li>\n\n\n\n<li class=\"\">The dismantling of the \u201cAmerican Dream\u201d<\/li>\n\n\n\n<li class=\"\">Themes of anxiety in adaptations of Jackson\u2019s work<\/li>\n<\/ul>\n\n\n\n<p class=\"\">Please send abstracts and contact information <a href=\"https:\/\/docs.google.com\/forms\/d\/e\/1FAIpQLSfgnGAQh2wZc1-oobASXi9SLRAwQA-qDL75xyl7HpqgcEUUVQ\/viewform?usp=header\">via this form<\/a>. Proposals are due by June 15, 2025.&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Call for Proposals for Vol. 3, Issue 1 &#8211;Jackson &amp; Adolescence [deadline extended&#8211;February 1, 2025 <\/strong>]<\/h3>\n\n\n\n<p class=\"\">\u201cHer life is controlled, possessed, by a shifting set of laws that make your garden-variety savage initiation rite look like milk time in the nursery school.\u201d&#8211;Shirley Jackson, \u201cOn Girls of Thirteen\u201d.<\/p>\n\n\n\n<p class=\"\">Shirley Jackson wrote extensively about the experiences of teenagers and young people across her considerable body of work. In her humorous domestic fiction, she, like many post-war adults, looked on in bemused wonder at the strange rites and rituals of the newly-formed teenage demographic. In her novels and short stories, she described young people navigating the often tumultuous, occasionally traumatic, passage from childhood to adulthood (<em>The Road Through the Wall, Hangsaman<\/em>, \u201cLouisia, Please Come Home\u201d). Her depictions of teenage girls, in particular, are often deeply complex and surprisingly nuanced, especially within the context of a culture that frequently dismissed female adolescents as greedy, frivolous, superficial and ridiculous. Multifaceted and possessed of a striking emotional and intellectual depth, her adolescent characters run the gamut from the clever, resourceful narrator who outwits the Devil himself in \u201cThe Smoking Room\u201d to the murderous Merricat Blackwood in <em>We Have Always Lived in the Castle<\/em>.<\/p>\n\n\n\n<p class=\"\">The depth and variety of Jackson\u2019s treatment of adolescence is perhaps all the more surprising when we consider that she was writing in age when the teenager was still a comparatively new cultural phenomenon, with the term \u201cteenager\u201d only emerging in the first half of the 1940s. In those years, teens became a flash point in a range of debates and discourses generated by everyone from parents and educators to manufacturers and advertisers. An increasingly powerful consumer base and an emblem of America\u2019s post-war prosperity, adolescents were also a source of anxiety as various authorities fretted over their rebellious attitudes, peer-focused social lives and byzantine dating practices.<\/p>\n\n\n\n<p class=\"\">In this issue, we seek to explore Jackson\u2019s interventions in the construction of the American teenager and how her work interrogates this nascent cultural icon. In doing so, we will investigate how Jackson employed the adolescent as an avatar through which to explore broader questions of gender, power and family dynamics. We are also interested in considering how Jackson\u2019s fictional adolescents anticipated many later trends in the development of Gothic, horror and YA fiction through her engagement with archetypes such as teenage witches, juvenile delinquents and awkward, directionless young adults.<\/p>\n\n\n\n<p class=\"\">Possible article topics include, but are not limited to:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"\">The representation of teenagers in Jackson\u2019s domestic stories<\/li>\n\n\n\n<li class=\"\">Jackson\u2019s teenagers and magazine market<\/li>\n\n\n\n<li class=\"\">Jackson and young adult fiction, film and\/or television<\/li>\n\n\n\n<li class=\"\">The figure of the adolescent or youth as inflected by race, class, gender, sexuality, etc.