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Monthly Archives: March 2019

The International Association for the Fantastic in the Arts is accepting applications for the position of Division Head of the Gothic and Horror (GAH) Division. (Please see division description below.)

Division Heads are appointed by the President, on the recommendation of the First Vice-President, who chairs the Council of Division Heads, after formal discussion and majority vote of the Board. The term is for three years. The GAH Division Head will begin immediately without a shadow year.

Each Division Head organizes and supervises all conference activity within a subdivision of fantastic scholarship. Division Heads work under the guidance of the First Vice-President. Division Heads are responsible for recruiting session proposals and papers and are responsible for formatting these to the requirements of the First Vice-President. Division Heads are responsible for forwarding all information to the First Vice-President in a timely fashion. Division Heads have the responsibility to check the draft program for accuracy and AV needs. Division Heads are expected to liaise with other Division Heads and the First Vice-President. The First Vice-President is the final arbiter of the program under the aegis of the Executive Board. At the conference the Division Heads oversee sessions in their respective Divisions and collect suggestions for future topics, special guests, etc.

Those interested in applying must send a cover letter explaining their interest in and qualifications for the position, and a current CV, to the First Vice-President, Valorie Ebert at, no later than 20 May 2019.

Division description:
The Gothic and Horror Literature division focuses not only on Gothic and Horror as often-overlapping literary modes, but also on closely related modes including the Grotesque and the Weird. Papers may explore any aspect of literary horror (including but not limited to body horror, psychological horror, philosophical horror, or folk horror) including the evolution, cultural significance, and theory of horror. Papers exploring related topics, such as the role of the supernatural, the sublime, monstrosity, or affects including horror, terror, dread or anxiety, as well as interconnections between horror literature and other media, including film, comics and games, are also welcome.

Ana Maria Curtis Named 2019 Dell Magazines Award Winner

The International Association for the Fantastic in the Arts and Asimov’s Science Fiction magazine have named Ana Maria Curtis of Swarthmore College the winner of the 2019 Dell Magazines Award for Undergraduate Excellence in Science Fiction and Fantasy Writing, for the story, “Military Sunset.”

First Runner-up for the 2019 award is Cody D. Campbell of Oregon State University for the story, “Crossing Over.”

Second Runner-up for the 2019 award is Wenmimareba Klobah Collins of the University of Puerto Rico – Rio Piedras Campus for the story, “Unexplained Phenomena.”

Third Runner-up for the 2019 award is Joseph O’Connor of Florida Gulf Coast University for the story, “Music in the Other Room.”

Honorable Mentions for the 2019 award go to Emmalee Gagnon from Arcadia University for the story “Say Her Name,” Josephine Su from the University of Alberta for the story “The Gilding of the Stray,” Claire Spaulding of Columbia University for the story “Baucis,” and Arthur Davis of Swarthmore College for the story “Gawain.”

Curtis attended the annual International Conference on the Fantastic in the Arts, March 13-16, 2019, to receive the award plaque and a check for $500 from Sheila Williams, Editor of Asimov’s Science Fiction magazine during the conference awards banquet. Collins, Spaulding and Davis also attended the conference and received their certificate awards from Williams during the awards banquet.

Also in attendance as part of the celebration of the Dell Award’s twenty-fifth year of recognizing and celebrating the best in undergraduate writing in science fiction and fantasy was the first winner of the award, Eric Choi, Canadian aerospace engineer and science-fiction and fantasy writer and editor, who won the 1994 award for the story, “Dedication,” which he wrote as an undergraduate at the University of Toronto.

The deadline for submissions for the 2020 Dell Magazines Award is 11:59 p.m. on January 7, 2020. Submissions should be made through the award’s website at The award also has a site on Facebook. For more information or submission guidelines contact Award Director Dr. Rick Wilber ( or see the magazine’s website.

