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Asfacts July13.Pub
ASFACTS 2013 JULY “H EAT WAVE & H UMIDITY ” I SSUE NEBULA WINNERS ANNOUNCED The 2012 Nebula Awards were presented May 18, 2013, in a ceremony at SFWA’s 48th Annual Nebula Awards Weekend in San Jose, CA. Gene Wolfe was hon- ored with the 2012 Damon Knight Grand Master Award for his lifetime contributions and achievements in the field. A list of winners follows: First Novel: Throne of the Crescent Moon by Saladin Novel: 2312 by Kim Stanley Robinson, Novella: Ahmed, Young Adult Book: Railsea by China Miéville, After the Fall, Before the Fall, During the Fall by Nancy Novella: After the Fall, Before the Fall, During the Fall Kress, Novelette: “Close Encounters” by Andy Duncan, by Nancy Kress, Novelette: “The Girl-Thing Who Went Short Story: “Immersion” by Aliette de Bodard, Ray Out for Sushi” by Pat Cadigan, Short Story: “Immersion” Bradbury Award for Outstanding Dramatic Presentation: by Aliette de Bodard, Anthology: Edge of Infinity edited Beasts of the Southern Wild , and Andre Norton Award by Jonathan Strahan, and Collection: Shoggoths in Bloom for Young Adult Science Fiction and Fantasy Book: Fair by Elizabeth Bear. Coin by E.C. Myers. Non-Fiction: Distrust That Particular Flavor by Carl Sagan and Ginjer Buchanan received Solstice William Gibson, Art Book: Spectrum 19: The Best in Awards, and Michael H. Payne was given the Kevin Contemporary Fantastic Art edited by Cathy Fenner & O’Donnell Jr. Service to SFWA Award. Arnie Fenner, Artist: Michael Whelan, Editor: Ellen Dat- low, Magazine: Asimov’s , and Publisher: Tor. ROGERS & D ENNING HOSTING PRE -CON PARTY RICHARD MATHESON DEAD Patricia Rogers and Scott Denning will uphold a local fannish tradition when they host the Bubonicon 45 LOS ANGELES (Associated Press) -- Richard Pre-Con Party 7:30-10:30 pm Thursday, August 22, at Matheson, the prolific sci-fi and fantasy writer whose I their home in Bernalillo – located at 909 Highway 313. -
Abraham, 151 Abercrombie Station, 130 Achilles, 357 Aesop, 355
Index Abraham, 151 Chauser, 231, 233 366 Abercrombie Station, 130 Chesterton, G. K., 207 Faulkner, William, 15 Achilles, 357 Churchill, 55, 86 Flaubert, Gustave, 296 Aesop, 355 Cholwell’s Chickens, 130 Flesh Mask, The, 365-7, 379, 385 Alfred’s Ark, 123, 204, 242-4 Chrétien de Troyes, 248 & etc, Ford Madox Ford, 118 Allen, Woody; 96 250-52, 257 Fra Angelico, 380 Anaxagoras, 335, 342-53 Clarges, 16, 25, 30-32, 74, Frazetta, Frank, 209, 228 Aquinas, St. Thomas, 150 174, 177 Gainsborough, Thomas, 288 Arcimboldo, 380 Clarke, Arthur C., 17 Gesualdo, 380 Aristophanes, 398 Communism, 59, 82-6, 93, 143, Gift of Gab, The, 123 Aristotle, 280-1, 330, 336 & etc. 147, 249 319, 321, 329 & etc. Giotto, 228 Augmented Agent, The, 146 Coup de Grace, 16, 207 Gogol, Nicolai, 20, 195 Austen, Jane, 105 & etc, 191-2, Crusade to Maxus, 140 & etc. Gold and Iron, 20-1, 36, 81, 112, 241, 289, 380 Cugel (stories), 51, 106, 135-6, 118, 141, 143, 292, 383 Babeuf, Gracchus; 320 & etc. 155-6, 191, 200, 207, 231, Golden Girl, The, 20 Bad Ronald, 55, 221-2, 225, 248, 248-9, 251, 298, 340, Goncharov, 230 337, 340, 364- 6 355 & etc, 390, 392-3 Goya, Francesco, 23 Bain, Joe (stories), 205-6, 364, Dante, 15, 231, 233 Green Magic, 175-6, 387 378-9 Dark Ocean, The, 142, 201, 365 Grey, Zane, 46 Balzac, 52-54, 230, 379-83 Darwin, 68 & etc, 265, 287 Hardy, Thomas, 20 Beiderbecke, Bix, 136 Deadly Isles, The, 53, 365, 369 Hayden, 115 Benda, Julian, 80 Dickens, 112, 230, 289, 380 Heidegger, Martin, 214-9, 223, Big Planet, 12, 132, 231-32, Diderot, 16 227, 360-3, 367, 385 290, 383 Dodkin’s Job, 123, 153, 204, Hitchcock, Alfred, 289 Bird Island, 264, 370, 373 332 Hitler, 83-7, 201 Blake, William, 209 Dogtown Tourist Agency, The, Hogarth, 288 Blue World, The, 59, 189, 36, 38, 108, 332 Holbein, 289 228 & etc, 271 Domains of Koryphon, The, 15, Homer, 15, 216, 228, 355 & etc. -
Cosmopolis#57
