DOCSLIB.ORG

SFRA Newsletter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

University of South Florida Scholar Commons Digital Collection - Science Fiction & Fantasy Digital Collection - Science Fiction & Fantasy Publications 6-1-2001 SFRA ewN sletter 252 Science Fiction Research Association Follow this and additional works at: http://scholarcommons.usf.edu/scifistud_pub Part of the Fiction Commons Scholar Commons Citation Science Fiction Research Association, "SFRA eN wsletter 252 " (2001). Digital Collection - Science Fiction & Fantasy Publications. Paper 71. http://scholarcommons.usf.edu/scifistud_pub/71 This Article is brought to you for free and open access by the Digital Collection - Science Fiction & Fantasy at Scholar Commons. It has been accepted for inclusion in Digital Collection - Science Fiction & Fantasy Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. #2S2 Ifay/June 200' Coeditors: Barbara Lucas Shelley Rodrjgo Blanctiard Nonfiction lerie lIeil Barron Fiction Ie riews: Shelley Rodrjgo Blancliard The SFRAReview (ISSN 1068-395X) is published six times a year by the Science Fiction ResearchAssociation (SFRA) and distI~bUld to SFRA mem­ bers.lndividual issues are not for sale. For information about the SFRA and its benefits, see the description at the back of this issue. For a membership application, contact SFRA Treasurer Dave Mead or get one from the SFRA website: <www.sfra.org>. SUBMISSIONS The SFRAReview editors encourage submissions, including essays, review essays that cover several related texts, and interviews. Please send submis­ sions or queries to both coeditors. If you would like to review nonfiction or fiction, please contact the respec­ tive editor and/or email [email protected]. Barbara Lucas, Coeditor 1352 Fox Run Drive, Suite 206 Willoughby, OH 44094 <[email protected]> Shelley Rodrigo Blanchard, Coeditor & Fiction Reviews Editor 6842 S. 40th Place Phoenix, AZ 85040 <[email protected]> Neil Barron, Nonfiction Reviews Editor 1149 Lime Place Vista, CA 92083-7428 <[email protected]> Visit Us At: www.sfra.org NONFICTION REVIEW "HE A ••OFAFE. SUPER.ArUBA .. HORROR •• L.FEBAFURE Stefan Dziemianowia HELP WITH RECRUITMENT NEEDED Lovecraft, H.P. The Annotated Supernatural Horror in Uterature, ed. by S.T. Joshi. The SFRA's membership has hov­ Hippocampus Press, Box 641, New York, NY 10156, September 2000. ered around 300 for some years. 172 p. $15 + $3.50 postage, trade paper. 0-9673215-0-6. Peter Brig, the new vice president, intends to increase the number of Lovecraft's canonical essay remains a landmark of weird fiction criticism members by various means. One nearly three quarters of a century since it first saw print in the pages of an strategy is sending recruiting ma­ amateur press journal. Though not every critic has agreed with its assessments terials to people likely to be inter­ ested, most of whom have never and Lovecraft has been taken to task for omissions and imbalance in his analysis, been contacted by the SFRA. the essay has shaped reading lists and bibliographies of essential horror fiction That's where you could be ex­ for decades. Lovecraft was one of the first critical writers to view horror in a tremely helpful. What he would context not limited solely to the Gothic tradition, and his essay contains some welcome from you is the book title, of the earliest appraisals of Blackwood, Machen, de la Mare, and other writers year of publication, and name and who set a standard of literary excellence even as horror was curdling into a genre academic or other affiliation of au­ in the pages of the pulp magazines Lovecraft contributed to. thors, editors, and contributors to Before the appearance of this new edition of the essay-the first offer­ books about any type of fantastic ing from a new specialty press-there were already two editions long in print: the literature/film/illustration or utopian Dover paperback struck from the Abramson edition of 1945 (106 p., $6.95, intro­ studies that you have reviewed duced by E.F. Bleiler) and the version included in Dagon and Other Macabre Tales, since January 1998. Check past the third volume in Arkham House's standard edition of Lovecraft, which issues of the SFRA Review to iden­ Lovecraft authority Joshi indexed for the current corrected eighth printing of tify titles. Send information to 1986. What does this new edition offer that these editions don't? For one thing, [email protected] or to # I 20 a comprehensive bibliography of all the texts cited by Lovecraft, including cita­ Budgell Terrace, Toronto, Ontario tions for further critical study. But even better are Joshi's annotations and his M65 I B4. Most edited collections informative introduction on the history of the essay's composition. (Lovecraft's of essays include contributor notes, essay occupies fifty-two pages of fairly small type in this edition. Joshi"s contri­ which normally show academic af­ butions dwarf that: preface and introduction (13 pages), notes (36 pages), bibli­ filiation. A photocopy of such notes ography of authors and works cited by Lovecraft (52 pages), and index (10 pages». would suffice, along with the book's Though Lovecraft is generally revered as one of the horror writers of the title and year, or you can copy and twentieth century most knowledgeable about the field in which he wrote, at the e-mail the information. It you see a time he was assigned the essay, he was actually unfamiliar with several writers and name that you know to be a cur­ works now regarded as seminal to horror literature. As Joshi notes, Lovecraft had rent member, delete it, but Peter will read the Gothics piecemeal and cribbed extensively from Edith Birkhead's The check this and gather the needed Tale of Terror (1921) for his commen tary in the early sections of the survey. An additional information for letter omnivorous reader in a variety of areas, Lovecraft still completely overlooked the mailing recruitment material. Many fiction of trend-setting ghost story master 1\1. R. J amee until he began researching thanks. the essay. The essay went through several revisions between its fust publication in Neil Barron 1927 and Lovecraft's death in 1937, and he took his work on it seriously enough to continue adding writers whose work he picked up on the interim. He pro­ CORRECTION fessed his admiration for the fiction of William Hope Hodgson in paragraphs Karen McGuire's review of Berthold added in 1934, and it's arguable that they helped spark the revival of interest in Schoene-Harwood's Mary Shelley: Hodgson's work. Frankentstein was indeed in issue Even more interesting are the correspondences Joshi finds between the #25 IThe table of contents did not works Lovecraft read to write the essay and Lovecraft's own fiction. It was in this reflect this. The review is on page essay that Lovecraft first began to identify what he called "a sense of the cosmic" 15. in the work of weird fiction writers he respected. Joshi defines cosmicism as "the Shelley Rodrigo Blanchard suggestions of vast gulfs of space and time and the consequent triviality of the human race," and it's hardly surprising that Lovecraft's fiction began increasingly LATEST HEINLEIN to show this quality after the essay was written, in stories like "The Call ofCthulhu," JOURNAL "·The Dtu1\vich Horror," "The Shadow Out of Time" and most of the other tales The January 200 I semi-annual is­ of "cosmic horror" on which his reputation rests today. Joshi has read the same sue (# 8) reached me in mid-Feb­ texts Lovecraft read in preparation to write the essay, and he identifies interest- ruary. Jane Davitt exam- ing echoes in Lovecraft's writings of both well-known and obscure works. In Lovecraft's case, this was more than simple mimicry. His research of the essay almost certainly helped him to articulate his own aesthetic for supernatu­ ral horror, and one suspects his immersion in the work of other writers who ines the differences be­ made their mark showed him not just what to do, but what not to do, as he tween Heinlein's Red Planet in the created his own body of memorable and weird fiction. 1949 Scribner's edition and the [Admirers of Lovecraft sometimes quote the first sentence of this essay revised 1990 Ballantine edition. Edi­ as a dogma: "The oldest and strongest emotion of mankind is fear, and the tor Patterson studies"Requim," first oldest and strongest kind of fear is fear of the unknown." This statement has published in 1940. Robert James been investigated by psychologists, so I asked Alan Elms, who teaches psychol­ investigates "The Age of Reasoning: ogy at UC Davis, what his colleagues have concluded. He replied: Starship Troopers and the History As for the 'oldest and strongest emotion of mankind,' Freud voted for of the Franchise in America." The pleasure (''Lust'' in German, which can also be translated as "desire''). He saw fear text of a radio play based on Ray as important too, with fear of castration being most important to mankind (for Bradbury's'The ManWhoTraveled womankind, of course, it has already happened). Even fear of death, Freud said, in Elephants," by Brad Linaweaver, is a disguised version of castration anxiety. Karen Horney, Freud's ftrst feminist presented at the 1998 Dragon Con, disciple and critic, more nearly resembled Lovecraft in proposing that the earliest is printed, along with an introduc­ (and for most people the most powerful) element in personality development is tion by the producer and brief com­ basic anxiety-the child's fear of being helpless and alone in a dangerous world. ments by Bradbury. Letters and a Psychologists have long conducted empirical studies to demonstrate either the cumulative index to issue I Uuly presence of certain specific innate fear responses (fear of falling, etc.) or the early 1997) - 8 conclude this 52-page, learning of fear responses Oohn E.
Recommended publications
  • Arch : Northwestern University Institutional Repository

