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 6,000-9,000 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 1,500-3,000 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 2,000-5,000 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 firstname.lastname@example.org. 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.
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
Ali and His Russian Mother. By Alexandra Chreiteh. Translated by Michelle Hartman. Northampton, MA: Interlink Books, 2015.
Approaches to Teaching Austen’s Mansfield Park. Edited by Marcia McClintock Folsom and John Wiltshire. New York: The Modern Language Association of America, 2014.
The Boys of Bluelhil. By Eiléan Ní Chuilleanáin. Winston-Salem, NC: Wake Forest University Press, 2015.
Changing the Subject: Writing Women across the African Diaspora. By K. Merinda Simmons. Columbus: Ohio State University Press, 2014.
Daughters of Alchemy: Women and Scientific Culture in Early Modern Italy. By Meredith K. Ray. I Tatti Studies in Italian Renaissance History. Cambridge, MA: Harvard University Press, 2015.
Dreams of Maryam Tair: Blue Boots and Orange Blossoms. By Mhani Alaoui. Northampton, MA: Interlink Books, 2015.
Embroidering the Scarlet A: Unwed Mothers and Illegitimate Children in American Fiction and Film. By Janet Mason Ellerby. Ann Arbor: University of Michigan Press, 2015.
Erotic Infidelities: Love and Enchantment in Angela Carter’s The Bloody Chamber. By Kimberly J. Lau. Series in Fairy-Tale Studies. Detroit: Wayne State University Press, 2015.
A Feminine Enlightenment: British Women Writers and the Philosophy of Progress, 1759-1820. By JoEllen DeLucia. Edinburgh Critical Studies in Romanticism. Edinburgh: Edinburgh University Press, 2015.
Flannery O’Connor: Fiction Fired by Faith. By Angela Alaimo O’Donnell. Collegeville, MN: Liturgical Press, 2015.
Forging Shoah Memories: Italian Women Writers, Jewish Identity, and the Holocasut. By Stefania Lucamante. Italian and Italian American Studies. New York: Palgrave Macmillan, 2014.
Grief and Women Writers in the English Renaissance. By Elizabeth Hodgson. Cambridge: Cambridge University Press, 2015.
Helene Schweitzer: A Life of Her Own. By Patti M. Marxsen. Syracuse: Syracuse University Press, 2015.
Intersections of Harm: Narratives of Latina Deviance and Defiance. By Laura Halperin. Gender and Genre. New Brusnwick, NJ: Rutgers University Press, 2015.
Latin American Women and the Literature of Madness: Narratives at the Crossroads of Gender, Politics and the Mind. By Elvira Sánchez-Blake and Laura Kanost. Jefferson, NC: McFarland, 2015.
The Lesbian Muse and Poetic Identity, 1889-1930. By Sarah Parker. Gender and Genre. Brookfield, VT: Pickering and Chatto, 2013.
Married or Single? By Catherine Maria Sedgwick. Edited by Deborah Gussman. Legacies of Nineteenth-Century American Women Writers. Lincoln: University of Nebraska Press, 2015.
Monsters, Zombies + Addicts: Poems. By Gwendolyn Zepeda. Houston: Arte Público Press, 2015.
Phillis Wheatley’s Miltonic Poetics. By Paula Loscocco. New York: Palgrave Macmillan, 2014
Second Person Singular: Late Victorian Women Poets and the Bonds of Verse. By Emily Harrington.
Victorian Literature and Culture Series. Charlottesville: University of Virginia Press, 2014.
Unarrested Archives: Case Studies in Twentieth-Century Canadian Women’s Authorship. By Linda M. Morra. Toronto: University of Toronto Press, 2014.
Virginia Woolf: A Portrait. By Viviane Forrester. Translated by Jody Gladding. New York: Columbia University Press, 2015.
Women and the Rise of the Novel, 1405-1726. By Josephine Donovan. 2nd Edition. New York: Palgrave Macmillan, 2013.
Women’s History: History of the Prairie West Series. Vol. 5. Edited by Wendee Kubik and Gregory P. Marchildon. Regina: University of Regina Press, 2015.
Women’s Voices in Tudor Wills, 1485-1603: Authority, Influence and Material Culture. By Susan E. James. Burlington, VT: Ashgate, 2015.
Writing Childbirth: Women’s Rhetorical Agency in Labor and Online. By Kim Hensley Owens. Carbondale: Southern Illinois University Press, 2015.