DOCSLIB.ORG

In Th Is Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Th Is Issue ESSAY Sometimes Anger Is the Necessary Response: Reading Chris Kraus’s I Love Dick by L. Timmel Duchamp POEMS Una O’Connor unleashes her scream by Gwynne Garfinkle A Death of Hippolytos by Sonya Taaffe IN THIS ISSUE Traveler The Other Lives by Sonya Taaffe GRANDMOTHER MAGMA X The Girl We Forgot (and Really Shouldn’t Have) Madeline Galbraith Sarah Zettel on Speak of the Devil and Other Works by Elisabeth Sanxay Holding BOOK REVIEWS The Apothecary’s Curse by Barbara Barnett Staying with the Trouble: Making Kin in the Chthulucene by Donna Haraway Sleeping Under the Tree of Life “If your takeaway…is that The Cascadia Subduction Zone sounds really by Sheree Renée Thomas interesting, you’re not wrong—it’s a wonderful journal filled with thoughtful and insightful criticism.” FEATURED ARTIST h Niall Harrison, The Guardian, May 12, 2016 Madeline Galbraith $5.00 Managing Editor Arrate Hidalgo Reviews Editor Nisi Shawl VOL. 6 NO. 4 — OCTObeR 2016 Features Editor L. Timmel Duchamp ESSAY Arts Editor Sometimes Anger Is the Necessary Response: Reading Chris Kraus’s I Love Dick h Kath Wilham by L. Timmel Duchamp 1 POEMS Una O’Connor unleashes her scream by Gwynne Garfinkle h 5 A Death of Hippolytos by Sonya Taaffe h 9 The Other Lives by Sonya Taaffe h 9 GRANDMOTHER MAGMA The Girl We Forgot (and Really Shouldn’t Have) Sarah Zettel on Speak of the Devil and Other Works by Elisabeth Sanxay Holding h 6 BOOK REVIEWS The Apothecary’s Curse by Barbara Barnett reviewed by J.M. Sidorova h 10 Staying with the Trouble: Making Kin in the Chthulucene by Donna Haraway reviewed by Nancy Jane Moore h 12 Sleeping Under the Tree of Life by Sheree R. Thomas reviewed by David Findlay h 14 FEATURED ARTIST Madeline Galbraith h 16 Subscriptions and single issues online at: To order by check, payable to: www.thecsz.com Aqueduct Press Print subscription: $16/yr; P.O. Box 95787 Print single issue: $5 Seattle, WA 98145-2787 Electronic Subscription (PDF format): [Washington State Residents $10 per year add 9.5% sales tax.] Electronic single issue: $3 Cover banner collagraph of the Cascadia subduction zone by Marilyn Liden Bode Sometimes Anger Is the Necessary Response: Reading Chris Kraus’s I Love Dick y by L. Timmel Duchamp [W]ho gets to speak, who gets to readers have assumed. First published in speak about what, and why are the 1998, reissued by Semiotext(e) in 2006, only questions. it was recently released in the UK and — Joan Hawkins, “Afterword” to is momentarily enjoying more favorable Chris Kraus’s I Love Dick attention (including, weirdly enough, a television series based on the book, The genres of science fiction/fantasy titled, I Love Dick) than it received at and literary fiction both are currently first publication. As Joan Hawkins notes revisiting issues raised by feminists de- in her afterword to the work, its first cades ago. The Vida Project, for literary We all know of numerous reviewers insisted on reading the book fiction, and Niall Harrison’s annual SF cases in which literary as naïve, raw, unprocessed memoir and Count, for science fiction and fantasy, or theoretical innovation simply ignored everything in it that did have brought glaring visibility to ineq- undertaken by a woman not fit such a reading. The book’scri de is ignored or dismissed as uities in professional reviewing, which coeur is not, as those reviewers had it, personal idiosyncrasy and persists in favoring books written by “Love me, Dick!” but, rather, “Why is no technical naïveté…. men over those written by women and one hearing a word I and all these other the nongendered, and novels featuring women are saying?” A signature moment male protagonists over those featuring of I Love Dick occurs in the epistolary es- female protagonists. A related problem, say that appears late in the book, “Add but one that gets little attention, perhaps It Up”: because it can’t be quantified, is the near- impossibility for women writers, poets, I was at a dinner at Félix [Guattar i]’s film-makers, composers, and artists to loft with Sylvère. The Berlin Wall be credited with innovation in creative had just come down. He, Félix and i fields in which both men and women Tony Negri and François, a younger work. We all know of numerous cases in follower of Félix’s in French broad- 1 which literary or theoretical innovation casting, were planning a TV panel undertaken by a woman is ignored or show about the “future of the left.” dismissed as personal idiosyncrasy and Sylvère would moderate a live discus- technical naïveté (presumably because sion between Félix