The International Association for the Fantastic in the Arts is a worldwide network of scholars, educators, writers, artists, filmmakers, critics, editors, publishers, and performers who
share an interest in studying and celebrating the fantastic in all artforms, disciplines and media: literature, art, film, drama, music, philosophy, religion, the sciences, popular culture, and interdisciplinary areas. IAFA publishes an interdisciplinary quarterly, Journal of the Fantastic in the Arts, the IAFA Newsletter, and an annual IAFA Membership Directory. IAFA also sponsors and organizes the annual International Conference on the Fantastic in the Arts (ICFA), which hosts the world’s broadest and largest selection of scholarly papers on the fantastic and has become the major forum for the exchange of ideas and dissemination of scholarship on the

The Dell Magazines Award for Undergraduate Excellence in Science Fiction and Fantasy Writing is co-sponsored by Asimov’s Science Fiction magazine and the International Association for the Fantastic in the Arts and supported by Western Colorado University’s Graduate Program in Creative Writing, Low-Residency MA and MFA, Genre Fiction Concentration.

The Senses of Science Fiction: Visions, Sounds, Spaces

An international conference organized by the Speculative Texts and Media Research Group, American Studies Center, University of Warsaw

December 5-7, 2019
University of Warsaw, Poland

For most of its history, or at least since the late 19th century, the core conversations of science fiction (SF) have not been kind to the senses. For different reasons in different decades, the creative communities and the critical circles have focused on the genre’s status as the supreme expression of western technomodernity, its imbrications with the discourses of science and technology, and its subversive political potential. While always already present in SF’s structural, material, and creative dimensions, the formal, the aesthetic, and the sensible have been largely neglected at the expense of the functional, the political, and the cognitive. The questions of language and literary style have been discussed only with regard to selected writers, such as J.G. Ballard or William Gibson, while spectacle in film and television has been treated with a degree of suspicion and distrust—as something that dilutes the core values of rigorous speculation. Other less narrative media—forms in which the aesthetic plays the central role—have received very little or virtually no critical attention. And yet, for all its scientific bent and political urgency, science fiction has always strived to appeal to the senses and to instill in its audiences a sense of the beautiful, the harmonious, and the sublime.

The notion of aisthesis, that is sense perception, has recently regained prominence in humanities, playing a significant part in the philosophy of speculative realism, the turn towards the posthuman, and the shift away from anthropocentrism brought about by the increasingly widely embraced paradigm of the Anthropocene. In recognition of this newfound appreciation of the aesthetic, this conference seeks to recuperate the invisible and forgotten history of the sensible in the cultures of science fiction. It also seeks to find new ways of talking about these dimensions of SF texts across all media that in one way or another appeal to and engage all things sensible: sight, hearing, touch, movement, composition, but also smell, taste, auras, and speculative senses. Such attentiveness to the sensory in science fiction does not entail abandoning narrative, political, or scientific perspectives. Indeed, historically, many cultural forms have successfully intertwined formal elegance with political agency and emotional appeal with philosophical reflection. We believe science fiction is—and has always been—among these forms.

While the conference specifically namechecks science fiction, we follow in the footsteps of Sherryl Vint, Mark Bould, and John Rieder, treating the genre as a practice and a discourse, rather than an object of finite parameters. In fact, from a more traditional perspective, many SF texts that appeal to the senses as much as to the mind have been generically “impure,” borderline, slipstream, or otherwise hybrid.

Possible topics and areas of inquiry include, but are not limited to, the following:

styles and schools in science fiction literature and media
aesthetics and politics
aesthetics and fantastic identities (race, gender, sexuality)
science fiction sublime(s)
science fiction art, illustration, graphics
science fiction music, radio, and podcasts
fantastic architectures: real, visionary, speculative
design and typography
science fiction and stage arts: theater, opera, dance
SF art in/of the Anthropocene
outsider art
non-western SF aesthetics
speculative avant-gardes
new materialist perspectives on science fiction
affects, senses, and sensations in science fiction
hapticity and tactility in science fiction texts
immersive worlds of science fiction
the virtual and the actual
fantastic synaesthesias
senses and sensations of SF universes and franchises
SF soundscapes in movies, television, music, and games
science fiction fashion: upcycling, recycling, DIY, slow fashion, haute couture
sounds and spaces of Ethnofuturisms: Afrofuturism, Sinofuturism, Gulf Futurism, and others
material-discursive entanglements of science fiction
spatial dis/orientation
science fiction aesthetics around the world
social inequalities and aesthetic differences

