CFP: Science Fiction and Fantasy SW/TX PCA/ACA

CFP: Science Fiction and Fantasy SW/TX PCA/ACA (12/1/12; 2/13-16/2013)

Join us for the 34rd Annual Southwest/Texas Popular Culture and American Culture Associations Conference, February 13-16, 2013 at the Hyatt Regency in Albuquerque, New Mexico.

The Science Fiction and Fantasy Area chairs of the Southwest/Texas Popular Culture/American Culture Associations ( invite paper or panel proposals on any aspect of science fiction in print, film, or other media.

Proposal submission deadline: November 16, 2012

Any and all topics will be considered. Past presentations have covered a variety of topics including British sci-fi TV, Fan Studies, Race, gender, sexuality, and socio-economic class, science fiction and fantasy and pedagogy, adaptation and a variety of texts from the Harry Potter books to the film Splice to Mystery Science Theater 3000.

Submit 250-word paper or 500 word panel proposals to the 2013 SWTX Presenter Database. Choose the area “Science Fiction & Fantasy – General.” This online submission database will be available after September 15. If you are experiencing difficulties with the website, please email your proposal to the address listed below.)

Direct questions to: Ximena Gallardo, or Rikk Mulligan,

Early Bird Registration Deadline is December 31, 2012.

Conference hotel:
Hyatt Regency Albuquerque
330 Tijeras
Albuquerque, NM 87102
Phone: 1.505.842.1234
Fax: 1.505.766.6710
Conference Rate Reservations can be made through

For more details on the conference, please visit the Southwest/Texas Popular Culture/American Culture Association:

Follow us on Facebook & Twitter: and @swtxsffchairs

More about the SF&F Area:
With an average of 70+ presenters annually, The Science Fiction and Fantasy Area of the Southwest and Texas Popular Culture and American Culture Association is one of the most dynamic and well attended areas at the conference. Numerous book and article publications have originated from our panels.

The Area was founded in 1995 by Prof. Richard Tuerk of the Texas A&M University-Commerce (formerly East Texas State University) and author of Oz in Perspective (McFarland, 2007). The Area is currently chaired by Ximena Gallardo C. of the City University of New York-LaGuardia and co-author of Alien Woman: The Making of Lt. Ellen Ripley (Continuum: 2004); Rikk Mulligan of Longwood University, author of “Zombie Apocalypse: Plague and the End of the World in Popular Culture” (End of Days, McFarland 2009); Tamy Burnett of the University of Nebraska-Lincoln, co-editor of The Literary Angel (McFarland, 2010); Brian Cowlishaw of Northeastern State University, author of “No Future Shock Here: The Jetsons, Happy Tech, and the Patriarchy” (The Galaxy is Rated G, McFarland: 2011); and Susan Fanetti. Though the co-chairs consult on submissions, Ximena and Rikk are primarily responsible for the general organization of the conference panels and coordinate special panels, Tamy coordinates annual special topics related to SFF television, this year including Supernatural, Vampire Diaries, and Doctor Who, Brian reviews and organizes the literature panels and other special topics (this year Game of Thrones and The Hunger Games), and Susan coordinates the Whedonverse panels (Buffy, Firefly, Angel).

Area Co-Chair Names: Tamy Burnett, Brian Cowlishaw, Susan Fanetti, Ximena Gallardo, Rikk Mulligan.

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CFP: 2013 Eaton/SFRA Conference

Call for Papers
The 2013 Joint Eaton/SFRA Conference
Science Fiction Media
April 10-14, 2013

Riverside Marriott Hotel
Riverside, California

This conference—cosponsored by the Eaton Collection of Science Fiction and Fantasy (UC Riverside) and the Science Fiction Research Association—will examine science fiction in multiple media. The past several decades have witnessed an explosion in SF texts across the media landscape, from film and TV to comics and digital games. We are interested in papers that explore SF as a multimedia phenomenon, whether focusing on popular mass media, such as Hollywood blockbusters, or on niche and subcultural forms of expression, such as MUDs and vidding. We invite paper and panel proposals that focus on all forms of SF, including prose fiction, and that address (but are not limited to) the following topics:

  • Mainstream Hollywood vs. Global SF Cinema
  • SF Comics and Manga
  • SF Anime and Animation
  • SF on the Internet and the World Wide Web
  • Multimedia “dispersed” SF narratives
  • Fandom, Cosplay, Mashups, and Remixing
  • Broadcast and Cable SF Television
  • SF Videogames
  • World’s Fairs, Theme Parks, and other “Material” SF Media
  • Short-form SF film
  • Afrofuturism
  • SF and/in Music
  • SF Idiom and Imagery in Advertising
  • Webisodes and TV Games
  • SF Art and Illustration

The conference will also feature the fourth Science Fiction Studies Symposium on the topic of “SF Media(tions),” with speakers Mark Bould, Istvan Csicsery-Ronay, Jr., and Vivian Sobchack. Keynote speakers and special guests will be announced as they are confirmed; see the conference website at <> for periodic updates.

Conference sessions will be held at the newly remodeled and centrally located Riverside Marriott Hotel, with rooms at a reduced conference rate ($109). For more about the hotel, see their website at < hotel-information/travel/ralmc-riverside-marriott>. A block of rooms will also be available at a discount ($139) at the historic Mission Inn Hotel and Spa two blocks from the Marriott: <>. Rooms in both hotels are limited and will be available on a first-come, first-served basis.

Abstracts of 500 words (for papers of 20-minutes in length) should be submitted by September 14, 2012. We also welcome panel proposals gathering three papers on a cohesive topic. Send electronic submissions to conference co-chair Melissa Conway at <> with the subject heading: EATON/SFRA CONFERENCE PROPOSAL. Please include a brief bio with your abstract and indicate whether your presentation would require A/V. Participants will be informed by December 1 if their proposals have been accepted.

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CfP – European Fandom and Fan Studies

European Fandom and Fan Studies, 10 November 2012
One Day Symposium, Amsterdam School for Cultural Analysis and University of Amsterdam Department of Media Studies

Call for Papers

Fan Studies is growing but primarily focused in North America. This one day symposium at the University of Amsterdam seeks to explore the state of Fan Studies and the variety of Fandoms focused within the broader social and geographic boundaries of Europe. Inter-disciplinary papers are invited to explore the nature of the field itself or how different fandoms function within Europe. Potential avenues of exploration may include how Fan Studies is represented, studied, and received within European universities, by funding bodies and publishers. Papers on Fandoms may explore how European (English and non-English speaking) fans of European and non-European objects of fan appreciation participate in fandom, the differences between internet fandoms and local/national/international fan practices, and the different objects of fan appreciation.

Topics of interest include but are not limited to:

  • Transformative Works
  • Fan History
  • Fan Infrastructures
  • Fan Charity and Activism
  • Fan Cultures and Identities
  • Impact on Public Policy and Industry Practice
  • Economies within Fandom and/or Fan Studies
  • Students as Fans
  • Fan Studies within Higher Education courses
  • Crossing national, cultural, and language boundaries in Fandom and Fan Studies

The symposium is associated with a special issue of the Journal of Transformative Works and Cultures tentatively slated for 2015, with full papers due January 1, 2014.

Event Details

The symposium will be held in the centre of Amsterdam, easily accessible from Amsterdam international airport.

Submission Process

Please send a 300 word abstract along with a short (100 word) biographical note to Anne Kustritz ( or Emma England ( by 10 September.

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Steampunk volume – CFP

We are seeking abstracts for inclusion in a proposal for an edited volume on the subject of steampunk. The anthology will present a varied look at steampunk culture and criticism, presenting a comprehensive look at the genre’s impact and development in the fields of art and material cultural. Accordingly, we seek proposals that explore any of a range of iterations of the genre. These may include, for example, analysis of:

  • Steampunk fiction
  • Steampunk film
  • Steampunk visual art
  • Steampunk fashion
  • Steampunk performance
  • Steampunk fan culture
  • Steampunk in relationship to preceding science fiction and -punk genres
  • Steampunk and feminism
  • Steampunk and postcolonial paradigms
  • Steampunk and Victorian studies
  • Steampunk and technology studies

We hope to present this collection as of interest to both steampunk enthusiasts and non-specialists in the genre, as well as both academic and generalist readers. With this in mind, please submit proposals that are steeped in steampunk culture and criticism, that could be of interest to a generalist audience, and that have a strong sense of the stakes of steampunk analysis for broader cultural studies.