<\/li>\n\n\n\n<li class=\"\">Adolescents and family\/community power dynamics<\/li>\n\n\n\n<li class=\"\">Adolescence and the post-World War II American context (advertising, popular culture, music, media, moral panics)<\/li>\n\n\n\n<li class=\"\">Gothic childhood\/adolescence<\/li>\n<\/ul>\n\n\n\n<p class=\"\">Abstracts of 500 words plus short author bio should be sent to shirleyjacksonstudies@gmail.com by February 1, 2025. Upon acceptance, completed articles of 6,000-8,000 words will be due by May 30, 2025 with revisions to follow.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Calls for Vol. 2, Issue 2&#8211;Jackson &amp; Folklore<\/strong> [CLOSED]<\/h3>\n\n\n\n<p class=\"\">In a lecture titled \u201cBiography of a Story,\u201d Shirley Jackson described how, in the weeks and months following the 1948 publication of her short story \u201cThe Lottery\u201d, she received numerous letters from curious readers wishing to know \u201cwhere these lotteries were held, and whether they could go there and watch.\u201d The fictional folk tradition relayed in the story took on, at least for some readers, the appearance of a grim reality, a monstrous tradition passed on through the generations in some isolated corner of New England. While the ritual described in \u201cThe Lottery\u201d was undoubtedly conjured up from the depths of Jackson\u2019s own imagination, she often drew heavily on themes, conventions, and language derived from folklore, fairy tales, and mythic traditions.&nbsp;<\/p>\n\n\n\n<p class=\"\">Further, in her 1950 story \u201cA Visit\u201d (also known as \u201cThe Lovely House\u201d) Jackson imbues her nightmarish tale of domestic entrapment with characters and motifs drawn directly from fairy tales (an ancient crone; a high, forbidding tower). In other stories, such as \u201cThe Smoking Room\u201d and \u201cDevil of a Tale\u201d, she plays with folkloric renditions of the Devil as a trickster, or as the victim of a superior trickster. Her most well-known collection, <em>The Lottery,<\/em> abounds with references to a folkloric figure, typically associated with popular British and American ballads, known as the Demon Lover. In her novels, too, Jackson frequently incorporates elements of folklore, with characters such as <em>We Have Always Lived in the Castle<\/em>\u2019s Merricat Blackwood engaging in idiosyncratic forms of sympathetic magic.&nbsp;<\/p>\n\n\n\n<p class=\"\">In recent years, critics have also attempted to situate Jackson\u2019s work within the tradition of folk horror, a cinematic and literary genre concerned with themes of rural isolation, perverted pagan belief systems, the weight of history and the sinister power of the landscape. Tales such as \u201cThe Summer People\u201d, wherein a vacationing New York couple find themselves (possibly) victimized by the inhabits of small country town after making the unprecedented decision to remain after Labour Day, certainly fit with some of the key concerns of this genre.<\/p>\n\n\n\n<p class=\"\">This issue of <em>Shirley Jackson<\/em> <em>Studies<\/em> will investigate Jackson\u2019s use of folklore, folk traditions, and fairy tales across her entire body of work. We are also interested in mapping the transformation of folkloric themes and motifs in adaptations of Jackson\u2019s work and in tracing her influence on contemporary folk horror texts.<\/p>\n\n\n\n<p class=\"\">Possible article topics include, but are not limited to:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"\">Folklore in Jackson\u2019s novels and short stories (folk tales, traditions, songs, archetypes, etc.)<\/li>\n\n\n\n<li class=\"\">Fairy tale elements in Jackson\u2019s work, particularly her reimagining of fairy-tale conventions and figures<\/li>\n\n\n\n<li class=\"\">Folkloric figures in Jackson\u2019s oeuvre (e.g., The Demon Lover, witches, etc.)<\/li>\n\n\n\n<li class=\"\">Myth, ritual, and tradition in Jackson\u2019s work<\/li>\n\n\n\n<li class=\"\">Reading Jackson as folk horror<\/li>\n\n\n\n<li class=\"\">Jackson\u2019s influence on contemporary folk horror (film, literature, television, etc.)