For individual papers, please send proposals of up to 300 words. For multiple participant formats (e.g. discussion panels, roundtables, etc.), proposals may be up to 500 words long. We also welcome and encourage non-traditional forms of participation and presentation: performances, lightning presentations (1 slide & 5 minutes), speed panels, poster discussions, and others. Pre-formed multiple participant panels that are all-male will not be considered for inclusion in the conference. All submissions should be sent to by May 1, 2019. Applicants will receive a response by May 15, 2019.

Keynote speakers will be announced in early April 2019, when the conference website opens.

Any questions and inquiries can be addressed to .

The Organizing Committee:

Filip Boratyn
Jędrzej Burszta
Paweł Frelik (chair)
Agnieszka Kotwasińska
Stanisław Krawczyk
Anna Kurowicka

Please see the linked CFP for Embodying Fantastika, an Interdisciplinary Conference, 8-10 August 2019, Lancaster University, UK

Keynote Speakers Sherryl Vint (UC Riverside, USA) and Sara Wasson (Lancaster, UK)

Embodying Fantastika CFP

ICFA 40 “Politics and Conflict”

When: March 13–16, 2019

Where: Marriott Orlando Airport Hotel, Orlando, Florida, USA

Guest Scholar: Mark Bould (University of the West of England)

Guest Author: G. Willow Wilson (Ms. Marvel, Alif the Unseen)


Thanks for registering for ICFA 40! Are you somehow unable to make it? Please let me know so I can inform any relevant people and ensure your attendance is canceled in the computer system. We don’t give refunds this late but rather will credit you; you must use the credit within 2 years.


ICFA 40 is available to registered attendees via the Sched app! Although we have hard-copy schedules in both long and short forms for your use, the app will be continuously updated and therefore will be the most correct.

You can access Sched in both a web browser and through the app. You will need a password for either one. Please see the email account linked to your IAFA membership for the password.

In a web browser…

You will now be able to see a schedule of sessions, which you can filter.
From Schedule, you have several other options. Click around and have fun!

In the Sched app…

Download the app to your phone.
At the search prompt, type “icfa” and you should see the ICFA40 conference, which you must select.
The app view of sessions is like the pocket program. It is not as detailed as the web browser view.
If you have created an account, you can add and remove sessions from your personal schedule through the app. We encourage you to add a headshot to your profile.


View ICFA’s Accessibility Policy:

Please note that the hotel’s airport shuttle is not handicapped accessible.

We sent out a survey regarding the future of the conference, particularly in regard to cost and travel-related challenges. We want to hear your voice. Please plan to attend an important business meeting to discuss this topic on Thursday, March 14, 2019, at 6p in Captiva.

Highly collectible merch featuring this year’s artwork will be available for purchase at the Registration desk. Meal tickets will be available for purchase until sold out ($48 for the luncheons and $65 for the banquet). Outstanding membership and registration fees must be paid before you can get your packet. The Reg desk accepts cash, checks, and credit cards (but cannot take AmEx on site).

This year’s hashtag is #ICFA40.


Your stylish IAFA badge holder. (If you don’t yet have one, they are available for purchase on site for $5.) Pro tip: put it in your luggage and leave it there at all times.
Your computer dongle if you are using AV.
Your call for papers, graduate program description, or other handout you wish to target to this specialized audience. A table is set aside for these handouts. Pro tip: People have stopped taking handouts in favor of photographing them on their phones. Design accordingly!

IAFA Listserv:
IAFA on Facebook:
IAFA on Twitter:
Student Caucus (SCIAFA) on Facebook:

I’m on site already, so if you get here early, ping me if you like, although warning! you may be pressed into service. See you soon!

Karen Hellekson, IAFA Registrar (iafareg AT

Please join us for this year’s IAFA Business Meeting on Thursday, March 14th at 6:00 PM in Captiva. Concerns about costs and travel-related challenges have us concerned about the future of ICFA. Come discuss the survey results and the options moving forward for the future of our conference.

