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 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.

Book Reviews

See general guidelines here and translation guidelines here.

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

The Afterlife of “Little Women.” By Beverly Lyon Clark. Baltimore: Johns Hopkins University Press, 2014.

Approaches to Teaching “The Story of the Stone (Dream of the Red Chamber).” Edited by Andrew Schonebaum and Tina Lu. New York: Modern Language Association, 2012.

British Women Writers and the Asiatic Society of Bengal, 1785-1835. By Kathryn S. Freeman. Farnham, Surrey: Ashgate, 2014.

The Cambridge Companion to “To the Lighthouse.” Edited by Allison Pease. Cambridge: Cambridge University Press, 2015.

The Cambridge Companion to Women’s Writing in the Romantic Period. Edited by Devoney Looser. Cambridge: Cambridge University Press, 2015.

Contemporary Women’s Writing in India. Edited by Varun Gulati and Mythili Anoop. Lanham, MD: Lexington Books, 2014.

Critical Appropriations: African American Women and the Construction of Transnational Identity. By Simon C. Drake. Baton Rouge: Louisiana State University Press, 2014.

Dark Eyes on America: The Novels of Joyce Carol Oates. By Gavin Cologne-Brookes. Baton Rouge: Louisiana State University Press, 2005.

A Dark Rose: Love in Eudora Welty’s Stories and Novels. By Sally Wolff. Baton Rouge: Louisiana State University Press, 2015.

Elsa Morante’s Politics of Writing: Rethinking Subjectivity, History, and the Power of Art. Edited by Stefania Lucamante. Lanham, MD: Fairleigh Dickinson University Press, 2015.

Gender and Genre: German Women Write the French Revolution. By Stephanie M. Hilger. Lanham, MD: University of Delaware Press, 2015.

“Hero Strong” and Other Stories: Tales of Girlhood Ambition, Female Masculinity, and Women’s Worldly Achievement in Antebellum America. By Mary F.W. Gibson. Ed. By Daniel A. Cohen. Knoxville: University of Tennessee Press, 2014.

Italian Women Writers, 1800-2000: Boundaries, Borders, and Transgression. Edited by Patrizia Sambuco. Madison: Fairleigh Dickinson University Press, 2015.

Jane Austen’s Erotic Advice. By Sarah Raff. New York: Oxford University Press, 2014.

Jewish Women Writers in Britain. Edited by Nadia Valman. Detroit: Wayne State University Press, 2014.

Lesbian Modernism: Censorship, Sexuality, and Genre Fiction. By Elizabeth English. Edinburgh Critical Studies in Modernist Culture. Edinburgh: Edinburgh University Press, 2015.

The L.M. Montgomery Reader. Volume 3. A Legacy in Review. Edited by Benjamin Lefebvre. Toronto: University of Toronto Press, 2015.

Love and Liberation: Autobiographical Writings of the Tibetan Buddhist Visionary Sera Khandro. By Sarah H. Jacoby. New York: Columbia University Press, 2014.

Mamas of Dada: Women of the European Avant-Garde. By Paula K. Kamenish. Columbia: University of South Carolina Press, 2015.

Sentimental Memorials: Women and the Novel in Literary History. By Melissa Sodeman. Stanford: Stanford University Press, 2015.

Sorrowtoothpaste Mirrorcream. By Kim Hyesoon. Translated by Don Mae Choi. Notre Dame, IN: Action Books, 2014.

Theatre and Evolution from Ibsen to Beckett. By Kirsten E. Shepherd-Barr. New York: Columbia University Press, 2015.

There are Two Sexes: Essays in Feminology. By Antoinette Fouque. Translated by David Macey and Catherine Porter. Foreword by Jean-Joseph Goux. New York: Columbia University Press, 2015.

“To Tread on New Ground”: Selected Hebrew Writings of Hava Shapiro. Edited by Carole B. Balin and Wendy I. Zierler. Detroit: Wayne State University Press, 2014.

Victorian Poets: A Critical Reader. Edited by Valentine Cunningham. Malden, MA: Wiley Blackwell, 2014.

Virginia Woolf: Twenty-First Century Approaches. Edited by Jeanne Dubino, Gill Lowe, Vara Neverow, and Kathryn Simpson. Edinburgh: Edinburgh University Press, 2015.

Wild Grass on the Riverbank. By Hiromi Itō. Translated by Jeffrey Angles. Notre Dame, IN: Action Books, 2014.

Women’s Works. Volume 1. 900-1550. Edited by Donald W. Foster with Michael O’Connell, Christine Reno, and Harriet Spiegel. Greentown, PA: Wicked Good Books, 2014.

Women’s Works. Volume 2. 1550-1603. Edited by Donald W. Foster. Greentown, PA: Wicked Good Books, 2014.

Women’s Works. Volume 3. 1603-1625. Edited by Donald W. Foster with Tobian Banton. Greentown, PA: Wicked Good Books, 2014.

Women’s Works. Volume 4. 1625-1650. Edited by Donald W. Foster with Tobian Banton. Greentown, PA: Wicked Good Books, 2014.

Women, Writing, and Prison: Activists, Scholars, and Writers Speak Out. Edited by Tobi Jacobi and Ann Folwell Stanford. It’s Easy to W.R.I.T.E. Expressive Writing Series. Lanham, MD: Rowman and Littlefield, 2014.

Mary Wollstonecraft Sojourner Truth Margaret Atwood Abigail Adams Amy Tan H.D. Simone de Beauvoir Zora Neale Hurston Frances Burney Virginia Woolf

"The white saxifrage with the indented leafe is moste commended for the breakinge of the Stone."

— Turner, Herbal, III, 68 [1568]