USF Libraries
USF Digital Collections

SFRA review

MISSING IMAGE

Material Information

Title:
SFRA review
Alternate Title:
Science Fiction Research Association review
Physical Description:
Serial
Language:
English
Creator:
Science Fiction Research Association
Publisher:
Science Fiction Research Association
Place of Publication:
Eugene, Ore
Publication Date:

Subjects

Subjects / Keywords:
Science fiction -- History and criticism -- Periodicals   ( lcsh )
Fantasy fiction -- History and criticism -- Periodicals   ( lcsh )
Science fiction -- Book reviews -- Periodicals   ( lcsh )
Fantasy fiction -- Book reviews -- Periodicals   ( lcsh )
Genre:
non-fiction   ( marcgt )
serial   ( sobekcm )

Notes

General Note:
Place of publication varies.

Record Information

Source Institution:
University of South Florida Library
Holding Location:
University of South Florida
Rights Management:
All applicable rights reserved by the source institution and holding location.
Resource Identifier:
usfldc doi - S67-00037-n276-2006-04_05_06
usfldc handle - s67.37
System ID:
SFS0024513:00037


This item is only available as the following downloads:


Full Text

PAGE 1

April/llay/June J006 Editor: Christine Mains Hanaging Editor: Janice M. Boastad Nonfiction Reriews: Ed McKniaht Fiction Reriews: Philip Snyder The SFRAReview (ISSN 1068-395X) is published four times a year by the Science Fiction ResearchAssodation (SFRA) and distributed to SFRA members. Individual issues are not for sale; however, starting with issue #256, all issues will be published to SFRA's website no less than 10 weeks after paper publication. For information about the SFRA and its benefits, see the description at the back of this issue. For a membership application, contact SFRA Treasurer Donald M. Hassler or get one from the SFRA website: . SFRA would like to thank the Univer sity of Wisconsin-Eau Claire for its as sistance in producing the SFRAReview. SUBMISSIONS The SFRAReview encourages all submis sions, including essays, review essays that cover several related texts, and inter views. If you would like to review non fiction or fiction, please contact the respective editor. Christine Mains, Editor Box 66024 Calgary,AB TIN I N4 Janice M. Bogstad, Managing Editor 239 Broadway St. Eau Claire WI 54703-5553 Ed McKnight, Nonfiction Editor I 13 Cannon Lane Taylors SC 29687 Philip Snyder, Fiction Editor 109 Northumberland Road Rochester NY 14618 Science Fiction Research Association SFRA I .. "-HIS ISSUE: SFRA Business Editor's Message 2 President's Message 2 Executive Meeting Minutes Business Meeting Minutes Treasurer's Report 7 SFRA 2006 White Plains Grad Student Award 8 Mary Kay Bray Award 9 Thomas D. Clareson Award Pioneer Award 12 Pilgrim Award I 2 Non Fiction Reviews Hollow Earth 1 5 Lovecraft in Popular Culture Prehistoric Humans I 7 Star Wars Posters I 8 SF Quotations 19 Fiction Reviews Can't Catch Me I 9 Glasshouse 21 Game of Perfection 24 Numbers Don't Lie 25 WebMage 26 Old Twentieth 26 Solstice Wood 27 Red Lightning 29 3 4 1 1 16

PAGE 2

) News Items: The Octavia E. Butler Memorial Scholarship Fund has been estab lished to provide a scholarship for writers of color to attend the Clarion Writers Workshop, where Butler got her start. The scholarship will be administered by the Carl Brandon Society, which earlier this year es tablished the Parallax Award and the Kindred Award. RobertJ.Sawyer's Mindscan is the winner of the John W. Campbell Me morialAward for Best Novel ofthe Year, becoming one of only seven writers who have won all three of the field's top awards. Greg Bear and Jack Williamson will receive the 2006 RobertA. Heinlein Award, to be presented at the Society's annual dinner held in con junction with Worldcon in LA. The Bram Stoker Award in horror fiction, were announced by the HorrorWritersAssociation at their banquet in Newark, NJ. Novel (tie): Creepers, by David Morrell and Dread in the Beast, by Charlee Jacob; First Novel: Scarecrow Gods, by Weston Ochse; Long Fiction:"Best New Hor ror," by Joe Hill; Short Fiction: "We Now Pause for Station Identification;' by Gary Braunbeck; Fiction Collec tion: Twentieth Century Ghosts, by Joe Hill; Anthology: Dark Delicacies, ed ited by Del Howison & Jeff Gelb; Non-Fiction: Horror:Another 100 Best Books, edited by Stephen Jones & Kim Newman; Poetry (tie): Freakcidents, by Michael A. Arnzen and Sineater, by Charlee Jacob; Lifetime Achievement: Peter Straub; Specialty Press Award: Necessary Evil Press; Richard Laymon (President's Award): Lisa Morton. SFRA BUSINESS Editor's lIessaae Christine Mains This issue of the SFR4 ReJ.'ieJlJ is a coming out a little later thml the sched ule would call for, but we do have a good reason: we needed to delay publication until after the July 10 deadline for late nominations for the upcoming election. However, no new candidates presented themselves for consideration, so dlere are no new candidates' statements to add to those published in issue #275. Ballots for the election should be arriving in your mailboxes later this summer. The membership directory will also be out later this summer, reflecting membership registrations as of July 15,2006. In this issue, we have, in addition to reviews of fiction and nonfiction, dle speeches of award presenters and winners from the recent awards banquet at the conference in \V'llite Plains. We're not quite publishing the speeches in the order in which they were given, and we're not able to provide a food course between every other speech, but you can use your imaginations to add in the carrot cake widl blueberries and the glasses of wine. \\le're a little light on nonfiction reviews in tllis issue; those of you with books to reVIew, consider yourself gendy nagged. And remember, you don't need to wait for Ed or Phil to request reviewers for books they've received from publishers; if you've received a book that would interest SFRA members, or if you've heard of a forthcoming title that you'd like to review, please contact memo SFRA BUSINESS President's lIessaae David G. Mead SFRA 2006 was a great success. I was delighted to see so many of our members in \'Olite Plains, to hear some terrific presentations, and to get to meet members whom I have known only as names in the Directory until now. The conference guests were terrific, and fully engaged in the program, and dle program was full of interesting panels and discussions. "nlanks are owed to a great many persons for dle success of tllis year's meeting. First, to Tom ;,Iorrissey and Oscar De Los Santos, the conference co chairs who madc it all happen. And to their many helpers, includingJJ Sargent and ,-\rlene l\Iorrissey. Thanks also to Joe Berlant and Dave Hartwell for their work in the book room. SFR.,\ owes all these folks a great debt of gratitude for the countless hours of work they put in! Next year we will meet in I"':'ansas City, July 5-8, in conjunction with the Heinlein Ccntennial. \\le are inviting guest authors now; I hope to be able to announce their names soon. TIle meeting will bc held in the Crown Center. For more information about the venue and Centennial plans, take a look at wwwheinleinccntennial.com. Start planning your paper and saving your pennies. Our officer elections for 2007-2008 will be held soon. Ballots will be mailed III .\ugus t. Please look for yours, and be sure to vote. \\le have a wonderful slate of candidatcs, whose candidate statements were pnnted in the last S}
PAGE 3

( SFRA BUSINESS Minutes: Executive Committee Meeting Warren Rochelle Call to Order: The J\[eeting of the Executive Committee was convened at approximately 9:30 p.m., on June 22, 2006, in David ,',[ead's room, the Crowne Plaza Hotel, 'W1lite Plains, NY Present: Bruce Rockwood, !\[ack Hassler, Christine l\[ains, David '\[ead, \Varren Rochelle. OFFICER and SFR-4 REVIEIVEDITOR REPORTS: PRESIDENT, DAVE l\[EAD The meeting began with the President's report on the upcoming 2007 SFRA conference, which is to be held in Kansas City, in conjunction with the Heinlein Society Centennial. He also discussed the membership of the various award committees. Dave noted that the Pilgrim Award Committee currently has 2 members: David Hartwell and Charles Brown (of Lo(l/J magazine), and that a third member was needed. He felt the third member should not be a US citizen, and suggested Pavel. TREASURER, ,\;LKK R\SSLER: Mack noted the organization currently has 310 members. I-Ie added that SF StudieJ is raising its rates, due to printing costs. The actual changes should come to a $1 for individuals and $2 for institutions, and will be effective in 2007. \\!hen asked if Mack felt we should raise our dues, j\[ack said no. He thought the budget could handle tlle increase. SECRETi-\RY, WARREN ROCHELLE: \Varren sent out second and reminder to renew membership letters in February and l\Iarch, and put a reminder on the listserv as well. There was a good response to the follow-up letters. Since then he has been collecting retumed let ters, which he is sending to l\Iack so that they can be purged from the database. He noted the upcoming election and that he would be sure to remind people to add extra postage as the ballots will be sent to Peter in Toronto. SFR-4 RET/7Elr"Editor, Christine l\lains: Chrissie Mains commented on the ongoing problem with the ReF/eli' and the reason for now being off-schedule: the failure of book review writers to send in their work in a timely manner. She noted that this is a problem for both fiction and nonfiction reviews. ,,\nother concem is that some publishers do not send out review copies. There was some discussion about how to encourage more review copies from publishers and what could be done to resolve the problem of late revIews. OLD Bl TSINESS' ConferCilre Report.r: 2006 CONFERENCE, \'(,1lite Plains, NY: DIRECTORS, OSCAR DE LOS SANTOS ;md TOl\Il\IORRISSEY will give a report at the business meeting. 2007: h::;msas City 2008: Dublin, Ireland 2009: .\tlanta, Georgia (Lisa Yaszek & Doug Davis) 2010: Phoe111x, "\7, (possible: CnugJ acobsen & Shelley Rodrigo) NEW' BllSINFSS' l\Iike Levy will give a report on the new Center at the UnivCfsity of K;msas, established by James Gunn. A call will be made for additional llol11111atiollS by July 1 (). ( The LocusAwards, selected by the readers of the magazine, were presented at the Science Fiction Mu seum in Seattle, Washington. Best Science Fiction Novel:Accelerando, by Charles Stross; Best Fantasy Novel:Anansi Boys, by Neil Gaiman; Best First Novel: Hammered/ Scardown/Worldwired, by Elizabeth Bear; Best Young Adult Book: Pay the Piper, by Jane Yolen & Adam Stemple; Best Novella: "Magic for Beginners;' by Kelly Link; Best Novelette: "I, Robot," by Cory Doctorow; Best Short Story:"Sun bird," by Neil Gaiman; Best Maga zine: The Magazine of Fantasy and Science Fiction; Best Publisher:Tor; BestAnthology: The Year's Best Fantasy and Horror: Eighteenth Annual Collection, Ellen Datlow, Kelly Link & Gavin Grant, eds.; Best Collec tion: Magic for Beginners, by Kelly Link; Best Editor: Ellen Datlow; Best Artist: Michael Whelan; Best NonFiction: Storyteller: Writing Lessons and More from 2 7 Years of the Clarion WritersWorkshop, by Kate Wilhelm; BestArt Book: Spectrum 12:The Best in Contemporary FantasticArt, Cathy & Arnie Fenner, eds. This year's Fountain Award win ner, given by the Speculative literature Foundation to speculative short stories of exceptional liter ary quality, is Stephanie Harrell for "Girl Reporter." The first annual Carl Brandon Awards have been presented.The ParallaxAward, for works of specu lative fiction created by people of color, went to 47, byWalter Mosley; the Kindred Award, for works of speculative fiction dealing with issues of race and ethnicity, went to Storm watch, by Susan Voight )

PAGE 4

) The Nebula Awards are selected by the membership of the Science Fiction and Fantasy Writers of America (SFWA). Novel: Camou flage, by Joe Haldeman; Novella: ( "Magic for Beginners," by Kelly Link; Novelette:"The Faery Hand bag," by Kelly Link; Short Story: "I Live With You," by Carol Emshwiller; Script: Serenity, by Joss Whedon. The first Andre Norton Award was presented to ValiantA Modern Tale of Faerie, by Holly Black. The winners of the Dell Magazine Readers' Polls were announced at a breakfast at the Nebula Awards Weekend inTempeArizona on May 6. Asimov's: Best Novella: "Diving into the Wreck," by Kristine Kathryn Rusch; Best Novelette: "Second Person, Present Tense," by Daryl Gregory; Best Short Story: "Children of Time," by Steve Baxter; Best Poem: "Newton's Mass," by Timons Esaias; Best Cover: Michael Whelan, January. Analog: Best Novella: "Sanctuary," by Michael A. Burstein; Best Novelette: "NetPuppets," by Richard A Lovett and Mark Niemann-Rosa; Best Short Story: "Alphabet An gels," by Ekaterina Sedia and David Bartell; Best Fact Article: "Mission to Utah," by Wil McCarthy; Best Cover: George Krauter, November. Jane Yolen has been awarded the 2006 Roots of Writing Award by SF-FFWs (Science Fiction and Fan tasy Female Writers) for her writing and for her work as an editor. Geoff Ryman received his second Arthur C. Clarke Award for the novel Air.The first was for his novel The Child Garden. Business Meeting Agenda: Officer Reports Conference reports, including a presentation by De Los Santos and Morrissey New and Old Business The meeting was adjourned at approximately 10 pm. Respectfully submitted, Warren Rochelle, Secretary, SFRA SFRA BUSINESS Minutes: Annual Business Meetina Warren Rochelle Minutes: SFRA "'\nnual Business Meeting 9 a.m.,june 25,2006 Yorktown Room, Crowne Plaza Hotel, \V'hite Plains, NY Present ,\!embers attending the 2006 Conference Called to order at approximately 9 a.m. Agenda accepted as presented without comment. Special Report from i\!ike Lev}" As Mike reminded everyone, about a year ago, jim Gunn helped estab lish a Center for SF Studies at the University of Kansas, which received direct financial support from the The purpose of this Center is evangelical: it is meant to spread the word about SF. .\ website has been launched. A Speaker's Group has been started consisting of 100 people in 35 states ;md overseas who have volunteered to speak at libraries, schools, and the like, on science fiction. The Center is in the process of developing HS and college curricula, and an online course, through the University of Kansas, is now available. 111ere is a call for people to donate SF books and magazine. A Teen SF Workshop is being developed. Leslie Swigart suggested that, S111ce Lawrence, the home of the Univer sity of Kansas, is only 40 miles away from the 2007 conference site in Kansas City, a pre-or post, or during the conference field trip could be arranged to visit the center. Officer Reports (in the order they were glyen): C/JliJrillC ,Hains, cditol; Tbe SFR.LJ Reliell': Christine again made a plea that book reviews be completed in a timely fashion, as the delays have once again put the RcricJJ' behind in its publication schedule. She called the membership's attention to her efforts to get more pub lishers to send review copies to her and she would like to see more reviewsespecially long review or ITVlew essays, and more "Theory and Beyond" and "Approaches" articles. '\[embers are welcome to contact Chrissie or Ed or Phil if they know of a book that they would like to review, rather than waiting to see whether or not the editors will send out a request to review a particular title, they will try to get a renew copr I t IS OK to contact the editors with review suggestions. She emphasized that she is planning to get the SFR.LJ RCl'icJJ' back on schedule. Joan Gordon suggested that giving the reviewers very specific deadlines would help in getting the reviews 111 a timely fashion. Dave '\lcad asked for and received a round of applause for Christine's hard work. Sam lU1Dollald, /be IFi'/;/l/a..-rer: Sam noted the website is working, and to let him know if someone wanted something put up. )