    Arch : Northwestern University Institutional Repository

    NORTHWESTERN UNIVERSITY Myth and the Modern Problem: Mythic Thinking in Twentieth-Century Britain A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of History By Matthew Kane Sterenberg EVANSTON, ILLINOIS December 2007 2 © Copyright by Matthew Kane Sterenberg 2007 All Rights Reserved 3 ABSTRACT Myth and the Modern Problem: Mythic Thinking in Twentieth-Century Britain Matthew Sterenberg This dissertation, “Myth and the Modern Problem: Mythic Thinking in Twentieth- Century Britain,” argues that a widespread phenomenon best described as “mythic thinking” emerged in the early twentieth century as way for a variety of thinkers and key cultural groups to frame and articulate their anxieties about, and their responses to, modernity. As such, can be understood in part as a response to what W.H. Auden described as “the modern problem”: a vacuum of meaning caused by the absence of inherited presuppositions and metanarratives that imposed coherence on the flow of experience. At the same time, the dissertation contends that— paradoxically—mythic thinkers’ response to, and critique of, modernity was itself a modern project insofar as it took place within, and depended upon, fundamental institutions, features, and tenets of modernity. Mythic thinking was defined by the belief that myths—timeless rather than time-bound explanatory narratives dealing with ultimate questions—were indispensable frameworks for interpreting experience, and essential tools for coping with and criticizing modernity. Throughout the period 1900 to 1980, it took the form of works of literature, art, philosophy, and theology designed to show that ancient myths had revelatory power for modern life, and that modernity sometimes required creation of new mythic narratives.
  • Politics and Metaphysics in Three Novels of Philip K. Dick

    Politics and Metaphysics in Three Novels of Philip K. Dick

    EUGÊNIA BARTHELMESS Politics and Metaphysics in Three Novels of Philip K. Dick Dissertação apresentada ao Curso de Pós- Graduação em Letras, Área de Concentra- ção Literaturas de Língua Inglesa, do Setor de Ciências Humanas, Letras e Artes da Universidade Federai do Paraná, como requisito parcial à obtenção do grau de Mestre. Orientadora: Prof.3 Dr.a BRUNILDA REICHMAN LEMOS CURITIBA 19 8 7 OF PHILIP K. DICK ERRATA FOR READ p -;2011 '6:€h|j'column iinesllll^^is'iiearly jfifties (e'jarly i fx|fties') fifties); Jl ' 1 p,.2Ò 6th' column line 16 space race space race (late fifties) p . 33 line 13 1889 1899 i -,;r „ i i ii 31 p .38 line 4 reel."31 reel • p.41 line 21 ninteenth nineteenth p .6 4 line 6 acien ce science p .6 9 line 6 tear tears p. 70 line 21 ' miliion million p .72 line 5 innocence experience p.93 line 24 ROBINSON Robinson p. 9 3 line 26 Robinson ROBINSON! :; 1 i ;.!'M l1 ! ! t i " i î : '1 I fi ' ! • 1 p .9 3 line 27 as deliberate as a deliberate jf ! •! : ji ' i' ! p .96 lin;e , 5! . 1 from form ! ! 1' ' p. 96 line 8 male dis tory maledictory I p .115 line 27 cookedly crookedly / f1 • ' ' p.151 line 32 why this is ' why is this I 1; - . p.151 line 33 Because it'll Because (....) it'll p.189 line 15 mourmtain mountain 1 | p .225 line 13 crete create p.232 line 27 Massachusetts, 1960. Massachusetts, M. I. T.
  • Mythic Journeys Program Participants