<\/li>\n<\/ul>\n\n\n\n<p class=\"\">Abstracts of 500 words plus short author bio should be sent to shirleyjacksonstudies@gmail.com by April 15, 2024. Upon acceptance, completed articles of 6,000-8,000 words will be due by September 30, 2024 with revisions to follow.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Call for Proposals for Vol. 2, Issue 1 &#8211;Queer(ing) Jackson<\/strong> [closed]<\/h3>\n\n\n\n<p class=\"\"><strong><em>Shirley Jackson Studies,<\/em><\/strong> <strong>Vol. 2, Issue #1: <\/strong><\/p>\n\n\n\n<p class=\"\"><strong>Queer(ing) Jackson<\/strong><\/p>\n\n\n\n<p class=\"\">In his now canonical work <em>Monsters in the Closet: Homosexuality and the Horror Film<\/em>, Harry M. Benshoff describes queerness as that which \u201copposes the binary definitions and proscriptions of a patriarchal heterosexism.\u201d For Benshoff, \u201cQueer can be a narrative moment, or a performance or stance which negates the oppressive binarisms of the dominant hegemony.\u201d Queer, then, has the capacity to embody a multitude of challenging or oppositional stances, playing with or subverting gender binaries, heteropatriarchal orders, political hegemonies, and ingrained systems of meaning. Queer can be playful, daring, and defiant.<\/p>\n\n\n\n<p class=\"\">The work of Shirley Jackson has provided a wellspring of material for scholars interested in literary queerness. From her portrayal of queer, or queer-coded, relationships in novels such as <em>Hangsaman <\/em>(1951) and <em>The Haunting of Hill House <\/em>(1959) to her radical queering of the patriarchal family in <em>We Have Always Lived in the Castle <\/em>(1962), Jackson\u2019s work repeatedly challenges binaries, creating radically different ways of being outside of the rigid social norms of mid-century America. Likewise, creators who later reimagined Jackson\u2019s work on stage, screen and in various literary forms have often centralized queerness in unique and productive ways. In the Netflix adaptation of <em>The Haunting of Hill House<\/em> (2018), Theo\u2019s queerness is rendered explicit and framed within a distinctly twenty-first-century context. Similarly, Elizabeth Hand\u2019s <em>A Haunting on the Hill <\/em>(2023)\u2013 the first authorized novel to take place in the world of Jackson\u2019s 1959 original \u2013 also foregrounds the experiences of a same-sex couple. This issue of <em>Shirley Jackson Studies<\/em> seeks to explore the centrality of queerness in Jackson\u2019s extensive body of work, as well as within the numerous adaptations and reimaginings based on that work. The issue will investigate not only themes of gender and sexuality, but broader manifestations of queerness in all its many forms.<\/p>\n\n\n\n<p class=\"\">Possible article topics might include, but are not limited to:<\/p>\n\n\n\n<p class=\"\">&#8211;&nbsp; Jackson and Queer Studies<\/p>\n\n\n\n<p class=\"\">&#8211;&nbsp; Gender and sexuality in Jackson\u2019s work<\/p>\n\n\n\n<p class=\"\">&#8211;&nbsp; Queering genre<\/p>\n\n\n\n<p class=\"\">&#8211;&nbsp; Trans* themes in Jackson&#8217;s work<\/p>\n\n\n\n<p class=\"\">&#8211;&nbsp; Queer ecologies, animal studies<\/p>\n\n\n\n<p class=\"\">&#8211;&nbsp; Ghosts, spectralities, and queerness<\/p>\n\n\n\n<p class=\"\">&#8211;&nbsp; Queerness in mid-twentieth-century US culture<\/p>\n\n\n\n<p class=\"\">&#8211;&nbsp; Embodiment and corporeality<\/p>\n\n\n\n<p class=\"\">&#8211;&nbsp; Queer adaptations\/queerness in adaptation<\/p>\n\n\n\n<p class=\"has-link-color wp-elements-09c713341071f1f218b008e1b86d6bf1\">Abstracts of 500 words plus short author bio should be sent to shirleyjacksonstudies@gmail.com by October 1, 2023. If accepted, completed articles of 6,000-8,000 words will be due by March 31, 2024 with revisions to follow.