PAGE 5

Dave Mead called for volunteers to serve on the awards selection commit tees, and acknowledged Brett Cox's volunteering to be a member of the Pilgrim Award committee. He noted his thanks to Oscar and Tom for their conference hard work. Bruce Rockwood noted that SFRA at present has 310 members, a number he feels we should try to increase and, if not, definitely maintain. He wondered if video clips of speakers, interviews and sessions could be put on the SFRA website. This would be a good way to record the speaker and the following discussion. Bruce thought it was time we started archiving the conference. David Hartwell noted that IAFA regularly puts up color photos of their conference on their website. Bruce went on to say that panels and papers on Role Playing Games (RPGs) as well as DVD's of SF films and television series and their interviews and outtakes-multiple media-and the study of computer games that develop SF and fantasy universes, should be encouraged, as they could be used as a way to snag younger members. Integration of the study of emerging media is a way to grow membership and interest in the SFRA. Warret! Rochel/e, S eeretmy: \\larren asked that the Minutes of the last business meeting be approved and this was done quickly. Warren reported that this year, due to an error on his part, he sent out two reminders for membership renewal, in February and the other in March. He also put the March reminder on the listserv. This seems to have been helpful in getting more members to renew. Since then he has been collecting returned letters, which he is sending to Mack so that they can be purged from the database. \\larren will be sending out the ballots and candidate statements in late July. He reminded everyone that extra postage would be needed, as ballots were to be returned to Peter Brigg, who lives 111 Toronto. ll4.aek [-[aJ.riel; Tree/Jurer: Mack called the membership's attention to the handout r.fack had pre pared, and noted that tlle organization received $3000 from last year's conference in Las Vegas and continues to receive royalty income from the anthologies-most recently, approximately $500. Due to rising costs, subscription rates to tlle Journals will have to be raised. This year's conference is more costly than Las Vegas. Mack recommended tllat SFRc\ maintain the dues schedule for tlle coming year. He noted that there is "pass through money" for the optional publications, such as the NeJJ' } ork RetieJ/} of Sdet1ce Fictioll and FOllndatioll. Joan Gordon commented that the various options were designed to give members a chance to support tlle various related organizations and publications. Stacie Hanes suggested SFRc\ consider a downloadable PDF version of some of its publications to encourage wider distribution. Leslie Swigart commented that some journals do put back issues online. Sam McDonald responded that right now only the SFRA Rcrieu' back is sues are online. He felt tlle print version is still needed and recommended tllat the Rel"ieu' not go completely online. He didn't feel as many people would read the RerieJJ'ifitwere just online. Dave l\fead commented reading online is not tlle same as reading hard copy, and many prefer the latter. There was a short discussion of the possibilities of online publication. Joe BerLmt felt that at least the Table of Contents online of the Reliell' would be a servICe and could pull people into the discussion. Dand AIea{1, PreJidellt: Dave reported for Peter Briggs, the past President, about the upcoming \ elections. I Ie ilwited more nominations, noting the deadline of July 10. 111ere was no response from thosc present. lIe added that if ,U1yonc knew somc( ( 5) The BSFA Awards: Artwork: Pawel Lewandowski for the cover of Interzone #200; Short Fiction:"Magic for Beginners," by Kelly Link; Novel: Air, by Geoff Ryman; BSFA Non-Fiction: Soundings, by Gary K. Wolfe; Doc Weir Award: Steve Lawson; Richard Evans Award: Pat Cadigan. Forthcoming Nonfiction: (Summer, 2006) Anderson, Douglas A. The 100 Best Writers of Fantasy and Horror. Cold Spring Press, 2006. Booker, M. Keith. Alternate Americas: Science Fiction Film and American Culture. Greenwood, 2006. Greene, Richard and K. Silem Mohammed (ed.) The Undead and Philosophy: Chicken Soup for the Soul/ess. Open Court, 2006. Little,JudithA. (ed.) Feminist Philoso phy and Science Fiction: Utopias and Dystopias. Prometheus, 2006. Newitz,Annalee. PretendWe're Dead: Capitalist Monsters inAmerican Pop Culture. Duke University Press, 2006. Phillips, Julie. James Tiptree, Jr.: The Double Life of Alice B. Sheldon. St. Martin's, 2006. Porter, Lynnette and David Lavery (ed.) Unlocking the Meaning of Lost An Unauthorized Guide. Sourcebooks, Inc., 2006. Prucher, Jeff (ed.) Brave New Words: The Oxford Dictionary of Science Fiction. Oxford UP, 2006. Resnick, Mike and Joe Siclari. Wor/dean Guest of Honor Speeches. ISFiC Press, 2006. South, James B. and Jacob M. Held (ed.) James Bond and Philosophy. Open Court, 2006. St. James Guide to Fantasy Writers. St. James Press, 2006. )

PAGE 6

(_6 ___ ) CfPs: WHAT:Weird Science in 19th c literature WHO: 38th Convention Northeast Modern Language Association (NEMLA) WHEN: March 1-4, 2007 WHERE: Baltimore, Maryland TOPICS: significance of unconventional or non-traditional science (in cluding medicine) in texts of the period. Examples might include, but are not limited to: phrenology, mesmerism, alchemy and homeopathy. SUBMISSIONS: abstracts of 250 words via email CONTACT:ksanner@mansfield.edu DEADLINE: Sept. 15th, 2006. WHAT: IstAnnualAward for NonEnglish Language Scholarly Essay on the Fantastic WHAT: The International Associa tion for the Fantastic in the Arts TOPICS: Prize: $250 U.S. and one year free membership in the IAFA to be awarded at the International Conference on the Fantastic in the Arts in March 2007;Winning essay to be published online at the IAFA website. Essays may be unpublished scholarship submitted by the author, or already published work nominated either by the author or another scholar (in which case the author's permission should be obtained before submission). An abstract in English must accompany all submissions. CONTACT: Dale Knickerbocker, knickerbockerd@ecu.edu DEADLINE: Nov 30, 2006 INFO: wiz.cath.vt.edu/mt3/IAFA.News/archives/2006_07 _09.html#aOOO 192 WHAT: Book of Essays on Firefly and Serenity TOPICS:The short-lived series and major motion picture speak to a myriad of issues-some familial, some political, some cultural, many something in between.While on the sur face the series appears to be "just a ( one who would like to serve to please let the Executive Committee know. Old Bnsiness: Dave reported that SF Stur/ies is increasing its rates: $1.00 in each member ship category. l\Iack felt tillS rate increase could easily be assinlliated by the treasury. Dave noted tile organization's generosity toward providing travel support. New BIISiness' Leslie Swigart called for a revival of the library committee. She felt that since so many things ha,"e been archived digitally, there was a concern that collec tions be preserved. Kevin Mulcahy, Sam l\IcDonald, and i\ndy Sawyer have ex pressed an interest in serving on such a committee. i\dam moved, with Bruce Rockwood seconding, that such a committee be established. David reminded everyone that according to SFRA by-laws, a formal pro posal had to be made and published in the Rer'ieJl'. Leslie said she would put information about a library listserv on the website. Bruce Rockwood suggested this new committee be inaugurated in Kan sas City next year. Dave reminded everyone of the need to observe Article XI of the by-laws regarding an amendment of the by-laws. He then called for a vote in favor of Adam's motion, and it was passed unanimously. Da,"e asked that a formal proposal, with a mission statement be sent to the Ren'eJl' as soon as possible. Chrissie said she would try to get it in the issue after the next, if the deadline wasn't met for the next issue. Pavel noted again his willingness to organize a conference in Poland and said he would put together an infOlmation packet. Dave reported on the upcoming conferences: 2007: Kansas City, MO,July 5-8, in conjunction with the Heinlein Centen nial conference. This collaborative effort will produce a different format for the conference. 2008:Dublin, Ireland, sponsored by Faralll\lendlesolm and Edward James 2009:,-\tlanta, Georgia, sponsored by Lisa Yaszek and Doug Davis 201O:tentatively, Phoenix, AZ, sponsored by Craig Jacobsen and Shelly Rodrigo. i\fter 2010, conference sites are a bit "fuzzy," but Dave felt Poland in 2011 was a strong possibility. He commented on the benefits of going outside the llnited States and North America. i\ndy Sawyer, speaking for the SF Foundation in Liverpool, asked members to take a look at a new website, the SF Hub (www.sfhub.ac.uk) with a mind to offering suggestions for editing and revision. He also encouraged people to send him links that could be put on the website. He noted the website is meant to promote the Liverpool collection and to provide 1-stop shopping for people w,U1ting direction to SF scholarship. David I lartwell said he will post the Jameson speech, with its defense of SF, on the website. 2006 COl/ferm(' Direi1on; O,ear de lol' SantoJ, Tom iVlon7J ... ey Tom reporrilZg: Tom spoke first on financial Issues. He suggested that one conference commIttee member should be deSIgnated to negotiate with the hotel, and he commen ted on the difficul tics they encountered with the hotel conceming vari ous arrangements. !-Ie said the conference generated more revenue than expected and didn't lose any more monev than was made in Las Vegas. I Ie felt the confer ence proceedings, when published ,U1d sold, could help the conference to break e\'Cn. The conference made money through T-shirt ami baseball cap sales. I-Ie felt )

PAGE 7

there could have been more control of travel costs for guests and said he has started video archiving conference presentations. 13 graduate students attended. Maybe NYC metro is not the best of conference sites. Tom noted that they would like to have the conference proceedings available by Kansas. 80 people attended and there were 20 walk-ins for the banquet. David Hartwell noted he solicited books to be sold at the conference and $871 was made in book sales. The book room went really well. David noted that written contracts were needed when working with hotels. Dave "'lead said that to avoid a deficit, the difference in expenses and costs should be paid now, to as to close the books on the conference. Any overage could be sent in later. Dave Mead referred to the conference "bible" and again emphasized the need to have written contracts with hotels. Oscar de Los Santos commented that the hotel broke its promises. Leslie Swigart suggested that the membership be informed about the conference proceedings volume and advised each member to order one for their institution's library. Bruce Rockwood asked about the advertisement we ran last summer in Events in }lcademe in the ebronide of Higher Education (eHE). He wanted to know if the organization has concrete evidence of people who attended the SFR.r\ because they saw the ad. No one had an answer. He noted that by identifying ourselves as an academic panel in the eHE, we might make it easier for younger faculty and grad students to get reimbursed from their institutions for the cost of attendance. Oscar noted a similar ad in LomJ worked, and that he had also put infor mation on the UPenn listserv. ( Joe Berlant, speaking as a non-academic, suggested the organization should consult with fans for help in running a conference. The meeting was adjourned at 10:03 a.m. Respectfully submitted, \Varren Rochelle, Secretary SFRA BUSINESS "reasurer's Report Donald M. Hassler June 19,2005 -June 20,2006 Income Dues and separate subscriptions (310 members) (paypal takes a small % and so amounts are not even) Remainder from the Vegas conference Royalties 30,143.43 3,244.82 513.47 700.00 Scholar support gifts Bank interest Carryover from 6/19/05 Total Income 262.55 52,810.84 87,675.11 Expenses Treasurer Office Secretary Office Traycl Support (Vegas conference) Conference seed money (Vegas) Conference seed money (New York) Uniyersity of (Christopher Gunn Fund) 135.00 719.90 850.00 1,170.00 1,1-10.00 1,000.00 ( space western,"Whedon's signature conflation of genres is only one facet of Firefly and Serenity that, upon careful investigation, reveals evidence of the series' and film's com pleXity and aesthetic appeal. From its setting and staging to its characters and cultural work, Firefly and Serenity compose a 'verse-a fictional universe-that merits study. The editors therefore anticipate in cluding essays representing a vari ety of interpretive angles-audience studies, textual studies, cultural stud ies, and more. Several publishers have already expressed interest in the project. Suggested topics: advertising & marketing; audience & critics; anCillary texts; Brown Coats; class; culture; deleted scenes; duty & honor; DVD commentaries; fan ac tivism; fan fiction; feminism; gender; genre(s); humor; Other(s); postcolonialism; quest; religion/spiri tuality; space & place; unaired epi sodes. SUBMISSIONS: proposals of up to 500 words (in Microsoft Word; the file name should be labeled with the letters FFS and your last name-for example, FFSCochran.doc) CONTACT: Rhonda Wilcox rhonda_w@gdn.edu AND Tanya Cochran cochran.Tanya@gmail.com DEADLINE: September 1,2006. WHAT:Arthurian Legends WHO:PCA WHEN: April 4-7, 2007 WHERE: Boston, MA TOPICS: Papers and panel propos als on all popular treatments of Arthurian Legend from any period and in any medium-print, visual, musical, commercial, electronic-are welcome. SUBMISSIONS: 250 word abstract CONTACT: Elizabeth Sklar, e.sklar@wayne.edu DEADLINE: Nov I, 2006 )

PAGE 8

(8 ) WHAT: Representing Self and Other: Gender and Sexuality in the Fantas tic WHO: International Conference on the Fantastic in the Arts WH EN: March 14-18, 2007 WHERE: Fort Lauderdale, FL TOPICS:The focus of ICFA-28 is on issues of gender and sexuality, long a concern of the fantastic in literature, film, and other media. Given the oft-marginalized status of science fiction and fantasy in relation to mainstream literature and culture, it's not surprising to see fantastic works considered in the light of queer theory and feminist approaches. The hero doesn't have to be a guy, but it's just as rewarding to examine the construction of the masculine hero in space opera, sword-and-sorcery, and superhero comics. In graphic novels, book cover illustrations, and art, the gendered Other is the BEM, the elf, the alien, the vampire. Awards such as the Tiptree and the Lambda, and the success ofWisCon,speak to the importance of this theme to the communities of the fantastic.We look forward to papers on the work of Guest of Honor Geoff Ryman, author of the Tiptree Award-winning Air; Guest Scholar Marina Warner; and Special GuestWriter Melissa Scott, winner of the Lambda Award. As always, we also welcome proposals for individual papers and for academic sessions and panels on any aspect of the fantastic in any media. CONTACT: The appropriate Divi sion Head (addresses at the webSite) DEADLINE: Nov 30, 2006 (earlier subm iss ions encouraged) INFO:www.iafa.org. WHAT: Fantastic Genres II: SF, Fan tasy, Horror, Children's Lit WHEN: Oct 6-8, 2006 WHERE: SUNY New Paltz, New Paltz, NY TOPICS: Keynote Writer, John Crowley; Keynote Critic, Joan Gordon. Following the success of the first Fantastic Genres conference in 2004, the second conference once again looks to bring together writers, editors. and scholars in dialogue ( Ad in Cbronicle of Higber Education Bray i\ward Clareson "-1.ward Pilgrim }\ward Review and Directory Extrapolation (all of 2005) SFS (part of 2005 and part of 2006) NYRSF Foundation JFA FEMSPEC Total Expenses Cash on Hand (6/20/06) 25,124.73 62,550.38 SFRA 2006 WHITE PLAINS 375.00 100.00 82.20 763.13 3,300.00 4,736.00 4,690.50 2,454.00 2,229.00 880.00 500.00 Grad Student Paper Award: Presenter Ed Carmien Good evening everyone. TIlls year it was my pleasure to chair the Graduate Student i\ward committee. With the extremely able assistance of Sara Canfield Fuller and Paul Brians we sifted through four presentations and arrived at not one but two winners, a first and a second place award. TIle works we received were evenly matched, and arriving at a conclusion about which to recognize today required the use of several schools of divination ... though I hasten to say that no animals were harmed during the judging of this award. Before continuing, a brief note: for those of you interested in submitting your work for consideration for next year's award, please be sure to review dle guidelines at www.sfra.org. Remember to submit the work as presented here and include your name, academic affiliation, and dle customary works cited informa tion. I'd like to thank Sara Canfield-Fuller for her assistance in revising the Gradu ate Student 1-1.ward guidelines, a job assigned us by our taskmasters. Now, onto the pape[s .... Eyal Tamir of the University of Massachusetts and B[andeis University provided "The Self-Reflective Neo-Aura of the Cult Text: Philip K. Dick's Tbe M(/Il ill tbe Higb Ca.rtie and Popular Commodities as Religious Blobs." "-\lthough titled 111 a way only an academic could love, it provided plenty of dleory for us [eade[s to chew on. Taml[ notes "I believe that it is through the discussion of. .. artifacts and commodity culture that dle novel explores the fascinating rela tionship of individuals and society to art. ... Ivan \\.olfe offered "Storytelling at dle End of Time: The Use of Created Folklore in Science Fiction and Emtasy." It surveys McCaffrey's Pern, Herbert's Dune, Tolkien's l\liddle Earth, and sundry others including Gene Wolfe's Urth. In each case, Ivan \vblfe pe[ceiws that "all of the authors even if they are unaware of specific texts arc aware of working within a genre that has developed certain conn:ntions." 111is essay was fresh and of good general interest. l':ven so, it was "In Possession of Vital Information: Sharing Knowl edgc-Power in Joan Vinge's Hegemony" by Christine l\lains of the University of Calgary that I,mdcd our votc for second place. ;\ close examination of Vinge's work in light of Brazili,U1 theorist and educator Paulo Freire, l\lains illustrates how power is used to suppress l11stead of liberate, arguing that "Education in the scrncc of Empire is knO\vkdgc hound rather than free, a resource owned rather than shared .... \Ve found this to represent a strong reading of Vinge ,md an l11tercsting introductIOn to Frclre's thinking about education and power. )