Submit 500 word proposals to Brian Croxall ( and Rachel Bowser ( by 1 October 2012.

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Call For Papers: ‘Adventures in Textuality – Adaptation in the Twenty-First Century

Two-Day International Conference: University of Sunderland
3rd/ 4th April 2013.

Keynote Speakers:

  • Dr. Will Brooker (author of ‘Hunting the Dark Knight: Twenty-First Century Batman’, ‘Batman Unmasked’ and editor of ‘The Blade Runner Experience’).
  • Professor Christine Geraghty (author of ‘Now a Major Motion Picture: Film Adaptations of Literature and Drama; ‘Foregrounding the Media: Atonement as Adaptation’; and the BFI TV monograph, ‘Bleak House’).
  • Professor Jonathan Gray (author of ‘Show Sold Separately’; ‘Fandom: Identities and Communities in a Mediated World’; and ‘Watching with The Simpsons: Television, Parody and Intertextuality’).

In the twenty-first century, adaptation studies has become a figurative combat zone. Some commentators, armed with post-structuralist weapons of dialogism and intertextuality, decry the  analysis of dyadic relationships between source and target text given the wealth of enunciations spiralling within what Jim Collins calls the ‘intertextual array’ (1992: 331) Across the post-millennial landscape, digital convergence and transmediality have shifted adaptation studies foci from what Murray describes as an ‘academic backwater…intellectually parochial, methodologically hidebound and institutionally risible’ into ‘an inclusivist conception of adaptation as a freewheeling cultural process: flagrantly transgressing cultural and media hierarchies, wilfully cross-cultural, and more weblike than straightforwardly linear in its creative dynamic’ (Murray, 2012: 2). Indeed, the turn to poststructuralist models of adaptation have led to a dialogic widening of the analytical playing field to include the many varied utterances of convergence culture which include, but are not limited to: film, comic books, theme park rides, TV, literature, merchandising, and computer games. This orchestration of cross-platform, or transmedia storytelling, is ‘clearly…adaptation operating under a different name’ (ibid: 17). For some, adaptation is not a simple conjunction of source and translation, but a dialogic sphere of influence, appropriation and citation. From this position, all texts borrow, steal and assimilate from a wellspring of textual enunciations which demonstrate a “long chain of parasitical presences, echoes, allusions, guests [and] ghosts of previous texts” (Miller 2005: 22) that have no static, explicit origin point. Stam argues that critics should ‘be less concerned with inchoate notions of fidelity and give more attention to dialogic responses (Stam 2000: 76). The rigid binarisms of ‘original’ and ‘copy’ give way to what Jacques Derrida calls ‘mutual invagination’ where the ‘auratic prestige of the original does not run counter to the copy; rather, the prestige of the original is created by the copies, without which the very idea of originality has no meaning’ (Stam, 2007: 8). Perhaps, when it comes to questions of fidelity, it ‘is time to move on’? (Geraghty, 2008: 1)

For some commentators, however, fidelity is, and remains, an important critical issue. According to Dudley Andrew (2011:27), ‘Fidelity is the umbilical cord that nourishes the judgement of ordinary viewers [yet] for some time, the leading academic trend has ignored or disparaged this concern with fidelity’. As Geraghty puts it, ‘faithfulness matters if it matters to the viewer’ (2008: 3)). In True to the Spirit: Film Adaptation and the Question of Fidelity (MacCabe et al, 2011:216), Fredric Jameson argues that excessive fidelity is annoying and that for original and copy to have equal merit then ‘the film must be utterly different from, utterly unfaithful to, its original’ (ibid:218). Other contributors to this volume discuss the dyadic relationship between novel and film, but offer something rather different to simple comparative hand-wringing and ‘the book is better than the film’ denunciations. For some, the adaptation is a different text altogether, while others claim that the translation is but one enunciation connected in an eternal ‘phantasmal spiderweb’ of heteroglossia and remediation (Miller 1990: 139). Rather than acknowledging that it is time to move on from fidelity analysis, is it not, rather, time to recognise the validity of multiple to approaches to the thorny topic of adaptation?

