The application period for the 2016-17 Le Guin Feminist Science Fiction Fellowship is now open! If you have any interest in feminist SF or in the authors whose papers are housed at the University of Oregon's Libraries Special Collections and University Archives (SCUA), then I strongly encourage you to apply. These collections are a treasure trove of cool ideas.
Find out all the details about the Le Guin Feminist SF Fellowship (and the Centre for the Study of Women in Society) here.
This is also a good excuse to give an update on the state of my fellowship research, which is still on going. I admit that I wish I was further along but I've made peace with the fact that I only have so much time and energy to dedicate to my writing. That said, I am constantly picking away at the hundreds of (scanned) letters that I returned home with. I think that the biggest challenge--aside from finding the time when I am both well enough to work and not committed to my day job--is dealing with the affective aspect of the research. I was not prepared to be so emotionally undone by what I read in the letters (in particular those of Ursula K. Le Guin, Joanna Russ, James Tiptree Jr., Suzette Haden Elgin, and Sally Miller Gearheart). Finding a balance between a scholarly reading and a personal one has been tough, but I think I've finally found the approach that is right for me. Writing about Russ' letters for the WisCon Chronicles (link below) was a real turning point for me in this respect. I basically have realized (and embraced) that I am a creative non-fiction writer at heart (dare I say, an essayist!), so interweaving my own story with those of the women whom I am studying is how I can best honour their work.
My current project is still a book-length one, but instead of being a primarily academic text, it is going to be a series of essays tracing how I came to my disability identity through reading science fiction. My archival research will significantly inform several of the essays (as winning the fellowship was a watershed moment in both my scholarly and personal life). I hope to have this essay collection mostly drafted by year's end but I'm allowing a longer timeline. My writing pace is definitely a slow burn these days.
All this said, here's everything I have published to date relating to my Le Guin Feminist SF Fellowship research:
2015 Transcript of "Ethics and Methods in the Archive: A Roundtable Conversation at ICFA 36"
[published in the Eaton Journal of Archival Research in Science Fiction, Vol. 3(1)]
2015 Letter, "Dear Tiptree, Dear Alice [with Notes]" in the award-winning Letters to Tiptree (Eds. Alisa Krasnostein and Alexandra Pierce, from Twelfth Planet Press)
2016 (forthcoming) Essay, "Learning to Love Joanna: Letters on Feminism, Anger, and Courage" in The WisCon Chronicles (Vol. 10) (Ed. Margaret McBride, from Aqueduct Press).
I'm excited and keen to share more of what I learned from my archival research. I know that I am an infrequent blogger, but watch this space for updates in the future!
It’s time for a project update! I’m always kind of surprised that I manage to get scholarship and creative stuff done, but apparently it happens.
Last year started off with a research bang with my Le Guin Feminist Science Fiction Fellowship. I am finally ready to start delving into the 100s of letters I scanned. While it is true that I have been preoccupied with other work, the delay in getting back into this research was more due to the need to have mental distance from it. I was unprepared for how emotionally overwhelming I would find the research—the letters I was reading (from Le Guin, Russ, Tiptree, Delany, and many more amazing SF writers) brim with the lives of the people who wrote them. Given that I am an “emotional sponge,” I soaked up everything I was reading. Apparently, I needed nine months for things to get quietly sorted in my head so that I can now focus on drawing out conversational threads most relevant to my research interests. While I intend to incorporate some of my findings in a chapter on feminist SF in my planned book (more on that at the end of this post), I’m excited to see what other projects will spring from it.
One of those projects, actually, is an upcoming chapter titled, “Becoming Adult, Becoming Other: Anomalous Embodiment in Ursula Le Guin’s Earthsea Cycle.” I’ll post more details about that piece (and the edited collection by Sherryl Vint and Mathieu Donner that it will belong to) as the publishing details become finalized (as it is still in process). You can also read an interview I did with Alice Evans (of the CSWS) about the fellowship and my archival research.
