Submissions

Tulsa Studies in Women’s Literature welcomes the submission of Articles, Notes, Archives, and Innovations essays on women’s literature in all time periods and places, including foreign-language literatures, and in every genre—poetry, prose, drama, essays, diaries, memoirs, journalism, and criticism. While submissions need not be exclusively concerned with female writers, the focus must be on women and writing, explicating the specific links between the woman writer and her work. Tulsa Studies particularly encourages work in feminist critical and literary theory.

Articles must place the writer and her work in some larger literary, historical, political, or social framework and argue a thesis that encompasses more than a reading of a single text or several texts by a single author. Articles should be 6,000 to 9,000 words, excluding endnotes. Please also send an abstract of no more than 100-200 words. Notes can be up to 4,000 words and need to present 1) new, factual material concerning a writer or her work; or 2) illuminate a problem of textual interpretation based on factual bibliographical or biographical information. Archives essays should be presented as bibliographies, descriptions of particular archives, or narratives of archival research. They should be limited to 1500-3000 words (for further information, see p. 144 of Vol. 5, No. 1, and pp. 213-14 of Vol. 25, No. 2). Innovations essays are descriptions of new approaches to the study of women’s writing, such as digital humanities projects, or reflections on the effects of such projects on the field; they are approximately 2000-5000 words (see pp. 214-15 of Vol. 25, No. 2). Archives and Innovations essays usually are not subjected to peer review but are vetted directly by the editorial staff. Tulsa Studies also publishes Book Reviews, which are requested by the Book Review Editor, and Review Essays, which are commissioned by the Editor.

All submissions must use endnotes that conform to the most recent edition of The Chicago Manual of Style. Contributors are responsible for providing complete and accurate bibliographical documentation. All submissions must be in English; foreign-language quotations will be printed with accompanying English-language translations provided by the author. Submissions are given anonymous review. Contributors’ names should not appear on manuscripts (but rather on a cover letter and abstract); authors may speak in the first person but should not identify themselves by name in the text of the essay or in the accompanying notes. All submissions to Tulsa Studies that meet the criteria detailed above will receive one or two readings by members of the Editorial Board or specialist readers and a reading by the Editor. Final decisions for publication rest with the Editor.

Tulsa Studies requests that electronic submissions be made as Microsoft Word attachments and sent to tswl@utulsa.edu. Please include contact information in a cover letter or email. An abstract should be sent as a separate document. If preferred, an original and three copies of a paper manuscript may be submitted with a self-addressed envelope bearing postage sufficient for the return of one copy of the manuscript (U. S. postage only; manuscripts to international addresses cannot be returned). Address submissions to Editor, Tulsa Studies in Women’s Literature, 800 S. Tucker Drive, Tulsa, OK 74104.

Tulsa Studies does not consider submissions that have been published or are under consideration elsewhere. The University of Tulsa holds copyright on all published materials.


Book Reviews

Publishers may send review copies to the following address:

Attn: Book Review Editor
Tulsa Studies in Women’s Literature
University of Tulsa
800 South Tucker Drive
Tulsa, Oklahoma 74104


Current List of Books Received

American Blood: The Ends of the Family in American Literature, 1850-1900. By Holly Jackson. Oxford: Oxford University Press, 2013.

Ananda Devi: Feminism, Narration, and Polyphony. By Ritu Tyagi. New York: Rodopi, 2013.

Better Britons: Reproduction, National Identity, and the Afterlife of Empire. By Nadine Attewell. Toronto: University of Toronto Press, 2014.

Between the Novel and the News: The Emergence of American Women’s Writing. By Sari Edelstein. Charlottesville: University of Virginia Press, 2014.

The Cambridge Companion to Elizabeth Bishop. Edited by Angus Cleghorn and Jonathan Ellis. Cambridge: Cambridge University Press, 2014.

Champions for Peace: Women Winners of the Nobel Peace Prize. By Judith Hicks Stiehm. Second Edition. Lanham, MD: Rowman and Littlefield, 2014.

Conflict Bodies: The Politics of Rape Representation in the Francophone Imaginary. By Régine Michelle Jean-Charles. Columbus: Ohio State University Press, 2014.

Economic Women: Essays on Desire and Dispossession in Nineteenth-Century British Culture. Edited by Lana L. Dalley and Jill Rappoport. Columbus: Ohio State University Press, 2013.

Edna Ferber’s America. By Eliza McGraw. Baton Rouge: Louisiana State University Press, 2014.

Elemental. By Tara Mantel. Livingston, AL: Livingston Press, 2014.

Eugenic Feminism: Reproductive Nationalism in the United States and India. By Asha Nadkarni. Minneapolis: University of Minnesota Press, 2014.