This conference invites papers on ALL aspects of adaptation and aims to provide a linchpin for all divergent and convergent strands of this burgeoning field. Papers are invited on the following topics:

Fidelity; Comparative Analysis; Audiences; Dialogism; Intertextuality; Post-Structuralism; Remakes and Reboots; Franchising; Sequels, series and serials; Transmedia Storytelling; Industry; Film; Comic Books; TV; Theme Park Rides; Animation; Computer Games; Merchandising; Paratexts.

This list is not exhaustive: any topic will be considered that fits in with the scheme described above. Panel proposals will be considered.

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CfP: Gothic: Culture, Subculture, Counterculture – Conference

Date: Friday 8th-Saturday 9th March 2013
Location / Hosed by: St Mary’s University College, Twickenham and Strawberry Hill House
Confirmed Speakers:
• Michael Snodin (The Victoria and Albert Museum)
• Prof John Bowen (University of York)
• Prof Allan Simmons (St Mary’s University College, London)

This conference, held in the Gothic mansion at Strawberry Hill, west London, will interrogate the many and varied cultures of the Gothic that were largely set in train by the owner of this mansion, Horace Walpole, in the mid-eighteenth century. As Walpole’s projects well exemplify – an aesthetic rebellion against a classical orthodoxy, which nonetheless looked implicitly to the restoration of some former social order – Gothic’s cultural poetics have always been difficult to place politically.

To what degree have Gothic tendencies in Literature, Art, Architecture and Screen Media been participants in, adjuncts to, contesters of, or alternatives to cultural and political mainstreams, and how might such relationships be assessed by historians and critics? If Gothic was the Enlightenment’s naughty child, to what extent is its rebelliousness mental or political, and is it ultimately co-opted by the order that it appears to resist?

This is a multi-disciplinary conference, and proposals for papers are invited in response to such questions in the fields, amongst others, of literature, screen media, art, architecture and popular culture. Participants will be offered the chance to see Horace Walpole’s Gothic mansion, now resplendent in its recently-renovated state, and to dine there during the conference. Preference will be given to papers that are suitable for an enthusiastic amateur audience, as well as specialists in the appropriate field.

A bursary will be offered to cover conference fees for the best proposal by a postgraduate student.

Call for Papers
200-word proposals for papers of 20-25 minutes, should be sent, by 30 October 2012 to:

Jessica Jeske
School of CCCA
St. Mary’s University College
London TW1 4SX
+44 (0)20 8240 4040
More Information About the Conference and Strawberry Hill House

Claire Leighton
Community Development Officer
Strawberry Hill House
268 Waldegrave Road
T: +44 (0)20 8744 1241

Peter Howell
Senior Lecturer in English
St. Mary’s University College
London TW1 4SX
T: +44 (0)20 82404124

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SF&F Translation Award winners

Winners Of the 2012 SF&F Translation Awards

Science Fiction and Fantasy Translation Awards
PO Box 64128, Sunnyvale CA 94088-4128 USA;

July 21st, 2012

Winners Of the 2012 SF&F Translation Awards

The Association for the Recognition of Excellence in SF & F Translation (ARESFFT) is delighted to announce the winners of the 2012 Science Fiction and Fantasy Translation Awards (for works published in 2011). There are two categories: Long Form and Short Form. The jury has additionally elected to award two honorable mentions in each category.

Long Form Winner 

Zero by Huang Fan, translated from the Chinese by John Balcom (Columbia University Press)

Long Form Honorable Mentions

Good Luck, Yukikaze by Chohei Kambayashi, translated from the Japanese by Neil Nadelman (Haikasoru)

Midnight Palace by Carlos Ruiz Zafón, translated from the Spanish by Lucia Graves (Little, Brown & Company)

Short Form Winner

“The Fish of Lijiang” by Chen Qiufan, translated from the Chinese by Ken Liu (Clarkesworld #59, August 2011)

Short Form Honorable Mentions

“The Boy Who Cast No Shadow” by Thomas Olde Heuvelt, translated from the Dutch by Laura Vroomen (PS Publishing)

“The Green Jacket” by Gudrun Östergaard, translated from the Danish by the author and Lea Thume (Sky City: New Science Fiction Stories by Danish Authors, Carl-Eddy Skovgaard ed., Science Fiction Cirklen)

The winners were announced today at Finncon 2012 <>, held in Tampere, Finland. over the weekend July 19-20. The awards were announced by jury member Irma Hirsjärvi and ARESFFT Board member Cheryl Morgan.