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Call for Vol. 1, Issue 2&#8211;Visualizing Jackson<\/strong> [CLOSED]<\/h3>\n\n\n\n<p class=\"\"><strong><em>Shirley Jackson Studies<\/em><\/strong><strong>, Vol. 1, Issue 2<\/strong><\/p>\n\n\n\n<p class=\"\"><strong>Visualizing Jackson<\/strong><\/p>\n\n\n\n<p class=\"\">[January 23, 2023]: In her groundbreaking study <em>A Theory of Adaptation<\/em>, Linda Hutcheon discusses \u201ctranscoding,\u201d or exploring how texts, in the movement across media, genres, and forms, must adapt to a new set of representational conventions. Transposing a work from the page to a more visual format, be it stage, screen or visual arts, raises key questions about how characters, narrative devices, plot points, and ideas might be remediated according to new modes of perception or engagement.&nbsp;<\/p>\n\n\n\n<p class=\"\">Shirley Jackson\u2019s work has been consistently adapted across different media: her 1954 novel <em>The Birds Nest<\/em> was filmed as <em>Lizzie<\/em> (1957) while <em>The Haunting of Hill House <\/em>(1959) became the classic horror film <em>The Haunting <\/em>(1963), before being adapted to film again in 1999 and then reimagined as the Netflix original series <em>The Haunting of Hill House<\/em> (2018). These film adaptations raise vital questions about how Jackson\u2019s complex literary worlds might be represented on screen. How can her psychologically nuanced characters and unsettling fictional worlds be recreated in the cinematic mise-en-sc\u00e8ne? What role might performance, costuming, set design, and editing play in conveying, visually, Jackson\u2019s literary creations?<\/p>\n\n\n\n<p class=\"\">Beyond the screen, Jackson\u2019s works have also been visualised in other ways. In 2022, the Bottle Alley theatre company performed a play based on <em>We Have Always Lived in the Castle <\/em>at the Neill-Cochran House Museum. Earlier, in 2016, Jackson\u2019s grandson, the artist Miles Hyman adapted her classic short story \u201cThe Lottery\u201d as a graphic novel, with a Grant Wood inspired Gothic sensibility. What might these distinct remediations of Jackson\u2019s work tell us about the imaginative power of her work? Similarly, what do other visualisations of Jackson\u2019s work\u2013from book covers to illustrations and fan art and merchandise\u2013tell us about how her work is received and understood?<\/p>\n\n\n\n<p class=\"\">This issue of <em>Shirley Jackson Studies <\/em>seeks to explore the startling variety of ways in which Jackson\u2019s work has been reimagined visually, from stage to screen to comic book panel and beyond.&nbsp;<\/p>\n\n\n\n<p class=\"\">Possible article topics include, but are not limited to:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"\">Jackson and adaptation theory<\/li>\n\n\n\n<li class=\"\">Adaptation, appropriation and remediation<\/li>\n\n\n\n<li class=\"\">Jackson on screen&nbsp;<\/li>\n\n\n\n<li class=\"\">Performing Jackson<\/li>\n\n\n\n<li class=\"\">Book covers, marketing and paratext<\/li>\n\n\n\n<li class=\"\">Comics and graphic novels<\/li>\n\n\n\n<li class=\"\">Jackson and fashion<\/li>\n<\/ul>\n\n\n\n<p class=\"\">Abstracts of 500 words plus short author bio should be sent to shirleyjacksonstudies@gmail.com by April 15, 2023. Upon acceptance, completed articles of 6,000-8,000 words will be due by September 30, 2023 with revisions to follow.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Call for Inaugural Issue&#8211;The Jackson Legacy<\/strong> [CLOSED]<\/h3>\n\n\n\n<p class=\"\">[August 15, 2022]: Ghosts, witches, devils, uncanny beings, vanished people, and other figures repressed in modern society re-emerge time and again throughout Shirley Jackson\u2019s work. It is perhaps appropriate, then, that after decades of critical and cultural neglect, Jackson and her work have returned to haunt the popular imagination. In recent years, a spate of new adaptations based on her work \u2013 <em>The Haunting of Hill House <\/em>(Netflix, 2018) and <em>We Have Always Lived in the Castle <\/em>(2018) \u2013 has reignited mainstream interest in Jackson\u2019s prodigious literary output. At the same time, new academic studies \u2013 including <em>Shirley Jackson, Influences and Confluences<\/em> (2016), <em>Shirley Jackson and Domesticity: Beyond the Haunted House <\/em>(2020), and <em>Shirley Jackson: A Companion<\/em> (2021) \u2013 have ensured Jackson\u2019s place within the scholarly canon. The publication of Ruth Franklin\u2019s biography <em>A Rather Haunted Life<\/em> in 2016, followed by Jackson\u2019s collected letters in 2021, along with the 2020 film <em>Shirley <\/em>(based on Susan Scarf Merrell\u2019s novelization of Jackson\u2019s life) has also generated widespread interest in her life and work.