    Mythic Journeys Program Participants

    FOR IMMEDIATE RELEASE: April 27, 2004 MEDIA CONTACTS: Anya Martin (678) 468-3867 Dawn Zarimba Edelman Public Relations (404) 262-3000 [email protected] Mythic Journeys Program Participants Michael Vannoy Adams, D. Phil., C.S.W., is a Jungian analyst doing pioneering work in the field of myth and story in archetypal psychology. He is the author of The Mythological Unconscious, The Multicultural Imagination: "Race," Color, and the Unconscious and (forthcoming in 2004) The Fantasy Principle: Psychoanalysis of the Imagination. He is a clinical associate professor at the NYU Postdoctoral Program in Psychotherapy and Psychoanalysis and a faculty member at the Object Relations Institute, the Blanton-Peale Graduate Institute and the New School University, where he was previously associate provost. He has been a Marshall Scholar in England and a Fulbright Senior Lecturer in India. He is the recipient of two Gradiva Awards from the National Association for the Advancement of Psychoanalysis. Stephen Aizenstat, Ph.D., is the founding president of Pacifica Graduate Institute, a private graduate school offering masters and doctoral programs in psychology and mythological studies. He is a licensed clinical psychologist, a marriage and family therapist, and a credentialed public school teacher. His original research centers on a psychodynamic process of “tending the living image,” particularly in the context of “dreamwork,” and he has conducted dreamwork seminars for more than 25 years throughout the US, Europe and Asia. Aizenstadt has recorded “DreamTending,” a six audiotape series released by Sounds True. His other publications include: “Dreams are Alive” in Depth Psychology: Meditations in the Field, edited by D.
  • Educating the Moral Imagination : the Fantasy Literature of George

    Educating the Moral Imagination : the Fantasy Literature of George

    EDUCATING THE MORAL IMAGINATION: THE FANTASY LITERATURE OF GEORGE MACDONALD, C.S. LEWIS, AND MADELEINE L'ENGLE Monika B. Hilder Master of Arts, The University of British Columbia 1983 Bachelor of Arts, The University of British Columbia 1980 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education O Monika Barbara Hilder 2003 SIMON FRASER UNIVERSITY December 2003 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME Monika Barbara Hilder DEGREE Doctor of Philosophy TITLE Educating the Moral Imagination: The Fantasy Literature of George MacDonald, C.S. Lewis, and Madeleine L'Engle EXAMINING COMMITTEE: Chair Rina Zazkis, Professor --------------- Kieran Egan, profess& Senior Supervisor J . Ki a -K~~Assistai5r0f~r,oepartrnentoTEn~lish, ---9Unive y of British Columbia Member -- Geoffrey Madoc-Jones, ASS~& Professor External Examiw Examiner Date: December 3, 2003 PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission.
  • NEDOR HEROES! $ NEDOR HEROES! In8 Th.E9 U5SA

    NEDOR HEROES! $ NEDOR HEROES! In8 Th.E9 U5SA

    Roy Tho mas ’Sta nd ard Comi cs Fan zine OKAY,, AXIS—HERE COME THE GOLDEN AGE NEDOR HEROES! $ NEDOR HEROES! In8 th.e9 U5SA No.111 July 2012 . y e l o F e n a h S 2 1 0 2 © t r A 0 7 1 82658 27763 5 Vol. 3, No. 111 / July 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White, Mike Friedrich Proofreaders Rob Smentek, William J. Dowlding Cover Artist Shane Foley (after Frank Robbins & John Romita) Cover Colorist Tom Ziuko With Special Thanks to: Deane Aikins Liz Galeria Bob Mitsch Contents Heidi Amash Jeff Gelb Drury Moroz Ger Apeldoorn Janet Gilbert Brian K. Morris Writer/Editorial: Setting The Standard . 2 Mark Austin Joe Goggin Hoy Murphy Jean Bails Golden Age Comic Nedor-a-Day (website) Nedor Comic Index . 3 Matt D. Baker Book Stories (website) Michelle Nolan illustrated! John Baldwin M.C. Goodwin Frank Nuessel Michelle Nolan re-presents the 1968 salute to The Black Terror & co.— John Barrett Grand Comics Wayne Pearce “None Of Us Were Working For The Ages” . 49 Barry Bauman Database Charles Pelto Howard Bayliss Michael Gronsky John G. Pierce Continuing Jim Amash’s in-depth interview with comic art great Leonard Starr. Rod Beck Larry Guidry Bud Plant Mr. Monster’s Comic Crypt! Twice-Told DC Covers! . 57 John Benson Jennifer Hamerlinck Gene Reed Larry Bigman Claude Held Charles Reinsel Michael T.
  • Bulletin 7/13C

