SFRA 2009, Author Open Mike Night Announcement

April 28, 2009

I sent the following announcement about a new author “open mike night” slated for the SFRA 2009 Conference in Atlanta, GA to the SFRA Discussion List earlier this evening. If you’re an author, want to share your work, and will be in Atlanta mid-June, please read on for details on how to add your name to the hat:

SFRA welcomes authors to a special event at the 2009 SFRA Conference on “Engineering the Future” and “Southern-Fried Science Fiction” in Atlanta, Georgia on Friday, June 12 from 6:00pm-9:00pm.  The Author Open Mike Night hosted by the SFRA-SFWA liaison Edward Carmien is a new opportunity for authors to read from their work and offer books for sale to conference attendees.  Also, in the spirit of open mikes, we welcome authors to bring guests and invite their fans to attend the event.  If you are interested in joining us at the Hotel Midtown in Atlanta, send your name, contact information, and brief bio to the conference organizers Lisa Yaszek and Doug Davis at <sfra2009@gmail.com> by May 15.  We will schedule readings in the Open Mike Night lineup on a first-come, first-served basis. Reply now to get in line!

We would also like to invite authors to participate in the full conference and guest author events.  If you are interested in attending panels, presenting a paper, organizing a panel discussion about writing, or joining in guest author events, you may send your proposal to <sfra2009@gmail.com>, and then mail your registration form available at the official website <http://www.sfra2009.com/> along with the conference fee to the address on the form.

If you have any questions regarding the Author Open Mike Night or participating in the full SFRA Conference, please don’t hesitate to contact us by email at <sfra2009@gmail.com>.  See you in Atlanta!


CFP, Pakistaniaat Special Issue on US-Pakistan Relations

April 26, 2009

The journal that I’m the layout editor for, Pakistaniaat:  A Journal of Pakistan Studies, has just released a special issue CFP devoted to US-Pakistan relations.  Read the full CFP below: 

Pakistaniaat: A Journal of Pakistan Studies 

Special Issue on US-Pakistan Relations: Past, Present, and Future

We seek submissions for our second issue to be published in December 2009. The issue is themed around the past, present, and future of US-Pakistan relations, but we will also consider works beyond the scope of this particular theme. Please submit your scholarly articles, creative works (fiction, creative nonfiction, and poetry), or book reviews that focus on some aspect of Pakistan or Pakistani culture. We read all year.

Pakistaniaat is a peer-reviewed, multi-disciplinary electronic journal offering a forum for a serious academic and creative engagement with various aspects of Pakistani culture, literature, and politics. For more details please visit our website.

Masood Raja, Editor

Email: pakistaniaat@gmail.com

Website: http://pakistaniaat.org


Editing Your Work for Time Limits

April 22, 2009

The most difficult thing about preparing for the 2009 AGES Graduate Student Symposium tomorrow was editing my ICFA 2009 essay, “Time Enough for Twitter:  Postmodern Science Fiction and Online Personas,” from 2793 words to 1994 words so that I would more closely fall into the 10-15 minute time frame alloted to each presenter (my presentation is in the 12-13 minute range now).  The reason for this strict time limit is that we have five presenters and only a one-and-a-half hour time slot for presentations and the Q&A.  

Well, it took me a long damn time, but I did cut my paper down while retaining its overall argument.  Initially, I focused on eliminating the lengthier examples that I could mention rather than embellish during my presentation.  If anyone wants to know more about Saint Augustine, Jonathan Swift, Mary Shelley, and Philip K. Dick, you can ask me during the Q&A.  The greater amount of time went into actually rewriting a good portion of the paper to be more concise while eliminating unnecessary repetition.  

I hope the paper holds up well tomorrow, and I wish that I had the opportunity to add in the research suggestions that I got from ICFA and the Blogging Brown Bag discussion last week.  Unfortunately, it is the end of the semester and I have too many other things to focus on right now (African-American lit research paper, SFRA 2009 program manager duties, Pakistaniaat layouts, and The Postnational Fantasy book project deadline is coming up).