and Tony and the a woman who breaks long-established German playwright Heiner Müller. rules must be assumed to not know what They needed one more speaker. It she is doing), or even due to insanity, seemed strange that people would only to be hailed for its brilliance (usu- be interested in any conversation ally a short while later) when a man is so between such a homogenous crew: bold (rather than naïve) as to employ it.1 four straight white European men in The difficulty innovative women cre- their 50s, all divorced and now with ators have being taken seriously lies at childless younger women in their The difficulty innovative the heart of Chris Kraus’s endlessly early 30s. Sometimes coincidence women creators have ironic book, I Love Dick, a work that is depressingly inevitable. No mat- being taken seriously lies at the heart of Chris defies formal identification. Is it fic- ter what these four men say, it’s like Kraus’s endlessly ironic tion? Or cultural theory? Certainly it’s they’ve already said it. In Félix’s book book, I Love Dick…. not memoir or autobiography, as many Chaosophy, there’s a great discussion on schizophrenia between him, De- 1 These cases are so numerous that I’d leuze, and eight of France’s leading like readers to make an effort to call to intellectuals. All of them are men. If mind instances they have encountered and then forgotten, since such recollec- we want reality to change then why tion will mean more to them than read- not change it? Oh Dick, deep down ing the handful in my mind as I write I feel that you’re utopian too. this and then soon forgetting them, as one does. Cont. on p. 2 n Sometimes Anger Is the “What about Christa Woolf?” I receded, and I could again dampen my Necessary Response asked. (At that moment she was sense of shame with defiance, for many (cont. from p. 1) founding a neo-socialist party in people shared my anger, and the few Germany.) And all Félix’s guests — critical remarks I fielded from people the culturally important jowelly men, who still saw feminism as purely a mat- their Parisianlly-groomed, mute ter of women taking total responsibility younger wives just sat and stared. for every difficulty they fail to overcome Finally the communist philosopher bounced off me.2 Negri graciously replied, “Christa I read I Love Dick in 2016, not in the Woolf is not an intellectual.” late 1990s when it was first published. (I Love Dick, 226-227) And yet it took me months to finish. I felt as if I had been plunged into a spec- Kraus composed her book in the mid- tacle of abjection and for about the first 1990s, which in the US (where she was half of the book wrestled with that feel- mostly living at the time) saw the peak Kraus composed her ing, a feeling that drove me to resist sym- of a backlash to feminism that began pathizing (much less empathizing) with book in the mid-1990s, in the early 1980s and by the mid-90s which in the US (where the narrator. In her resonant foreword, had taught most feminists to either alter “What about Chris?,” Eileen Myles be- she was mostly living their language or shut up altogether — at the time) saw the gins by recalling her sense of despair on which quite a few, unwilling to bow to seeing François Truffaut’s The Story of peak of a backlash to the punishing pressure of the status quo, feminism…. Adele H. (1975). On reading Myles’ de- did. “Women’s liberation” got down- scription, I recalled my own reaction to graded to “feminism” (which sounded the film: I seethed with fury at Truffaut politer and less threatening and implied and, on leaving the theater, turned my that the drive for liberation had become fury into ridicule — not of the character an anachronism); words like “patriar- of Adele (as had the object of Adele H.’s H chy” and “oppression” were made un- attentions), but of Truffaut, for foisting speakable, and words like “agency” and bathos upon her and her story. In the 2 “choice” became paramount declara- film, Adele, Victor Hugo’s daughter, ob- tions that women chose subordination, sessed with a British officer, follows him implying they were therefore already to Halifax. He repudiates and derides liberated, and that anyone who sug- her. Adele descends into destitution and gested that such choices weren’t acts of is ultimately returned to Paris and in- “agency” were thus demeaning women. stitutionalized. Bit by excruciating bit, It was a painful time for me, personally. Truffaut strips her of her humanity (for I still recall the sick feeling I got when abjection is all about stripping its object I read I Love Dick in 2016, I told a new acquaintance who identi- of human dignity).
