ASLE (The Association for the Study of Literature and Environment) listed a few calls for submission that caught my eye:
Writing Meat: Flesh-Eating and Literature Since 1900
The conversion of animal bodies into flesh for human consumption is a practice where relations of power between humans and nonhuman animals are reproduced in exemplary form. From the decline of (so-called) traditional animal husbandry to the emergence of intensive agriculture and, more recently, the biotechnological innovation of in vitro meat, the last hundred years have seen dramatic changes in processes of meat production, as well as equally significant shifts in associated patterns of human-animal relations. Over the same period, meat consumption has risen substantially and incited the emergence of new forms of political subjectivity, from nationalist agitation against ritual slaughter to the more radical rejection of meat production in abolitionist veganism. Link
Animal Narratology: A special issue of Humanities
Storytelling is often cited as one of the characteristics that distinguishes humans from animals; yet, a look at world literature reveals many animals as the narrators of our tales. Animals speak not only in fables and fairy tales, but also narrate novels, voice love poems, and deliver philosophical treatises. Across genres and time, both wild and domesticated animals give accounts of their lives and their worlds, which usually contain human beings. Animal narrators negotiate their relationship with humans, while defamiliarizing the human way of perceiving the world. And yet, these texts are written by human authors who chose an animal voice, a specific species, and a literary genre for a particular purpose—one that tends to be as much, if not more about the human as it is about the animal. In fact, analyses have predominantly focused on the human side of these texts until the recent “animal turn” in literary studies. This focus on the animal in literature vows to take the animal seriously, which has been generating new readings and discoveries regarding texts from the canon and beyond. Literary animal studies has the potential to reveal the history of animal narration, such as clusters of animal species, type, or even breed at certain times; to interrogate animal narrators’ appeals to particular audiences, from children’s books to political satire; and to uncover writers’ ways of avoiding censorship and persecution by channeling an animal voice in their works. In addition, concepts from animal agency to zoopoetics have increased the theoretical complexity of the investigation of animals in literature and are connecting animal studies to some of the concerns of fields such as environmental humanities, race and gender studies. Link
And I also want to mention the upcoming Ashland Creek Press anthology, which is now accepting submissions: Writing for Animals: An anthology for writers and instructors to educate and inspire
Ashland Creek Press is currently accepting nonfiction submissions for a new anthology, Writing for Animals: An anthology for writers and instructors to educate and inspire. From Franz Kafka’s Report to the Academy to Karen Joy Fowler’s We Are Completely Beside Ourselves, animals have played a central role in literature. Increasingly, writers are playing a central role in advancing awareness of animal issues through the written word. Link
Author of the novels The Tourist Trail and Where Oceans Hide Their Dead. Co-founder of Ashland Creek Press and editor of Writing for Animals (also now a writing program).