AGES Spring 2009 Graduate Research Symposium at Kent State

April 22, 2009

I’m presenting a shortened version of my ICFA 2009 essay, “Time Enough for Twitter:  Postmodern Science Fiction and Online Personas,” at tomorrow’s Graduate Research Symposium at Kent State.  It will take place from noon to 1:30pm on Thursday in Satterfield Hall, Room 209.  I hope that you can make it out!  

Here are more details from Patrick Thomas:

The Association of Graduate English Students (AGES) cordially invites all English faculty and students to the Spring 2009 Graduate Research Symposium on Thursday, April 23rd from 12:00pm–1:30pm in 209 Satterfield Hall.  This year’s Symposium features presentations from five graduate students in the Literature, Rhetoric and Composition, and MFA programs.  Enjoy an afternoon of lively discussion and learn about the interesting work our graduate students are doing!  Light refreshments will be served.  For more information, contact Jillian Hill, AGES President, at jcoates2@kent.edu.


The Science Fictional Aspect of LeRoi Jones’ Dutchman

April 21, 2009

For African-American literature today, we read two plays and a number of poems by LeRoi Jones/Amiri Baraka including Dutchman (1964).  During the class discussion, Sohomjit didn’t find the characters believable.  They seemed like two sides of a discussion taking place in Baraka’s mind and then performed dialogically on-stage.  This imaginary aspect of the characters led to Professor Babacar M’Baye bringing the class’ attention to the opening lines of play’s setting:

In the flying underbelly of the city.  Steaming hot, and summer on top, outside.  Underground.  The subway heaped in modern myth.  (3)

When I first read it, I was thinking that it read poetically more than straight description, but it definitely didn’t register as SF or SF-like.  However, the more that I think about it, I do agree with Professor M’Baye that these lines create a setting “like a Science Fiction story.”  When he said this in class, I immediately thought of Isaac Asimov’s The Caves of Steel, and now I’m thinking of George Lucas’ THX-1138.  Whatever image Baraka’s description conjures, it does have a cognitively estranging aspect to it, which makes the ensuing drama that much more compelling.  

From this discussion, I asked Professor M’Baye about something that I read the night before in The Oxford Companion to African American Literature on Dutchman.  There was a fleeting reference to “Lilith” in the entry, but no explanation.  During class, I pulled out my iPhone and began a cursory search on this person while the discussion played out.

From the Wikipedia article, there is one work that I would like to find that is referenced heavily for the “Lilith” article:   Siegmund Hurwitz. Lilith, die erste Eva: eine Studie uber dunkle Aspekte des Wieblichen. Zurich: Daimon Verlag, 1980, 1993. English tr.Lilith, the First Eve: Historical and Psychological Aspects of the Dark Feminine, translated by Gela Jacobson. Einsiedeln, Switzerland: Daimon Verlag, 1992.  

The Wikipedia article, using Hurwitz’s book as a source, describes an early image of Lilith, or in the early Sumerian myths as Lilitu, as being like a succubus who entices men in erotic dreams.  This seems very much like Clay’s encounter with Lula.  The interaction and tension between Clay and Lula is centered on Lula’s performance of sexuality combined with her racial identification as a young white woman.  As Swaralipi pointed out during our discussion, there is a complicated power relationship between Clay and Lula.  This relationship is structured around male-female on one axis and black-white on the other axis.  However, what struck me was the fact that Lula appears to be part of Clay’s psyche, a struggle within himself, a manifestation of his African-American double consciousness (to borrow from Du Bois).  There is no real Lula that kills Clay at the end of the play, but instead it is Clay’s internal turmoil over assimilation or embracing his African diaspora heritage that imaginatively and psychologically does him in.  It is on this point that one could argue that Baraka’s work has an affinity with the New Wave.  