Load more

Recommended publications
  • Readercon 14
    readercon 14 program guide The conference on imaginative literature, fourteenth edition readercon 14 The Boston Marriott Burlington Burlington, Massachusetts 12th-14th July 2002 Guests of Honor: Octavia E. Butler Gwyneth Jones Memorial GoH: John Brunner program guide Practical Information......................................................................................... 1 Readercon 14 Committee................................................................................... 2 Hotel Map.......................................................................................................... 4 Bookshop Dealers...............................................................................................5 Readercon 14 Guests..........................................................................................6 Readercon 14: The Program.............................................................................. 7 Friday..................................................................................................... 8 Saturday................................................................................................14 Sunday................................................................................................. 21 Readercon 15 Advertisement.......................................................................... 26 About the Program Participants......................................................................27 Program Grids...........................................Back Cover and Inside Back Cover Cover
    [Show full text]
  • W41 PPB-Web.Pdf
    The thrilling adventures of... 41 Pocket Program Book May 26-29, 2017 Concourse Hotel Madison Wisconsin #WC41 facebook.com/wisconwiscon.net @wisconsf3 Name/Room No: If you find a named pocket program book, please return it to the registration desk! New! Schedule & Hours Pamphlet—a smaller, condensed version of this Pocket Program Book. Large Print copies of this book are available at the Registration Desk. TheWisSched app is available on Android and iOS. What works for you? What doesn't? Take the post-con survey at wiscon.net/survey to let us know! Contents EVENTS Welcome to WisCon 41! ...........................................1 Art Show/Tiptree Auction Display .........................4 Tiptree Auction ..........................................................6 Dessert Salon ..............................................................7 SPACES Is This Your First WisCon?.......................................8 Workshop Sessions ....................................................8 Childcare .................................................................. 10 Children's and Teens' Programming ..................... 11 Children's Schedule ................................................ 11 Teens' Schedule ....................................................... 12 INFO Con Suite ................................................................. 12 Dealers’ Room .......................................................... 14 Gaming ..................................................................... 15 Quiet Rooms ..........................................................
    [Show full text]
  • 229 INDEX © in This Web Service Cambridge
    Cambridge University Press 978-1-107-05246-8 - The Cambridge Companion to: American Science Fiction Edited by Eric Carl Link and Gerry Canavan Index More information INDEX Aarseth, Espen, 139 agency panic, 49 Abbott and Costello Meet Frankenstein (fi lm, Agents of SHIELD (television, 2013–), 55 1948), 113 Alas, Babylon (Frank, 1959), 184 Abbott, Carl, 173 Aldiss, Brian, 32 Abrams, J.J., 48 , 119 Alexie, Sherman, 55 Abyss, The (fi lm, Cameron 1989), 113 Alias (television, 2001–06, 48 Acker, Kathy, 103 Alien (fi lm, Scott 1979), 116 , 175 , 198 Ackerman, Forrest J., 21 alien encounters Adam Strange (comic book), 131 abduction by aliens, 36 Adams, Neal, 132 , 133 Afrofuturism and, 60 Adventures of Superman, The (radio alien abduction narratives, 184 broadcast, 1946), 130 alien invasion narratives, 45–50 , 115 , 184 African American science fi ction. assimilation of human bodies, 115 , 184 See also Afrofuturism ; race assimilation/estrangement dialectic African American utopianism, 59 , 88–90 and, 176 black agency in Hollywood SF, 116 global consciousness and, 1 black genius fi gure in, 59 , 60 , 62 , 64 , indigenous futurism and, 177 65 , 67 internal “Aliens R US” motif, 119 blackness as allegorical SF subtext, 120 natural disasters and, 47 blaxploitation fi lms, 117 post-9/11 reformulation of, 45 1970s revolutionary themes, 118 reverse colonization narratives, 45 , 174 nineteenth century SF and, 60 in space operas, 23 sexuality and, 60 Superman as alien, 128 , 129 Afrofuturism. See also African American sympathetic treatment of aliens, 38 , 39 , science fi ction ; race 50 , 60 overview, 58 War of the Worlds and, 1 , 3 , 143 , 172 , 174 African American utopianism, 59 , 88–90 wars with alien races, 3 , 7 , 23 , 39 , 40 Afrodiasporic magic in, 65 Alien Nation (fi lm, Baker 1988), 119 black racial superiority in, 61 Alien Nation (television, 1989–1990), 120 future race war theme, 62 , 64 , 89 , 95n17 Alien Trespass (fi lm, 2009), 46 near-future focus in, 61 Alien vs.
