Esther Leslie, ‘Seeing Through a Glass Obscurely’

Ian Patterson, ‘The Obscurers Who Hated Obscurity’

Panel 1: Difficulty and Form

‘Obscure processes in Prynne’s High Pink on Chrome; modernist agriculture and difficult pastoral versions’

Kristin Grogan, ‘Silence Sounded Suddenly: the Obscure Sounds of the Late Cantos’

Rona Lorimer, ‘”A Cathedral of Erotic Misery”: Clutter and Obscurity in Barnes’ Nightwood’

Panel 2: Pseudoscience and the Esoteric

Sam Dolbear, ‘Triskaidekaphobic Modernism: Fate, Death, and Numerology’

Sami Sjöberg, ‘Pataphysics: Literary Encounters at the Edge of Science’

Panel 3: The Field of Cultural Production and the Institutions of Art

Tom Bamford, ‘Private and Public Heterogeneities: Secrecy and Elitism in Bataille’

Chris Mourant, ‘Biting the Apple: Olive Moore and Beatrice Hastings’

Leonie Shanks, ‘Modernism and the Midwest: Dorothy Richardson, John Cowper Powys and the “common readers” of America’

Panel 4: Obscure Modernists

Charlotte Jones, ‘Arnold Bennett and the Abstruse, or, Why realism is more obscure than modernism’

Carole Sweeney, ‘Difficult Customers: Christine Brook-Rose and Brigid Brophy’

Nathan Waddell, ‘Lawrence Atkinson, the “vorticist artist of whom England [has] never heard”‘