The winning authors and their translators will each receive an inscribed plaque and a cash prize of $350. Authors and translators of the honorable mentions will receive certificates.

Jury chair Dale Knickerbocker said, “The jury would like to thank all who nominated works, and compliment both the authors and translators for the fine quality of this year’s submissions. While both the winner and honorable mentions in the long fiction category had their supporters, we ultimately chose Huang Fan’s novella Zero (translated from the Chinese by John Balcom) as the winner. The author skillfully weaves elements from the masterpieces of dystopian fiction into his own very unique text, and the translator successfully communicates the work’s stark, frightening nature. Zero’s surprise denouement takes Vonnegut’s Cat’s Cradle a step further, wedding it with a touch of Asimov’s The Gods Themselves.”

“This year’s winner in the short fiction category, Chen Qiufan’s “The Fish of Lijiang” (translated from the Chinese by Ken Liu) was described by our judges as “brilliant,” “original,” and “a lovely and devastating story, beautifully written and translated.” It presents an interesting take on mental illness and wellness, work, and future technologies. In the tradition of the best SF, it offers a convincing extrapolation of the economic and consequent social changes that China has undergone in the past 30 years.”

ARESFFT President Professor Gary K. Wolfe added: “I’m delighted that the hard work of our distinguished jurors has resulted in such an impressive list of winners and nominees, and–equally important–that the international science fiction and fantasy community has taken this award to heart in terms of supplying nominees and suggestions for nominees. Congratulations not only to the winning authors and translators, but to everyone who has helped make these awards a viable and invaluable project.”

The money for the prize fund was obtained primarily through a 2011 fund-raising event for which prizes were kindly donated by George R.R. Martin, China Miéville, Cory Doctorow, Lauren Beukes, Ken MacLeod, Paul Cornell, Adam Roberts, Elizabeth Bear, Hal Duncan, Tansy Rayner Roberts, Peter F. Hamilton, Ann & Jeff VanderMeer, Nalo Hopkinson, Juliet E. McKenna, Aliette de Bodard, Nicola Griffith, Kelley Eskridge, Twelfth Planet Press, Deborah Kalin, Baen Books, Small Beer Press, Lethe Press, Aeon Press, Jon Courtenay Grimwood, Kari Sperring, Helen Lowe, Rob Latham and Cheryl Morgan.

The jury for the awards was Dale Knickerbocker (Chair); Kari Maund, Abhijit Gupta, Hiroko Chiba, Stefan Ekman, Ekaterina Sedia, Felice Beneduce & Irma Hirsjärvi.

ARESFFT is a California Non-Profit Corporation funded entirely by donations.

Cheryl Morgan

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Head of Visual and Performing Arts and Audiences Division

As many of you may know, the IAFA has undergone Division changes in the past few years, which resulted in the formation of two new Divisions, Participatory and Convergence Studies and Visual and Performing Arts. Over the past five years the Board has been monitoring these Divisions and has concluded that these areas of scholarship would be better served by returning to a single Division, given frequent areas of overlap. We have thus created a new Division, Visual and Performing Arts and Audiences (VPAA), and are seeking a Division Head for this Division.

The Board would like to thank Barb Lucas and Stefan Hall for their years of service as the Division Heads for Participatory and Convergence Studies and Visual and Performing Arts, respectively. It is through their work that we have built strong communities of research in these fields at ICFA. Stefan will continue to work as the liaison for a new event on digital gaming, and we thank him for his continued service to IAFA.

The new VPAA Division will consider papers in the following areas:

  • visual arts such as comic books, paintings, architecture, sculpture, photographs and illustrations;
  • the performing arts, including music, dance and theatre;
  • games, including electronic, board, card, miniature, and role-playing;
  • fan cultures, including fanfic, fan artwork and cosplay;
  • transformative texts, both fan and professional, including mashups and viral marketing; and
  • audience/reception studies concerning audiences for any medium or genre of the fantastic.

The IAFA is now accepting applications for the position of Head of the Visual and Performing Arts and Audiences Division, effective immediately.