PAGE 9

( Receiving our first place Graduate Student Award this year is Rebecca Janicker, who visits us from the University of Nottingham of the Sceptered Isle. Her "New England Narratives: Space and Place in the Fiction of H.P. Lo,-ecraft" struck readers as original in its approach and unusual in its perspective. One of us noted "when is the last time Sarall Orne Jewett came up at SFRi\?" Janicker describes how Lovecraft "transfonns genuine regional topographies that incorpo rate reallocations" into an estranged regional geography much like that of\Vliliam Faulkner.",," big round of applause, please, for all those who contributed work for our review, and especially for our award winners! SFRA 2006 WHITE PLAINS Grad Student Paper Award Rebecca Janicker Five years ago I was completing a i\Iaster's in Psychology and a little unsure of what the future held for me. \\ihen my partner Lincoln, then a PhD student writing a thesis on Star Trek, had a paper accepted for the SFR,.-\ conference in New Lanark I was more tllan willing to tag along. Having enjoyed fantasy and sf for most of my life, I was delighted to spend time in what was for me an entirely new environment -one filled with others who shared my interest. In several of the panels the name H. P. Lovecraft was mentioned, an author I'd heard of before but never actually read for myself. Speaking to panellists about tllis aftetwards, suffice it to say that my curiosity was sufficiently piqued to make me investigate furtller. Returning to university to study for a Master's in American Shlclies, T wrote my thesis on regionalism in the supernatural literature of Lovecraft and Stephen I-.Jng and it was from this work that last year's conference paper was taken. This year was my fifth SFR,.-\ conference and my first as a PhD student writing a tllesis on haunted spaces in amongst other authors Lovecraft. I can honestly say tllat the SFR,.-\ has been a very big influence on me and my chosen career patll, not to mention my area of study. I'm really delighted to have my work recognised in this way by the Association' it's a big honour and has greatly encouraged me. Coming to these conferences has meant tlle chance to hear thought-provoking papers, visit some wonderful places and meet some great people. Thank you very much. SFRA 2006 WHITE PLAINS Mary Kay Bray Award: Presentation Christine Mains The l\Iary I-::ay Bray Award was established a few years ago. It is given to honor the best essay, interview, or extended review published in tlle SFRA Rflifll' in the year immediately preceding the annual conference. This year's award goes to TI10mas J l\Iorrissey for his review-essay of Pamela Sargent's Tbe Sbore..of If/oll/eIl, reprinted by BenBella Books in 2.004, which appears in issue #2.71. Tom's review-essay does everything that a good review in the SFR,.-\ Review ought to do: it provides a brief summary of the plot major themes of the work; it discusses the quality of the writing and the use of narrative tech niques; it comments on the book's reie'-,U1ce to scholars ,mel its value in the classroom. But it goes beyond the basics of situating the book in a sociohistorical context, providing some history of the womcn's nghts movement in early .\mClica, rcminding the reader of the political situation of the 70s ,U1d 80s as regards the ( 9) about science fiction, fantasy, horror, and children's literatures. Crowley and Gordon represent the range of pOSSibilities the Fantastic Genres offer writers and critics, and papers on any aspect of either's work are welcome. Papers and panel proposals on any aspect of the Fantastic Genres are also welcome;the conference organizers are especially interested in presentations that address the work of such understudied writers as James Tiptree,Jr. and Gene Wolfe. CONTACT: John Langan langanj@newpaltz.edu. DEADLINE: Aug I, 2006 WHAT: Medieval Films Area WHO: Film & History League WHEN: 8-12 Nov 2006 WHERE: Dolce Conference Center, Dallas TOPICS: To many, the Middle Ages often seems a very distant part of human history, but films and televi sion programs set in what Kevin J. Harty has termed the "Reel" Middle Ages make this era come alive again for viewers. Potential topics include: Children's Educational Programming and the MiddleAges; David Macaulay and the Middle Ages; The Dracula Industry; DVD Extras on Medieval Films (do they enrich or detract from our viewing?); Joseph Campbell and the Middle Ages; "Med-Evil and the Medieval"; Medieval Conspiracy Theories (e.g. the Da Vinci Code, fate of the Cathars,Hitier and the Grail! Spear of Destiny, the Holy Grail, the Knights Templar; Medieval Docudramas; Medieval Film as Truth Medieval Films as Propaganda; Me dieval Mockumentaries (e.g. Monty Python and the Holy Grail, Newscasts from the Past); MedievalThemed Material produced by Films for the Humanities and Sciences; Teaching with Medieval Film, Terry Jones and the MiddleAges (e.g. Crusades, Medieval Lives, Barbarians) SUBMISSIONS: abstracts of 250 to 500 words CONTACT: Michael A. Torregrossa Michael.A.Torregrossa@gmail.com INFO: http://FilmandHistory.org DEADLINE: Aug I, 2006 )

PAGE 10

( 10 ) WHAT: What's a Woman to Do: Mothering in a Post-Apocalyptic World WHO: Panel Discussion TOPICS: By its cultural definition, motherhood is a role that requires one to act as a caretaker, to provide a safe and sustaining environment, to enable the next generation's well being. But to live in a post-apocalyp tic world suggests that the environment has become hostile to life, destroying the possibility of a future and hope of regeneration. How does post-19s0s fiction present the mother figure within the conditions of a post-apocalyptic world? Potential approaches may include: Ecocritical Readings, Feminist Theory, Psychoanalytical Theory, and Cultural Studies. CONTACT: lise Schrynemakers, ischrynemakers@hotmail.com DEADLINE: Sept IS, 2006 WHAT: Special Issue on The Animal WHO: Science Fiction Studies TOPICS: exploring the variety of ways that science fiction may be analysed from the perspective of ani mal studies. Animals are among the oldest metaphors through which humanity has defined itself.We welcome both papers that deal with rep resentations of animals and the metaphorical use of the category of species ism to enforce social boundaries and establish a humanist sub ject, and also papers that consider our changing material relationships with animals as they are mediated by changing technologies. Science fiction's long history of engaging with themes of alterity and of narrating the social consequences of technological change point to the many fruitful intersections of the genre with animal studies research. Proposals might consider. but are not limited to. some of the following conjunc tions of animal studies and science fiction: Manufactured animals as com modities. workers. or tools within the sf world. including manufactured 'lab tool' animals such as Oncomouse; Animal-like aliens as companions. ( qual Rights A.mendment, and connecting the frustrations of women SF writers at the political situation to the publication of same-sex utopias and dystopias in that pcriod. In his analysis, Tom compares Sargent's work to two books often named as its companions: Joan Slonczewski's A Doorinto Orean and Sheri Tepper's A Gate to IVomet/f COlintf)" Tom notes that "Each work is a thoughtful exploration of the psychology dlat leads to and sustains patriarchy, and each posits that patriarchy has been responsible for much of human suffering." Lest dlat sounds a tad too serious, Tom's writing also reveals a sense of humor; after explaining at length the political history of dle period, he remarks, "In case you are about to stop reading, here's where I talk about sex." This piece is a well written and thoughtful response to an important work in the field, and the Mary Kay Bray committee is pleased to present this year's award to Thomas J. l\Iorrissey. SFRA 2006 WHITE PLAINS Mary Hay Bray Award Thomas J. Morrissey I feel especially honored to receive the Mary Kay Bray Award because I think that dle quality of writing in the SFRA Ruieu'is so high that any number of othcrs could be standing here tonight. \v'hen Pam Sargent's The Shore of Women was reissued after having been out of print for too long, I was anxious to review it. I had always loved this book, and I wantcd to see how it had held up over time. 'W11at I discovered is dlat although the book had not changed, I had. In dle decade and a half since my last reading, I had occasion to share with several people very close to me, including a family member, the discomfort that can come when someone discovers dlat what hc or she feels is normal is regarded by a significant subset of our population as perverse and sinful. i\lthough there is hardly anyone whose sexuality perfecdy matchcs dle off-thc-rack, one-size-fits-all compulsory model, gays and lesbians continue to bear the brunt of cruelty and narrow-mindedness. I had realized from the first reading that what Pam Sargent had done was to turn thc tables on heterosexuality by removing its default status. Arvil's and Briana's dcvcloping heterosexual love for one another is as transgressive and illicit in their world as homosexual love is in much of ours. On this reading, though, I was far more aware of just what a miracle their love story is. In order to be lovers and soul mates, An'il and Briana must undo a lifetime of conditioning and recognize each other's personhood. They must be able to see one another as human beings. For Arvil, women are manifestations of the Goddess; for Briana, men arc beasts. 'Illat they are able to do this in the face of social pressure and life threatening danger is a tributc to the undeniabilty of dle human heart. The Shore 0/ lFolJlm is a novel that arouses compassion and empathy for those who suffer under the yoke of mandated sexuality, and that is a wonderful thing for a novel to do. of IFimdclJ, David Hartwell writes that back in the good old days, SF was written for twclvc year-old boys. Hav1l1g been a twelve year-old boy back in thc Colden ,\ge. I em attest to the truth of that observation. But in dle past half century SF (and I, I hopc) has matured. It has become exp,1I1sive, inclusive, ,U1d is very much the literary form of our age. It is a serious genre, and here I mean the opposIte of frivolous slI1ce therc IS (Iuite a lot of funny SF On the other hand, I suspect that e\'CfI'one 111 this room has a bit of thc twch'e year-old Oet's not specify gcnder) lurking WIthin. Young adolesccnts can shut out the world as they im-)

PAGE 11

merse themselves in sports, music, dancing, video games or whatever. \'(,'e do the same with SF, and, fortunately, we have each other. SFR.;\ is the friendliest profes sional organization I have ever belonged to, full of remarkably smart and articulate people. Let me close by thanking you again, and by urging you to keep reading, writing, viewing, and coming together to indulge our collective passion for the geeky pleasure that is SF. SFRA 2006 WHITE PLAINS Thomas D. Clareson Award Paul Kincaid (accepted by Andy Sawyer) It is a matter of deep personal regret that I cannot be with you this evening to accept this award. I heard the news within hours of returning home from a holiday in America, and my first instinct was to rush straight back to Heathrow and get on the first plane across the "-\.tlantic. Alas, sober reality has a horrible way of disrupting even the most beautiful dream. I have been trying to come up with the right words to describe my reaction to receiving this award: surprised, delighted, gob-smacked they all seem inad equate, somehow. I never met Thomas C1areson. I know him only through the many examples of his writing on my bookshelves, and tile stories others have told. But he seems exactly the sort of academic I like most: eclectic, enthusiastic, ignoring the narrow bounds of 'subject' to pursue any topic that engaged his interest, and unafraid of the hard, thankless grind. That's a lot to live up to. \V'hen I first set out to pursue my own eclectic and engaged interest in science fiction I didn't have the hard, thankless grind in mind. TInt is something not so much pursued as thrust upon one. But you soon realise that, apart from the occasional death threat from disgruntled authors, reviewing doesn't exactly shine the limelight on the reviewer. You do it, at least I do it, because science fiction generates so many ideas I can't not write about them. Even though, much of the time, you wonder if anyone is even aware of what you write. TIlen came the "'\rthur C. Clarke Award, and I very consciously took mvself into the back room. I'd been ilwoh'ed in the "-\ward ever since I helped to set it up, but I only realised the size of the task I took on as administrator when the very first letter I received was from all the main UK publishers of science fiction threat ening to pull out of the Clarke ;\ ward. Evcr since then I've been engaged in a battle to establish and defend the integrity and the prestige of the Clarke :\ward. "\ctually that makes it sound worse than it is, in many ways it's been easy fight becausc I believe passionately in the importance of the Clarke "-\ward, tlle of science fiction. The fight isn't over, though now we're battling mostly for the funds we need to survive. You can help, go to the website check out Supporters of Serendip. "wd while I've now stepped down as administrator I've not given up working for the Clarke Award, just taken more of a back seat .. -\.nd given myself a little time to write more reviews and essays about science fiction, maybe collect a few more of those death threats. So, at the end of all that, suddenly and astoundingly I have award of my very own, tl1e first I've ever received and one that me
PAGE 12

) lonial subject and exile and related themes. Some suggested works: Going Home, In Pursuit of the English, and the novels of Canopus atArgos particularlyThe Marriages Between Zones Three, Four and Five. CONTACT: Linda Weinhouse, Iweinhouse@ccbcmd.edu DEADLINE: Aug 31, 2006 WHAT: Panel: science and/or science fiction in Girl Sleuth literature WHO: Wilson College "Nancy Drew and Girl Sleuths" conference. WHEN: Feb 16-17,2007 WHERE:Wilson College, Chambersburg, PA TOPICS: Science and science fiction are often seen as the purview of boys' series, such as Tom Swift, Rick Brant, and even the Hardy Boys; rarely do girl sleuths venture fully into the realm of the hard sciences as the boys do. This panel looks to exmaine how science and/or science fiction is represented in girl sleuth fiction. SUBMISSIONS: Michael Cornelius, mcornelius@wilson.edu DEADLINE: Sept I, 2006 INFO: http://www.wilson.edu/ wilson/asp/content.asp?id= 1916 WHAT: Fairy Tale Visions and (Re)Visions WHO: NEMLA Conference WHEN: March 1-4,2007 WHERE: Baltimore, MD TOPICS: This panel will focus on contemporary fairy tales as invented or reinvented by critically acclaimed writers of the 20th century to the present.Writers of interest include, but are not limited to, Anne Sex ton, Angela Carter, Gregory Maguire, A.s. Byatt, Philip Pullman, Jane Yolen, Emma Donoghue, and others. CONTACT: Susan R. Bobby, bobbysu@wesley.edu, summer contact d.bobby@att.net DEADLINE: Sept 15,2006 SFRA 2006 WHITE PLAINS Pioneer Award: Preseniaiion lisa Yaszek We are delighted to name Maria DeRose as the winner of the 2005 Pioneer Award for Outstanding Scholarship. DeRose's essay, "Redefining \Vomen's Power Through Science Fiction," provocatively combines media studies, feminist theory, and science fiction studies to illustrate what is at stake in popular representations of gender, violence, and power. DeRose specifically uses ideas drawn from these fields of inquiry to delineate two distinct types of "tough women" in popular culture. Visual media including film and television generally depict tough women as symbolic males who derive power from acts of violence (and whom often become the victims of violent masculine retribution for doing so). By way of contrast, feminist science fiction authors-who have smaller audiences but also fewer constraints on their imaginative production-provide us with alternative images of women who derive their power through a variety of non-violent sources, including the act of storytelling itself. The committee was particularly impressed with DeRose's ability to argue in a precise but passionate manner. As one committee member put it, "this is one of those excellent essays where you finish and say, 'of course! I should have known that all along.'" The committee appreciated the careful consideration that DeRose gave to the broader geopolitical implications of her argument as well. As the author explains in the opening passage of her essay, the images of non-violent power created by feminist SF authors powerfully challenge the "might makes right" ideology characteristic of much mainstream American popular culture, es pecially since 9 / 11. these types of power become more recognized and more a part of people's lived realities," DeRose concludes, "maybe there will be a place for those stories in our visual media and in our cultural understandings of women and power." We wholeheartedly agree that this will be the case as long as there are femmist SF scholars such as DeRose championing the cause! SFRA 2006 WHITE PLAINS Pioneer Award Maria DeRose (accepted by David Mead) Unfortunately, I will not be able to attend the conference; I just accepted a job offcr from out of state and this week is my only chance to look for housing and sign the necessary paperwork to get my contract in order. I wimt to express, yet again, how honored (and, frankly, surprised) I am by this Pionecr award. It's been quite lonely writing a dissertation on using SF in the college classroom; I'm often snubbed by academics and viewed with suspicion by SF fans, so to fmallv find a group that values the scholarly components of SF as I do is a homecoming of sorts. I look forward to getting involved with your conferenccs imd community, as wcll as familiarizing myself with the additional SF Journals your webSite mcntioncd. SFRA 2006 WHITE PLAINS Pilgrim Award: Preseniaiion Andy Sawyer The Pilgrim. \ward, as wc know, was niU11cd after]. 0. Bailey's pionecring Spilre tlml Tillie: Bailey bil1lJe(f lI'aJ /be lin/ reaplW/ of /be {/J/'ard ill