    [Show full text]
  • Introduction Imagining the Future of Climate Change
    Introduction Imagining the Future of Climate Change In Bong Joon-Ho’s 2013 international blockbuster Snowpiercer, a single train traverses the globe, protecting the fi nal remnant of humanity from an Ice Age that made the planet seemingly unin- habitable. Set in 2031, the fi lm begins by squarely placing the blame on humans for this catastrophic climate change. As the opening credits roll over dark, starry space, we hear crackling, fuzzy excerpts of news broadcasts from all over the world telling how, despite protests from environmental groups and “developing coun- tries,” on 1 July 2014, seventy countries dispersed the artifi cial cool- ing substance CW-7 into the upper layers of the atmosphere. Because “global warming can no longer be ignored,” one of the dis- embodied voices explains, seeding the skies with CW-7 was a last- ditch eff ort “to bring average global temperatures down to man- ageable levels as a revolutionary solution to mankind’s warming of the planet.” But before the real action of the fi lm even starts, we learn the grim outcome of this desperate international scientifi c experiment. Two short sentences loom large on the screen: “Soon after dispersing CW-7 the world froze. All life became extinct.” 1 2 / Introduction In imagining a geo-engineering experiment gone wrong in response to the disaster of global warming, Bong is asking us to think critically about the solution to the problem of climate change that is favored by many people, states, and corporations invested in fi nding alternatives to curbing carbon emissions.1 In addition, since the mid-2000s, some prominent scientists, such as Dutch Nobel Prize-winning atmospheric chemist Paul Crut- zen, have also advocated exploring geo-engineering out of fears that states will not take the necessary actions to curb global warming in time and that we are on the brink of locking in dys- topian climate change that will render unsustainable life on Earth as we know it.
    [Show full text]
  • Professor Shelley Streeby ETHN 182: Race, Gender, and Sexuality in Fantasy and Science Fiction Center 222, 12:30-1:50 Office Location: Social Sciences Bldg
    1 Professor Shelley Streeby ETHN 182: Race, Gender, and Sexuality in Fantasy and Science Fiction Center 222, 12:30-1:50 Office Location: Social Sciences Bldg. Room 223; Phone: 858.534.1739; E-mail: [email protected] Office Hours: W 1:00-3:00 and by appointment This seminar focuses on visions of race, gender, and sexuality in 20th and 21st century fantasy and science fiction. Partly in response to political and social movements and changing media politics, diverse forms of fantasy and science fiction in the last 100 years raise provocative questions about race, gender, sexuality, and empire, often on a global scale. Today, science fictions jump between and among multiple platforms, including literature, film, music, television, video games, and the internet. This class explores a variety of cultural forms in order to understand such visions of race, gender, and sexuality in comparative, transmedia contexts. During the quarter, we will compare and connect works of fantasy and science fiction produced by several different groups, including Black Diasporans, Latinas/os, whites, indigenous people, and Asian Americans. We will read short essays on these identity categories as well as other keywords as we seek to develop an intersectional perspective. On the one hand, race, gender, sexuality, and empire have always been central to the fantasy and science fiction genres as they emerged in the 19th and early 20th centuries: figures such as the alien, the last man, the zombie, and the vampire are inseparable from histories of gender and sexuality, race relations and colonial contact, violence, and settlement, as are tropes of space exploration and founding new worlds, terraforming, and digital embodiment.