I just searched Google for “Amiri Baraka” and “Science Fiction,” and I found an enormous number of hits.  I will have to do more reading on this, and report back in the future.

Update on Lilith and Lula:  I found Alejandro Arturo González Terriza’s online essay, “Isis, Lilith, Gello: Three Ladies of Darkness” here, and it cites this article about the connection between Lilith and Lula:  O’Sullivan, Maurice (1986): “Dutchman’s Demons: Lula and Lilith,” Notes on Modern American Literature Spring-Summer 1986, 10: 1, Item 4.  And, for more Lilith information, check out the parent site by Alan Humm here.


Kant Quotes Virgil

April 21, 2009

As I’ve been reading Kant’s works related to cosmopolitanism, I’ve ran into a lot of Latin quotations.  This is the one that I like the best:

Tu ne cede malis, sed contra audentior ito.

Do not yield to misfortunes, but go and face them more boldly.

Virgil, Aeneid 6.96 (qtd. in the collection of Immanuel Kant’s writing titled Toward Perpetual Peace and Other Writings on Politics, Peace, and History).


J. G. Ballard, 1930-2009

April 19, 2009

Paul Kincaid sent a message to the SFRA and IAFA email lists this morning alerting everyone to J.G. Ballard’s death.  The BBC have a short announcement (with an anti-SF slant) here.  And, Ballard’s Wikipedia entry has already been updated–read it here.

I searched the New York Times, but they haven’t posted the new or an obituary yet.  Though, I did turn up the no-byline review of Ballard’s Crash from 1973 here.  It concludes:

Perhaps J.G. Ballard was traumatized at a drive-in theater. One would like to be sympathetic: the man has talent. But a partial list of his previous titles doesn’t reassure: “The Disaster Area,” “The Terminal Beach,” “The Atrocity Exhibition.” Though it is dangerous to infer creator from character, even when — as in “Crash” — they have the same name, I don’t think I’d care to meet J.G. Ballard. I certainly won’t read further in the Ballard oeuvre.

Unlike the unattributed reviewer, I would have cared to meet J.G. Ballard when he was alive–drive-in traumatization or not.  Today, the world has lost one of the few persons capable of elucidating the terrors of the postmodern paradigm charging with all cylinders firing and a deadening roar of exhaust from the dark highways of the mid-Twentieth Century.


Rebecca Wilson Lundin’s “Teaching with Wikis: Toward a Networked Pedagogy”

April 16, 2009

At tomorrow’s Blogging Brown Bag discussion organized by Kent State University’s Office of Digital Composition, we’re going to discuss Rebecca Wilson Lundin’s “Teaching with Wikis: Toward a Networked Pedagogy” from Computers and Composition 25 (2008) 432-448.  I thought I would post some of my thoughts here before our meeting in the Satterfield Reading Room tomorrow.

Lundin’s article is a great introduction to educators about the potential and promise of using wikis in the composition classroom.  In fact, I was jazzed about one day using a wiki in my own classes in the future after reading her essay.  I may be somewhat biased in my eagerness to use wikis in the classroom, because I am a contributor to Wikipedia, and I know how to install MediaWiki on a Mac OS X box.  However, I think that Lundin makes some persuasive points about the power of wikis in the composition classroom, so let me go into some of those in more detail.

She begins by talking about a networked pedagogy (I’m thinking Foucault’s biopolitics) comprised of ”writing as a networked activity,” and “teaching as a networked activity” (432).  These ideas of shared, distributed, and interconnected means of learning and teaching should be facilitated by technologies that reinforce those network oriented goals, such as wikis.

Wikis are excellent examples of a collaborative writing and composing technology that obviously engages network culture, come close to embodying the original vision of hypertext, and the unique features of wikis including editability and page histories reinforce compositional goals of revision and collaboration.

