CFP: O’Neill Review

The Eugene O’Neill Review has been publishing scholarship about Eugene
O’Neill and his milieu for thirty-two years, for most of that time as
an annual. It has just reorganized, with a new publisher (Penn State
University Press), a new editor (William Davies King), a new home base
(UC Santa Barbara), and a new publication schedule (biannual).  The
Review, which continues to be sponsored by the Eugene O’Neill Society,
will now be fully indexed and archived on JSTOR and Project Muse.

We invite scholars and critics to contribute to the journal in this
new phase of its existence. Fully peer-reviewed, the journal is open
to critical, historical, or theoretical articles that in some way
intersect with the life and career of Eugene O’Neill, including
collaborators (e.g. the Provincetown Players, Susan Glaspell, etc.),
influences (e.g. Strindberg in America), inheritors (e.g. the
Neo-Futurists’s production of the stage directions from O’Neill’s
early plays), global reverberations (e.g. Nietzsche in China in Marco
Millions), and other tangents, co-tangents, and secants. Most articles
will be in the 3-8000 word range, but exceptions can be made for
especially important longer pieces, also shorter “notes” on highly
focused topics, such as newly discovered documents.  We will also
consider publishing edited documents of unusual interest. Queries to
the editor are welcome. Submissions should be made electronically and
follow the Chicago Manual of Style (with endnotes).

We also publish book reviews, including more general treatments of
American drama, and performance reviews. Typical length would be
800-1500 words, but longer review essays may be proposed.

Submit articles and queries to:  William Davies King, University of
California Santa Barbara, Editor

Book reviews and queries to: Kurt Eisen, Tennessee Tech University,
Book Review Editor

Performance reviews and queries to: J. Chris Westgate, California
State University Fullerton, Performance Review Editor

Editorial Board

Steven F. Bloom—Lasell University
Stephen A. Black—Simon Fraser University, emeritus
Judith E. Barlow—SUNY Albany
Patrick Chura—University of Akron
Robert M. Dowling—Central Connecticut State University
Zander Brietzke—Columbia University
Eileen J. Herrman—Dominican University
Bette Mandl—Suffolk University, emerita
Brenda Murphy—University of Connecticut
Laurin Porter—University of Texas, Arlington, emeritus
Erika Rundle—Mt. Holyoke College


About Sarah Bay-Cheng

Professor of Theater at Bowdoin College. Co-host for the On TAP (Theatre and Performance Studies) podcast at Editor for the book series Avant-Gardes in Performance (Palgrave). Sporadically blogging about theatre, performance, and digital culture. twitter: @performaddict
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