In terms of notable scholarly publications in 2014, my “Disability Studies ‘101’” is in SF 101: A Guide to Teaching and Studying Science Fiction. It’s available as an ebook for a few dollars. [I’m also considering republishing it here on my blog, for free for all to read, if it doesn’t end up in the next issue or two of the SFRA Review—that decision will be discussed in an upcoming blog post]. For 2015, I am eagerly awaiting the April publication of Techno-Orientalism: Imagining Asia in Speculative Fiction, History, and Media by awesome editors, David S. Roh, Betsy Huang, and Greta A. Niu. I’m honoured to be a contributor with my chapter, “Re-imagining Asian Women in Feminist Post-Cyberpunk” (make sure to check out the super cool cover at the link). And while not a scholarly essay, I’m proud of the blog post I wrote about Misha’s Red Spider White Web for tor.com’s “That was Awesome: Writers on Writing” column last fall.
In just a few weeks, I am off to my favourite conference ICFA. I had originally planned on presenting a paper on disability in feminist SF along with organizing a panel on archival research in the field of the fantastic. Due to scheduling issues, however, I withdrew my paper and will be focusing my energies on the archival research panel. It feels a bit strange to not be delivering a paper this year, but I have good reasons (which are, again, being written up in an upcoming post).
Of course, the biggest news is Accessing the Future! Co-edited with Djibril al-Ayad, our disability-themed speculative fiction short story anthology is in the finishing stages. Accessing the Future will be published this summer (ah!) and it is amazing. While you wait for the summer publishing date to arrive, read one of the many blog posts Djibril and I wrote during our successful crowdfunding campaign. Working on this anthology has been life changing for me (and, yes, there will be posts coming about that too). Check out the awesome Table of Contents over at The Future Fire’s blog and look at the fabulous cover art by Robin Kaplan (below).
My next goal is to start, in earnest, writing a book on disability representation in science fiction once I am back from ICFA. I have set out two timelines for myself—one has me finishing a full draft by this time next year, and the other is accelerated, with a full draft come late fall. I do need to keep working (running Academic Editing Canada, which is work that I really enjoy, especially as I continue to receive more challenging and interesting client projects), so I’m keeping a flexible schedule of deadlines ahead of me. But still, a book! It’s hard to imagine such a huge undertaking coming together but since I also felt the same way about Accessing the Future (and Disability in Science Fiction), I know that it is possible.
I’m going to try to keep Bleeding Chrome blog better updated throughout this year. Writing leads to more writing, and it is helpful for me to keep engaged with other people and work out my thoughts in a more public space. So 2014, all things considered, was a darn good year, and 2015 is looking just as interesting and challenging. I’ll let you all know how it turns out!
Seeing as my independent scholarship is coming along better than I imagined, I proposed a paper AND a discussion panel for my favourite conference, ICFA (International Conference on the Fantastic in the Arts). Both were accepted and I'm already dreaming of the Florida sun in March, smearing on ridiculously strong sun screen, chasing lizards, and swimming in the pool at the con hotel. And doing all that other fun conference stuff too. Below are the abstracts for the paper and the panel. The title of my paper is a play on James Tiptree, Jr's short story, "The Women Men Don't See." [UPDATE: I have withdrawn my paper due to scheduling issues].
The Disabilities Men Don’t See: Genetic Engineering, Medical Experimentation, and Institutionalization in Feminist Science Fiction
To date, most discussions of feminist science fiction (SF) address the subgenre’s engagement with the sexed and gendered body (and, to a lesser extent, the raced and classed body). Despite these necessary readings, I argue that there needs to be greater engagement with the representation of disability in feminist SF. In this paper, I trace some of the ways that feminist SF has shaped the conversation of disability in SF through narratives of genetic engineering (e.g., Joanna Russ’s The Female Man), medical experimentation (e.g., James Tiptree, Jr.’s “The Girl Who Was Plugged In”), and instutionalization (e.g., Marge Piercy’s Woman on the Edge of Time). Framing my discussion with disability studies theory, I will attend to Alison Kafer’s insistence that we must examine what is unsaid or assumed about disability in the creation of an ideal feminist utopia (74, Feminist, Queer, Crip). While the feminist SF writers of the 1970s (and the 1980s) often imagined the problematic “defeat” of disability in their visions of a “better” future, I propose that they nevertheless opened up a space to challenge what it means to be a visible “non-normative” or “deviant” body in a heteronormative and ableist society. More recent intersectional feminist SF works, such as Larissa Lai’s Salt Fish Girl (2002) and Octavia Butler’s Fledgling (2005), have since taken up the complex relationships that exist between disabled, gendered, and racialized forms of marginalization. This paper ultimately advocates for the integration of disability studies—and a rejection of any future founded on the (medical) exploitation and erasure of people with disabilities—in feminist SF scholarship.
