Notices

SHAW 39.2 (to be published in December 2019) and SHAW 40.2 (to be published in December 2020) will include articles on general topics, as well as book reviews, the Checklist of Shaviana, Notices, and ISS information. Prospective essays for SHAW should be submitted directly to http://www.psupress.org/journals/jnls_shaw.html. Please include an abstract and, for matters of style, refer to recent SHAW volumes. For all other information about SHAW or to suggest other issue themes, contact Christopher Wixson at cmwixson@eiu.edu.SHAW 40.1 (to be published in June 2020) will focus on “Shaw and New Media” and be edited by Jennifer Buckley (University of Iowa). The issue will explore and assess Shaw's engagements with nineteenth-, twentieth-, and twenty-first-century media. Inquiries about SHAW 40.1 should be sent to jennifer-buckley@uiowa.edu or mailed to Jennifer Buckley, 310 English-Philosophy Building, The University of Iowa, Iowa City, IA, 52245, USA.SHAW 41.1 (to be published in June 2021) is entitled “Bernard Shaw, Journalist” and will be guest-edited by Peter Gahan and Nelson O'Ceallaigh Ritschel.“Journalism can claim to be the highest form of literature; for all the highest literature is journalism…. I also am a journalist, proud of it, deliberately cutting out of my works all that is not journalism, convinced that nothing that is not journalism will live long as literature.”—Bernard Shaw, The Sanity of Art (1908) Bernard Shaw was possibly the most famous journalist in the world in his own time as well as its highest paid. His writing career began (1875) and ended (1950) with journalism, with his music and drama criticism as well as his contentious political commentary unparalleled among contemporaries. He wrote on every conceivable topic for print outlets of every possible variety: daily newspapers, weekly periodicals, special supplements, small journals, and organization newsletters. His journalism was pervasive throughout the English-speaking world, Britain and its Empire, Ireland, and America, while his network of translators made it available throughout Europe and even Latin America. But although he proclaimed journalism the highest form of literature, his satirical portraits of journalists and critics in such plays as The Philanderer, The Doctor's Dilemma, and Fanny's First Play illustrate the depths to which journalism can descend, with many points in between.His coming of age as a journalist coincided with the heyday of the New Journalism (1880s variety), and he wrote for its best-known editors, W. T. Stead, T. P. O'Connor, and H. W. Massingham. Yet a tension between Shaw and New Journalism mirrored the tension within New Journalism itself between sensationalism and exposure of the truth. A similar tension can also be found between Shaw's socialist articles and the major Liberal papers he sometimes wrote for, even though happy to use them for his own purposes. And while he tended to avoid major non-socialist Conservative outlets, their letters pages (The Times especially) and sometimes their soliciting for material (e.g., Irish articles for the Daily Express and Fabian lectures for Hearst's American papers) would often prove irresistible. At the opposite end of the spectrum, he provided a stream of copy for small specialist journals and newsletters that mirrored his own interests, whether about trade unionism, photography, printing, vegetarianism, etc. Even beyond his own journalism, he provided funding for such influential twentieth-century periodicals as The New Age, the New Statesman, and the Irish Statesman, despite not always seeing eye-to-eye with their editorial policy.Even a selected list of print outlets for Shaw's journalism is impressively extensive: Daily newspapers: The Star, The Times, Manchester Guardian, Daily Chronicle, North London Press (Shaw acting editor when Ernest Parkes was imprisoned), Daily Citizen, Daily Herald, Daily Worker, Morning Post, Daily Mail, Daily Mirror, Daily Sketch, Daily Express, Daily Telegraph, Daily News and Leader (including Daily News), Morning Post, Evening Standard, The Observer, News Chronicle, New York American, New York Times, New York Evening Journal, Evening Sun, Pittsburgh Gazette, Bulletin (San Francisco), The Burra Record (Australia), etc.Weeklies/periodicals: Pall Mall Gazette, Fortnightly Review, Saturday Review, The World, Truth, Liberty, Tribune, Illustrated London News, Westminster Gazette, Candid Friend, New Age, The Nation, New Statesman, New York [Journal-]American, T. P.'s Weekly, The Era, The Observer, Sunday Dispatch, Sunday Chronicle, Sunday Express, Time and Tide, ForwardIrish papers: Freeman's Journal, The Evening Telegraph, Irish Times, Irish Independent, Irish Press, Seanachie, The Irish Worker, The Worker's Republic, The Worker, Irish Citizen, Irish Homestead, Irish Statesman, The BellSpecialist journals: socialist (To-day, Our Corner, Commonweal, Truth, Labour Leader, The