COSMOPOLIS Number 57 January, 2005 And So It Ends SUBSCRIPTION know, we’re not done yet, but for someone who’s been I with the VIE for as long as I have (Volunteer # 76) the time remaining is vanishingly small compared to the eons DEADLINE is that have gone before. I’ve just received my last assign- JANUARY 25th! ment, and it’s like... well, the ‘last’. You know, like when you leave some place—house, employment, country—and lvl you’ll suddenly find yourself doing ‘last’ things. The deadline to order the complete set of ‘Last’ things that you’re aware of. ‘Last’ things that mat- VIE books is the 25th. ter; punctuation marks in the course of your life that add meta-meaning and frame its content. Punctuation we notice, You cannot procrastinate any longer! as if we were proofing the copy and wondering if that Order on the VIE website. comma really belongs here, or if it’s just a stylistic quirk, or if that colon should really be a full-stop. In contrast to this consider those sentence marks we don’t notice, because they, like someone wrote about Jack’s style, are Contents invisible, and by their implicitness serve to make limpid that which otherwise would be hidden. And So It Ends . 1 For everything in life, every action we take, is a ‘last’, at the same time as it is a first; only our urge to generalize, Till Noever simplify and abstract makes us believe otherwise. And, Work Tsar Report . .2 let’s face it, everything could just be ‘last’—because of our ignorance about what will be tomorrow, or maybe in the Joel Riedesel next few minutes, that will retroactively turn any given action into a ‘last’, by anybody’s definition. -
Footnotes in Fiction: a Rhetorical Approach
FOOTNOTES IN FICTION: A RHETORICAL APPROACH DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Edward J. Maloney, M.A. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor James Phelan, Adviser Professor Morris Beja ________________________ Adviser Professor Brian McHale English Graduate Program Copyright by Edward J. Maloney 2005 ABSTRACT This study explores the use of footnotes in fictional narratives. Footnotes and endnotes fall under the category of what Gérard Genette has labeled paratexts, or the elements that sit above or external to the text of the story. In some narratives, however, notes and other paratexts are incorporated into the story as part of the internal narrative frame. I call this particular type of paratext an artificial paratext. Much like traditional paratexts, artificial paratexts are often seen as ancillary to the text. However, artificial paratexts can play a significant role in the narrative dynamic by extending the boundaries of the narrative frame, introducing new heuristic models for interpretation, and offering alternative narrative threads for the reader to unravel. In addition, artificial paratexts provide a useful lens through which to explore current theories of narrative progression, character development, voice, and reliability. In the first chapter, I develop a typology of paratexts, showing that paratexts have been used to deliver factual information, interpretive or analytical glosses, and discursive narratives in their own right. Paratexts can originate from a number of possible sources, including allographic sources (editors, translators, publishers) and autographic sources— the author, writing as author, fictitious editor, or one or more of the narrators. -
L'opera Di Jack Vance
RETROSPETTIVA www.clubcity.info CITYcircolo d’immaginazione L’opera di Jack Vance 1982. Silvio Sosio con cappello e capelli (a destra); Paolo Pavesi (a sinistra) tiene in mano il primo numero de “La Spada Spezzata“, da loro appena realizzata. CITYcircolo d’immaginazione retrospettiva L’opera di Jack Vance di Silvio Sosio Quattro mondi di Jack Vance da City fanzine bimestrale n.10, anno II aprile 1983 Altri quattro mondi di Jack Vance da City fanzine bimestrale n.11, anno II, giugno 1983 Ancora su Jack Vance: I principi Demoni da City fanzine bimestrale n.18, anno III, giugno 1984 Vance: il Pianeta Gigante [e altro] da City fanzine bimestrale n.19, anno IV, ottobre 1984 Questi quattro articoli dedicati alla narrativa di Jack Vance furono pubblicati a puntate sulla fanzine periodica del club City. Silvio Sosio aveva solo vent’anni quando li scrisse e riletti adesso