Archival Research in the Field of the Fantastic
As the field of fantastic embraces intersectional ways of reading, more scholars (at all levels) are engaging with interdisciplinary forms of pedagogy and research practices. Archives of fantastic literature (e.g., novels, zines, pulp magazines, etc.) and the personal papers (e.g., correspondence, fan mail, manuscript drafts, etc.) of authors in the field offer rich sites of investigation that still remain largely untapped. This panel will address issues around the growing interest in archival research, taking up such questions as: What collections are available and at which institutions? How does one develop a project that makes use of archival research? What are the funding opportunities available for archival research? What are the best research and pedagogical strategies to practice while in the archives? How does one make use of archival materials (e.g., navigating copyright/permissions)? What are some of the latest discoveries coming out of archival research in the field of the fantastic? As they discuss these points, the panelists (Kathryn Allan, Gerry Canavan, and Josh Pearson*) will also share some of the insights and findings from their recent and ongoing archival research projects.
*It is possible that another panelist may join us.
After months of planning and preparation, I am totally stoked to announce my next project: co-editing (with the amazing Djibril al-Ayad) a volume of dis/ability themed speculative fiction, Accessing the Future. I've been dreaming of this project for years now, so it's quite exciting to see it come to reality...well almost. We are fundraising on Indiegogo, so please visit our page and snap up one of the many great perks. We've already received a promising first reaction from our campaign supporters and allies, so we're confident that this campaign will be a success. Please help us cross the finish line and make Accessing the Future the next hit SF anthology! Visit our Indiegogo campaign to donate & get cool stuff, and help boost the signal over Twitter, and like our Facebook page. Awesome!
We are raising funds to publish a special anthology of dis/ability-themed speculative fiction, Accessing the Future, co-edited by Kathryn Allan (me!) and Djibril al-Ayad, to be published by Futurefire.net Publishing. Futurefire.net Publishing is the publisher of both The Future Fire magazine of social-political speculative fiction, and of two previous anthologies, Outlaw Bodies (2012, co-edited by Lori Selke) and We See a Different Frontier (2013, co-edited by Fabio Fernandes). Djibril al-Ayad, a historian and futurist, co-edited both volumes and has edited TFF since 2005.
This anthology will call for and publish speculative fiction stories that interrogate issues of dis/ability—along with the intersecting nodes of race, nationality, gender, sexuality, and class—in both the imagined physical and virtual spaces of the future. We want people of all abilities to see themselves, as they are now and as they want to be, in our collective human future.
The Anthology Details
Inspired by the cyberpunk and feminist science fiction of yesterday and the DIY, open access, and hacktivist culture of today, Accessing the Future will be an anthology that explores the future potentials of technology to augment and challenge the physical environment and the human form—in all of its wonderful and complex diversity.
We are particularly interested in stories that interrogate issues of dis/ability—and the intersecting nodes of race, nationality, gender, sexuality, and class—in both physical and virtual spaces. Dis/ability is a social construct, and all bodies do not fit into or navigate the material environment in the same way(s). Personal and institutional bias against disability marginalizes and makes “deviant” people with certain differences, but it doesn't have to be that way.
We want to ask:
- How will humanity modify the future world?
- What kinds of new spaces will there be to explore and inhabit? Who will have access to these spaces and in what ways?
- Given that we all already rely on (technological) tools to make our lives easier, what kinds of assistive and adaptive technologies will we use in the future?
- How will augmentations (from the prosthetic to the genetic) erase or exacerbate existing differences in ability, class, gender, sexuality, nationality, and race?
- What does an accessible future look like?