Clarion, Labour Monthly, New Commonwealth, etc.), Fabian (Fabian News, Fabian Quarterly), Savoy, religious (Church Reformer, Christian Commonwealth, Christian Globe, Freethinker), women's suffrage (Englishwoman), printing (Caxton Magazine, The Graphic), writing (The Author, Times Literary Supplement, The Bookman), stage, autos (The Car), photos, anti-vivisection, etc.For this issue of SHAW, the editors seek any proposal that covers Shaw and journalism, although essays on the following topics would be especially welcome: The Novice Journalist-Novelist, 1876–87: editorial, socialism, novels, reviewer (music, books, & art)The Liberals' Antagonist: New Journalism in The Star and after, 1888–1925: H. W. Massingham, Ernest Parke at The Star, Daily Chronicle, & The NationThe Print Start-up Investor: l'humanité nouvelle, The New Age, The New Statesman, The Irish StatesmanStirring the Pot with Letters to the Editors: either arts or politicsThe Absent Participant in Irish Journalism: W. B. Yeats, Francis Sheehy-Skeffington, James Larkin, James Connolly, James, Stephens, Thomas McDonagh, Horace Plunkett, Æ (George Russell), Sean O'FaolainThe New Journalist in the New World: from Benjamin Tucker's Liberty to William Randolph Hearst's New York AmericanThe Autonomous Interviewer: Shaw meets G.B.S.The Art Critic's Art, 1889–98: music/drama criticism in The Star, The World, & Saturday ReviewGlobal Commentator in the Age of Syndication: Politics at home and abroad between the warsCampaigns & ControversiesEditors/Proprietors: Annie Besant, William Morris, W. T. Stead, T. P. O'Connor, H. W. Massingham, Edmund Yates, Frank Harris, Benjamin Tucker, Ernest Parke, Robert Blatchford, Alfred Orage, Clifford Sharp, R. D. Blumenfeld, Northcliffe, C. P. Scott, Hearst, Lady Rhonda, Maynard KeynesAntagonists: Marxists (from Hyndman to Laski) and Liberals (John Morley, G. K. Chesterton & Hilaire Belloc, Leonard Hobhouse, Edward Grey, George Orwell)Critic Colleagues: Belfort Bax, William Archer, A.B. Walkley, Max Beerbohm, Roger Fry, Ernest Newman, Arnold Bennet, T. S. Eliot***Inquiries and proposals for SHAW 41.1 should be directed to nocrsc@aol.com and pgahan@me.com.The 2018 Shaw Festival, led by Artistic Director Tim Carroll, featured Shaw's How He Lied to Her Husband and The Man of Destiny (directed by Philip Akin) and O'Flaherty V.C. (directed by Kimberley Rampersad). The season's roster of productions also included C. S. Lewis's The Magician's Nephew, adapted by Michael O'Brien and directed by Tim Carroll; Grand Hotel, book by Luther Davis with music and lyrics by Robert Wright and George Forrest and directed by Eda Holmes; Stephen Fry's Mythos: A Trilogy, directed by Tim Carroll; Sir Arthur Conan Doyle's The Hound of the Baskervilles, adapted by R. Hamilton Wright and David Pichette and directed by Craig Hall; Sarah Ruhl's Stage Kiss, directed by Anita Rochon; Oh! What a Lovely War written by Joan Littlewood, Theatre Workshop, and Charles Chilton and directed by Peter Hinton; Sarena Parmar's The Orchard (After Chekhov), directed by Ravi Jain; Michael Mackenzie's The Baroness and the Pig, directed by Selma Dimitrijevic; and William Shakespeare's Henry V, directed by Tim Carroll and Kevin Bennett.For further information about the Festival's 2019 season, write to Shaw Festival, Post Office Box 774, Niagara-on-the-Lake, Ontario, Canada, L0S 1J0; or call 1-800-511-SHAW [7429] or 905-468-2153; or go to www.shawfest.com.For information about summer performances of Shaw plays at Shaw's Corner, Ayot St Lawrence, Hertfordshire, by Michael Friend Productions, contact Sue Morgan at Sue.Morgan@nationaltrust.org.uk. The plays staged in 2018, its 27th season, were Widowers' Houses (22 to 24 June) and Fanny's First Play (20 to 22 July). Michael also took Widowers' Houses to the Sarah Thorne Theatre, Broadstairs (26 to 29 July) and directed the British premiere of an unperformed scene from Back to Methuselah at the Pentameters Theatre, Hampstead, London (12–14 and 19–21 October).The ShawChicago Theater Company celebrated its 24th season with productions of The Devil's Disciple (14 October to 6 November 2017) and Margaret Raether's adaptation of P. G. Wodehouse's Jeeves In Bloom (3 February to 26 February 2018), both directed by Artistic Director Robert Scogin. Noël Coward's Hay Fever (14 April to 7 May 2018) was the final show of the season, directed by Barbara Zahora. The 25th anniversary season features productions of Candida, Arms and the Man, and The Doctor's Dilemma. See www.shawchicago.org/. At its annual gala benefit (2 June 2018), ShawChicago presented two coveted “Bernie” Awards, one to the International Shaw Society and one to Richard Farr Dietrich for his dedicated leadership in various ISS positions.The Gingold Theatrical Group (GTG), headed by producer and director David Staller, continues to stage a concert reading of one Shaw play per month at Symphony Space (2537 Broadway at West 95th Street, New