The Division Head is the person who sends out paper calls for his/her Division, collects and accepts paper proposals, creates paper sessions, helps to create panels, selects and moderates roundtable readings, and passes the work s/he’s done on to the 1st Vice President for scheduling.

Qualifications include current membership with IAFA (at least a couple of years’ experience with the organization so you have some understanding of how things work at the conference), easy and dependable internet access and comfort level with computers, organizational skills, the ability to work as part of a group working together on the ‘big picture,’ a willingness to work through the transition with the previous Head beginning this fall, the ability to attend March conferences while you hold the position and to attend the Division Heads’ meeting run by the 1st VP at the conference, plus, of course, the time to do the work involved. Knowledge of the fields outlined above is required. Division Heads hold office for a term of 3 years (with a probationary first year) with the possibility of renewal for a second 3-year term.

If you’re interested in taking on the work of VPAA Division Head, please contact Sherryl Vint, 1st Vice President (, with a cover letter about your interest in and qualifications for the job. Applications for the position should include a CV. The IAFA Board of Directors will consider all applications for the position.

The deadline for applications is August 15, 2012; a decision will be made by September 1, 2012.

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CfP: JFA Special Issue “After/Lives: What’s Next for Humanity?”

“After/Lives: What’s Next for Humanity?”
Special issue of Journal of the Fantastic in the Arts

Guest Editors:
Sarah Juliet Lauro, PhD. Co-editor of Better Off Dead: The Evolution of the Zombie as Post-Human.
UC Davis: <>
Kyle Bishop, PhD. Author of American Zombie Gothic.
Southern Utah University: <>

The recent flurry of critical attention paid to the zombie and other forms of living dead, such as the vampire (back again to haunt the cultural imagination of a new generation) or the ghost (gliding along a spectrum from spiritual to secularized in the era of the cybergothic), illustrates how our monsters personify the question “What comes next for me?” Additionally, post-apocalyptic fantasies and necroscapes dramatizing the end of human civilization pose the query continually recurring in our collective nightmares: “What is next for humanity?” Recent trends in humanities scholarship move beyond the human to a broader perspective of what constitutes being by looking to the animal, the machine, or the environment, while interest in posthuman figures like the cyborg and the android has not waned.

The special issue will investigate ways of imagining what comes after human life ends—for example, liminal beings that defy this boundary line; narratives about worldwide crisis (doomsday prophesies and environmental catastrophes alike); or simply a deceased person’s Facebook page left “live” as a perpetual, virtual shrine. Such imaginings are, variously, philosophical thought experiments, records of our contemporary moment, warnings about the limitations of our current understanding of “humanity” and “being,” as well as admonitions forecasting an end to the anthropocene era if our values do not change. In our contemporary moment, fantasies about the end of life offer new possibilities for imagining “what comes next” for the human, humanism, and even the humanities.

Call for Papers: “After/Lives: What’s Next for Humanity?”
Journal for the Fantastic in the Arts, the journal of the International Association for the Fantastic in the Arts, invites contributions for a special issue on “After/Lives: What’s Next for Humanity?” Looking at various portrayals of what comes “after” death, the works investigated in this issue will raise the broader question of how such representations reflect our contemporary moment and suggest what will come next for humanity. We welcome essays from all disciplines of the humanities that investigate late 20th and 21st century works of film, literature, the visual and performing arts, and new media. Articles between 5,000-9,000 words might address, but are by no means limited to, the following:

  • Representations of monsters/figures of living death, such as zombies, vampires, revenants, ghosts, cyborgs, etc.
  • Metaphoric representations of death
  • Representations of death in video games and new media, or discussions of death and technology
  • Post-apocalyptic spaces, disaster zones, or dystopias that represent a changed relationship between the living and the dead
  • Representations of cannibalism in the zombie/vampire and the ethics of meat eating
  • Narratives about the afterlife, including virtual afterlives in cyberspace
  • Lifestyle and performance of death: Goths, raves, LARPing, and zombie walks (i.e., “playing” dead or undead).

In accordance with the journal’s policy, all contributions will be peer reviewed by the Journal of the Fantastic in the Arts (JFA) and subject to their acceptance. JFA uses the MLA style as defined in the latest edition of Handbook for Writers of Research Papers (New York: The Modern Language Association). For more details, please see and the “Submission Guidelines” section: <>.
Please submit a 500-word abstract as a Word file via email to both guest editors by 1 September 2012, including a description of what stage of development the piece is in: i.e., already in progress, in development, in draft form, etc. Please declare at this time whether you can commit to an end of 2012 (December 31) deadline for a full-length manuscript.