    Bulletin 7/13C

    Southern Fandom Confederation Contents SFC Handbooks Off the Wall . .1 This amazing 196 page tome of Southern Fannish lore, edited Treasurer’s Report . .3 by T.K.F. Weisskopf, is now available to all comers for $5, plus Contributors . .3 a $2 handling and shipping charge if we have to mail it. The Nebula Award Winners . .3 Handbook is also available online, thanks to the efforts of Sam Hugo Nominees . .4 Smith, at http://www.smithuel.net/sfchb Convention Reports . .6 T-Shirts Convention Listing . .8 Fanzine Listings . .10 Size S to 3X LoCs . .12 Price $10 {{Reduced!}} Plus $3 shipping and handling fee if we have to mail it. Policies Art Credits The Southern Fandom Confederation Bulletin Vol. 7, No. 13, Cover, Page 1 . .Teddy Harvia June 2002, is the official publication of the Southern Fandom This page, Page 2,3,6,7,12,14,18 . .Trinlay Khadro Confederation (SFC), a not-for-profit literary organization and Page 5, 17 . .Scott Thomas . information clearinghouse dedicated to the service of Southern Page 19 . .Sheryl Birkhead Science Fiction and Fantasy Fandom. The SFC Bulletin is edit- ed by Julie Wall and is published at least three times per year. Addresses of Officers Membership in the SFC is $15 annually, running from DeepSouthCon to DeepSouthCon. A club or convention mem- Physical Mail: bership is $75 annually. Donations are welcome. All checks President Julie Wall, should be made payable to the Southern Fandom 470 Ridge Road, Birmingham, AL 35206 Confederation. Vice-President Bill Francis, Permission is granted to reprint all articles, lists, and fly- PO Box 1271, Brunswick, GA 31521 ers so long as the author and the SFCB are credited.
  • It Pdf Free Download It PDF Book by Stephen King (1986) Download Or Read Online

    It Pdf Free Download It PDF Book by Stephen King (1986) Download Or Read Online

    it pdf free download It PDF Book by Stephen King (1986) Download or Read Online. It PDF book by Stephen King Read Online or Free Download in ePUB, PDF or MOBI eBooks. Published in September 1986 the book become immediate popular and critical acclaim in horror, fiction books. The main characters of It novel are Dick Halloran, Pennywise the Dancing Clown. The book has been awarded with Locus Award Nominee for Best Fantasy Novel (1987), World Fantasy Award Nominee for Best Novel (1987) and many others. One of the Best Works of Stephen King. published in multiple languages including English, consists of 1090 pages and is available in Paperback format for offline reading. It PDF Details. Author: Stephen King Book Format: Paperback Original Title: It Number Of Pages: 1090 pages First Published in: September 1986 Latest Edition: August 7th 1987 Language: English Awards: Locus Award Nominee for Best Fantasy Novel (1987), World Fantasy Award Nominee for Best Novel (1987), Colorado Blue Spruce Young Adult Book Award (1994), British Fantasy Award for Best Novel (1987) Generes: Horror, Fiction, Fantasy, Thriller , Main Characters: Dick Halloran, Pennywise the Dancing Clown, Bill Denbrough, Richie Tozier, Eddie Kaspbrak Formats: audible mp3, ePUB(Android), kindle, and audiobook. The book can be easily translated to readable Russian, English, Hindi, Spanish, Chinese, Bengali, Malaysian, French, Portuguese, Indonesian, German, Arabic, Japanese and many others. Please note that the characters, names or techniques listed in It is a work of fiction and is meant for entertainment purposes only, except for biography and other cases. we do not intend to hurt the sentiments of any community, individual, sect or religion.
  • Indice: 0. Philip K. Dick. Biografía. La Esquizofrenia De Dick. Antonio Rodríguez Babiloni 1

    Indice: 0. Philip K. Dick. Biografía. La Esquizofrenia De Dick. Antonio Rodríguez Babiloni 1

