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Student Caucus Representative Call for Nominations

SCIAFA Representative Elections

As Sarah Fish and I come to the end of our terms as Student Caucus Representative and Vice-Representative, we would now like to welcome any (self) nominations for our replacements.

As Student Caucus Representative and Vice-Representative, you will serve a two-year term beginning in 1 August 2018 and ending in 31 July 2020. You must currently be a graduate student to run; however, if you are in your last year as a student and will be on the job market for the second half of the term, that is acceptable (for instance, Sarah Fish was a PhD candidate for the first year of her term but is now a professor).

Any and all graduate students will be welcome to vote on the nominations. Traditionally, the candidate with the most votes becomes Representative, and the runner-up becomes Vice-Representative.

The formal position descriptions are as follows:

Job Description: Student Caucus Representative

Formal titles: Representative of the Student Caucus of the International Conference for the Fantastic in the Arts (SCIAFA)/ SCIAFA Representative to the Executive Board of the International Conference of the Fantastic in the Arts (IAFA)

The SCIAFA Representative is elected by the student body of the IAFA. During the two-year term, the Representative is responsible for addressing and advocating for the needs of student members of IAFA. This responsibility includes representing student membership on the Executive Board of the IAFA (the SCIAFA Representative is serves on the Executive Board). The Representative must attend biannual board meetings during their term and participate in the Board’s online discussion list. At the conference, the Representative will run SCIAFA programming, including the a SCIAFA-sponsored panel and the SCIAFA Mentorship Program. The Representative is expected to attend all IAFA business meetings, as well as most Board-sponsored events. The SCIAFA Representative should remain visible and accessible for the duration of the conference both to assist and guide fellow students as well as to assist fellow Board members, organizers, and volunteers.

Job Description: Student Caucus Vice-Representative

Formal title: Vice-Representative of the Student Caucus of the International Conference for the Fantastic in the Arts (SCIAFA) (formerly the Shadow Representative)

The SCIAFA Vice-Representative is an elected position. The Vice-Representative runs for the full SCIAFA Representative position, and the Vice-Representative position is filled by the runner-up. The duty of the Vice-Representative is to assist the Representative, including stepping in for the Representative in the event of emergencies or scheduling conflicts. The Vice-Representative is expected to attend all SCIAFA and Board-Sponsored events at the annual conference, but does not attend the summer board meeting (though the Vice-Representative should be available to attend in the Representative’s place if needed). In recent iterations, the Vice-Representative has been responsible for coordinating the conference’s Newcomer Meet Up.

If you are interested in nominating yourself for the position of Student Caucus Representative, please email your name, school affiliation, a brief bio, an explanation of why you believe you would be a good fit for the position, and a picture to: iafa.studentcaucus@fantastic-arts.org

Nominations are due by 10 pm on Saturday, 31 March.

I will post all nominations to the SCIAFA Facebook Page, which can be found here: https://www.facebook.com/groups/833849033305627/

Voting will begin on 2 April and end on 15 April at midnight.

The winners’ term will begin on 1 August.

If you have any questions about the position(s), you can email me (rudd.am@gmail.com) or Sarah (sfish@collin.edu). I look forward to hearing from you.

Thank you,

Amanda Rudd

Student Caucus Representative, 2016-2018

CFP: Laboring Bodies and the Quantified Self, University of Mannheim, Oct 5-6, 2018

CALL FOR PAPERS: LABORING BODIES AND THE QUANTIFIED SELF

University of Mannheim, Oct 5-6, 2018

The body has become central to practices of self-tracking and self-improvement. Quantifying the self, for example by counting steps, calories, tracking sleep patterns, heart rate, blood pressure etc., aims at optimizing the body. Moreover, new technologies have made it easier and thus more pervasive to monitor, analyze, and control the body as a project. Although self-improvement through quantification can serve to enhance physical performance and well-being, many users are unaware of the economic value of their data. While providing access to a deeper knowledge of the self, our own data and by extension, our bodies, are turned into a commodity, particularly when data is correlated to create specific marketing profiles or when quantification is used to adjust bodies to normative standards. This quantified data of the self is instrumental in unlocking the body’s potential as a laboring body, and in turn, disciplining the individual according to market demands and biopolitical agendas. In this conference, we want to draw critical attention to the role that the laboring body plays in practices, discourses, and literary as well as other cultural representations of the quantified self. Moreover, we want to shed light on the ways that data collection and production redefine what passes as labor, including notions of immaterial and free labor in an increasingly virtual work environment.