PAGE 13

( 1970. The award is to honour lifetime contributions to sf and fantasy scholarship: subsequent winners of the Pilgrim include .1 ames Gunn, Darko Suvin, Brian Aldiss, Ursula Le Guin, Samuel R. Delany, Marleen Barr,.1ohn Clute, Hall Hall, and, most recently, Gerard I--Jein. It's an award which historically has taken into account academic and non-academic scholarship, and the fact that sf scholarship is a multicultural pursuit. Choosing a recipient is always a difficult task, yet the jury (myself, David Hartwell and Charles N. Brown of Lorus) found Fredric Jameson an obvious and honourable name to put forward. "A prodigiously energetic thinker" as the British Marxist critic Terry Eagleton calls him, Fredric janleson is Distinguished Professor of Comparative Literature at Duke University. Widely regarded as one of the most influential American cultural critics, he is author of a number of groundbreaking studies: Tbe Political Unco1lscious: NalTCItil'e as a S otiC/IIY S),mbolic Act (1981); "Postmodernism, or, The Cultural Logic of Late Capitalism" (Nelv Lrji Reriel1', 198-1and in book form 1991) -Adam Roberts, in his book on jameson, says that the original article is "more often cited and probably more discussed than anything else Jameson has written" (Fredric}amcsoll, 111) and suggests that it is the defining statement of what the culture of the "postmodern era" actually means. His latest book, Arrbaeologies of the Future (200S) contains essays on science fiction published since 1973, frequently in S cimce Fictioll Studies -jameson's "Generic Discontinuities in Science Fiction: Brian Aldiss's Starship" was published in the second issue. He was also, for a time, an editiorial consultant for S cimce Fiction S tudics. \Vhile large books on science fiction are not exactly unknown, it's comparatively rare for someone with such a centra/position in literary and cultural studies to produce one, and rarer still that this production is evidence of a commitment to science fiction studies general: although the name of tlle journal will do as well here) for over thirty years. Carl Freedman, in C,itical Theory alld Sciellce Fictioll (2000) makes the useful and interesting point that science fiction, witll its "cognition" share a similar "project" of explailling or at least demystifying the world. Of course, tllis could be because both are despised literary modes which rely too much on jargon, but I'd like to think tllat there is a Significance to tllis. Certain kinds of sf, of course, have been taken up by cultural theorists. Jean Baudrillard famously published on.J. G. Ballard (Saence Firtioll Stl/dies (Noy-ember 1991), and numerous academics have discovered links between Philip K. Dick and postmodernist philosophers in his amciety and terror over authenticity and the clash between individual and collective understandings of tlle world: Freedman hinlself, in "Towards a Theory of Paranoia: The Science Fiction of Philip K. Dick," in S cienee-Filt/Oll Stlldies (March, 198-1-) links Dick to Lacan. Others have noted the connection between Baudrillard's "simulacra" and "hyperreality" and Dick's ambiguity about the "human" and the "android"; the real and false worlds of our human condition and whether it is possible to distinguish between tlle two. ([here are three essays on Dick in ArrbaeolqgieJ of tbe Future.) It is possible to consider the work of jameson in some depth and not come across science fiction. Even "\dam Roberts's Fre(bic Jamesoll, quoted from above, a book wlitten by a science fiction writer and historian of sf, mentions sf only briefly (the term "science fiction" docs not appear in the book's index). The reference, however, is Important: ",\ commitment to 'Utopia'" (Roberts writes) "explains why, for instance,Jameson IS always coming back to analyses of science fiction, that mode of writing in which the everyday IS most obViously 'gone beyond'." (106) \'(,hile sf is only (as I understand it) a part of Jameson's project to under stand the world, it's an important, even a vital part. There's a genuine sense that sf means something to hl1n and that he tlunks that it's an important part of culture, ( WHAT: Panel on Doris Lessing and Canon Formation WHO: Second International Doris Lessing Conference WHEN: July 6-8, 2007 WH ERE: Leeds Metropolitan Univer sity TOPICS:"Putting the 'Woman of Letters' in Her Place: Canon Formation and the Lessing Canon" In the past 30 years, the canon of "great litera ture" has expanded, shifted, and changed. No longer primarily a list of privileged, white, male authors, the canon as we know it in the 21 st cen tury includes writers who represent a range of identity categories. Spaces have been carved out for women, gay, lesbian, working-class, postcolonial, and multicultural writ ers. Nevertheless, with these new spaces in the canon has come a tendency toward hyper-specialization in literary criticism, and this creates a unique set of challenges for those who wish to do scholarly work on Doris Lessing's writing. A quintes sential woman of letters, Lessing cuts across genres and calls to question the tiny categories (like nationality, gender, or literary period, to name just a few) in which contemporary literary criticism attempts to contain literary texts. Where and how do we place Lessing's writing in a 21 st century canon? What are the prac tical and/or theoretical implications of where and how we choose to place her writing? How does our placement of Lessing's writing also work to place Doris Lessing, the author, and, by extension, the figure of the woman writer? CONTACT: Tonya Krouse, krouset@nku.edu DEADLINE: August 31, 2006 Change of Address: Muriel Becker's new email: murielrb@verizon.net )

PAGE 14

) a wa), of describ111g the world 111 a way that other literary models can't do. He treats sf, and the ideas in it, and what he thinks he can Imng from these ideas to a consideration of the world in which such fiction is written, with great seriousness. In short, you don't get the impression that he's apologising for his interest in sf. He's a major world figure in cultural theory, arguing that science fiction is important to a sense of what's going on in the world and that this importance (and this distinction is cruCIal) IS more than as a pop-culture, mass-market set of easily-understood images. r n the book form of PosI11IodemiJm, or, The Clillllmi Logic of Late CapilaliJ11I,Jameson cites sf works like Dick's Ti11le Out oj Joilll but tends to note sf's abJellCe in the book. He footnotes a reference to William Gibson "This is the place to regret the absence from this book of a chapter on cyberpunk, henceforth, for many of us, the supreme literary expression if not of postmodernism than of late capitalism itself." Later in the book he writes about the "postmodem sublime [which has] recently crystallized in a new type of science fiction, called C)'berpllllk, which is fully as much an expression of transnational corporate realities as it is of global panU10ia itself: \Villiam Gibson's representational innovations, indeed, mark his work as an exceptional literary realization within a predominantly visual or aural postmodem production." (Posl11I0dernis11I, or, The CIIltural I oj Lale CapitaliJ11I) r Ie makes up for this in "Fear and Loathing in Globalization" (Ne/v Lift Rez.ieIJ' 23, September-October 2003) where he reflects on Gibson's Pattern "the representational apparatus of Science Fiction, having gone through innumerable generations of technological development and well-nigh viral mutation since the onset of that movement, is sending back more reliable information about the contemporary world than an exhausted realism (or an exhausted modemism either)." People have been saying that for years, we reflect. Yes: 111 the EU1zines, in the discourses of ''keep sf out of the academy and back in the gu tter where it belongs", or reactionary old dons like CS Lewis and Kingsley Amis who loved sf for its colour and enerh'Y and certainly distrusted modemism but not in the name of a call for an invigorated progressivism. Certainly not 111 the pages of Nell' 14i Rericil'. (I t would of course be a mistake to consider NLR as any sort of bastion of respectability or summit in the power-struggle, but it's nice to know that someone there is on our side.) Reading those words, you get the sense that science fiction IS still part of the II/orld, of the flow and argument of ideas. ,\gain in NeJJ' Left Reliell' 25,January-February 2004 "The Politics of Utopia" on the common emblem of "City and Country" opposition, he asks: "j\re such oppositions to be taken as mere diffnences of op111ion, characterological symptoms, or do they betray some more fundamental dynamic in the utopian process? !\ few years ago ... one of the most durable oppositions in utopian projection (and Science-Fiction writing) was that between country and city. Did your fantasies revolve around a return to the countryside and the rural commune, or were they on the othn hand incorrigibly urban, unwilling and unable to do without the excitement of the great metropolis, with its crowds and its multiple offerings, from sexuality and consumer goods to culture? It is an opposition one could emblematize WIth many names: r Icidegger versus Sartre, for exmnple, or in SF LeGuin versus Delany." O/_((ljiD.C j\'[ J{ readers recog111se lleldegger and Sartre. But there's an assumption here that they recognise (or at least .I/!ollir/ITC< 19l1lse) I.e Cuin ;U1d DehUly. I knoll' that r am ignoGUlt in not having read Heidegger and not hav111g read Sartre since 1 was 1<). It would be nice to think that some NLR reader feels the same about these examples which Jameson is putting forward as automatic instances of an assumed shared culture. It would be even nicer to think that his readers have got the pomt, although where that would leave me I'm not sure. lhis cultural-theory approach provides a context in which you can talk about sf and more to the point in which an sf wnter such as DIck or Stapledon GU1 me,U1 a great de;ll. r think he's far more accessible than some people think (although there's a great deal of 1115 more specialised theoretical stuff I haven't read). I find (without ;U1y evidence other than having read most of IllS wrItmg on sf at some time or another) that he's not so much using sf to "prove" what he thinks as discovering what he thmks through readmg sf (although he's also domg this through studying a lot of other matenal as well). \v\., nommate Jl1l1eson on the grounds that he IS not only a major critic in sf; he has presented this criticism in a context whIch he IS talking about sf and its writers such as DIck or Stapledon or Gibson as important parts of culture to an audience whIch would not necessarily come across them; yet he is suggesting that sf is a way of describing the world in a way that other IItnar\" models can't do. I Ie is a theOrIst of the global, and in thIS debate about what the world iJ and how it works he has placed sf as Olle of the theonst's essentIal tools, buildmg upon the \\fork of others ,U1d considenng sf as, simply, i17lporlall/. I Ie 11l\()l\-ed 111 thl field's own debates and It IS tIllS, as much as his commentary upon them to a non-specialist audience, \\lch makL's hl1n a \\"(lrth\ W111ner of the award. To reY1se Terry I phrase, .Jameson IS certainh' a prodigiously l'llL'rglt1C I'tlgnll1. ( )

PAGE 15

( Fredric Jameson, "Fear and Loathing in Globalization" Nell'Left RelieJl' 23, September-October 2003 Fredric Jameson "The Politics of Utopia" New Left ReI,ieJl' 25,January-February 2004 Fredric Jameson Postmodemism, 01; The Cllltllral Logic of Late Capitalism (London: Verso, 1992) Adam Roberts, Fredric]ameJol1, (London: Roudedge, 2000) Dear colleagues and friends, SFRA 2006 WHITE PLAINS Pilarim Award Frederic Jameson (accepted by David Hartwell) IS) I am very grateful for the honor you have awarded me, particularly since my book only deals with Science Fiction through the more specialized framework of Utopias and does not pretend to be a general approach. But dle Utopian fiction of Science Fiction to imagine radical difference, to construct radical alternatives to our own oniy-too-fanllliar reality seems to me an essential one. This function is in my opinion all the more vital and necessary in a period in which we are told over and over again that there is no alternative to our current social system and in which the imagination of political and social difference has become increasingly enfeebled. As for Science Fiction in general, and whatever popularity it has lost recently to the production of fantasy novels, I have been delighted to discover that a whole younger generation of SF writers have emerged (after the generation of cyberpunk) and that they are no less inventive and creative than their predecessors; and so I conclude that whatever tlle appearances, SF is today very much alive and well. Its literary status has always seemed to me very important and well worth defending. I believe that as a new genre, emerging in the late 19th century widl \vells and Verne, SF was no less a momentous historical symptom than the historical novel itself, which emerged a century earlier, and which marked the dawning awareness of society that it had a past and that it was historical through and through. SF marks dle moment in which a society realizes that it has a future, and dlat it is itself in its very nature and structure becoming, a vast being in perpetual and continual change and transformation. But it is significant that today mainstream literature has appropriated both of these convictions: not only the sense that an individual story takes place witllin but also the newer Science-fictional awareness that the future is already present widlin actuality itself. TIle mainstream appropriation of fOlms like catastrophe novels is dle sign, not that SF is becoming literary, but that literature itself is necessarily becoming Science-Fictional, and is catcllingup to the great formal discoveries dle new genre represented from the very beginning. TIus is the sense in which for many of us the best newer Science Fiction is always more interesting than the best contemporary high literature, and that more of our reality is revealed to us in this genre than exhausted traditional forms are able to convey. "\t any rate, my own work has always been inspired by this conviction, and I take the greatest satisfaction in your recognition of it. Thank you vef)' much and best wishes. NONFICTION REVIEW Hollow Earth Neil Barron Standish, David. HolloII' Earth: The LOllg alld Cill70llJ I-listo!]' of I!Jlagillllzg S!rmzge Lalld.; RIII!tlJtiml Crell!lIm; Ad/'{lJ/ct'd Cirilizatiolls, alld Marl'e/ollJ AlochineJ Beloll' !be E{1/1M Da Capo Press/Perseus Books, 387 Park SOUdl, 12th floor, NY 10016,Jwle 2006. 30-1p. $2-1-.95. 0-3060-81373--1-. Standish, who teaches in Northwestern l'niversity's i\ledill School of Journalism, asks this question: "\\11at do Sir Edmond Halle)" Cotton :Vlather, Edgar "\lIen Poe, Jules Verne, L. Frank Baum, Edgar Rice Burroughs, _\dolph Hitler, Admiral Byrd, flying saucers, Superman, :Vlount Shasta, and Pat Boone all ha\'e in common?" The answer is that they're all linked, sometimes yery strangely, with the idea of a hollow earth. His story begins with Edmond !!alley of comet fame reading three paper, in 1691 to the Roy,u SOClen', ;ul pmpnsmg that the earth is hollow, a l1\'pothesis he deriyed from Newton's Ilkas ;md ;uso from ,I German Jeslllt, Atlunasllls !"':'irchcr, whose books, scientific ;uld pseudoscientific, were intlllentialm that pl'riod. I blley', papers \VcrI.' pllbltshed 111 I (i'X!. 111 the Society's Pbilosopim/ TrmIJtI(!IOIiJ. Fast forward to 1818111 St. ,OUlS, when Clptall1 John (]l'\'l'S SYmmes (17811-182<1,) began to pllpubrize thl' Idea of _________________________________________ )

PAGE 16

( 16 ) large holes at the poles leading to inner worlds, deriving some of his notions from Cotton i\Iather. Standish says Symmes published I11S nutty Ideas as by Adam Seaborn in Sj'm::;,ollia, A V&i{ge of Dis(O/'eI]', 1820, which set the pattern for many similar works that followed. (Everett Bleiler and others have persuasively questioned whether Symmes was Seaborn.) Symmes twice petitioned Congress to fund an expedition to the poles but failed. j\ booster of Symmes' ideas was J-N. Reynolds, who influenced Poe's writings, notably Descent Into the Maelstrom" (1841) and The Nil/Tatire ofArtlJllr Gordoll []om (1838). Baudelaire memorably translated Poe into French, and Jules Verne, a literary magpie, drew from him and other sources to create A jOHrJll!)l to the Center of the Earth (1863, ineptly translated like much of early Verne), one of tl1e better examples of the hollow earth theme. Standish devotes a chapter to the eccentric notions of Cyrus Reed Teed, who established a colony in Florida, now a state histonc site. The l"':'oreshm1 Cosmogony (I"':'oresh was Teed's colony assumes we live inside a hollow earili; the rear lacket reproduces the brochure of the Koreshm1 System. By the end of the 19th century hollow earth stories becmne more common, and Verne's novel became a bestseller. Utopias, sometimes dystopias, were set there. (The fourth Oz book, Baum's Dorothy alld the Wizard of 0-'0 1908, is set in a hollow earth.) Bulwer-Lytton's The Comillg !V,ce appeared in 1871. i\Iary Bradley Lane (princess Vera Zaronovich) wrote the feminist utopia, Mi:::.ora in 1890. /\ two-page list of hollow earth novels is included, and a few are discussed, such as Bradshaw's The GoddesJ' of Atwti/bar (1892), a map of which is reproduced on the front cover. John Uri Lloyd's Etidorpha (1895) "is easily the weirdest hollow eartl1 novel of all," and Stm1dish's comments abundantly confirm that. Ilollow earth novels dropped off drastically after polar exploration revealed no Symmes holes. But facts were no obstacle for I:.R. Burroughs, who set six novels and several shorter stories 111 Pellucidar, beginningwiili a 1914 serial, written when Tm"':\.tl/1 oj the Apes was still seeking a publisher. A chapter is devoted to Pellucidar, along witl1 many illustrations. Standish concludes with a chapter devoted to the Shaver stories in Ama::jllg in ilie 1940s m1d 1950s, ilie early flying saucer myths, With Rudy Rucker's HollolI' Earth (1990) praised. Websites appealing to the faitl1ful are examined. Aliliough well-written, St;mdish is likely to be a bit much for most readers, who probably judge all hollow earth fiction more ilian a little eccentric. St;mdish adds that his book "traces the cultural history of an idea that was wrong and changed nothing-but which has nevcrtheless had an ongoing appeal," which is documented by the useful primary and secondary bibliography and tl1e many illustrations. If the appeal is slight, read Ev Bleiler's one page entry, "Hollow Eartl1," in the second edition of The I illl),c/o/,edi(/ of Slien(e Fictioll. ( NONFICTION REVIEW H. P. Lovecrali: in Popular Culi:ure Rebecca Janicker Smith, Don G I I. P. Lo/"ecraji ill Po pillar C"lt"re: The Lf/ork ... rind Their Adaptatiolls ill Film, Telm.lioll, Comics, i\l1t1Jic a/1d (,i/IlIi" .Jefferson, N( = and London: l\1cFarhmd (2006). ISBN 0-7864-2091-X. ix+173pp. $32 (Pbk). Bcg1l1nmg with ;m ovcrview of the corpus of Lovecraft's fictional prose, this text outlines tl1e key themes of his work and endea\'ours to trace both its continued presence ;md its influcnce in a variety of popular cultural fonns. \Vith an extensive range of Iivcl)' plot synopscs and a selected bibliography to pomt the reader towards further works, Smith's book serves as an entertallllllg and acccssiblc introduction to I-I. P. Lm'Ccraft. :\Io\'lng on from thc first chapter, which dctails the plots ,md publication details of the short stories, the author contlnlles with an exammation of Lo\'ccraft's wider Impact on popular weird fiction in the form of the Cthulhu MytllOS, scparallllg I Al\TCraft's own contributions from thosc madc by I11S fricnds m1d those who took inspiration from him in later ye:m .. \Ithough (as the author acknowledges) thiS list IS far from exhaustive, it nonetl1eless provides a useful overview and plllnt of acccss mto this long-li\-cd and extensl\'c shared literary world. The chapters concemed with the various filmic deplctl as comiC hooks, musIc and rolc-plaYlllg gamcs, ser\'c furthcr to bolster Smith's portrayal of Lo\Tcraft as m1 author \\host' characters and Ideas ha\T become deeplY cmconced in popular culturc. )