    Indice: 0. Philip K. Dick. Biografía. La esquizofrenia de Dick. Antonio Rodríguez Babiloni 1. El cuento final de todos los cuentos. Philip K. Dick. 2. El impostor. Philip K. Dick. 3. 20 años sin Phil. Ivan de la Torre. 4. La mente alien. Philip K. Dick. 5. Philip K. Dick: ¿Aún sueñan los hombres con ovejas de carne y hueso? Jorge Oscar Rossi. 6. Podemos recordarlo todo por usted. Philip K. Dick. 7. Philip K. Dick en el cine 8. Bibliografía general de Philip K. Dick PHILIP K. DICK. BIOGRAFÍA. LA ESQUIZOFRENIA DE DICK. Antonio Rodríguez Babiloni Biografía: Philip. K. Dick (1928-1982) Nació prematuramente, junto a su hermana gemela Jane, el 2 de marzo 1928, en Chicago. Jane murió trágicamente pocas semanas después. La influencia de la muerte de Jane fue una parte dominante de la vida y obra de Philp K. Dick. El biógrafo Lawrence Sutin escribe; ...El trauma de la muerte de Jane quedó como el suceso central de la vida psíquica de Phil Dos años más tarde los padres de Dick, Dorothy Grant y Joseph Edgar Dick se mudaron a Berkeley. A esas alturas el matrimonio estaba prácticamente roto y el divorcio llegó en 1932, Dick se quedó con su madre, con la que se trasladó a Washington. En 1940 volvieron a Berkeley. Fue durante este período cuando Dick comenzó a leer y escribir ciencia ficción. En su adolescencia, publicó regularmente historias cortas en el Club de Autores Jovenes, una columna el Berkeley Gazette. Devoraba todas las revistas de ciencia-ficción que llegaban a sus manos y muy pronto empezó a ser influido por autores como Heinlein y Van Vogt.
  • The Cambridge Companion to Science Fiction

    The Cambridge Companion to Science Fiction

    16 EDWARD JAMES Utopias and anti-utopias It is sometimes said that the ability of the writer to imagine a better place in which to live died in the course of the twentieth century, extinguished by the horrors of total war, of genocide and of totalitarianism. The genre of utopia, created unwittingly by Sir Thomas More when he published Utopia in 1516, died when idealism perished, a victim to twentieth-century pessimism and cynicism. It is the contention of this chapter that utopia has not disappeared; it has merely mutated, within the field of sf, into something very different from the classic utopia. Hoda M. Zaki, whose Phoenix Renewed (1988)isthe only published monograph on sf utopias, was on the point of recognizing this, although she failed; as a political scientist, she was still looking in vain for the classic utopia. She concluded that ‘the disappearance of utopian literature in the twentieth century is surprising’ and ‘an issue with serious implications for the entire body politics’. Her study was based on the nineteen novels which had won the Nebula Award between 1965 and 1982. Almost all these novels had utopian elements, she concluded, but none of them were actual utopias: although many of those novels offered critiques of the contemporary world, none of them offered the necessary coherent account of a superior and de- sirable alternative in the future. Modern sf thus had no utopias to offer, but only ‘tantalizing fragments in the utopian tradition’.1 However, one can use the same evidence to suggest something quite different: if almost all the novels had utopian elements, this is a demonstration of the profound way in which utopianism has permeated sf.
  • The Convention Itself