Accessing the Future will be a collection of speculative fiction that places emphasis on the social, political, and material realms of being. We aren’t looking for stories of “cure,” that depict people with disabilities (or with other in/visible differences) as “extra special,” as inspirations for the able bodied, or that generally reproduce today’s dominant reductionist viewpoints of dis/ability as a fixed identity and a problem to be solved. We want stories that place emphasis on intersectional narratives (rejection of, undoing, and speaking against ableist, heteronormative, racist, cissexist, and classist constructions) and that are informed by an understanding of dis/ability issues and politics at individual and institutional levels. We want to hear from writers that think critically about how prosthetic technologies, new virtual and physical environments, and genetic modifications will impact human bodies, our communities, and the planet.
I don’t know what to write about the time I spent in the University of Oregon’s Special Collections reading room in the beautiful Knight Library from May 26 to June 5. There’s not enough distance between the massive information download and today when I write this post. It was only yesterday when I realized that not even two weeks have passed since I returned home. It appears I’ve lost track of time. When I was researching, hours felt like minutes. I measured out time in folders of letters. The first few days back home, I threw myself into re-establishing my normal routine in order to avoid fully acknowledging that something integral in the direction of my life has changed. At the moment, my head is still full of other people’s lives and I only hold back telling their stories by force of will and mental exhaustion. Needless to say, I didn’t expect to come away from my archival research with such an overwhelming mix of intellectual excitement and emotional turmoil (but in a good way).
As the inaugural Le Guin Feminist Science Fiction fellow, over the course of ten days (from 10:00am to 4:30pm), I power read 1000s of letters in the archived collections of Ursula K. Le Guin, Joanna Russ, Suzette Haden Elgin, and Sally Miller Gearhart. The letters cover the time period from the late 1960s to the 2000s (I kept my search to the 60s to mid-80s). I was privy to the often intimate thoughts of these women, and also to those on the other side of the correspondence. Most significantly, for me, were the letters of James Tiptree, Jr. and Philip K. Dick. There are other notable science fiction writers on that list too, but as they are still living, I’m not quite ready to name them in any kind of public reflection. It’s enough to say that I’ve met many of the great luminaries of science fiction through their inspiring, well-crafted letters.
I returned home with scans of over 500+ letters (1,021 pages in total), and I am expecting scans of another entire series of an important correspondence (which was unintentionally missed during my stay) to be sent to me in the next few weeks. This is a lot of data to process. Now the real work starts. I must intently read each page and begin to make sense of what I’ve learned. I don’t know what any of it really means to my own scholarship yet. A few projects have taken shape in my mind, but I’m simply too close to the original research experience to see what’s in front of me (the whole “can’t see the forest for the trees” kind of deal). If you were hoping for some exciting research revelations in this post, sorry! I need more time to process everything. I need to return fully back to my own time, to the current moment. I am all starts and stops right now but I wanted to post something here to help ground me. This is a beginning.
As the inaugural Le Guin Feminist Science Fiction fellow, I am busy finalizing the travel plans for my research trip to the University of Oregon's feminist science fiction special collections. I am going to spend 10 days in the archives, pouring over the letters, papers, and research notes of some of my favourite feminist SF authors. To say that I am excited is an understatement--receiving the fellowship is a huge honour and marks a major milestone in my scholarly life. This will be my first time performing this kind of archival research, so I've been making sure to read up on the archive's holdings and narrow down my research goals as much as possible.
I would like to thank the Le Guin Feminist Science Fiction Fellowship and its sponsors (Center for the Study of Women in Society, Robert D. Clark Honors College, and Knight Library Special Collections and University Archives) for providing me with this amazing opportunity.
What follows is an excerpt from my research proposal to give everyone an idea of my project and what I hope to discover in the archives.
“The Other Lives”—Locating Dis/Ability in Utopian Feminist Science Fiction
It’s a crip promise that we will always comprehend disability otherwise and that we will, collectively, somehow access other worlds and futures.
—Robert McRuer, Crip Theory
Will you tell us about the other worlds out among the stars—the other kinds of men, the other lives?
