UPDATE: Canadian Travel Writing (4/15/01; RMMLA, 10/11/01-10/13/01)

From: A. Mary Murphy (ammurphy@canuck.com)
Date: Fri Mar 02 2001 - 18:44:04 EST

  • Next message: Phyllis Perrakis: "CFP: Doris Lessing and Kate Chopin (3/15/01; MLA '01)"

    This is a notice for an extended deadline for proposals, which should be =
    included in the body of an e-mail message to ammurphy@canuck.com. The =
    session is an approved special topic for Vancouver, October 11-13, 2001. =
    Please forward this cfp to any interested persons.

    Canadian Travel Writing: Extreme Tourism in the Twentieth Century

    There are still places to go and journeys to be written into stories. =
    The physical world may be thoroughly charted but when it encounters the =
    uncharted territory of the intellectual, psychological, and creative =
    worlds of the extreme tourist, extreme stories result. In a tradition =
    which includes David Thompson and Mina Hubbard, this branch of travel =
    writing is as much about the journey in as the journey out. The element =
    of risk is integral; these are not holidays. Papers which address any =
    aspect of the resultant documents of extreme travel are invited. More =
    than just maniacs who engage in high-risk behaviour, these travellers =
    want to risk and tell. Look to Sand Dance: By Camel Across the Arabian =
    Desert (Bruce Kirkby); The Water in Between: A Journey at Sea (Kevin =
    Patterson); and Honeymoon in Purdah (Alison Wearing) as very recent =
    examples of this phenomenon. When a caf=E9 just isn't our Everest, when =
    the beach is no Empty Quarter, where do we go, and why do we go, and =
    what have we got to say for ourselves when we get home? What are we =
    trying to prove? To whom? And what makes others of us want to read about =
    it? Somewhere there is a line between sailing on the reservoir and =
    white-water rafting; then there's another one between that and taking on =
    an ocean. There's a line between watching Lawrence of Arabia and heading =
    out to meet the scorpions. There's a line between dinner at an Iranian =
    restaurant and putting on the veil. What does it take to cross the line? =
    And, most importantly, what kind of story does it make?

             ===============================================
             From the Literary Calls for Papers Mailing List
                          CFP@english.upenn.edu
                           Full Information at
                    http://www.english.upenn.edu/CFP/
              or write Erika Lin: elin@english.upenn.edu
             ===============================================



    This archive was generated by hypermail 2b29 : Mon Mar 05 2001 - 12:16:09 EST