    [Show full text]
  • Review of Nalo Hopkinson and Uppinder Mehan, Editors, So Long
    Review of Nalo Hopkinson and Uppinder Mehan, editors, So Long Been Dreaming: Postcolonial Science Fiction and Fantasy (Vancouver: Arsenal Pulp Press, 2004), 304 pp. Reviewer: James F. McGrath, [email protected] As Nalo Hopkinson observes in her introduction to So Long Been Dreaming, colonization and empire are frequent motifs in science fiction. The short stories in this collection raise subversive questions that challenge oppressors, the oppressed, and the descendants of both to think about themselves and their experiences in new ways. Part one focuses on the body. In “Deep End,” Nisi Shawl depicts a scenario in which the minds of criminals have been transferred into a computer on an interstellar spacecraft sent to explore a new world. The cloned bodies sent along for their minds to inhabit are not their own, Journal of Postcolonial Theory and Theology Volume 2 (May 2011) ©Sopher Press (contact [email protected]) Page 1 of 4 leading one character to ask what difference it would make if the color of her new cloned body’s skin were different from the one with which she was born. Andrea Hairston’s story “Griots of the Galaxy” also features entities who take on new bodies and move from one existence to another. In this case, however, the entities who do so are intergalactic historians, gathering fragments of lives from across history in order to preserve whatever they can from being lost. The story provides opportunity for reflection on whether anthropologists or historians, as mere observers, can “save” elements of a culture in danger of being lost, or whether it is more meaningful to be immersed and become involved, even with the cost that entails.
    [Show full text]
  • The Cultural Labors of Science, Fiction, and Empire
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Speculative Acts: The Cultural Labors of Science, Fiction, and Empire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Aimee Soogene Bahng Committee in charge: Professor Shelley Streeby, Chair Professor Lisa Cartwright Professor Lisa Lowe Professor Roddey Reid Professor Winifred Woodhull 2009 Copyright Aimee Soogene Bahng, 2009 All rights reserved. The Dissertation of Aimee Soogene Bahng is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2009 iii This dissertation is dedicated to Octavia Butler June 22, 1947 – February 25, 2006 iv EPIGRAPH “We caused the problems: then we sat and watched as they grew into crises. I have heard people deny this, but I was born in 1970. I have seen enough to know that it is true. I have watched education become more a privilege of the rich than the basic necessity that it must be if civilized society is to survive. I have watched as convenience, profit, and inertia excused greater and more dangerous environmental degradation. I have watched poverty, hunger, and disease become inevitable for more and more people.” --Octavia Butler, Parable of the Talents v TABLE OF CONTENTS Signature Page……………………………………………………………………. iii Dedication………………………………………………………………………... iv Epigraph………………………………………………………………………….. v Table of Contents………………………………………………………………… vi List of Figures…………………………………………………………………….. viii Acknowledgements………………………………………………………………. ix Curriculum Vitae…………………………………………………………………. xv Abstract…………………………………………………………………………... xviii INTRODUCTION………………………………………………………………. 1 Science Fiction and Empire……………………………………………………. 1 The “Hard” and “Soft” of Science Fiction………………………………........... 8 On Speculation………………………………………………………………... 10 Postcolonial Speculative Fiction: Subaltern Space Travelers…………………... 14 The Political Economy of Speculation and Technologies of Fictitious Capital………………………………………………………………..........