PAGE 17

( ( 17) Each chapter progresses with a brief overview of its aims, sometimes clarifying the author's intention to remain focused on Lovecraft himself, rather than on detailing all the possible references which could be made to other authors. By its very nature, tillS work is narrative and descriptive rather than critical: it provides summaries rather than offering fresh insights. TI1e chapters on @m do offer some evaluative reflection, for instance offering ratings of each of the films at the end of the summaries. It would perhaps have been useful to have a key provided here, e.g. lout of 5, as without tlus it is difficult to get a clear idea of what tl1e ratings actually indicate until the end of the chapter. For scholarly purposes, it would have been very interesting if Smith had been able to include a chapter on critical works. There are, of course, a range of books, journal articles and critical pieces that have been published both on Lovecraft himself and on his fiction over the years. More extensive inclusion of these works in some fashion, even if simply as a bibliography, would round the book out as even more of a valuable research tool than it is in its current form. Overall, this text clearly aclueves the goals laid out in its title by providing descriptions of Lovecraft's original fiction and insights into its continuing legacy for popular culture. \,(/hen read straight through from cover to cover it makes a lively and informative introduction to a key figure in twentieth-century horror fiction: Snlith's case for the sigtuficance of Lovecraft in this field comes through well tlus way, particularly in the final chapter on "The Lovecraft Legacy". Scholars of the subject may fmd it chiefly useful as a fact-filled overview of his writings. Overall, most readers will probably find tl1is works best as a reference tool; useful for dipping in and out of to check Lovecraftian facts and look for Lovecraftian influences. NONFICTION REVIEW Prehistoric Humans in Film and TY Benedict Jones I-.Jossner, ,'vIichael. Prehisto17C HUlnClI1J ill Film Cllld Teleri ... ioll: 581 Dramm; Comedies alld Dommentmie.l; 1905-200-1-. Jefferson, NC: l'vIcFariand, 2006. Paperbound. 330 pages. $39.95. ISBN 0786-+-2215-7. [www.mcfarlandpub.com.] f\t one point in this substantial reference, Klossner remarks, "I feel that the public and critics have always been cool to caveman films" (28). I have no doubt tl1at he is correct, yet his book attests to a surprising number of films and television progran1S containing prelustoric hum;ms. To be sure, some only allow such characters a few minutes of screen time, but the sheer quantity of offerings is, to me, evidence of our fascination with our human ancestors and relatives. Hence the need for this book. Although dinosaur movie guides do include films in which prehistoric people coexist with dinosaurs, this book is the first guide devoted exclusively to prehistonc humans. Among dinosaur film guides, I know of only one that mentions films with prehistoric humans only: Stephen Jones' misleadingly titled I!!/fJlraled DillOJtlllr Mone Book (1993). However, the entries are limited to capsule summaries, and Jones has the temerity to give ratings to films he hasn't e,'en watched. I-.Jossner only rates films tl1at he has personally viewed. \,/l1en applied to fictional films, his ten-point scale reflects pure entertainment value, not scientific accuracy. This is a wise move; as he observes inll1s preface, most caveman movies, even those that take their subject seriously, contain inaccuracies. If some of I-.Jossner's ratings seem a bit inflated, that is to be expected from a self-described fan of the genre. Purists can gauge tl1e scientific precision of a substantial number of shows by reading the comments. In any event, a book like this is most useful for its infonnation and analysis, not its ratings. 11K book is divided into three sections. Parts I ,md III are devoted to fictional works; the fonner comprises shows set in times in real terrestrial locations, while the latter covers prehistoric people 111 lust about any other time ,md place, including extraterrestrial settings. TI1ese sections have a wcalth of entries from the silent era to thc prescnt
PAGE 18

(18 ) the book would have been much the poorer for such an omission. I found this segment at least as absorbing as the other two, and 'JU1te informative as well. Although I suspect that most readers are likely to ignore Part II, I urge them not to. A warning, though: many of these documentaries are unrated, and the older ones are in any case outdated and extremely difficult to find. The book includes a bibliography and an extensive index. There are appendices listing unfinished projects, post apocalyptic stories, and noteworthy performances by actors playing prehistoric characters. The fourth and final appendix is a fascinating and all-too-short discussion of "young-earth" creationist projects, the Scopes trial, and Ill/Jelit tbe WiJ1d I do have a few quibbles. I t seems odd that cinematographers are listed as photographers. There are some annoying typos and mech,mical errors. None arc catastrophic, but, for instance, Homo .,apie!lJis consistently rendered, incorrectly, as Homo Sapiens. The bibliography does not list entries for every single reference, so (as an example) tl1e m,my reviews from Van'efY tl1at I-.Jossner excerpts arc not indexed all in one place. The book is illustrated with black-,md-white photographs; a few color photos might have spiced things up a little. I Iowever, despite these minor detractions, this book is a remarkable achievement ,md an essential reference for all but the smallest college libraries. The book is literate, detailed, and frequently entertaining. Academics will appreciate the wealth of information about films both prominent and obscure. It is unfortunate that the book is not available in hardcover, but the softcover is reasonably priced. If you are looking for a Maltin-style guide that gives one paragraph and a numerical rating to every film, then Prehistonr HumoJ1J ill Film alld Te!erision is not the book for you. However, I highly recommend it for anyone interested in caveman movies, prehistoric fiction, or paleoanthropology in popular culture. NONFICTION REVIEW The star Wars Poster Book Ed McKnight Sansweet, Stephen./., and Peter Vilmur. The Star Wars POJter Book. San Francisco: Chronicle Books, 85 Second Street, San Iiranusco, C\ 94105 (www.chroniclebooks.com) 2005. Hardbound. 320 pages. $50.00. ISBN 10-0-8118-4883-3. '!l1e earliest posters-before the film was actually released-featured only simple white-on-black text reading "COMING TO YOl JR G,\L\XY THIS SUMMER. ST.-"lR WARS." But following that minimalist opening iU1110uncement came nearly thirty years of colorful ,md imaginative advertising posters for half a dozen films as well as books, video games, soundtrack albums, concerts, museum exhibits, immunizations, drinking cups iU1d even shoes. SiU1sweet and Vilmur have collec ted an Illcredible vanety of Star ],f?{u:,. posters from around the world. Some of them will evoke warm feelings of nostalgia for splendid summer afternoons spent in dark movie theaters a (luarter of a century ago, but many (and easily the most Illteresting) will serve instead to illustrate the fact the Star IvalJ'expenence was wildly different from one part of the world to another, and even from one generation to the next. The famous I Iildebrandt poster (included here, of course), wid1 a bare-chested Luke wielding a light saber over his head and Princess I ,Cia revealing considerably more leg than she ever did in tl1e film, conveys a slightly different sense of the film than I eYer experienced. But the earliest Russian poster for the saga suggests something utterly alien. It depicts a figure clearly Illsplrl"d by Darth \'ader, but with lion-like jaws and weanng a bullet-shaped helmet with multi-colored light sabers sprouting from thl" t()p .. \nother Russian poster depicts the film as a futl.lnstic western by putting various pieces of electronic equipment toge ther to form the image of a cowboy on horseback firing a laser pis to!. ,\n Italian pos tel' for GUflTe clte!lClli features some of the fallllliar characters from the film, but in a style that makes Luke and Leia look better prepared for a day at the beach than for combatting galactic e\i!. .\nd an unusual Polish poster for The Empire StnkeJ Back features ,m enigmatic figure that the editors descrll>e as "most likely a stylized Rebel I loth trooper. ... or an X-wing pilot .... or Luke Skywalker. ... or .... ( St",.IL,,:,. fans Will greatly ellJo)" this book, not only for the beautiful artwork, but for the opportunity to see in visual form how other St",. IFilT:,. fans around the world-iU1d throughout the decades-have interpreted the film (and had it II1tcrpretl"l1 for them) 111 a variety of different ways. )

PAGE 19

( ( NONFICTION REVIEW Science Fiction Quotations Neil Barron Westfahl, Gary, Ed. Sdellre Fictioll.QflotaliollJ: From the Illner ,v find to the aliter Lzlrlits. New Hayen and London: Yale University Press, 2005. xxi + 461 pages; $25 paperbound (ISBN 0-300-10800-1). There has certainly been enough SF published to compile a collection of quotations on \'arious topics. TI1e first such collection I know of was Ghost!)' B0'0nd Belief, compiled by Neil Gaiman and Newman, an original British Paperback (Arrow, 1985). As the title suggests, the quotes were drawn from the worst SF, fantasy and horror fiction and films, often so bad they provoke laughter more than embarrassment. Gary \Vestfai1l is an academic and may have wanted to counter the disdain often felt for bad SF---or SF generally. He read or reread a lot of SF to compile Sdellce Fiction .Qtlotati0llJ: From the 11II7erlvfilld to the Otlter Lz-'711"t.r, whose subtitle is a trifle hyperbolic. TI1e 2,900 quotations come from fiction, films, TV and e\'en some criticism. TI1ey're grouped under 129 headings, then usualIy arranged chronologically within each group. 'n1e headings range from the science-fictional like alien worlds and time travel to traditional headings you'd ftnd in a Bartlett's dictionary of quotations, such as courage and cowardice, religion, and food and drink. Westfal1l found that there was "not necessarily a correlation between quotability and literary value" for a variety of reasons. You can confirm this by searching the author index. Most of the authors write SF mostly or exclusively, but there are many writers of general ftction as well, such as Aldiss, Barrie of Peter Pall fame, ,\ldous Huxley, even Wells. Authors with the most entries include Douglas f\dams, Bradbury, Artl1Ur Clarke (who contributed an introduc tion), Dick, Heinlein (possibly the most quotations), Le Guin (ditto), Terry Pratchett (predictably, many of the quotations), Verne and \Vells. TI1ere's a catch-all heading, "The Laws of Science Fiction," which includes Asimov's Three Laws of Robotics, Star Trek's Prime Directive (but not, oddly, \Villiamson's smis ter Prime Directive in The HJIll/{1I10IdJ). There are three quotes from the film Spacebalfs by Mel Brooks and colleagues but nothing from his brilliant comedy, lOllllg FrclllkeJlJfeifl, which deserves at least one quote. There are many quotes on religion, some of them quite good, but not "I'm a born-again atheist" by Gore Vidal, who has SL"X other quotes, none of them as good. The cover is a black and white photo from The Dc!)! the Em1h Stood Stiff, with Gort standing by the spaceship. The famous quote, known to all dedicated fans, appears on page 316. Westfai1l readily admits he had to omit a lot-he says 70,000 words, which is about 15,000 words less than the 419 pages of included quotations. His selection is sensible, well-chosen and appears to be balanced, showing that SF writers are about as thoughtful and literate as their more varied counterparts in Bartlett's. That's an unsurprising conclusion, but the evidence for it is varied and persuasive. Not an essential work but mildly recommended. FICTION REVIEW Can't Catch Me Bruce A. Beatie Ivlichael Cadnum, Ccm't Catcb Me (lnd Otber Til 7((:Told TaleJ. San FCU1cisco, C-\: Tachyon Publications, 2006. viii, 181 pages. ISBN 1-892391-33-3, trade paperback. $14.95. \s I write this Gune 21,2006), the J\'e1l' 1 ark Timc.1" has a review of the perfonmU1ce of an in-progress opera, Alice inlf7ollder/afld, by Peter \vestergaard. Next Sunday my wife and I will see IFilkNI, the musical based on Gregory i\laguire's novel of the same name, based in turn on L. Frank Baum's Thl' IVi:;:,ard of 0:;:,. illore than fifty years ago, Northrop Frye wrote: "Poetry can only be made out of other poems; nO\'els out of other novels. Literature shapes itself, ,U1d is not shaped exte111alIy: the forms of literature can no more eXIst outSIde literature than the f01111S of sonata and fugue and rondo can exist outside music." (Alla/olll)' of C,i/irzJIJI, his) Nowhere is tim more true than 1lJ the field of traditional narratiye-and eyen stories created by a single author at a particular POllJt 111 time em become traditional, as hayc the tales of \V'ondcrland and OZ. J\ sem-ch for the subject-heading "Fain-tales-. \daptations" 1lJ thc Ohiolink catalog of acadcmic lilmmcs "icltls oyer ftfty entries, ranging from the narrowly traditional (Robert Co(}\"cr's 1 ')96 [317{/,. Ro.'1' or Thl' PotU' Cn/J//J/: lO//! C.l'lIfIllT POI'IJI.! )