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cfp: PARADOXA’s “Africa SF” issue

Paradoxa is seeking submissions of previously unpublished essays on subjects related to


In 2010, Pumzi, the first Kenyan sf movie, won the best short film award at the Cannes Independent Film Festival, and the South African co-production District 9 was nominated for multiple Oscars. In 2011, Nigerian-American Nnedi Okorafor became the first author of African extraction to win the World Fantasy Award, with Who Fears Death, and South African Lauren Beukes became the first person from Africa to win the Arthur C. Clarke Award, with Zoo City.

Recent journal issues (African Identities 7.2, Science Fiction Studies 102, Social Text 20.2), edited collections (Barr’s Afro-Future Females) and monographs (Lavender’s Race in American Science Fiction, Nama’s Black Space and Super Black) have been devoted to afrofuturism, African-American sf and African Americans in sf. In addition, there have been numerous publications on the relationships among sf, imperialism, colonialism, postcolonialism, globalization and Empire (cf. Science Fiction Studies 118, Hoagland/Sarwal’s Science Fiction, Imperialism and the Third World, Kerslake’s Science Fiction and Empire, Langer’s Postcolonialism and Science Fiction, Raja/Ellis/Nandi’s The Postnational Fantasy, Rieder’s Colonialism and the Emergence of Science Fiction).

Yet sf from Africa, and the Africa(s) in sf, remain relatively unexplored. In order to address this lacuna, the “Africa SF” issue of Paradoxa is interested in essays that address:

1. Critical work on sf by Africans, including such novels as Mohammed Dib’s Who Remembers the Sea (1962), Sony Labou Tansi’s Life and a Half (1977), Kojo Laing’s Woman of the Aeroplanes (1988), Major Gentl and the Achimota Wars (1992) and Big Bishop Roko and the Altar Gangsters (2006), Ngũgĩ wa Thiong’o’s Wizard of the Crow (2006), Lauren Beukes’ Moxyland (2008) and Zoo City (2010), and Ahmed Khaled Towfik’s Utopia (2008), and such films as Sankofa (Gerima 1993), Les Saignantes (Bekolo 2005), Africa Paradis (Amoussou 2006), District 9 (Blomkamp 2009), Pumzi (Kahiu 2009), and Kajola (Akinmolayan 2010). Can such novels as Ousmane Sembene’s The Last of the Empire (1981) and Adaobi Tricia Nwaubani’s I Do Not Come to You By Chance (2009) be productively read as sf? Is there African sf produced in other media?

2. Critical work on Afrodiasporic authors, filmmakers, musicians and artists, especially as they address Africa, imperialism, colonialism, postcolonialism, globalization, Empire, and/or diaspora, such as Steven Barnes, Octavia Butler, Copperwire, Samuel R. Delany, Tananarive Due, Minister Faust, Andrea Hairston, Pauline Hopkins, Nalo Hopkinson, T. Shirby Hodge, Anthony Joseph, LaBelle, Nnedi Okorafor, Outkast, Parliament-Funkadelic, Charles Saunders, George S Schuyler, Nishi Shawl, Sun Ra, and John A. Williams.

3. Critical work on the representation of Africa in sf by non-African authors, such as JG Ballard, VF Calverton, George Alec Effinger, Jon Courtenay Grimwood, Theodor Hertzka, Julian Huxley, AM Lightner, Ian MacDonald, Mike Resnick, Mack Reynolds, Jules Verne, as well as in comics (e.g., Marvel’s Black Panther, the British-authored Nigerian Powerman) and other media.

Prospective contributors may contact the guest editor with questions about a particular topic’s appropriateness. Double-spaced submissions should be between 6,000 and 10,000 words in length, not including “Works Cited,” and prepared in accordance with MLA style. Please forward manuscripts as MS Word attachments. Within the email itself include name, affiliation, 250-word abstract, and any other relevant information. Submissions should be directed to Paradoxa’s guest editor, Mark Bould at by March 1, 2013. For more information about Paradoxa see

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