—Ursula K. Le Guin, Left Hand of Darkness
My research at the Knight Library’s feminist science fiction (SF) special collection will form a central chapter on utopian feminist SF in my upcoming planned monograph on disability and temporality in SF. Starting with the so-called Golden Age of SF in the 1950s and extending into today, I want to trace the ways the genre has reflected the Western cultural attitude towards disability and people with disabilities, a vision that, while often well-intentioned, is condescending and ableist. Disability studies theorist Tobin Siebers notes the temporal tension inherent in discourses of disability: “the ideology of ability makes us fear disability, requiring that we imagine our bodies are of no consequence while dreaming at the same time that we might perfect them. It describes disability as what we flee in the past and hope to defeat in the future” (Disability Theory 9). I believe that the utopian feminist SF of the 1970s (and, to a lesser extent, the 1980s) helped shape the conversation of disability in SF, either through the problematic “defeat” of disability (seen in the genetic engineering of the Whileaway women in Joanna Russ’ The Female Man) or through an insistence on recognizing shared vulnerabilities while celebrating bodily difference (as exemplified by the Gethenians in Ursula K. Le Guin’s Left Hand of Darkness).
Alison Kafer importantly asks in Feminist, Queer, Crip, “Why is disability in the present constantly deferred, such that disability often enters critical discourse only as the marker of what must be eliminated in our futures or what was unquestionably eliminated in our pasts?” (10). My research project arises out of my growing curiosity to explore this question through the critical study of disability in SF (with a special focus on feminist SF). I am interested in the Knight Library archive’s holdings—in particular, the research notes, essays, and personal correspondence dating from the mid-1960s through to the 1980s—for Suzette Haden Elgin, Sally Miller Gearhart, Joanna Russ, and Ursula K. Le Guin. Active during and after the civil rights movement, these four prolific authors created utopian feminist SF that theorized and advocated new ways of being for women and the LGTB community. My proposed archival research will focus on the (self-identified) politics that inform their work throughout the 1970s and 1980s, seeking out lines of inquiry or attention in the differently abled body. To date, most discussions of these feminist SF writers address their engagement with the sexed and gendered body (and, to a lesser extent, the raced and classed body), but I am keen to discover if there are threads of disability awareness, or even overt advocacy, in their personal correspondence and research materials. To my knowledge, my proposed project will be among the first to investigate the archives with a disability studies framework in mind.
Given their progressive engagement with “deviant” bodies in their works (both fiction and non-fiction), the archives of Elgin, Gearhart, Russ, and Le Guin are ideal sites for this line of inquiry and will significantly inform my proposed book’s chapter on feminist SF, “Locating Dis/Ability in Utopian Feminist Science Fiction.” From her early novels such as Communipaths to her celebrated Native Tongue trilogy, Elgin’s oeuvre shows a sustained interest in the way language shapes our perception of people with different abilities. Well-known as an activist, Sally Miller Gearhart also explored the construction of cognitive and physical difference, most notably in The Wanderground, where an open narrative follows the telepathic (and flying!) “hill women.” Russ’s The Female Man, with its contrasting worlds of dystopian suffering and utopian genetically-engineered perfection, directly raises a conversation about the role of technology in shaping humanity. I am particularly interested in Russ’ correspondence with fellow SF writers—such as Samuel Delany, Marge Piercy, James Tiptree Jr., Vonda McIntyre, and Suzy McKee Charnas—where I hope to find mention of disability rights among the passionate debates about SF, minority rights, and feminism. In her Earthsea series, The Left Hand of Darkness, and The Dispossessed, to name only a few titles from her large body of fiction, Le Guin takes special care in giving non-normative bodies agency and self-direction by placing them at the centre of the text. Through examination of her newly archived papers—along with the holdings for Elgin, Gearhart, and Russ—I would like to identify material to support my reading of these feminist utopian SF texts as foundational in creating a space to openly discuss dis/ability in a genre that often elides positive recognition of people with disabilities.
Last year, I took to saying that 2013 would be my “debut year” as an independent scholar. After transitioning away from academia, establishing Academic Editing Canada, delivering conference papers, writing articles, and editing a book, I felt that I was finally starting to see my new (portfolio) career path solidify ahead of me. I could not have predicted, however, just how exciting this year would turn out. The publication of my collection, Disability in Science Fiction: Representations of Technology as Cure, this past August was a big deal for me—I’m still in wonder that I made that I made a book happen. I haven’t yet come across any published reviews of Disability in Science Fiction, but positive appraisals have begun reaching me by word of mouth, so I can’t be any happier about that whole project. With the edited collection alone, 2013 was shaping up to a significant year in my professional life.