York City). The 2018 season, the GTG's thirteenth, included a full production of Heartbreak House (28 August to 29 September 2018), readings of The Devil's Disciple, Pygmalion, The Doctor's Dilemma, Buoyant Billions, O'Flaherty V.C., and Back to Methuselah, and other Shaw-related events. See www.projectshaw.com.The Shaw sessions at the 42nd annual Comparative Drama Conference (5 to 7 April 2018) at Rollins College in Winter Park, Florida, were chaired by Tony J. Stafford (University of Texas, El Paso) and included the following presentations: “Shaw's Interior Authors in the Fight Against Censorship” (Lagretta Lenker, University of South Florida), “Village Wooing: Shavian Metatheater from A to Z” (Jean Reynolds, Polk State College), “Artificial Politics in the ‘Natural’ Marketplace: The Partnership of Altruism and Capitalism in Shaw's Plays Major Barbara and The Millionairess” (Christa Zorn, Indiana University Southeast), “Lives of the Saints: Bernard Shaw's Saint Joan and Calderón de la Barca's The Constant Prince” (Oscar Giner, Arizona State University), “Cardplayers and Clergymen: Bernard Shaw, Henry Arthur Jones, and the Theater of the 1890s” (Mary Christian, Middle Georgia State University), and “Shaw's Drama of Ideas” (Satyarth Prakash Tripathi, Amity University). Abstracts for these papers can be accessed at http://blogs.rollins.edu/drama/2018-program/. Inquiries about this annual session may be sent to Tony J. Stafford at tnyorzb@sbcglobal.net or tstaffor@utep.edu.The 14th annual Summer Shaw Symposium was held at Niagara-on-the-Lake (27–29 July 2018), co-sponsored by The Shaw Festival and the International Shaw Society. The keynote was delivered by Kimberley Rampersad, director of this season's production of O'Flaherty V.C. Activities included three Shaw Festival theatrical performances (How He Lied to Her Husband, The Man of Destiny, and O'Flaherty V.C.) and discussions with cast members, five sessions of panel presentations, and a performance event entitled “Shaw on Shakespeare” directed by John McInerney.The Shaw session at the 2018 Modern Language Association convention (4 to 7 January) in New York City was entitled “Revolutionary States: Bernard Shaw, 1918” and chaired by Jennifer Buckley. Four papers were presented at the panel: “Staging Immortality in 1918: Bernard Shaw and Luigi Antonelli” (James Armstrong, CUNY); “Revolutionaries of a Different Sort: Bernard Shaw and Emma Goldman” (Virginia Costello, University of Illinois at Chicago); “War Damage: Postwar Reflections in Bernard Shaw and Seán O'Casey” (Martin Meisel, Columbia University); and “Women's Self-Determination in Drama at WWI's End: Shaw's [Empress] Annajanska and J. M. Barrie's The Old Lady Shows Her Medals” (Ellen Dolgin, Dominican College). Abstracts for this and previous MLA Shaw panels can be accessed at https://shawsessions.mla.hcommons.org/.Gustavo A. Rodríguez Martín's GBS channel on YouTube continues its salubrious growth; you can access various Shaw-related videos at www.youtube.com/channel/UCxGpZjHhix37VN-zFfX6psg/playlists.The Spring meeting of the Bernard Shaw Society of Japan was held at Sugamo Satellite, Jumonji University, Tokyo, on 9 June 2018. In the afternoon, three talks were delivered. Nicholas R. Williams, in his presentation on The Millionairess, argued that “the very clever Epifania stands for the chaos that the modern obsession with money can cause” yet Shaw's “pantomime-like story” ultimately illustrates that “money is in itself not wrong if it is used for the common good.” In the second, Minoru Morioka took a Jungian approach to Androcles and the Lion, analyzing the play through the lens of “Individuation Theory.” The final speaker was Hisashi Morikawa who discussed “Shaw's ambivalent attitudes towards his native country, from his youthful dismissive descriptions of Ireland in Immaturity through Napoleon's view of an ideal union of Irish head and English vitality in The Man of Destiny and Larry Doyle's wish to live in a country ‘where the facts were not brutal and the dreams not unreal’ in John Bull's Other Island” to the representation of Ireland in O'Flaherty V. C. and Back to Methuselah. The Society convened their Fourth Shaw Seminar in Atami in September and their autumn meeting in Nagoya in November.The Shaw Society (UK) was founded in 1941 and its members meet monthly in the John Thaw Room at The Actors Centre, London, for talks, lectures, and play readings. For more information and a sample issue of the society's publication The Shavian, see www.shawsociety.org.uk/. You can also follow them on Twitter @ShawSoc.The Summer Shaw Symposium at Niagara-on-the-Lake and Shaw sessions at the Comparative Drama Conference and the Modern Language Association convention were sponsored by the International Shaw Society. For information about the ISS and details about calls for papers, go to www.shawsociety.org.

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