Lundin’s essay emphasizes how wikis challenge assumptions about the traditional composition classroom (i.e., individual authorship, workshopping papers, teacher facilitated discussion, etc.).  She demonstrates that wikis challenge these assumptions in four key ways:  

1) New media composition in a wiki requires little if any expertise beyond the use of a word processor and the open design of wikis promise to unbound student creativity and expression by embracing multimodality.  

2) Collaborative writing made possible by wikis breaks down the single author paradigm by allowing all wiki participants to write, edit, and comment on any wiki pages including those of other students and those created by the teacher.  Furthermore, the transparency, as Carr et. al. describe it, of wikis through page histories facilitates reflection on the individual’s writing as well as the group collaborative process.

3) Critical interaction by a real audience of a student’s peers along withfeedback from the teacher should enable a more authentic engagement of students’ work.  Instead of writing for the teacher, students will write for one another, and give criticism to one another.  I think that this aspect holds a lot of promise, but as Lundin admits this is one of the more difficult aspects to engage students with when she discusses her creation of a “class of lurkers” (441). Additionally, she notes problems with flame wars between students.  This part of her essay particularly intreged me, due to my own work on trolls and flame wars in academic discussion lists.

4) Online authority, particularly on wikis, is decentralized and virtually anonymous.  Instead of merely subverting authority, Lundin makes a valid argument that instead authority in the traditional teacher-student sense is complicated by wiki work.  This could serve to undermine what power the teacher may hold over the classroom dialog and guiding of student work, but the very nature of wikis does empower all users, teacher and student alike, through page histories and what Will Richardson calls soft security, or participant policing of the wiki.  Additionally, student anonymity could help some students contribute in writing through the wiki when they are hesitant to contribute verbally in the classroom.

Concluding, she indicates that wikis, through their social and networked interaction, promote student social context awareness, because despite the appearance of anonymity, they are engaging one another as social writers.

I find Lundin’s essay compelling, and I plan on considering ways in which I can implement wikis in future classes.  I like how wikis will make writing regularly so much easier, and most wikis will pragmatically make teacher evaluation of writing easier by selecting to view all contributions by a particular writer/student. As Lundin noted, some teachers would be reticent to have a fully open wiki, and I would fall into this category as well for the simple fact that it might be better for all parties concerned not to allow for too much tomfoolery.  However, a little tomfoolery might be a good thing, and turn into a teachable moment.  I will have to think more on this point as I figure out how to design my class around a wiki/network paradigm.  Also, I am concerned about the flame war aspect of online communication for the composition classroom.  This will inevitably happen, and my primary concern is potential alienation of some students as a result of one or some students non-reflective acts.  Again, this is something that I will have to think further about.  

If you are a teacher, I definitely recommend you find this article (details listed above), and read it–my notes do not do it justice!


Amazonfail on the New York Times and Slashdot

April 14, 2009

Today, the New York Times carried a story about the recent page rank/search delisting of books, which can be found here.  Also, the post and resulting commentary about the debacle can be found on Slashdot here.

The comment by calmofthestorm on Slashdot’s post raises the same kinds of questions that I have about how Amazon can claim that a technical glitch would have such a surgical effect on particular books and not all the books in the categories, which Amazon claims were effected:

I don’t know, one time I was writing a Huffman compressor for an applied information theory class and I couldn’t find this weird bug where it would email racist statements to everyone in your address book every time you tried to compress a file larger to 50kb. Took me several hours to fix, and my solution was under 100 lines of Python.

I can fully sympathize with companies who have to deal with overly sensitive people who think that bugs like this, which emerge quite frequently in sufficiently complex systems, are the result of bad calls or poor intent, rather than the simple technical glitches that they are.

Even in sufficiently complex systems, these kinds of things don’t “just happen.”  Was it something Amazon.com did on its own, or was it perpetrated by a third party hacker?  I don’t know, but as my friend Seth said earlier today, “It doesn’t pass the smell test.”