ci fanno capire che Silvio aveva già in sé capacità di analisi, di confronto e una scrittura ricca e scorrevole, da premio. Quando vennero pubblicati l’indice di apprezzamento fu altissimo. E poi … vent’anni, da invidia! Silvio è riuscito a penetrare nella narrativa di Vance cogliendone le caratteristiche e i valori predominanti: l’estro paesaggistico, l’ironia, gli schemi di potere, e soprattutto la fascinazione della scrittura, che nell’autore di San Francisco è stile artistico. I suoi personaggi possono sconfinare nel bizzarro ma mai nello stereotipo e Vance li arricchisce con pennellate di creatività e fantasia. Questo vale per gli umani e per gli alieni. Le note bibliografiche sono state aggiornate, sebbene molti testi non siano stati più ristampati e .siano reperibili solo in rete nel mercato di libri usati e da collezione. -
000 Index Cosmopolis and Extant 20190603 1123.Xlsx
Index 2 - Index Name 3 - X 4 - Item 5 - Cosmopolis or 6 - Page 7 - Text Extant No All Articles 0001 Cosmopolis #02 1 The VIE Vision (Mazirian, Die Domaänen von Koryphon, Bodissy, F. Herbert, Azimov, S. Lem, Bradbury, Twain, Stevenson, Dickens, Balzac), p1, Paul Rhoads. All Articles 0002 Cosmopolis #02 4 The New Textual Integrity Principles (Palace of Love, Star King, Killing Machine), p4, Alun Hughes All Articles 0003 Cosmopolis #02 7 Response to Paul Rhoads’ Vision of the VIE, p7, Alun Hughes VIE Proj 0001 Cosmopolis #02 15 The VIE Vision, p1, Paul Rhoads. VIE Proj 0002 Cosmopolis #02 25 Response to ‘VIE Vision’, p7, Alun Hughes VIE Text Integrity 0001 Cosmopolis #02 37 The New Textual Integrity Principles, p4. Alun Hughes All Articles 0004 Cosmopolis #03 4 The Font in Question, p4, Paul Rhoads All Articles 0005 Cosmopolis #03 5 Is Vance a Science Fiction Author? ( Narnia, The Wizard of Oz, H.G. Wells, 1984, Brave New World, Martian Chronicles, Dune, Wodehouse, Praxiteles, Michelangelo, Tolkein, H.C. Anderson, Dunsany, Ovid, Dante, Gogol, Jane Austen, Shakespeare, Balzac, Thackery, Niven, Aldiss, Clark), p5, Paul Rhoads Format and Font 0001 Cosmopolis #03 21 The Font in Question, p4, Paul Rhoads Literary (By Author) 0029 Paul Rhoads Cosmopolis #03 35 Is Vance a Science Fiction Author?, p5 Literary 0001 Cosmopolis #03 35 Is Vance a Science Fiction Author?, p5, Paul Rhoads All Articles 0006 Cosmopolis #04 5 What Sort of Artist is Jack Vance? (The Domains of Koryphon, The Killing Machine, Lyonesse, Poussin, Tiepolo, Goya), p5, Paul Rhoads -
Wortschmied Und Weltenschöpfer Jack Vance Wird Achtzig
Andreas Irle Wortschmied und Weltenschöpfer Jack Vance wird achtzig 1996 2 Andreas Irle Wortschmied und Weltenschöpfer 3 Im August 1996 feierte Jack Vance seinen achtzigsten Geburts- tag. Ich kann ihn mir gut vorstellen, wie er vor einem Glas Granatapfelwein sitzt und über sein Leben und sein Werk nach- denkt. Achtzig Lebensjahre, davon über fünfzig als Schriftstel- ler: In der Tat, letztes Jahr jährte sich der Verkauf seiner ersten Geschichte zum fünfzigsten Mal. Grund genug (wieder) einmal über Jack Vance nachzudenken, zumal da auch sein neuer Ro- man »Nachtlicht« seine Schatten vorauswirft. Einige der Werkinhalte sind kurz skizziert, um jene, die Vance nicht kennen, neugierig zu machen; und jene, die ihn kennen und mögen, anzuregen, die ein oder andere Geschichte noch einmal zu lesen. Mann und Mythos Jack Vance (richtiger Name: John Holbrook Vance) wurde am 28. August 1916 als Sohn von Charles Albert und Edith (Hoef- ler) Vance in San Francisco geboren. Er wuchs auf einer Ranch im San Joaquin Valley in Kalifornien auf und besuchte die University of California in Berkeley, wo er Bergbau, Physik und Journalismus studierte. Während und nach dem 2. Weltkrieg fuhr er als Matrose der US-Handelsmarine zur See. Nach dem Krieg ging er mehreren Beschäftigungen nach: Er arbeitete in einer Konservenfabrik, als Zimmermann, als Obstpflücker und spielte in einer Jazzband Trompete. 1946 heiratete er Norma Ingold; 1961 wurde ihr Sohn John geboren. Die Vances leben in Oakland und haben im Laufe der Jahre nahezu die ganze Welt bereist. Eines von Jack Vances bevorzugten Magazinen seiner Jugend war Weird Tales, in dem er die Geschichten von Clark Asthon Smith und Edgar Rice Burroughs las. -