    [Show full text]
  • There's a New Starship on Earth
    There’s a New Starship on Earth - Literally! CDR Doug Hogan • Shuttle Maverick, R3 Other than your architecture, is there anything that makes your restaurant special? This is a fun destination. We offer a wide variety of food but we also offer lots of activities to do. Along with miniature golf, we’ve got one of the best 129 gaming systems around. JULY 2005/ I noticed your X-Box wall. AUGUST 2005 We’ve got multiple fl at-screen X-Box systems, arcade games, and the ability to project the games on the outside of the dome, resulting in a unique gaming experience! We also have astronomy lectures and even a puppet show for the little ones. We realize our customers’ interests are varied so we try to have something for just about everyone. The proposed complex has educational features. How important is that to the overall design of the Pegasus? It’s very important. We want to offer a place to challenge kids’ creativity. Kids need to be able to “think outside the box” and not get bogged down in just learning how to do a certain kind of academic test. We want to help expand their imagination, so yes, the concept of education is very important to us. Have you had contact with Sci-Fi fans? Andy Gee and his wife, Janne, have gone “…where kinds of entrees available, from pizzas to hot and We’ve had lots of coverage in the local media no one has gone before.” They’ve gone into the cold subs, to wraps, to salads.
    [Show full text]
  • African American Literature
    l e h 3 0 1 . c o 1 w: b r o t h e r f r o m a n o t h e r p l a n e t : a f r i c a n – a m e r i c a n s p e c u l a t i v e f i c t i o n s p r i n g 2 0 0 7 p r o f. r o b i n a k h a l i d o f f i c e : c a r m a n 3 8 8 o f f i c e h o u r s : t h u r s 2 – 3 p m r o b i n a . k h a l i d @ e a r t h l i n k . n e t from the “fantastic voyage” narratives of the seventeenth and eighteenth centuries, through the exotic imperial romances of the nineteenth, and up to the science fiction of the twentieth century, imaginative literature has been a means – like any mythology – of mediating between the domestic and that which lies at and beyond the limits of the knowledge. adam lively, masks: blackness, race, and imagination (2000) no wonder we need aliens. no wonder we’re so good at creating aliens. no wonder we so often project alienness onto one another. octavia butler,”the monophobic response,” 1995 c o u r s e d e s c r i p t i o n In an interview in the African-American Review, African-American science fiction writer Nalo Hopkinson asserts that “science fiction has always been a subversive literature” because it forces the reader to “think twice and thrice about a whole bunch of things in relation to each other: sexuality, race, class, color, history.” Hopkinson here provides the questions which will animate our course: is there a distinct tradition of black speculative fiction? How might a culture that has, in Hopkinson’s words, “been on the receiving end of the colonization glorified in some science fiction” negotiate and politicize the genre? Does black speculative fiction (defined here to encompass science fiction, fantasy, cyberpunk, Afro-futurism etc.) cause one, in fact, “to think twice and thrice” about race, class, and sexuality? Finally, does the tradition challenge our basic assumptions of identity, or does it ultimately work to normalize them? We will begin with a general consideration of the fantastic in literature.
    [Show full text]
  • Resume of Andrea Hairston
    CV OF ANDREA HAIRSTON LANGUAGES German (fluent), French TEACHING & ADMINISTRATIVE EXPERIENCE: 2007-Present Louise Wolff Kahn 1931 Professor of Theatre and Africana Studies 2004-2007 Professor, Smith College 1999 Guest Artist –Acting Instructor – Prinz Regenten Theater, Munich, Germany 1996-2004 Associate Professor, Smith College 1995 Guest Artist -- Institut für Theater, Musiktheater und Film, Hamburg, Germany 1989-1996 Assistant Professor, Smith College 1988, 89 Visiting Artist, Trinity College 1988-1992 Associate Director for Playwriting, Rites and Reason, Providence RI A community-university arts project of the Africana Studies Department of Brown, funded by NEA, Rockefeller, RI State Council on the Arts; major arts organization of the black community in R. I. 1985-87 Instructor, Holyoke Community College 1984 Visiting Assistant Professor, Brown University 1979-83 Lecturer, Instructor, Smith College 1978-Present Co-Founder, Artistic Director, Chrysalis Theatre, Northampton, MA HONORS AND AWARDS: 1. Finalist Grant (Playwriting, The Continuing Drama of Cinnamon Jones) (MCC), 2019 2. Keynote at the Write Angles Literary Conference, November, 2018 3. Guest of Honor, FOGcon Science Fiction Convention, California, March 2018 4. A MASS Book Awards “MUST READ” for Will Do Magic For Small Change, 2018 5. Finalist for the Mythopoeic Award for Will Do Magic For Small Change, 2017 6. Finalist for the Lambda Literary Award for Will Do Magic For Small Change, 2017 7. Finalist for the James Tiptree Award for Will Do Magic For Small Change, 2017 8. Honored Professor, Smith College, 2016 9. Guest of Honor, Sirens Science Fiction Convention, Oregon, November 2014 10. Guest of Honor, Readercon Science Fiction Convention, Boston, July 2014 11.