Until two weeks ago, I had no idea that I would be achieving another major milestone: on November 8, I was named the first ever Le Guin Feminist Science Fiction Fellow. I cannot express how deeply honoured I am to have received this award. The fellowship is a $3000 grant to perform research at the University of Oregon’s Knight Library Special Collections and Archive, which houses an amazing treasure trove feminist SF papers. The title of my proposed project is "'The Other Lives'--Locating Dis/Ability in Utopian Feminist SF" (which I will blog about more soon). It isn’t the money that I am excited about here (although it is certainly extremely helpful), but that other people think that my scholarly work is important and has an impact on the field of feminist SF studies. I still cannot quite believe my good fortune.
This past weekend (Nov. 8-9), I attended the Sally Miller Gearhart “Worlds Beyond World” Utopian Feminist Science Fiction symposium (held as part of the celebration of the U of O’s The Center for the Study of Women in Society’s 40th anniversary celebration). Even if the I wasn’t chosen as the inaugural Le Guin Feminist SF fellow (which was officially announced before Le Guin’s keynote reading and interview), I still would have made the trek to beautiful Eugene. An event like this one doesn’t come along too often these days. In attendance were many of the feminist SF writers I’ve long admired: Vonda N. McIntyre, Sally Miller Gearhart, Molly Gloss, Kate Wilhelm, Suzy McKee Charnas, L. Timmel Duchamp, Hiromi Goto, Andrea Hairston, Larissa Lai, and, of course, Ursula K. Le Guin. In addition, there were many wonderful feminist SF scholars in attendance. I was pleased to meet (or reconnect with) Margaret McBride, Alexis Lothian, Joan Haran, Liz Henry, and Grace Dillon, along with all of the keen and dedicated grad students too numerous to individually name here. It was a real treat to inhabit a space that was full of intelligent and passionate talk about feminism, science fiction, and fandom.
In a word, I found this weekend overwhelming. In the best possible way. In an if-I-think-about-it-too-long-I-start-crying kind of way. Because graduate school was damn difficult and painful. Because the past three years have been full of hard decisions and sometimes unbearable loneliness. During the panel I was on (focused on current feminist SF research), I said that attending this symposium felt like “I was coming home.” It has been a very long time since I last felt such ease at being part of something larger than myself. I’ve enjoyed my time at fan conventions, and I certainly have a fondness for academic conferences like ICFA, but none of those gatherings have been as welcoming, stimulating, and just plain right as the feminist SF symposium. Over the past few years, I have often felt too fannish for the academics and too academic for the fans. At the Worlds Beyond World symposium, however, I didn’t feel that I had too much or not enough of some intangible quality to belong. I wasn’t the only feminist in the room (far from it). I didn’t have to defend being an independent scholar (in fact, people wanted to know more). It was a celebration of everything I love about science fiction, feminist and otherwise.
There were so many amazing and surprising experiences I had during the symposium that it is going to take me a few weeks to process everything. I definitely want to share more of my thoughts, so I will write more posts as soon as I can about what I learned at the symposium, about my fellowship, and my current/upcoming research activities. Things are good!
I came across this feminist science fiction fellowship the other week--it looks amazing! As soon as I saw it, I knew that I would have to apply for it. For any feminist science fiction scholar, this is simply not an opportunity to be missed:
The Le Guin Feminist Science Fiction Fellowship
Sponsored by the Center for the Study of Women in Society, Robert D. Clark Honors College, and the UO Libraries. Special Collections and University Archives.
As part of the Center for the Study of Women in Society’s 40th Anniversary Celebration, and as a way of honoring the role that Special Collections and University Archives (SCUA) played in the founding of CSWS, we are collaborating with the University of Oregon Knight Library and the Robert D. Clark Honors College (CHC) to create the Le Guin Feminist Science Fiction Fellowship. (Guidelines PDF)
Purpose: The intention of the Le Guin Feminist Science Fiction Fellowship is to encourage research within collections in the area of feminist science fiction. The Knight Library houses the papers of authors Ursula K. Le Guin, Joanna Russ, Kate Wilhelm, Suzette Haden Elgin, Sally Miller Gearhart, Kate Elliot, Molly Gloss, Laurie Marks, and Jessica Salmonson, along with Damon Knight. SCUA is also in the process of acquiring the papers of James Tiptree, Jr. and other key feminist science fiction authors.