COSMOPOLIS Number 22 January, 2002
COSMOPOLIS Number 22 January, 2002 Contents The VIE Text Flow (in which a VIE text must endure the eyes of The VIE Text Flow . 1 by Joel Riedesel many assorted and dissimilar characters) The phases of text production explained by Joel Riedesel, Work Flow Commissar Work Tsar Status Report . 5 As everyone knows, the goal of the VIE is to produce by Joel Riedesel and establish the corrected, authoritative, and authorized version of the complete works of Jack Vance. Doing so Project Report . 6 involves many phases and steps; two might be considered by Paul Rhoads most interesting: Textual Integrity, where VIE volunteers attempt to find Jack’s words; and Composition, where VIE You Have Done It! . 7 volunteers artistically re-present Jack’s words. The rest by Hans van der Veeke of VIE work concerns removal of typos introduced by Volunteer work credits for completed texts: editors and, particularly, errors of all kinds introduced Ullward’s Retreat, Mazirian the Magician, The in the course of VIE work itself! Languages ofPao, The Men Return I’ve divided the numerous steps of the VIE Text Flow into the following phases (these are detailed further on): The Mathematical Vance. 9 by Richard Chandler 1. Raw Verified Text Phase Math examples from Jack’s works 2. Double-Digitization Phase 3. Techno-Proof Phase In Favor of Science Fiction? . 10 4. Textual Integrity Phase by Paul Rhoads 5. Composition Phase Is Vance a science fiction writer or not? 6. Golden Master Phase The goal of phases 1 through 3 is to produce a text suit- Letters to the Editor. -
Cosmopolis#32
COSMOPOLIS Number 32 c3g4c November, 2002 DD Scanning Completed! by Damien Jones The attentive ear will already have discerned the drop in background noise: absent now the mechanical whine of electro-motors and rubber drive-belts. In geo- graphically disparate locations light-emitting diodes wink out and numbed minds return from sinister wanderings, or is that wonderings? A flutter of pages as the last book scanned is dutifully removed from the rack by its torturer and returned to its cell; drained, worse for wear…Proud. The scanning phase of Double-Digitization is com- plete, in fact it has been complete for over a month but in this day of ‘speed of light’ communication and instant gratification I find it essential to impose a more ‘humane’ pace on others whenever I can. Steve Sherman’s Deluxe SFV Limited Edition bookplate. Photo by Koen Vyverman. We owe a great debt to those who have dedicated themselves to the scanning phase of the VIE project. Contents These volunteers have spent time battling on the DD Scanning Completed! . 1 boundary of the digital world, putting their own by Damien Jones prized texts to the sword as it were (there has been no Double-Digitization scanning credits survey but I suspect more than one book suffered Work Tsar Status Report . 2 harm). Not once was heard a complaint from any of by Joel Riedesel these stalwarts. Moreover these same individuals are, Wave 1 delivery update or were, invariably involved in other areas of the VIE Vance Women . 2 by Chuck King effort to boot! I humbly offer these volunteers my Identify these female characters thanks, and would have them know that I for one will How Jack Vance Crushed My Dreams . -
Learning from Science Fiction
HARD READING Liverpool Science Fiction Texts and Studies, 53 Liverpool Science Fiction Texts and Studies Editor David Seed, University of Liverpool Editorial Board Mark Bould, University of the West of England Veronica Hollinger, Trent University Rob Latham, University of California Roger Luckhurst, Birkbeck College, University of London Patrick Parrinder, University of Reading Andy Sawyer, University of Liverpool Recent titles in the series 30. Mike Ashley Transformations: The Story of the Science-Fiction Magazine from 1950–1970 31. Joanna Russ The Country You Have Never Seen: Essays and Reviews 32. Robert Philmus Visions and Revisions: (Re)constructing Science Fiction 33. Gene Wolfe (edited and