    [Show full text]
  • Brandon Sanderson Jane Yolen Adam Stemple Tom
    minicon50MINICON50 ARTIST MICHAEL WHELAN AUTHOR BRANDON SANDERSON AUTHOR JANE YOLEN MUSICIAN ADAM STEMPLE PUBLISHER TOM DOHERTY AUTHOR LARRY NIVEN 1 welcome! MINICON50 A MESSAGE FROM THE CHAIR Welcome to Minicon 50! This is my sixth and final year as chair of Minicon. Two years ago when I started planning out this guest list I never actually thought I would get every one. I am very excited about this convention and have been for quite some time. We have a great convention set up for your enjoyment. Our Guests of Honor each have connections of a sort with one or more of the other Guests. For example Tom publishes Brandon’s books, Michael’s art has been on both Brandon and Larry’s covers, Adam is Jane’s son and they’ve written books together and Tom and Michael have been friends for years. Did you know four have previously been Guests at Minicon, with Jane the year before and the year after Larry was Guest, also Adam met his wife here. If you want to have a more intimate setting with one of our Guests there is limited seating for kaffeeklatschen, bierklatschen and a literary tea, so make sure you sign up at Registration. When a convention reaches 50 it must have some history, so be sure to stop by the dealers room and check out the tables of memorabilia from previous conventions. While you’re there, check out the Art Show where there will be painting demos all day Saturday. You just don’t get a better chance than this to watch an artist at work.
    [Show full text]
  • James Tiptree, Jr. Award Cumulative List the James Tiptree, Jr
    James Tiptree, Jr. Award Cumulative List The James Tiptree, Jr. Award The 1991 James Tiptree, Jr. Award The James Tiptree, Jr. Award is given to the work of science fiction or fan- WisCon 16, Madison, WI tasy published in one year which best explores or expands gender roles. Prize: chocolate typewriters Song: “Sister Suffragettes,” from Mary Poppins The Founding Mothers Karen Joy Fowler and Pat Murphy Judges Suzy McKee Charnas The Heroes Sherry Coldsmith The people who made the bake sales, contributed to and produced the Bruce McAllister cookbooks, designed the t-shirts, sewed the quilt, donated unsolicited Vonda McIntyre cash, attended the annual ceremonies, and otherwise contributed to the Debbie Notkin (coordinator) ongoing life and saga of the Tiptree organism. The energy and enthusiasm Non-attributed commentary harvested from correspondence among the the award engenders is incontrovertible proof of just how hungry the sci- judges. ence fiction community is for this award, and how ready everyone has been to make it happen and make it keep happening. Winners of the 1991 James Tiptree, Jr. Award The Process A Woman of the Iron People Each year Founding Mothers, Pat Murphy and Karen Joy Fowler appoint Eleanor Arnason, William Morrow, 1991 a panel of five judges to read and discuss among themselves the merits of “Four-square grumpy humor and effortless inventiveness. It explores the gender-bending fiction published in the previous year. Anyone and every- situation of a people much more obviously (if not more deeply) fixed in one is invited to forward recommendations for novels and short fiction to mammalian psycho-sexual wiring than we are (or think we are).
    [Show full text]