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Eugene O'Neill Review


The Eugene O’Neill Review is the official academic journal of the Eugene O’Neill Society, an organization of scholars, theatre professionals, and enthusiasts founded in 1978. After twelve volumes as the Eugene O’Neill Newsletter, the EOR first debuted in 1989, “with a sophisticated appearance and packaging appropriate to its loftier name,” in the words of its founding editor, Frederick C. Wilkins. The EOR is now published biannually by the Pennsylvania State University Press, sponsored by the Eugene O’Neill Society, edited by Alexander Pettit of the University of North Texas, and indexed on JSTOR and Project Muse. Previews are available gratis on JSTOR.

We publish authoritative peer-reviewed essays and notes, aimed primarily at a community of scholars with a keen interest in O’Neill’s life and writings. Studies might focus on theatrical or literary history, including biography, or on critical interpretation or pedagogy. Consideration will be given to submissions on topics relevant to but not focused on O’Neill, including comparative work and work on O'Neill's colleagues and collaborators in the Provincetown Players and elsewhere. Diverse methods and perspectives are encouraged; clear, correct, and readable prose is expected. By commission, we publish little-known or rediscovered documents, with appropriate contextualizing (Lost & Found); variously configured discussions among theatre makers and other specialists (Practitioners' Colloquia); reviews of dramatic performances and pertinent books; and reports of newly opened or augmented archives. Occasionally we publish creative work that represents or invokes O'Neill.

Critical and historical essays generally comprise 5000–10,000 words, although we sometimes consider longer but leanly written submissions. Notes tend to run 2000‒4000 words in length. We do not publish unrevised dissertation chapters or conference talks that have not been substantially reconfigured for a reading public. Commissioned reviews of 1000–1800 words should speak to what is memorable or otherwise important about a book or performance. All submissions should adhere to the guidelines explicated in the current edition of the Chicago Manual of Style, as augmented by the style sheet available here.

Submissions should be sent through the PSUP's Editorial Manager portal. Please visit that portal to create an author profile and to find further instructions about submitting your work.

For general inquiries, contact Alexander Pettit, editor, at EOReditor@gmail.com. For book reviews, contact Zander Brietzke (zbrietzke@gmail.com); for performance reviews, contact Bess Rowen (Bess.Rowen@gmail.com). Supplemental style sheets for book and performance reviews are available upon request.

The Eugene O'Neill Review endeavors to evaluate submission within six weeks of their receipt.

Contributors are encouraged but not required to become members of the Eugene O'Neill Society. Please visit the Society Membership page. Advantages include receipt of both issues of the EOR in a given year. New members enjoy two years of sharply discounted dues.

CALL FOR PROPOSALS: Susan Glaspell, Eugene O'Neill, and the Transatlantic Experience

> The International Susan Glaspell Society and the Eugene O'Neill Review seek proposals for papers that discuss Glaspell and/or O'Neill in terms of transatlantic literary culture in the modernist era (i.e. questions of transatlantic travel, influence, innovation, performance, reception, publication, etc.). We also welcome proposals relating any other Provincetown Players to their British/European contemporaries, as well as proposals focusing on any topic related to Glaspell or O'Neill in a transatlantic biographical, historical, theoretical, or pedagogical context.

Some questions: What friendship and misunderstandings do we find among these writers on either side of the Atlantic? How did Glaspell and O'Neill read Britain, France, Spain, Greece, or other European nations, and how did the Europeans read them? How did the Provincetowners define class difference or political alighments in comparison with their British/European counterparts? Did issues of gender and/or race play into their concepts of national identity or selfhood? How have these affinities shaped, or how might they alter, the way we conceptualize "our" authors, "their" authors, and even these national literatures? What is the afterlife of this modernist transatlantic encounter in popular, dramatic, literary, or academic culture of the present day?

Submit 1-2 page abstracts to guest co-editors Martha Carpentier (martha.carpentier@shu.edu) and Jeffery Kennedy (jtkennedy@asu.edu) by 15 April 2021. Authors of successful abstracts will be invited to submit essays of 6,000 to 8,000 words by 15 October 2021. These will be refereed by the guest co-editors, in addition fo EOR editor Alex Pettit and readers from the EOR board.

Alexander Pettit, University of North Texas

Zander Brietzke, independent scholar

Bess Rowen, Villanova University

Judith E. Barlow, University at Albany, SUNY, emerita
Steven F. Bloom, Lasell University, emeritus
Patrick Chura, University of Akron
David Clare, Mary Immaculate College, University of Limerick
Robert M. Dowling, Central Connecticut State University
Drew Eisenhauer, Lycée International Bossuet de Meaux
Anne Fletcher, Southern Illinois University
Noelia Hernando-Real, Universidad Autonoma de Madrid
William Davis King, UC Santa Barbara
Brenda Murphy, University of Connecticut, emerita
J. Chris Westgate, California State University, Fullerton
Beth Wynstra, Babson College
Shiyan Xu, Nanjing Normal University

John Bonin and Lainey Griffith, University of North Texas

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