introduced by Peter Wright) Shadows of the New Sun: Wolfe on Writing/Writers on Wolfe 34. Mike Ashley Gateways to Forever: The Story of the Science-Fiction Magazine from 1970–1980 35. Patricia Kerslake Science Fiction and Empire 36. Keith Williams H. G. Wells, Modernity and the Movies 37. Wendy Gay Pearson, Veronica Hollinger and Joan Gordon (eds.) Queer Universes: Sexualities and Science Fiction 38. John Wyndham (eds. David Ketterer and Andy Sawyer) Plan for Chaos 39. Sherryl Vint Animal Alterity: Science Fiction and the Question of the Animal 40. Paul Williams Race, Ethnicity and Nuclear War: Representations of Nuclear Weapons and Post-Apocalyptic Worlds 41. Sara Wasson and Emily Alder, Gothic Science Fiction 1980–2010 42. David Seed (ed.), Future Wars: The Anticipations and the Fears 43. Andrew M. Butler, Solar Flares: Science Fiction in the 1970s 44. Andrew Milner, Locating Science Fiction 45. Joshua Raulerson, Singularities 46. Stanislaw Lem: Selected Letters to Michael Kandel (edited, translated and with an introduction by Peter Swirski) 47. -
Jack Vance: an Appreciation
JACK VANCE: AN APPRECIATION George R. R. Martin here is only one Jack Vance. T I am sometimes asked which writers have most influenced my own work. That’s a tricky question, since the writers who have the most profound impact on you are the ones you read when you are young, and hardly aware of whatever influences it was you were absorbing. I will confess, however, that Jack Vance is one of only two writers that I have ever set out consciously to imitate (the other one was H.P. Lovecraft, for what it’s worth). Along about the mid 70s, I was a young writer with a couple dozen short story sales under my belt, still struggling to improve my craft. I would pore over every book and magazine that I could get my hands on, and try to dissect the stories that impressed me, looking for techniques that I could incorporate into my own reper- toire…and there was no one who impressed me as much as Vance. So one day I decided to try my hand at a Vance story, and wrote a novelette called “A Beast for Norn,” introducing Haviland Tuf, whose ancestry owed more than a little to Vance’s Magnus Ridolph. The story sold and Tuf went on to have a long and successful run, but the experiment convinced me that no one but Jack Vance could write like Jack Vance. You could say that Jack Vance is the Fred Astaire of letters. Astaire brought such grace and style to his dancing that he made it seem almost easy, just as Vance does when he writes. -
Science Fiction Review Interviews: ☆ A.E
THE HUGO WINNER!! SCIENCE FICTION REVIEW INTERVIEWS: ☆ A.E. VAN VOGT ☆ JACK VANCE ☆ RAY BRADBURY ☆ PIERS ANTHONY THE SILVERBERG THAT WAS BY ROBERT SILVERBERG I always do immediately after receiv¬ ALIEN THOUGHTS ing it. Other zines pile up, but this one becomes addictive. 'The Libertarians, like genuine Communists, and other idealists, are talking about a form of government which has never been tried on this planet, and which probably would never work beyond the level of a small, carefully engineered commun¬ ity populated entirely by zealots who are willing to force the offic¬ T. Pflock, free-lance writer, who ial theory onto reality no matter wrote, what. 'By the way, I'm now a REASON 'There are many examples of the contributing editor-haven't con¬ kind of elimination of competition tributed anything yet, however. in a free market that you hypothe¬ 'And have you heard: J.J. Pierce size. When there's no government is/has replacing (ed) J. Baen as GALAXY control, big companies take the op¬ editor! Baen's going to Ace to re¬ portunity to rub out little ones. place LoBrutto, who's going to Dou¬ This was commonplace in the early bleday to replace Jarvis, who's going part of this century in the communi¬ to Playboy Press. Ah, musical edit¬ cations media. More powerful radio ors. Such fun.' stations simply blew the smaller ones off the air by applying (and wast¬ Except for the editor at Playboy 8-5-77 A new area representative ing) more juice than anybody else Press who got booted, to create the from Gestetner, Dan Cunnings, dropp¬ had.