The Female Face of Shame. Edited by Erica L. Johnson and Patricia Moran. Bloomington: Indiana University Press, 2013.

Fear, Loathing, and Victorian Xenophobia. Edited by Marlene Tromp, Maria K. Bachman, and Heidi Kaufman. Columbus: Ohio State University Press, 2013.

The Heart and Stomach of a King: Elizabeth I and the Politics of Sex and Power. By Carole Levin. Second Edition. Philadelphia: University of Pennsylvania Press, 2014.

The High Caul Cap. By Medbh McGuckian. Winston-Salem: Wake Forest University Press, 2013.

The Homoerotics of Orientalism. By Joseph Allen Boone. New York: Columbia University Press, 2014.

In the Thick of the Fight: The Writings of Emily Wilding Davison, Militant Suffragette. By Carolyn P. Collette. Ann Arbor: University of Michigan Press, 2013.

Keep Quiet. By Lisa Scottoline. New York: St. Martin’s Press, 2014.

Learning and Literacy in Female Hands, 1520-1698. By Elizabeth Mazzola. Women and Gender in the Early Modern World. Burlington, VT: Ashgate, 2013.

The L. M. Montgomery Reader. Volume I: A Life in Print. Edited by Benjamin Lefebvre. Toronto: Toronto University Press, 2013.

Making Figures: Reimagining Body, Sound, and Image in a World That is Not for Us. By Bruce Bromley. Champaign, IL: Dalkey Archive Press, 2014.

Marjorie Harris Carr: Defender of Florida’s Environment. By Peggy Macdonald. Gainesville: University of Florida Press, 2014.

Mary Lavin. Edited by Elke D’hoker. Co. Kildare: Irish Academic Press, 2013.

The Matrimonial Trap: Eighteenth-Century Women Writers Redefine Marriage. By Laura E. Thomason. Transits: Literature, Thought, and Culture. Lewisburg: Bucknell University Press, 2014.

Medea: A Novel. By Richard Matturro. Drawings by Mary Trevor Thomas. Livingston, AL: Livingston Press, 2014.

Other Lives. By Iman Humaydan. Translated by Michelle Hartman. Northampton, MA: Interlink Books, 2014.

The Past That Might Have Been, the Future That May Come: Women Writing Fantastic Fiction, 1960s to the Present. By Lauren J. Lacey. Critical Explorations in Science Fiction and Fantasy. Jefferson, NC: McFarland and Company, 2013.

Poetry, Geography, Gender: Women Rewriting Contemporary Wales. By Alice Entwistle. Gender Studies in Wales. Cardiff: University of Wales Press, 2013.

Rethinking Chaucer’s Legend of Good Women. By Carolyn P. Collette. Rochester, NY: Boydell Press, 2014.

Reverie and Reality: Poetry on Travel by Late Imperial Chinese Women. By Yanning Wang. Lanham, MD: Lexington Books, 2014.

Sentimental Readers: The Rise, Fall, and Revival of a Disparaged Rhetoric. By Faye Halpern. Iowa City: University of Iowa Press, 2013.

Servants’ Hall: A Real Life Upstairs, Downstairs Romance. By Margaret Powell. New York: St. Martin’s Griffin, 2014.

Sherazade: Missing: aged 17, dark curly hair, green eyes. By Leïla Sebbar. Translated by Dorothy S. Blair. North Hampton, MA: Interlink Books, 2014.

Teaching French Women Writers of the Renaissance and Reformation. Edited by Colette H. Winn. New York: Modern Language Association of America, 2011.

Touch. By Adania Shibli. Translated by Paula Haydar. Northampton, MA: Clockroot Books, 2010.

A True Novel. By Minae Mizumura. Translated by Juliet Winters Carpenter. New York: Other Press, 2013.

Victorian Art Criticism and the Woman Writer. By John Paul M. Kanwit. Columbus, Ohio State University Press, 2013.

Victorian Women Writers, Radical Grandmothers, and the Gendering of God. By Gail Turley Houston. Columbus: Ohio State University Press, 2013.

Virginia Woolf, Jane Ellen Harrison, and the Spirit of Modernist Classicism. By Jean Mills. Columbus: University of Ohio Press, 2014.

Women and Comedy: History, Theory, Practice. Edited by Peter Dickinson, Anne Higgins, Paul Matthew St. Pierre, Diana Solomon, and Sean Zwagerman. Lanham, MD: Fairleigh Dickinson University Press, 2013.

Mary Wollstonecraft Sojourner Truth Margaret Atwood Abigail Adams Amy Tan H.D. Simone de Beauvoir Zora Neale Hurston Frances Burney Virginia Woolf

"The white saxifrage with the indented leafe is moste commended for the breakinge of the Stone."

— Turner, Herbal, III, 68 [1568]