    The Convention Itself

    The Seventh World Fantasy Convention Oct. 30 - Nov. 1.1981 V ■ /n Jg in iiiWjF. ni III HITV Report #2 I * < ? I fl « f Guests of Honor Alan Garner Brian Frond Peter S. Beagle Master of Ceremonies Karl Edward Wagner Jack Rems, Jeff Frane, Chairmen Will Stone, Art Show Dan Chow, Dealers Room Debbie Notkin, Programming Mark Johnson, Bill Bow and others 1981 World Fantasy Award Nominations Life Achievement: Joseph Payne Brennan Avram Davidson L. Sprague de Camp C. L. Moore Andre Norton Jack Vance Best Novel: Ariosto by Chelsea Quinn Yarbro Firelord by Parke Godwin The Mist by Stephen King (in Dark Forces) The Shadow of the Torturer by Gene Wolfe Shadowland by Peter Straub Best Short Fiction: “Cabin 33” by Chelsea Quinn Yarbro (in Shadows 3) “Children of the Kingdom” by T.E.D. Klein (in Dark Forces) “The Ugly Chickens” by Howard Waldrop (in Universe 10) “Unicorn Tapestry” by Suzy McKee Charnas (in New Dimensions 11) Best Anthology or Collection: Dark Forces ed. by Kirby McCauley Dragons of Light ed. by Orson Scott Card Mummy! A Chrestomathy of Crypt-ology ed. by Bill Pronzini New Terrors 1 ed. by Ramsey Campbell Shadows 3 ed. by Charles L. Grant Shatterday by Harlan Ellison Best Artist: Alicia Austin Thomas Canty Don Maitz Rowena Morrill Michael Whelan Gahan Wilson Special Award (Professional) Terry Carr (anthologist) Lester del Rey (Del Rey/Ballantine Books) Edward L. Ferman (Magazine of Fantasy ir Science Fiction) David G. Hartwell (Pocket/Timescape/Simon & Schuster) Tim Underwood/Chuck Miller (Underwood & Miller) Donald A. Wollheim (DAW Books) Special Award (Non-professional) Pat Cadigan/Arnie Fenner (for Shayol) Charles de Lint/Charles R.
  • Ivan's Final Dissertation

    Ivan's Final Dissertation

    Copyright by Ivan Angus Wolfe 2009 The Dissertation Committee for Ivan Angus Wolfe certifies that this is the approved version of the following dissertation: Arguing In Utopia: Edward Bellamy, Nineteenth Century Utopian Fiction, and American Rhetorical Culture Committee: Jeffrey Walker, Supervisor Mark Longaker Martin Kevorkian Trish Roberts-Miller Janet Davis Gregory Clark Arguing In Utopia: Edward Bellamy, Nineteenth Century Utopian Fiction, and American Rhetorical Culture by Ivan Angus Wolfe, A.A.S.; B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of English The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2009 Dedication To Alexandra Acknowledgements I would like to thank my entire dissertation committee for their invaluable feedback during every step of my writing process. Jeffrey Walker was an invaluable director, always making time for my questions and responding with feedback to my chapters in a timely manner. Martin Kevorkian, Mark Longaker, Janet Davis, and Trish Roberts-Miller all also gave excellent advice and made themselves available whenever I needed them. Gregory Clark not only provided the initial impetus for my interest in this area, but graciously joined the committee despite his numerous commitments. Most graduate students would feel blessed to have such a conscientious and careful committee. I would also like to thank my wife, Alexandra, for her help. She has likely read this dissertation more times than anyone but me. Elizabeth Cullingford also deserves special thanks for being an excellent English department chair and making me feel welcome my first semester at UT as her Teaching Assistant for E316K.
  • Wynonna Earp's Evenhuis Covers Overstreet

    Wynonna Earp's Evenhuis Covers Overstreet

    March 5, 2020 For Immediate Release Wynonna Earp’s Evenhuis Covers Overstreet #50 First Time for Wynonna on the Cover of the Guide Hunt Valley, Maryland – Beau Smith’s Wynonna Earp, the demon hunter, descendant of famous lawman Wyatt Earp, and star of both her own graphic novels from IDW Publishing and SyFy’s TV series, is the first western character to be featured on the cover of The Overstreet Comic Book Price Guide, which this year celebrates its 50th anniversary. Regular Wynonna Earp artist Chris Evenhuis also makes his Overstreet debut with this edition of The Bible of serious comic book collectors, dealers, and historians. This cover will be offered in the April 2020 PREVIEWS from Diamond Comic Distributors in both soft cover ($29.95 SRP) and hardcover ($37.50) editions. The Wynonna Earp cover will be exclusively available in comic book shops (and from the Gemstone website for those who don’t live near a comic shop). “Chris Evenhuis is more than an artist, he’s an animator of life. His Overstreet cover is living proof of that,” said Beau Smith, creator and writer of Wynonna Earp. “With the 50th edition of The Overstreet Comic Book Price Guide, I hope not only collectors, but readers, creators and lovers of pop culture will truly understand what a textbook of information and history the Guide is. The history that was created in print, remains in print for all to learn from for all ages past, present and future.” “Capturing not only Wynonna Earp herself, but a number of her supporting players, Chris Evenhuis really poured himself into this cover.