PAGE 20

(20 ) from CrimmJ I 'airy Tales (2003), to Orson Scott Card's EIl(/;all/m(,llt (1999), Peter Cashorali's Fairy Tales: Traditiol1al Tales Retold jilT C{!y AIm (1995), a collection of the "Fractured Fairy Tales" from the old Rocky and Bullwinkle show, and Gregory Maguire's strange novels. It includes a series of anthologies edited by Ellen Datlow and Terri Windling, beginning with tlleir H/CItk Thorn, 1J7hi/e RoJe (1994)-significant because eight of .'-lichael Cadnum's eighteen tales appeared first in these collec tions. But the Olllolink list IS far from complete; it does not include, for example, the tales of Angela Carter or any of the 26 books that Cadnum has published. Only four of these "twice-told tales" (some of which have been retold far more than twice) are new to this collection; six 1I1dicate in a subtitle a particular fairy tale as their models. While most take off from traditional European folk or fairy tales, five have classical motifs as their sources, and one, tlle last of tlle collection, is based on no specific tale: "Gravity" (159-181, previously unpublished). Since it is one of the longer tales, a description of "Gravity" will give some idea of Cadnum's approach. The narrator is Milton Collins, a science popularizer whose latest book about famous scientists, Naked Samee, has won an award. On a book-signing tour he is stabbed and nearly killed by an anti-science fanatic (Cadnum carefully aVOids calling him a Creationist). I\S his tour comes to an end and he is recovering, his old friend Eileen Threlkill of the National ,\cademy of Sciences arranges for the two of them to visit London: a "whiz kid" scientist Harold Hare, Lord Muchl)", has brought Isaac Newton back to life in the hope that he will provide "new sources of energy, new defense technology" (169), but all the revived genius does is weep and mourn. Collins, asked to mediate with his knowledge of Newton's language and period, is able to bring Sir Isaac into c011Yersation and, through administration of a pill ("monkey thyroid," 1 (3) he had gotten in j\[exico, Collins recalls Sir Isaac to something like normal life and becomes his "guardian and compiU1ion" (180) in an easy (and solitary) life supported by the British government. That bare summary gives no sense of the richness and uniqueness of Cadnum's style which, in each story, bofu proceeds from and defines the character of the storyteller; for all of these tales are told, in quite nontraditional fashion, by a firs t-person narrator. "Bear It ,\ way" (3-9) is told by Goldilocks, in a drastic revision of the old story involving sentient bears interacting with humans. "Can't Catch ]\[e" (11-18) is narrated by tlle gingerbread man who survives being eaten by the fox. In "Ilungry" (19--13), one of the newly-published stories, the scientist narrator goes to San Pedro, one of the Channel Islands off Los :\ngeIcs, to visit his old mentor, a zoologist who has captured (and married) a sphinx ("excessive carbon dioxide in the air was driving lost species out of hiding," 21). "Mrs. Big" (45-51) is the wife of the giantJack kills, who then herself captures the peddler with the magic beans. Both "Give Him the Eye" (53-60) and "j\[edusa" (61-66, a new story) revise segments of the Perseus myth, with one of the Graiae and .'-[edusa herself as narrators. A Bakersfield turkey-grower 111 "P-Bird" (67-7(), new), his flock destroyed by a storm, hopes to save his livelihood by packaging and freezing tlle flesh of a giant bml the storm has dropped in his farm-but it turns out to have been a phoenix, and reincarnates in the refrigerator trucks carrying the flesh to market. In "Or Be or Not" (77-86), the ghost of Ophelia tells a modern spiritualist how she had murdered I lam1ct's father. "Ella and the Canary Prince" (87-91) was separately published in 1999 as a large-type -I8-page hardcover witll illustrations bv keith l\linion; since the present version is only five pages, the illustrations must have been extensive.TIus tale IS told by one of the ugly stepsisters who, after the traditional tale is done, sets her cap at the king: "I work with pleasure toward a throne as I :Ila's mother, superior in my mercy, her Queen" (91). Short as it is, the tale reminds me of the 1998 Andy Tennant film L/'cr /1jicr, set 111 the time of Leonardo da Vinci (who appears) but framed by tlle Brothers Grimm visiting "Cinderella's" descendant, played by.Jeanne Moreau; Drew Barrymore plays Danielle de Barbarac, the name given to the Cimkrella role. ( (:harles Perrault's "The I 'airy Gifts" is the model for "Toad-Rich" (93-98), told by the sister for whom the curse of uttering \'crmlll when she speaks becomes a blessing. In Cadnum's "The Flounder's l(iss" (99-105), the narrating fisherman uses IllS last Wish to silence his ambitious \Vife. "Bite the ILU1d" (107-112), "Daphne" (113-118), and (141-157, first published here) arc the remaining three stones with classical sources: Daphne tells poetically of Apollo's attempted rape and her transformation, an unidentified narrator tells of a biting bab" centaur, and a San Francisco lawyer in trouble is helped by a tiny statue of I Iermes. In "Naked 1.lttle i\lcn" (119-125) the shoemaker's wife tells of the helpful eIYes, while "Elf Trap" (127-1 :)3) pushes that same talc farther: a Wife (agalll) tells of her husband Norman the voice-over actor, a doer of good deeds who pIa,"S a Dime\' \\'Ise I .Jf. who sets out to ehm1l1ate a plague of rats and traps an elf; in revenge, another elf stitches IllS nlllu th shtlt .. \lId III the pcnultimate s tory, "Together. \gain" (135-1-10), a yery British and \Try YDcal Lord Dumpty falls alld IS put together agalll-but without hiS mouth. \lIchacl (:adlltlmIS a baby-bo()mer, born 111 19-1C ) in southe111 California; he has migrated north to the San Francisco )

PAGE 21

( ( Bay area, where a number of his young-adult novels are set. He has worked as digger for the York .-\rchaeological Trust in England 01ence, perhaps, the settings for "Together .-\gain" and "Gravity"), and as a substitute teacher. As a published writer he began as a poet; several chapbook collections appeared in the 1980s and won awards. His first no\'el (of 25 to date) was a mystery, Night/ight (St. l\.1artin's Press, 1990); two of his early mysteries were nominated for the Mystery \Vriters of .-\merica E. A. Poe award. His young-adult novels include two based on the Robin Hood legend, and a trilogy (The Book of the Lion) set at the time of the Crusades . -\ recent novel, S!aifall (2004), like some of the stories in Catch me If) 011 Call, has a classical source, the Phaeton legend, and a forthcoming novel tells the story of Jason and i\!edea. He seems not to have begun publishing his fantasy short stories until the 1990s. The elegant style and terseness of the stories in this collection seem to reflect his qualities as a poet rather than as a novelist. Since beginning this review, I have seen the musical Wicked, and it reinforces the point with which I began: while the characters and the overall narrative are the same as in Maguire's noyel (in which Baum's story is alluded to only in the final chapters), the musical shifts the focus. Where the book had concentrated on the psychological development ofElphaba, the Wicked Witch of the West (with extensive sub-plots), the core of the musical is the love-triangle relationship (not present in the book) between Elphaba, Fiyero (a prince from the western Winkie land), and Glinda, and especially the serious friendship that grows between Elphaba and Glinda .A neo-traditional tale has again been transformed in the retelling, and doubtless not for the last time. It would be interesting to see what Cadnum could do with the stories of .Alice or Dorothy. FICTION REVIEW Glasshouse Neil Easterbrook Stross, Charles. Glasshouse. New York: .-\ce Books, 2006. 352 pages. Hardbound, $24.95. 0-441-01403-8. www.penguin.com; www.accelerando.com. Though not as memorable as screaming comes across the sky" or "The sky above the port was the color of television, tuned to a dead channel," or even "It is a truth universally acknowledged," the opening sentence of Charles Stross's Glasshotlsecertainly has its charms: dark-skinned woman with four arms walks toward me across the floor of the club, clad only in a belt strung with human skulls." It's love at first sight for our protagonist Robin, and though tl1e couple will end up together, it's not before the woman becomes a man (with only two arms, and no decorative skulls) and Robin becomes a woman. Although weirder still, Robin used to be a tank (not ill a tank: he IIsed to be a tank). \'(,e're cert,unly not in I,ansas anymore. \V'hile the book does contain seyeral nods in tllat direction (not toward Kansas, but toward its baroquel), gothic narrative opposite), we're not in the "New \V'eird" either. Perhaps one of the most interesting and satisfying features of Stross's work is tile way he creates fiction from multiple generic strands, interweaving them freely, and this new noycl continues the pattem . -\ new weird novel becomes a space opera becomes a social satire becomes a spy thriller before ending as a melodrama. Sorta. In his web blog, Stross described "GlaJJholm [as] a claustrophobic far-future helter-skelter ride through an experimental archaeology project gone horribly wrong." (Except for the "far-future" part, readers of IV/;a!s tiJl' Jl.1atter Jpith K{ItIJaJ? might experience unGmny flashbacks.) Set 111 the same universe as the interlinked stories that comprise Acceleralldo, G!a ...... iJoIIJe tells the tale of a future some SOO-odd years on when human society, both ortho-human and post-hum,U1, IS reco\Tring from a yicious cl\il war. The "Censorship \V'ar" concerned a mysterious cabal's attempt to build a unlyersal cognitiye dictatorship, controlling all human thought by introducing a software worm called "Curious Yellow," spread through infected wormhole tr,U1sit gates that connect a post-singularity human civilization now reaching out across the stars. Rather th,m bludgeoning people into ideo logical submission through hectoring repetition ,md required recitation, as we now do through religion or school, perhaps best represented by the religIOUS schools (madrassahs) in south ,\sla, why not SImply reprogram people to tlunk homogenoush', then edit their memories accordinglyrSuch redaction is made possible b,' the nanoassemblcr ,U1d transport gates that deand then re-assemble post-singularity humans daily. But when Robin volunteers to join a sociological experIment, he disc()Yers that the war may not be mTr. '1l1e trial wIll place a number of people into a "glasshouse" to replicate pn:-sing1tlarit\' human experIence; 111 tllls way, SCIentists hope to recover some of the "dark age" history lost through idcologlcal redaction. Lost memories cannot be reco\Tred through )

PAGE 22

) 11Storical surgery, but perhaps they can be recreated. Robin signs on for three years, and joins a community dlat in most respects resembles a 19505 middle-class middle America. Kansas, say. Well, ok, Kansas willi scientist-hierophants nurturing sleeper cells of a newly improved Curious Yellow among incarcerated volunteers. Eventually suspicions are aroused. Discov erIes are made. Revolution is fomented. Weapons are found and tactics are formed. Mayhem ensues until a classical narrative closure. Enclosing hum,Uls in a terrarium is a common trope in SF. Generally this device places an enlightened denizen of llie distant future mto a petri dish of our recent past to observe-variously with amusement and disgust-social values, practices, and technologies: the odd and the quamt, the idiotic and llie perverse: church rituals, making dinner, physical exhaustion, social-sexual codes. The future reflects on its past to comment on our present. Recently in Century Rain, Alastair Reynolds did somethmg similar, though without Stross's comic banter and wit (though certainly widl stronger emotion and subtlety). The formal techni'lue is to establish the condition, tllen pile on llie detail. Stross is "dizzyingly profligate with ideas" (29c), as C;raham Sleight remarks about Alfred Bester. Indeed, the dizzying density of ideas and conceits and sharply etched details is perhaps Stross's most identifying characteristic, something he inherits from the cyberpunks, which in turn dley took from writers like Bester. The most rewarding part of his work is his oblique, unexpected twists on familiar forms-the intricately contingent dance of tcchnology, the politics of speciation, dle sexual economy of memory: lliat's Stross's strikingly extrapo lative approach. For Stross, it's not one idea every 800 words, as for Van Vogt; it sometimes seems one idea every eight or so words. I Ie IS espccially good just as things go orlliogonal. Thcrc are other characteristic gestures, such as the generic slippage and innovation. He can be LOL funny and his satire can bite cxceptionally hard. Dedicated readers of SF will appreciate llie sometimes subtle and sometimes blatandy explicit IIltcrtextual 'luotations. The allusions are occasionally situational (The Stepjord Wites, Inl'asion oj the Bo4J Sl1atchers, The Dqy oj rhe Tn/jill!, We) and occasionally verbal-Robin's t,mk regiment is part of the "Linebarger Cats" (Linebarger was better known under 111S pcnname "Cordwainer Smith") and Curious Yellow comes from Jeff Noon's Yurt (dlOugh its intermediary is a white paper by the prognunmer Bnmdon \\filey). And he knows how to pander pleasantly to his core audience. For instance, many members of SFR;\ will be cxtraordinarily gratified to discover that the most dangerous and inventive covert military operatives are actually small-town librarians. (I1le next-most-effective operatives are the pregnant women of suburban sewing circles.) But there are also disappointments. 111e generic melange occasionally produces jarring shifts of tone; especially where onc narrative code collapscs into another, characters shift characteristics, which may provide clever twists but also seems awkwardly contrivcd. \,,\Jmcn are presented as powerfully independent and those oleaginous leaders who would limit dleir agency arc sharply rebuked, but pcoplc of color are rare (appearing only to color the banter). Homosexuals don't exist. And while the ccntral thrust of this novel and the earlier, superior Accelerando is to map the topography of a post-singularity humanity, its "Cartcsian theatcr" rcduces to a disturbingly nostalgic desire for recovering lost wholeness of the pre-singularly smgular sclf. \,,11ile such ncstcd romanticism is not uncommon 111 it's disconcerting in one of our most innovative writers. Sincc the classical formal structure of /lrre/eralldo is comedy, it can survive these shifts and fissures, whereas Glasshouse, pnmarily a romance, cannot. Take, for inst,Ulce, the motifs suggested by their titles. "Accelerando" is ,ill imperative in the notation of classical musIC-"with gradually increasing tcmpo." But the stories don't gradually 1I1crease. Instead, after moving in fits and starts, somctimes With breathtaking speed but usually by leaping over thc change to then render long expository passages describing the IIl1mediatc past (a technillue we could attribute to Olaf Stapleton and .'\rthur C. Clarke), they end in stasis, with the clan sangu1l1e ahout domestic tra11lluility, comfortably ensconced in a cultural and technological backwater, blissfully privileging meatspace to mcmespace. But that's ok, s1l1ce /!ue!mll1do is comedy: what begins in absurd chaos ironically ends in sly order. "( ;lasshouse," on the other hand, suggests onc of three things: a hothouse for growing flowers, the Philip Johnson home wherelll one ought not throw stones, or the fabled panopticon first discussed by Jeremy Bent11am. (I think it's reasonable to exclude the Tlm1 Baker Omlor I V/!o episodc where thc p
PAGE 23

( Foucault in his 1975 book Dimp/im and Pl/lliJh; Foucault used the term to model the direction of modem culture, whICh he thought moving toward a "carceral archipelago" (298) dedicated to the "perpetual observation" (304) of indi\'iduals to produce precisely-wait Jar it-"the universal reign of the normative." In other words, Foucault defines the p. Terdim. ( )

PAGE 24

(24 ) ( FICTION REVIEW A Game 0' Perfection Amy J. Ransom Vonarburg, Elisabeth. /1 Came oj Peifectioll. Trans. Howard Scott and Elisabeth Vonarburg. Edmonton: Edge Science Fiction & Fantasy, 2006.330 pages, trade paper, $16.95. ISBN 978-1-894063-32-6. Two hundred years after Earth has colonized a planet in the .-1.ltair system, a genetic mutation endows a minority of the settlers' descendants with various forms of extrasensory perception. "\0 underground network develops to rescue "sensitive" children from abUSive parents as well as from govemment-and corporate-sponsored research entities who covet tIllS gift's power. 'Ille struggle for freedom, not only for the mutants themselves, but eventually for the colony from Earth's control, dnves Vonarburg's /1 Came of Peifection, the second volume in her 0'ranael pentalogy. In addition to dealing with tlus evolution in humanity, somehow related to the planet dubbed Virginia, the colonists must also come to terms not with the pre.rellce of the "native "-1.ncients" of TyranaeI, but with their very abseJlce. The "Virginian syndrome" consists of the colonial neurosis derived from inhabiting a literal ghost town. For while the indigenous Ranao have left behind no biological trace, they abandoned intact homes, public buildings, roads, canals, and a massive system of dikes erected to protect their cities from a strange ;U1d destructive Sea of energy. The Virgini;U1s face Otherness in a range of ways, and the mutation, the absent indigenes, and the Sea serve as enigmas to be solved. Indeed, while social, political and interpersonal conflicts fuel the story's forward momentum, the reader participates in the protagonists' epistemological quests concerning the planet and its mysteries. Foremost anlOng these characters is a powerful tclepath, the exceptionally long-lived Simon Rossem who mentors a group of young mutants. We alst) experience Simon's horror as he relives his father's memory of a tragic attempt to cage the planet's unicorn-like species. \Ve share the "normal" Virginian spectators' sense of wonder at the group's animal circus, which features up-close contact with the planet's elusive fauna. \'\c feel with the young mutants as they view the scars of a fallen companion inflicted by his abusive father because of his difference. Vonarburg's storytelling has the power to manipulate her reader's emotions and, indeed, the senes' obseSSIOn With manipulation acts precisely as a figure for the narrative act and its implication in the creation of reality. ,\s I (arth manipulates its colon!' planet, the colonial government manipulates the "normal" majority's knowledge of the mutation and the Ranao, while the telepaths secretly manipulate normals to support the independence movement, and Simon suspects It all to be manipulated by a higher, outside power. 'l'he entire 'J)nll1i1d pentalogy's publication in Quebec (1996-1997), where it reached the best-seller list, represented the culmination of a thirty-year long obseSSIOn for Its author who first dreamed of an engulfing sea as an adolescent in France. ,\llowing such a considerable length of time for the story to mature and to work out the complexities of its universe (including consultation of an ecosystematician) has clearly paid off. For Vonarburg undertook an ambitious project in her postcolonial revision of the space colonization epic. Interweaving the threads of past and present through frames and flashbacks, \'onarburg crosses not only time but also space, taking the Ranao to a parallel world. The work exploits the full range of SI; topol, 111cJuding space travel, extraterrestrial beings, parallel universes, cyborgs, altemate/ future technology and dcvelopmcnt of human powers beyond those currently known. Yet, it also deals with the problems of our own world: 11ll11l1gration, human rights, tolerance versus oppression of difference, exploitation of one visible minority by another Imldcn, pmver-\\'Iclding m111ont\, and the settler colony's coming to terms with the mdigenous. Vonarburg's work is of considerable sch()larl\" llltercst, not only for its reviSionist approach to the tropes of classic genre SF, but particularly for the nasccnt field of "postcolonial sCience fiction." Vonarburg's socially conscious, exciting, yet thoughtful depiction of Earth's colonization of another planet nvals kim St;U1ley Robinson's treatment of this theme in the !vIal]" trilogy. ;'\I\" concern for tillS translation's success (upon which production of the remainder of the series may rest) in reaching the popular and critical audlcnccs It merits reSides 111 its publication by a small Canadian press. Vonarburg's reputation is firmly L'stablishcd 111 Canada and France, whdc a handful of articles and dissertations (there ;U1d in the U. S.) recognize the scholarly Slg1l1 ficancc ()f hn threL' earlier l1
PAGE 25