&nbsp; Similarly, conferences such as the 2021\u2019s Reading Shirley Jackson in the Twenty-First Century event and the recent formation of the Shirley Jackson Society have stimulated new discussions about Jackson&#8217;s legacy.<\/p>\n\n\n\n<p class=\"\">With these new developments in mind, <em>Shirley Jackson Studies<\/em> will publish its inaugural issue on the subject of \u201cThe Jackson Legacy.\u201d We invite papers from scholars at all stages of their careers that explore the factors (social, cultural, material, political) informing the current popular reappraisal of Jackson\u2019s oeuvre. We ask prospective authors to consider the reasons for the recent surge of interest in Jackson\u2019s work at this particular moment in time, the significance of new or re-issued publications by or about Jackson, and the aesthetic, literary, and cultural significance of new adaptations of her work. We also encourage authors to consider how new theoretical frameworks might lend themselves to a reconsideration of Jackson\u2019s works.<\/p>\n\n\n\n<p class=\"\">Potential topics may include (but are not limited to):<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"\">Critical and popular (re)appraisals of Shirley Jackson<\/li>\n\n\n\n<li class=\"\">Shirley Jackson and the literary canon<\/li>\n\n\n\n<li class=\"\">Teaching Jackson and Jackson in the classroom<\/li>\n\n\n\n<li class=\"\">Biographical\/semi-biographical works about Jackson (e.g., <em>A Rather Haunted Life<\/em>, <em>Shirley <\/em>(2020))<\/li>\n\n\n\n<li class=\"\">Jackson and new media\/streaming<\/li>\n\n\n\n<li class=\"\">Adaptations, influences, and reimaginings<\/li>\n\n\n\n<li class=\"\">Works neglected by the current reconsideration of her work (e.g., her magazine writing, domestic fiction, children\u2019s writing)<\/li>\n\n\n\n<li class=\"\">New critical perspectives (literary theory, film\/adaptation studies, queer theory, critical race theory, gender studies)<\/li>\n\n\n\n<li class=\"\">Recovering suppressed or marginalized identities in Jackson\u2019s work (i.e., people of color, LGBTQ+ individuals)<\/li>\n<\/ul>\n\n\n\n<p class=\"\">Abstracts of 500 words plus short author bio should be sent to <a href=\"mailto:shirleyjacksonstudies@gmail.com\">shirleyjacksonstudies@gmail.com<\/a> by October 1, 2022. Upon acceptance, completed articles of 6,000-8,000 words will be due by March 31, 2023.&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Calls for Proposals for Vol. 4, Issue 2&#8211;Bodies &amp; Embodiment in Jackson [deadline: May 31, 2026] Shirley Jackson Studies invites proposals exploring the role of the body and embodiment in the works of Shirley Jackson. The bodily experience\u2014fear, appetite, illness, gendered expectations, and the social regulation of bodies\u2014shapes both the psychological and supernatural dimensions of [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-35","page","type-page","status-publish","hentry"],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Call for Submissions - Shirley Jackson Studies<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/shirleyjacksonstudies.org\/?page_id=35\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Call for Submissions - Shirley Jackson Studies\" \/>\n<meta property=\"og:description\" content=\"Calls for Proposals for Vol. 4, Issue 2&#8211;Bodies &amp; Embodiment in Jackson [deadline: May 31, 2026] Shirley Jackson Studies invites proposals exploring the role of the body and embodiment in the works of Shirley Jackson. 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