Fellowship description: This award supports travel for the purpose of research on, and work with, the papers of feminist science fiction authors housed in the Knight Library. These short-term research fellowships are open to undergraduates, master’s and doctoral students, postdoctoral scholars, college and university faculty at every rank, and independent scholars working in feminist science fiction. In 2013, $3,000 will be awarded to conduct research within these collections. The fellowship selection committee will include representatives from CSWS, CHC, and the UO Libraries.
- Complete their research at the University of Oregon within a year of award notification;
- Submit a 1,000-word (maximum) essay on their research topic to CSWS for possible inclusion in publications;
- Meet with representatives from CSWS, CHC, and SCUA during their visit to Eugene;
- Submit a separate paragraph to CSWS documenting the specific collections consulted during the fellowship;
- Submit a copy of their final project or publication to CSWS;
- Acknowledge the Le Guin Feminist Science Fiction Fellowship and its sponsors (Center for the Study of Women in Society, Robert D. Clark Honors College, and Knight Library Special Collections and University Archives) in all publications resulting from the research fellowship.
Applicants must submit by September 1, 2013:
- A 1,000-word (maximum) proposal that describes the project for which these collections will be consulted, as well as the role that the applicant expects these collections will play in the project;
- An anticipated budget for the research visit;
- A two-page curriculum vitae or resume;
- Full contact information;
- Two letters of recommendation.
Applications (as PDF attachments) and questions should be emailed to Jenée Wilde, CSWS Development GTF (jenee[at]uoregon[dot]edu).
As part of CSWS’s 40th Anniversary Celebration, the Le Guin Feminist Science Fiction Fellowship recipient for 2013-14 will be announced at the Sally Miller Gearhart “Worlds Beyond World” Symposium, University of Oregon, November 8-9, 2013, with honored guest speaker Ursula K. Le Guin.
In the 1985 essay that defined the terms for feminist thinking about science and technology in the decades since, Donna Haraway observed that “the boundary between science fiction and social reality is an optical illusion.” She drew together the cybernetic organisms of fact and fiction, the beings of shiny technology and messy biological stuff, and her terms and her ideas came as much from the creative thinkers of feminist science fiction (Octavia Butler, Joanna Russ) as they did from technologists, political thinkers, and philosophers.
It’s 2013, and the cyborg manifesto is old enough to vote. Where are feminist science fictions now, and what can they tell us about feminism and technology? New media make our experiences of social reality resonant with classics of speculative fiction, particularly works that accounted for the uneven distribution of futuristic technologies and their participation in hierarchies of race, gender, capital, and ability. Literary scholars continue to explore the intricacies of works by Octavia Butler, James Tiptree Jr., Joanna Russ, et al., while the aesthetic and political techniques of critical and creative speculative thinking that these writers pioneered are taken up in multiple forms. Fiction writers like Nalo Hopkinson, Andrea Hairston, L. Timmel Duchamp, and many more bring questions of language, culture, race, and violence into the fray, as social media platforms like blogs, twitter, and Facebook deepen conversations between writers and fans. Small presses continue to support the older technology of the printed page and to articulate why written visions matter for a possible feminist future.
Feminist science fiction has never only existed between the bindings of books, however. Fictional speculation is part of how we understand ourselves in relationship to technology; from the way our smartphones seem to extend our embodied being, to the difference it makes when we shift our perspective and think instead of the being of the gendered bodies who made them, to the imaginative constructions we produce of the wireless waves and fiber optic cables that link us to collaborators, interlocutors, and friends. Ada is published by the Fembot Collective’s academic network, which is itself a feminist science fiction. An imagined array of co-conspirators made real, its name indexes the power in reworking the venerable sci-fi trope of the gendered automaton. Technological speculation is our social reality, and feminist science fiction has the tools to code it to the specifications of our politics.
Feminist science fiction describes a diverse landscape of multimodal, multiplatform, multifaceted cultural production. It is a means for thinking marked bodies into technological contexts, from Ada Lovelace herself to Janelle Monae’s racialized android Cindi Merriweather. It is also the visual and conversational online cultures that endlessly repeat, reblog, argue, and fight back about what real and imagined futures of gender, race, technology, and representation ought to be like. It may even be the new philosophical modalities of materialist speculation, when they acknowledge that the hierarchized markings on bodies we name as race and gender are not limited to some narrowly defined conception of the human. And it is the unpredictable future of what cybernetics and organisms could be and could become, in the flesh and in plastic, silicon, steel.