We look forward to seeing you in Orlando!

This year’s hashtag is #ICFA40
IAFA Listserv:
IAFA on Facebook:
IAFA on Twitter:
Student Caucus (SCIAFA) on Facebook:

Call for Applications: R.D. Mullen Fellowships


Named for the founder of our journal, Richard “Dale” Mullen (1915-1998), the Mullen fellowships are awarded by Science Fiction Studies to support archival research in science fiction.


We have three categories of awards:


  1. Postdoctoral Research Fellowship

Amount: Up to $3000

Number: 2 awards each year

Qualifications: Candidates must have received their PhD degree but must not hold (or be contracted to begin) a tenure-track position. Also eligible are ABD students who have not yet been conferred their degree but who are scheduled to do so before taking up the award, for research in support of a new project only. The relation between the new research and the topic of the dissertation should be clarified in the proposal, particularly in cases of closely related projects.


  1. PhD Research Fellowship

Amount: Up to $2000

Number: 3 awards each year

Qualifications: Research must be in support of a dissertation, and students may apply at any stage of their degree. The proposal should make it clear that applicants have familiarized themselves in some detail with the resources available at the library or archive they propose to use. Projects with an overall science fiction emphasis, other things being equal, will receive priority over projects with a more tangential relationship to the field.


  1. MA Thesis Research Fellowship

Amount: Up to $1000

Number: 1 award each year

Qualifications: Candidates may be in an MA program or in the MA phase of a combined graduate program. The award must be used in support of a graduate research project, which may be an article or an MA thesis. The proposal should specify which materials are unique to the archive the student proposes to visit and why they are essential to the project.


Application Process


All projects must centrally investigate science fiction, of any nation, culture, medium or era.


Project descriptions should concisely but clearly

  1. Define the project,
  2. Include a statement describing the relationship of this project to science fiction as a genre and to sf criticism as a practice,
  3. show familiarity with the specific holdings and strengths of the archive in which the proposed research will be conducted to explain why archival research is essential to the project, and
  4. Offer a research plan (including time frame and budget) that is practical for the time-frame proposed.


Applications may propose research in—but need not limit themselves to—specialized sf archives such as the Eaton Collection at UC Riverside, the Maison d’Ailleurs in Switzerland, the Judith Merril Collection in Toronto, or the SF Foundation Collection in Liverpool. Proposals for work in general archives with relevant sf holdings—authors’ papers, for example—are also welcome.


For possible research locations, applicants may wish to consult the partial list of sf archives compiled in SFS37.2 (July 2010): 161-90. This list is also available online at: <>.


Applications should be written in English and should include

  1. the project description (approximately 500 words),
  2. a work plan and an itemized budget,
  3. a cover letter clearly identifying which fellowship or award is sought,
  4. an updated curriculum vitae, and
  5. two letters of reference, including one from the faculty supervisor in cases of PhD and MA research.


Students who receive awards must acknowledge the support provided by SFS’s Mullen Fellowship program in any completed theses, dissertations or published work that makes use of research supported by this fellowship. After the research is conducted, each awardee shall provide SFS with a 500-word report on the results.


Successful candidates will be reimbursed for expenses incurred conducting research, up to the amount of the award, once they complete the research and submit relevant receipts. Valid research expenses include

  • airfare or ground transportation costs from one’s home to the archive,
  • meals for the scholar,
  • accommodation costs, and
  • costs associated with using an archive, such as photocopying, camera fees, or other institutional costs.


Funds cannot be used in support of

  • conference travel (one may attend a conference at the same venue as the archive),
  • capital items such as computers or other equipment,
  • the purchase of books or other research material, and
  • meals, travel, or accommodation costs for anyone other than the researcher.


Applications should be submitted electronically to the chair of the evaluation committee, Sherryl Vint, at  Applications are due April 2, 2019 and awards will be announced in early May.


The selection committee for 2019 consists of SFS Advisory Board members Carl Freedman and Graham Murphy, and SFS editors Istvan Csicsery-Ronay and Sherryl Vint.