( ( centuries on Virginia and including millennia of Rani legend. Unfortunately, l'. S. readers are not going to find A Game oj Perfectioll (or Dreams oj' /be Sea, the series' first volume) at either of our bookstore/ coffeehouse chains. Happily, the internet gives us access to such works at the click of a mouse. Like the diligent reviewer, I tried to find some points for criticism. I wondered about a few minor aspects of the translation, but who am I to question the author's choices? (In general, her close collaboration with Howard Scott ensures that none of the work's depth, poetry or humor is lost in translation.) Although each novel can stand on its own-the background material is skillfully worked in-the major enigmas remain unsolved until the final yolume, an element which may leave some readers dissatisfied at this book's closure. Looking back, I realize that this review reads more like that of a fan than that of a scholar. That is exactly how good Vonarburg's work is; it can make tlle jaded academic feel like a fan again, yet, it should inspire an important body of scholarly work. 32-5. FICTION REVIEW Numbers Don't Lie Edward Carmien Terry Bisson, NumberJ Don't lie. San Francisco: Tachyon Publications, 2006. Trade paperback, $14.95. ISBN 1-892391-In this slim novel Terry Bisson brings together three shorter works originally published in in 1994, 1996, and 1998. A reprint of an electronic version of all three under one virtual cover, NU1Jlben' DOIl't lie tells the oyer-arching tale of \Vilson Wu and his Watson-like friend Irving. Irving's story is one of losing and then gaining a spouse; \'(,'u's tale involves the moon and a few pages of formulae that Rudy Rucker checked for accuracy and elegance, finding "one is more important thrul the other." Bisson, a deft hand with short prose, is both charming and gritty in these pages. He has a knack for presenting mundane mechanical detail in a way that makes it arcane yet importrult. The humor here is undeniable, as Irving by turns introduces the reader to Wilson \\lu, rul irrepressible genius fond of career hopping, yet deyoted always to tlle chase of mystery when one presents itself. "Everyone should have a friend like Wilson \\lu," Irving explains, "just to keep them guessing." \VU is said to have worked his way through high school as a pastry chef before dropping out to fonTI a rock band, then earning a scholarship to Princeton (maybe) in math (perhaps), moving on to being rul engineer, going half-way through medical school, ruld becomi.ng a lawyer, which is where our Watson, Irving met him. Though the characters here are consistent, it is undeniable that NlIll1bm DOIl't Lie is episodic. One is just as apt to enjoy this book in thirds as one is to enjoy it in one gulp. Its only weakness as prose fiction is a result of its episodic nature-by the third movement, a reader will sense the structure of what is coming ruld be a bit less surprised by the unfolding of the plot. Even so, this is a great dose of Bisson, one I highly recommend for those teaching the short fiction form as well as those teaching science fiction. Readers who enjoy short fiction will appreciate this "novel" the most, but e\'en readers devoted to the long fiction form Crul enjoy Irving's patll to joy in j\'ulJJbers DOI1't Lie. lllis Tachyon Publications edition (dedicated "To my reviewers: Smrut, good-looking, ,md generous, every one"-were truer words ever written;;) is steeply priced for the length of the text, but such is the economic reality of smaller presses like Tachyon, who are "saying the world ... one good book at a time." Do the math, learn a little about \'ol\,os, and enjoy NlIll/lm:,. DOIl't Lie. )

PAGE 26

(26 ) ( FICTION REVIEW WebMaae Michael levy I-'::elly McCullough. W'ebM{(ge. New York: Ace, 2006. Paperback 320 pages. $6.99. ISBN 0-411-01425-9. Roger Zelazny has been gone for more than a decade, but his legacy lives on. 'W'hile everyone is aware of the extent of Tolkien's influence on contemporary genre f;mtasy, Zelazny's effect on younger writers might well be a close second; I'm thinking particularly of his trademark juxtaposition of significant mythological content with soap opera-like family drama, and the pleasure he took in alternating between high diction and Heinleinesque (or perhaps noir-like) tough guy colloquial ism. W'eb,H{(ge, Kelly :VlcCullough's first novel, could easily be by Zelazny, if the master were still alive and fluent in the hmguage of contemporary computer programming and hacking. I'm not talking about the Zelazny of Lord 0/ Light or This Immortal, mind you-l\lcCullough isn't quite there yet-but perhaps the Zelazny of the Amber novels. I should admit that I'm predisposed towards this novel for a couple of reasons. First, I know and like the author, whose wife is a colleague of mine. Second, large parts of the story are set at my alma mater, the University of i\1innesota. I'm sure other readers have had the experience of enjoying a scene in which the author trashes somewhere they've actually been and has several such for me. Raivrn, i\lcCullough's protagonist, is a student at the U of M, majoring in Classics with a minor in Computer Science. He's a first-rate hacker and, like many folks of that sort, a major smart ass as well, the kind of guy who turns everything he says into a witty comeback and doesn't get along well with the powers that be. W'ebAfage, however, is fantasy rather than science fiction because Raivrn is also the many times great-grandson of Lachesis, one of the three Fates of Greek mythology. Although still young, he qualifies as a demigod in his own right, with superhuman strength and agility, not to mention IXlinted cars and slit pupils which he keeps disguised by magic while on campus. In McCullough's world, we soon discover, working spells isn't all that different from writing code (in hex of course). Rillvrn's familiar, a webgoblin named :Ylelchior, transforms into a really souped-up laptop on command and all of Raivrn's spells are worked in some approximation of programming lilllguage. As the novel opens, our hero is about to get himself in serious hot water with his aunt ,\tropos, the Fate who cuts the threads of human life, by getting caught while attempting to steal Puppeteer, one of her more sophisticated spells. } .. tropos is having trouble with the spell, however, and tries to force Raivrn to help her debug it illld he soon discovers, Atropos's dirty secret. The spell is designed to destroy human free will, hIm everyone, in effect, II1to puppets dancing on the threads of Fate. Raivrn, being an idealistic sort, not to mention, like many hackers, oppositional to the P01l1t of being near-suicidal, decides that it's his job to stop her. \"nat follows is a brilliant free for all, a running battle between Raivm (aided by his demigod girlfriend Cerice) and various millions of the fiates. I particularly liked the scenes set at the \Veismill1J1 ,\rt ;\luseum at the University of i'vIinnesota, the chase scene through a i\linnesota snowstorm replete with Harpies, and the episode in the castle of Discord, set in the middle of Chaos, where the stars are actually tiny golden apples, each one a computer. If everyone else in and around Olympus nms on Windows, it makes perfect sense for the Goddess of Discord to prefer j\lacs, doesn't it? TI1lS is a fun book. ,\Ithough Web,v/{(ge isn't lacking in darkness and dramatic tension, it also demonstrates its fair share of generosity of spirit. Virtue triumphs ;md true love is rewarded. l\lcCullough is illl able stylist and his broadly drawn characters are complex enough to successfully carry the load he puts upon them. Raivm himself is an engaging rogue who reminds me a lot of the author. If you were a fan of the ,\mber books, I Gm pretty much guarantee tllat you'll enjoy lh-bMt!ge. FICTION REVIEW Old Twentieth Joan Gordon I laldeman, loe \V Old "Iim/liel/>. New York: \ce, 2005. 257 pp, cloth. S2-1()5. ISBN O--I41-01285-X .Ioe llaldeman, often with of vIolence and war became of hIS now-Gmonical The Fore/:er lYar (I ')7S), IS also a great chrol1Jcler of :md, perhaps surpnsing until you thmk about it for a moment, romantic love. The I 'im'/'l'rU;;,r had frank of sexuality and the 100T between :\landella and l\larvgay spanned time and space. Much of )

PAGE 27

( Haldeman's fiction since then has explored love and sexuality, including his novel Camouflage, which won the Tiptree "-1.ward and the 2005 Nebula, with its fabulously romantic interspecies romantic ending. Now comes OMTJI'eJlfldh, again examining love and sexuality in a science-fictional setting. Like The HemillgJl/q] Hoa."\" (1990), it is concerned with time travel, although here the travel is purely virtual. Like the WorMJ series (1981, 1983, 1992), it uses the travelogue as one of its techniques .And like all of his fiction, this novel is cleanly written, beautifully structured, making important points beneath a fast-paced surface. In this future, humans have, after a devastating war, conquered space travel and mortality and seem to have come close to a sustainable utopia. But, as with all utopias, it is a bit dull, and people have devised two ways to escape: first, through VR trips to the past of war, death, and excitement; second, on a generation trip to Beta Hydni. _\mong the (sometimes grim) pleasures of the novel are the very vivid descriptions of VR trips to Galipoli, the 1939 World's Fair, 1968 Viet Nam, and so on. Those, as it turns out, are not gratuitous but resonate with the novel's themes. Our hero, Jacob Brewer, a virtual reality engineer for the ship, tells us, in his wry voice, about the future in which he lives, and the virtual pasts to which he travels as he attempts to repair certain discrepancies in the illusions-missing smells, historical anomalies, anachronisms-and discover their causes. } ... s people begin to die while in the virtual reality apparatus, his work becomes more vital, and the mystery of this problem is the driver of the novel's plot. Meanwhile, Haldeman takes time to develop Brewer's emotional and sexual relationship with Kate Larsen, another traveler on the generation ship, and it's a nice change to read about the ups and downs of an intelligent and mature couple: that part of the novel reflects what "for mature audiences only" should really mean. There's even a strand of the plot that follows Brewer's relationship with his mother, again refreshingly mature in its treatment. Indeed, one of the triumphs of Old Tu'entiefh is its ability to create and explore emotionally powerful relationships while absolutely avoiding sentiment-romance without cominess .As one would expect, also very striking are the novel's science-fictional elements. Because the novel has a bang-up surprise ending that manages to unite its many speculations and plot strands, I apologize for some coyness in my discus sion .Among its sf speculations are explorations of life-extension, virtual reality, artlnClal mtelligence, and generation ships, all familiar subjects in sf, all handled with thoughtfulness and innovation. Further, these discussions are inextricably linked to his thematic concerns. Haldeman examines the complex net works among love, se::-.:uality, creativity, materiality, historicity, authenticity, and death in a remarkably economical and effective way, through the use of his sf speculation and character development. To give one small example, Brewer and an artificial intelligence have a discussion about t11eir differing modes of awareness (they're in a Skyline Chili parlor in 1957 Cincinnati at the time): they compare when they became self-aware, t11e extent to which they are evolving, how their differing materiality affects the ways they think, and the whole discussion resonates wit11 what we are gradually learI11ng of the unfolding mystery, of t11e relationship between Brewer and Larsen, of the nature of the generation ship, and of all those thematic concerns (Chapter Seventeen). For much of the novel, I believed I was reading a minor work of Haldeman's, entertaining, smart, fast-paced, but not particularly deep. When I finished, I realized that all the romance, all the travelogue, all the VR games that I found so entertaining, were part of a much deeper, more thoughtful whole. I always forget, while I'm reading his work, about t11e care with which he structures his novels; here that structure is integral with its facade and the result is a much stronger book t11an it looks at first. Highly recommended. ( FICTION REVIEW Solscice Wood Christine Mains McI--:illip, Patricia /\.. Sob'fire /food. New York: "\ce, 2006. Reviewed from uncorrected proof. $22.95. ISBN: o 1366-X. Patricia l\IcI--:illip's most recent novel, SoiJrice Ivood, is something of a departure for the author in more ways than one. For one thing, it's a sequel to her 1996 novel Willfer RaJI', a fairy tale f,U1tasy with echoes of the Scots ballad Tm11 Lin and Hans Christi,U1 "-\ndersen's "Snow Queen." IVillfer RoyI' tells of a wild young woman n,U11ed Rois !'Ilelior who falls in love with Corbet Lynn, a young man of mysterious origins who claims to be the heir of the dilapidated and scandal-ndden Lynn Hall. Corbet sets about repairing his ancestral home, a task complicated by Rois's feelings for him, his feelings for her )

PAGE 28

(28 ) betrothed sister Laurel, ,md the intervention of the coldhearted Queen of Faerie, who rules the immortal world Imlden within the woods behind Lynn Hall. In the end, Rois, struggling against her desires and her fear that her own mother betra)"ed her marnage vows with a fairy lover, manages to save both Corbet and her sister from the Queen. The novel ends ambii-,'1Iously, with the hint, not quite enough to be a promise, of an eventual wedding between Corbet and Rois. Solstice Wood is the story of their descendants, answering definitively the question left open at the end of the first volume. So far, so much the usual for fantasy, one might think, particularly romantic fantasy; the field is overflowing with secluels and precluels and multi-volume sagas. But for the most part McKillip has resisted that trend; aside from the Riddle master trilogy, written early in her career, and a couple of duologies, McKillip's novels have all been stand-alone works. So the very exis tence of a J\lcl--:illip seclucl is an anomaly. And where sequels often follow the continuing life story of the original tale's protagonists, or perhaps their immediate descendiU1ts when those descendants reach the narratively interesting age of puberty, McJ--:illip has chosen to set her sequel so far in Rois and Corbet's future that they have become legends, appearing only as charac tcrs in the s tory written down by Rois after her marriage and passed down through the generations of the Lynn family as a warning against what lingers in the woods. Sylvia, the main protagonist of the sequel, thinks ofRois as her "great-great great-grandmother. J\[aybe another great or two" (11). So many generations have passed, in fact, that Sylvia's time is our own time, ,md the contemporary setting IS yet another departure for McI--:illip, whose work has been almost always set in the timeless fairyl;md of secondary world fantasy, in the idealized past. This isn't an example of urban fantasy, however, or even of magic realism, two subgenres of fantasy in which magic breaks through into a world otherwise known and familiar to the reader; in those types of stories, the environment is named, specified, settled 111 time iUld space. In Emma Bull's Wmjor the Oaks and Charles de Lint's A1ool1iJeart, for instance, the cities of Minneapolis ,md Ottawa play ,m important role in the story. Even de Lint's imaginary city of Newford is "real" in that it is particular ,md concrete, part of our here and now in a way that the locations of secondary world fantasy often are not. The change 111 setting, from the fairy tale village iUld woods of Wil1ter Rose to the modern North American world of So/stice Wood, IS II1tnguing but also more th,m a little jarring precisely because Sylvia's world is clearly intended to be our own yet still belongs 111 that misty timeless space. For one thing, there is a dislocation, in a literal sense; although no'geographicallocation is ever speCIfied for the village of Lynnwood, in either volume, the original tale certainly has that Old \Vorld European atmosphere while Soblill' Ivoor! seems to take place on the east coast of \merica, in Maine, perhaps, or upstate New York. In urban fantasy and mai-,'lc realism, the setting contributes not only a finn sense of place but also a localized mytl1010gy which often contributes to the magical disruption of that place; the inability to more concretely situate Lynnwood and Lynn Hall in the Catskills, say, or the ,\ppalachlillls, means that it's also difficul t to pinpoint more precisely what folktales j\IcI--:illip might be drawing on in her creation of the I ;iber Guild or the backwoocls Row,m family, "self-sufficient and solitary" living "in hollows, down back roads, along the banks of creeks" outside what seems to be an English country village and manor house (49). The ancient village of Lynnwood is modernized, to a point: the apothecary's shop has become a pizza parlor, the inn a bed-and-breakfast with handicapped access, but Sylvia em only get decent cellphone reception by crouching under a bush in a parking lot. In Lynn I lall, just outside the village, time has moved even more slowly, but the telephone (albeit with a rotary dial) and tc\e\'lsion have reached even here, ,mel the kitchen is floored with linoleum. Sylvia left Lynnwood as soon as she was old enough, imd 111 the beginning of the book she is living in an unnamed big city, t1lOusands of miles away on the other coast (I.os ,\ngeles?), with a job in a bookstore imd a lover named J\[adison. She's kept her new life separate from the old, so anxious to keep the boundaries between past and present sharp ,md distinct that she refuses to let Madison accompany her to her grandfather's funeral. She intends only to stay a few days, long enough to sec him buried, but he has left the ancestral home to her, and her grandmother, Iris, has her own reasons for WiU1ting Sylvia to stay in Lynn Hall and assume responsibility for guarding the \'1l1age against the anCIent dangers described in Rois :\[elior's journal. The contemporary setting riUses the possibility of exploring the st,mdard opposition of country and city, with its concomitant arguments about tradition and progress, nature and technology, the older generation's sense of duty pitted aga111st the ,'ounger's deSire for freedom, .\nd certainly this is a prominent theme, as SyiYia resists his's attempts to make her part of the FIber (;uild, the ages-old sew111g circle or coven that uses needlework magic to bind iUld control the untamed natural magic of the Queen 111 the woods. Their embroidery magic, the spells they stitch into table runners and handkerchiefs, 1111p()SeS a sense of order on the wilderness no less than that of the city streets iU1d buildings, "everything blocked, gIidded, mC:lsun:d, planned, the earth so buned that noth111g could bloom 111 secret" (6). Ins hasn't kept up the brick imd wood structure of LYnn 11:111, all()\\'1ng weather and woodland creatures to enter and make a mess of the Fiber Guild's precious pattcrns, and 111 the end the wIld maglc of the woods is allowed to break free and reinVigorate the landscape, as might be ( )