The third issue of Ada: A Journal of Gender, New Media and Technology seeks essays on any of these and more. We welcome unpublished work from scholars of any discipline and background, including collaborative, nontraditional, or multimodal approaches that can especially benefit from the journal’s open access online status.
Topics and approaches might include, but are not limited to:
• Key works of feminist science fiction and their relevance for new media and technology studies
• Gender, race, sexuality, and/or disability in science fiction literature, film, and television
• Feminist speculation in new media production
• Feminist science fiction’s online fan cultures
• Speculative or science-fictional tropes in new media and technology theory and practice
General Submission Requirements
Authors should submit essays of 4000-9000 words directly to the editor in Rich Text Format (.rtf) or MS Word format (.doc) by 1 May 2013. We encourage you to discuss potential contributions in advance of the submission deadline, particularly for those contributors interested in multimodal contributions. Contributions in formats other than the traditional essay are encouraged; please contact the editor to discuss specifications.
All submissions should be accompanied by the following information in the email message with your submission attachment:
• Name(s), affiliation(s), email address(es) of the person(s) submitting.
• Title of the text and the issue for which it is submitted.
• An abstract of no more than 100 words.
• A short paragraph (40-60 words) about the contributor(s).
Further guidelines for submission format can be found here: http://adanewmedia.org/submissions/ Please include text descriptions for images and transcripts or subtitles for audio or video files.
Send submissions and correspondence to Alexis Lothian: ada[at]queergeektheory[dot]org
Ada is an online, open access, open source, peer-reviewed journal run on a nonprofit basis by feminist media scholars from Canada, the UK, and the US. The journal’s first issue was published online in November 2012 and has so far received more than 75,000 page views. Ada operates a review process that combines the feminist mentorship of fan communities with the rigor of peer review. Read more at http://adanewmedia.org/beta-reader-and-review-policy/. We do not — and will never — charge fees for publishing your materials, and we will share those materials using a Creative Commons License.
Femspec, an interdisciplinary journal dedicated to challenging gender through speculative means in any genre, invites papers for a special issue of Femspec, Aging and Gender in Speculative Fiction, examining speculative fiction books, TV shows, or movies that re-imagine the way we view women growing older and/or depict the way societal expectations of gender roles impact how we age. Keeping in mind the feminist thrust of the journal, we seek submissions that consider how major feminist sf writers depict aging characters, that apply feminist theory to depictions of aging in sf texts broadly defined, or that address sf’s potential to critique the relationship of gender to ideologies of aging in contemporary society or to re-imagine the future of aging primarily for women, but also for men within a gendered perspective.
The seeds for this special issue were planted at a paper session, "Women Growing Older in the Perilous Realm: Science Fiction and Re-Imagining Old Age" at the 2012 National Women's Studies Conference 2012, chaired by Margaret Cruickshank. Whether analyzing a picture of older women as inhabiting a privileged position from which to critique society as in “The Space Crone,” a vision of the planet Vulcan where an older woman is the powerful high priestess, or the creation of a culture in which older women are given the most creative work as in Joanna Russ’s Whileaway, we need to ask: how does this re-imagining of old age empower older women, give new value to their accumulated knowledge or new expression to their abilities, apply a feminist lens to their subordination or oppression, or otherwise upend the hegemonic narrative of women's aging as nothing but a decline into silence and invisibility.
Because Femspec is a fully independent journal funded by subscriptions rather than institutional support, subscription is required on submission. Essays undergo a rigorous two-step jury process with independent readers and members of the Femspec editorial board. Submissions can be sent directly to the special issue editor, Aishwarya Ganapathiraju, aganapath[at]gmail[dot]com or to Femspec.org, where subscription information can be found.
In addition to this special issue, Femspec seeks scholarly submissions that explore gender issues in sf, apply feminist criticism to the study of sf or analyze the work of women writers in science-fiction media or “speculative fiction” broadly defined.
The last date for submitting work for consideration is May 30, 2013.