We invite abstracts that address but are not limited to the following questions:

What function does quantification have in conceptualizing the body as a laboring body?
How does quantification contribute to disciplining the body?
How have practices of self-tracking, self-monitoring, and self-optimization evolved historically?
How does literature contribute to the redefinition of the laboring body in the context of self-quantification?
What are the specific benefits of literature in imagining, reflecting on, and negotiating the implications of self-tracking practices on the individual and society?
What can an American Studies perspective contribute to the discourse on the quantified self as a laboring body?

Please send abstracts of no more than 350 words to adrei@rumms.uni-mannheim.de by May 15, 2018.

This conference is part of the DFG project ‘Probing the Limits of the Quantified Self: Human Agency and Knowledge in Literature and Culture of the Information Age’

Conference organizers: Prof. Dr. Ulfried Reichardt, Dr. Regina Schober, Stefan Danter, Juliane Strätz

CFP: Context is for Kings – An Edited Collection on Star Trek: Discovery

Context is for Kings – An Edited Collection on Star Trek: Discovery

51 years after Star Trek: The Original Series first aired on U.S. American TV, Star Trek: Discovery is updating the franchise for the 21st century. Like TOS was in the 60s, Discovery is firmly rooted in the zeitgeist and current political climate—a fact that has led to surprising amount of backlash from some corners of the fandom. Thanks to the advantage of streaming platforms over network television, the series is also updating the largely episodic structure of the earlier installments to a more serial and coherent storytelling that allows for longer narrative arcs as well as a focus on in-depth character development.

Set 10 years before The Original Series, Discovery is notably darker than any of the previous iterations of the franchise. Depicting the Federation at war with the Klingon Empire, the first season raises questions about identity and othering, war and trauma, and the conflict between idealism and pragmatism. It explores how Starfleet, an organization ostensibly dedicated to exploration and diplomacy, deals with the ethical questions surrounding war, and the lengths people are willing to go to win. These questions are deepened and complicated by the fact that the series, unlike any of the previous entries in the Star Trek canon, focuses not exclusively on the crew of the U.S.S. Discovery and the United Federation of planets, but also presents the events from the point of view of the Klingon Empire. A foray into the Mirror Universe dominated by the fascist Terran Empire throws Starfleet’s ideals and the characters’ struggles to live up to them into even sharper relief.

In addition to the questions raised by the narrative, Discovery has continued the franchise’s commitment to representing diversity on screen. Featuring a woman of color in the lead role, a racially and ethnically diverse main and supporting cast, and introducing the franchise’s first gay couple (played by out gay actors), the show is even more inclusive than any of the previous Star Trek series. Discovery thus has once more proven Star Trek’s continued cultural relevance and has, after only one season, already warranted an in-depth academic study that engages with the series from the perspectives of a variety of academic disciplines, such as cultural studies, gender and queer theory, political science, philosophy, and more.

We thus invite contributions to an edited collection to be published with a notable international publishing house or University Press.