PAGE 29

( expected. But these more conventional explorations of high magic versus wild, ci,-ilization versus nature, the traditions of the old versus the rebelliousness of the young, are secondary to ]\lcJ...::illip's primary concern with the nature of storytelling and the power of the world of fairy tale and legend to change the real world, when stories are not categorized and controlled and bound. Everything comes down to the blurring and bridging of borders, and Sylvia is by no means the only character with a foot in both worlds, like her ancestor Rois the product of a union between fairy and mortal. The power of Story to influence the world and the need to break down boundaries is a recurring theme in I\IcI...::illip's work, and S oMice LI/ood is an intriguing and unsettling addition to her oeuvre. McKillip is an author whose work should have a more central place in the classroom and on the minds of scholars of the fantastic, and this book demonstrates some of the reasons why. FICTION REVIEW Red Liahtnina Doug Davis Varley, John. Red Ligb!I1!l1g. New York: A.ce, 2006. 330 pages, clotll, $2-1-.95. ISBN 0--+-+ 1-0136-+-3. Red Ligbtlling is tlle sequel to Red Thlll1der, John Yarley's self-styled Heinle1l1esque juvee of 2003 about an interracial mixed-class group of spirited teenagers who, along 'Vitll a drunken former astronaut and his likeable mad scientist cousin named Jubal, build a spaceship out of used train parts, outrwl the red Chinese in the space race to I\Iars, drive a monster truck allover the face of the red planet, and solve the world's energy crisis along tlle way. Red TIJIIlldertook place around 2013. It's a somewhat optimistic near future where Lockheed Martin's VentureStars have replaced the space shuttle, cars ride automated highways, tlle internet has become a viable source for education, N"\SA. remains a viable agency, and Britney Spears remains a hot babe. That Varley pulled this story off in an entertaining and even plausible fashion is much to his credit as a writer of young-adult SF (albeit a young-adult writer with a child-of-the-sixties mentality, meaning that his teenage characters engage in sex and light drug use without peril to their immortal souls). Indeed, as a work of young-adult SF, RedTlJllllderwas something of a departure for Varley, who had previously written a great deal of adult-themed SF in the 1970s and early 80s as the genre's pre-cyberpunk wunderkind. In this earlier phase he built his plots around sex swaps, kinky space stations, post-human loyc ins and nude space people galore, spicing his oeuvre with a little horror while setting it all against dark vis tas of space-operatic tragedy. Red Ligb!lIillg takes place a generation after Red Thullder. I t is also a Hel11leinesque juvee featuring an interracial mixed class group of spirited teenagers who, along with their families, have an interplanetary adventure. Beside that, though, it is completely different from its predecessor in tone, voice and subject matter. Horror and tragedy have returned to Varley's writing-but in an immediate rather than an operatic way because in tius second book their source is not futuristic at all. Red Thullderwas a breezy read, dealing lightly with dangerous issues of space travel ,U1d big govemment and featuring lots of close escapes and righteous comeuppances; this second book is, to coin a phrase, a long, hard slog, dealing not-50-lightly with real pain and suffering. It is also a demonstration of what happens to science fiction when it is set in the near future. Sometimes real-world events can catch up with our imaginations and cast an inescapable pall upon our once-bright futures. In Red Ligb!tI!tlg Varley extrapolates from a problem he left readers with at the end of Red Tbllllder. The plot of the first book hinges on a super technology called the sClueezer, a gizmo that compresses vast mnounts of matter into perfectly safe bubbles that cml then be tapped as limitless, pollutionless energy sources. Sounds awesome, nght? The trouble is tllat only one person on Earth has a mind suited to create these things, the likeable mad scientist Jubal; ;U1d the additional trouble is that squeezer bubbles are absolute weapons as well, capable of destroying the Earth in a number of ways. "\t the first book's end Jubal was left in self-imposed exile on a fortified island controlled ml International Power "\dministration, dealing out the gift of free power bubbles whilst snacking on I'-rispy I'-remes .. \n initial set of safeguards had been developed to keep the squeezer out of harmful h;U1ds. "\nd that was that. Varley did not go beyond this ending to consider what would actually happen to the world when its energy economy was stood on its head. I lis characters had had their adventure ,U1d now they were home. I t is not ml overstatement to cLum that Red contall1s the answers to pretty much all of the thol11Y (lues tions that Red Th/lll&rleft readers with. They arc not comforting. \\11<\t IS espeCially surpnsing IS how much those answcrs reSide not in super-sciences or the gulf of intcrstellar space but in the grit of our present-da\' geopolitical situation. Yet perhaps thiS ( )

PAGE 30

) shouldn't be a surprise because Varley's near-future world is for all intents and purposes our world. One of the narrative strengths of Red Thtll7derwas Varley's realist attention to the details of living in a near-future Florida on the skids, with its aging spaceport and industrial relics, bloated developments and overdriven beaches, party people and hotel staff and serious Christians and aimless car-culture kids, its mildewed homes and muggy, swampy swamps (if you have ever lived in the south you will understand why swamps there GU1 really only be described as "swampy''). Varley then folded reference to our present day world into this future, making it seem even more like an extension of today. The initial setting for Red Lightning is Mars around 2036, and Mars's details are nicely rendered in realist fashion too. Tlle squeezer has enabled a Renaissance in space travel; nutty groups have left earth for stars beyond while normal people like to take vacations on I\[ars, which has become a ticky-tacky Las Vegas-like destination. Space ships look like what people think space ships should look like: Disneyfied golden winged craft run by cruise ship lines (with Celine Dion performingnightIy!). In place of the SIan-like utopian experiments of, say, l--::im Stanley Robinson's i\1ars trilogy, in Varley's hands Mars is pretty much like what any big-box tourist destination is like: more of tIle same money-making artifice, just with less atmospheric pressure. In fact, i\[ars is independent businessperson's dream planet with minimal government and ma.ximal profit. That is, until the politics of the squeezer lead to war. The story is narrated by Ray, tIle wealthy slacker teenage son of the first novel's narrator, Manny, who is now the overweight and balding owner of the first hotel on Mars. A creature of privilege, all Ray wants out oflife is to surf tIle thin atmosphere of 1\[ars, chase the help's daughters, and smoke pot in his Phobos hideaway. Full of syrupy, half-baked, high mmded opil11ons and little else, he is, frankly, not nearly as likeable a narrator as his pull-yourself-up-by-your-bootstraps father I\[anny was in Red Tbllllder. He's not a bad person, just a rich boy in the solar boondocks who lets his parents do all tIle hard work in his life. 'lllings get deadly senous for Ray as he is forced to personally deal with a sudden onslaught of humanity's tragedies, and in the process learns about his family and fripnds and their unique place in-and grip on-human history. The most poit,'1lant character in Red Lightning turns out to be Ray's father Manny, the brave narrator of Red Tbullder, who Ray learns has been worn down by the weight of his heroic personal history. To develop his plot Varley draws heavily upon current events. Red I is a book written in the twin shadows of the 9/11 terrorist attacks and the war in Iraq along with some other terrible events from recent Earth and AmeriGUl history that I will leave the reader to recognize. But I will spoil one plot point: Ray is tortured by nameless operatives of an illegal invading anny untrained in tIle folkways of Mars that clumsily imposes its will upon the destiny of the Martian people; his torturers even attach electrodes to his testicles, }I.bu-Ghraib style. SO, IS this a science fiction book at all or a thinly veiled metaphoric critique of tIle failures of our world? In an author's note Varley explains that not all of this verisimilitude is his fault. \v'hile he based the surprising cataclysmic event that catalyzes Red plot on tIle 9/11 attacks, many other events in his book tIlat resemble recent disasters are not copied at all. He thought of them first-and then they had the audacity to really happen! The true tragedy, he tells us, is that the reality of these disasters is even worse than his fictional representations. NevertIleless, whetIler Varley intended it or not, reading the first half of Red is like taking a tour of the last three years' worst headlines. The interplanetary adventure doesn't really get going until the book's second half, and even then its tone is more grim and desperate than adventurous. \vl1ell I signed on to this review I wanted a bit of light, escapist summer reading from one of my favorite writersnot to mention a free hardcover book. But as Robert Heinlein would say, there ain't no such thing as a free IWlCh. RedLightniJlg was not the breezy summer escape I expected but a sobering plunge into current events. Shame on me for wanting to get away from it all and take a vacation in the i\[artian sands. In this heavy sequel to the airy Red Thlll1der, John Varley reminds us that ,Clence fiction offers not;ill escape from the real world but, always, a new way to see it. ( )

PAGE 31

( c.___ J 1--.;) The 28th International Conference on the Fantastic in the Arts Representing Self and Other: Gender and Sexuality in the Fantastic HARCH 14-18. 1007 Wyndham Fort Lauderdale Airport Hotel Guest of Honor Geoff Ryman Author of Air (2005), The Child Garden (1989), The Warrior who Carried Life (1985), and Was (1992), a re-imagining of The Wizard of Oz. Winner of the Tiptree Award, Sunburst Award, British Science Fiction Award and the World Fan tasyAward. Guest Scholar Marina Warner Author of From the Beast to the Blonde (1994), Managing Monsters: Six Myths of our Times (1994), Alone of All Her Sex (1976), and Monuments and Maidens (1985). Winner of the Fawcett Prize and the Mythopoeic Scholarship Award. Special Guest Writer Melissa Scott Author of Trouble and her Friends (1995) and Shadow Man (1996). Winner of the Lambda Award and John W. Campbell Award. The deadline for submission of individual proposals is 30 November 2006. Look for Information and UPfdates at the IAFA website: WWW.litj a.org 2006 Fantastic Genres II Fantastic Genres II will be held at SUNY New Paltz October 6-8, 2006. Keynote Author: John Crow-ley Kcynote Scholar: Joan Gordon For more information, contact John Langan, langanj@ncwpaltz.edu Deadline for proposals: August 1, 2006 )

PAGE 32

Science Ficiion Research Associaiion www.s'ra.ora The SFRA i\ thcoldt:St professional organiution for the study of science fiction and (;llItalY literature ;llId film. Founded in 1970, the SFRA was organized to improve d;l\Sf(XJlTl teaclling; to enwurage and a<;';bl scholarship; and to evallL1te and publicize new iXXJkl and mag;lzines dealingwidl GntalticliterJture and film, teadUngmethocls ;llId 1I11tcri.1l.'i, ;llId allied media pertormanccs. Among dIe membership are people from lTtmywunuiL'i-5tudents, teachers, profCssors, libr.ui;ul'i, fimuulogists, readers, authors, ixxJkleUcr.;, editors, publilhers, armivist.'i, and sdlolars in many clisciplines. Academic affJiation is not a requirement for membership. Visit dIe SFRA Website at . Fora membership application, omtact dle SFRA Treasurer or sec dIe website. SFRA Benefits Extmpoitllion. Four issues peryeu: The oldest scholarly journal in the field, with ctitical, historical, ;llId bibliographical articles, book revicw.s, leners, occasional special topic i,llles, ;llId an annual index. Science-Fiction StuclieJ. Three issues per year. This sdlolarly journal includes critical, historictl, and bibliographical articles, review articles, reviews, notes, leners, imemational wverage, and an annlLli index. SFRA Anl/ual Directury One is.llle per year. Members' names, phone, e-mail and interests. SFRA Review. Four issues per year. Tllis ncw.slener/joumal includes extensive book reviews of both nonfiction and fiction, review articles, listings of new and kJrulwmingbook" Tlle&view also prints ncw.s about SFRA intemal aIhirs, calls kJq);lpcrs, and upcbteson WOrkl in progrL'l.I. SFRA Optional Benefits Foundation. Discounted subscription rate for SFRAmembers. Three issues per year. British scholarly journal, with critical, historical, and bibliographical aIucles, revicw.s, andleners. Add to dues: $31.50 surfJce; $39 ainnail. The New York ReviewofScience Fictwn. Discounted subscription rate for SFRA members. T wclve issues per year. Review.s and features. Add to dues: $26 domestic; $35 domestic first dass; $28 domestic institutional; $32 Canada; $40 UK & Europe; $42 Pacific & Australia Jounudofthe Fantastic in theArts (fFA). Discounted subscription rate for SFRA members. Four issues per year. Scholarly journal, with critical and biblio graphical articles and revicw.s. Add to dues: $30 domestic; $40 overseas. Femsper:. Discounted subscription rateforSFRAmembers. Biarmual publication. Critical and creative works. Add to dues: $25. SFRAListserv. TheSFRAListservallow.suserswiilie-mailacwuntstopa>te-mails to all subscribers of the listserv, round-robin style. It is used by SFRA members to &cuss topics and ncw.s of interest to the SF wmmunity. To sign on to the listserv or to obtain further infomution, wntan the list manager, Len Hatfield, at dhat@ebbs.english.vt.edu> or . Hewill subscribeyou. An e-mail sent automatically to new subscribers gives more infomution about the list SFRA Execuiive Commiiiee President David G. Mead Vice President Bruce L. Rockwood Immediate Past President Peter Brigg '!I:xas A&M UIIiv-Corpus Christi Corpus Christi, TX 78412 Dept. of Finance and Legal Studies Bloomsburg University 400 East Second Street Bloomsburg, PA 17815 # 120 Budgell Terrace Toronto, ON M6S 1 B4, Canada Treasurer Donald M. Hassler Department of English r O. Box 5190 Kent State University Kent, OH 44242-0001 Science Fiction Research Association Secretary Warren Rochelle English, Linguistics, Speech University of Mary Washington 1301 College Avenue Fredericksburg, VA 22401-5358


xml version 1.0 encoding UTF-8 standalone no
record xmlns http:www.loc.govMARC21slim xmlns:xsi http:www.w3.org2001XMLSchema-instance xsi:schemaLocation http:www.loc.govstandardsmarcxmlschemaMARC21slim.xsd
leader nam a22 u 4500
controlfield tag 008 c19929999oru 000 0 eng d
datafield ind1 8 ind2 024
subfield code a S67-00037-n276-2006-04_05_06
0 245
SFRA review.
n No. 276 (April-June, 2006)
1 3 246
Science Fiction Research Association review
260
Eugene, Ore. :
b Science Fiction Research Association
c April-June, 2006
500
Place of publication varies.
650
Science fiction
x History and criticism
v Periodicals.
Fantasy fiction
History and criticism.
Periodicals.
Science fiction
Book reviews
Periodicals.
Fantasy fiction
Book reviews
Periodicals.
2 710
Science Fiction Research Association.
773
t SFRA Review
4 856
u http://digital.lib.usf.edu/?s67.37


xml version 1.0 encoding UTF-8 standalone no
mods:mods xmlns:mods http:www.loc.govmodsv3 xmlns:xsi http:www.w3.org2001XMLSchema-instance xsi:schemaLocation http:www.loc.govmodsv3mods-3-1.xsd
mods:relatedItem type host
mods:identifier issn 1068-395Xmods:part
mods:detail issue mods:number 276series Year mods:caption 20062006Month April4Day 11mods:originInfo mods:dateIssued iso8601 2006-04-01