Amazon.com, Censorship, and Sales Ranking

April 13, 2009

I first heard about Amazon.com’s recent foray into Disney-fying its sales ranking and search system from Stacie Hanes’ Facebook link to rydra_wong’s post about the fiasco:  Fail, Amazon. GIGANTIC FUCKING FAIL.  Mark R. Brobst writes about his experience with this new policy here.  Miracle Jones on The Fiction Circus sums is up thus: “Amazon is a Gay-Hating Company for Nazis.”  Slashdot is carrying the story here, which provides a link to Edward Champion’s post that succinctly describes the problem:

It’s been called #amazonfail on Twitter, but it represents the greatest insult to consumers and the most severe commercial threat to free expression that we’re likely to see in some time. Amazon has decided to remove certain books that they deem “adult” from their ranking system. But the “adult” definitions include such books as D.H. Lawrence’s Lady Chatterley’s Lover (Amazon link) (screenshot), Dorothy Allison’s Bastard Out of Carolina (Amazon link) (screenshot), Annie Proulx’s Brokeback Mountain (Amazon link) (screenshot), John Cleland’s Fanny Hill (Amazon link) (screenshot), and numerous other titles. Books that, in some cases, have fought decades to gain literary respectability have become second-class overnight because of Amazon’s draconian deranking policy.

It’s hard to imagine Amazon taking such drastic steps to sideline certain texts in order to enforce an arbitrary moral code.  Who are they trying to protect through these new measures?  According to the email that was sent in response to an inquiry by Probst, Amazon is instituting this new practice “In consideration of our entire customer base.”  I suspect that the “entire customer base” is meant to represent, at least in part, what Lee Edelman theorizes as the Child, always in need of protection and representative of the heteronormative future.  Edelman discusses this in his enlightening, yet highly theoretical work,  No Future:  Queer Theory and the Death Drive, which is no longer sales ranked on Amazon.com either.  

Apparently, Amazon.com has made a weak choice to provide a “safe” browsing experience for folks who refuse to accept reality that contravenes or challenges their view of the world.  Amazon.com, a company that I used to consider one of the good guys for their ease of access to just about anything you would want to read, see, or hear, including works that deal with sex, sexuality, and gender, has sided with those persons who feel self-righteous enough to police what we choose to read, enjoy, and learn from.  Obviously, one may see something that they would not normally want to see or be exposed to on Amazon.com or anywhere else on the Internet, but the mature and responsible person is capable of moving past it and going on about their life.  Furthermore, those persons who truly want to police their children’s access to the Internet can take one of two paths–the more draconian (lock them in the attic) or the more enlightened (teach your children about those things that you don’t necessarily want them to find out about on their own).  Of course, the second path is the more difficult and time consuming, so I suppose I can see why they would rather attempt to lock down the entire Internet as if they owned the place and shove everyone they don’t like or agree with off into the shadows.  Well, I’m someone who has no intention to be shoved anywhere, and I know a whole heck of a lot of other good folks who have no intention of bending over for this one either.

I believe that the demands for boycotts, emails, and phone calls are all steps in the right direction.  However, I conjecture that this is a problem that requires an escalation in the way that we, who I consider other persons who desire an open marketplace for the free and non-restricted exchange of cultural works, demand corporations, particularly those that now have an ever increasing control over the marketplace, to institute policies that promote culture rather than retard it.  I believe that the critical mass that blogging, twitter, and other digital forms of mass communication brings to bear on an event is enormously powerful, and we should (and almost assuredly will) continue reporting on this event as it careens headlong into on-coming traffic.  However, what is the next Deleuze and Guattari nomadic war machine?  Remember, these things have an expiry date following appropriation by the State (and Corporation). 

See the above blogs for further information on the contact information at Amazon.com, and for information on the boycotts.

UPDATE:  Read more on Violet Blue’s tiny nibbles site here.


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