We already have contributions on:
• Military Femininities (Admiral Cornwell, Captain/Emperor Georgiou, Michael Burnham, L’Rell, Silvia Tilly/Captain Killy)
• Gabriel Lorca, Ash Tyler and the Question of Masculinity
• “‘Lorca, I’m Gonna Miss Killing You:’” Possible Worlds and Counterfactuals in Star Trek: Discovery
• Fan Reception and Discussions of Political and Social Values in Discovery
• Cultural Relevance/Zeitgeist of TOS and Discovery in comparison

List of other possible topics can include, but are not limited to:
• Questions of racial diversity in casting and narrative
• Representation of femininities and masculinities
• LGBTQ representation on and off screen
• Depictions of war and trauma (portrayal of PTSD, torture, rape)
• Fandom (Fanart, fanfiction, conventions, cosplaying, etc.)
• The role of social media and resulting changes to fandom/fan engagement
• Discovery’s relationship to the Star Trek canon and expanded universe (TOS, TNG, DS9, VOY, ENT; Star Trek novels)
• Serial storytelling and world building
• The portrayal of non-human/alien races, particularly the Klingon Empire and the Kelpien Saru
• The role of Science Fiction in the current political moment
• Discovery’s vision(s) of the future
• Depiction of scientific exploration (in general, and its conflict with the war effort in particular)
• Questions of moral philosophy and ethics

The deadline for submissions is April 15, 2018. Please include an abstract (300 words) on the topic you would like to write on, plus a short bio-blurb, and send it as a pdf to Mareike Spychala, M.A. (mareike.spychala@uni-bamberg.de) and Dr. des. Sabrina Mittermeier (Sabrina.Mittermeier@pecess.de).

We will inform all participants by May 15, and full papers (6500-8000 words in length) will have to be submitted by October 31, 2018.

ICFA 39 “Frankenstein Bicetennial” Final Reminders

ICFA 39 “Frankenstein Bicentennial”

200 Years of the Fantastic: Celebrating Frankenstein and Mary Shelley

The Thirty-Ninth International Conference on the Fantastic in the Arts

March 14-18, 2018

Orlando Airport Marriott Lakeside, Orlando, Florida, USA

Guests of Honor: John Kessel and Nike Sulway

Guest Scholar: Fred Botting

Dear ICFA attendees,

The Thirty-Ninth International Conference on the Fantastic in the Arts is coming up fast. Here are some final reminders.

REGISTRATION IS CLOSED

On-site registration is $165 for nonstudents, $110 for students.

Attendees are now on their own for finding hotel rooms, as the conference hotel is sold out and the overflow hotel’s rate has expired.

IMPORTANT NOTES

View ICFA’s Accessibility Policy: http://www.fantastic-arts.org/2016/icfa-accessibility-policy/

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

Highly collectible swag (T-shirts and totes) 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). In addition, 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 #ICFA39.

REMEMBER TO BRING…

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.
VOLUNTEERING

It’s not too late! The Registration and AV areas are still welcoming volunteer help; sign up here: https://docs.google.com/forms/d/e/1FAIpQLSes6BC2i4kjxNwszLk28julqDsm8Tx-cUxANkyTGkFffOEFfw/viewform

IAFA Bucks at a rate of $10 an hour will be provided. These may be used for swag and meal tickets at this year’s convention, or they may be held and put toward next year’s registration. IAFA Bucks may not be used for this year’s registration, and they may not be used in the Book Room, which is financially independent.

If you have any questions or need any help with membership renewal or registration, please email me. I arrive on Monday, March 12, and am always available to answer questions or troubleshoot. We look forward to seeing you on March 14!

Karen Hellekson

IAFA Membership Registrar

iafareg AT gmail.com

CFP: Sublime Cognition: Science Fiction and Metaphysics

Conference: 15th September 2018 at Birkbeck School of Arts

Deadline for Abstracts: 1st May 2018

Many SF critics have understood science fiction to be specifically guided by a rational empiricist epistemology, and have thus disregarded the important presence of magical, religious, spiritual and metaphysical phenomena in science fiction. Deploying the broad catch-all of ‘metaphysics’, this conference will explore SF’s lost history of engagement with the mythical and mystical. Central areas of focus will include an assessment of what role (if any) metaphysical phenomena have played in science fiction, and to what degree SF can be distanced from the spiritual, supernatural and numinous concerns of other literatures of the fantastic. Assessing SF’s complex relationship with the metaphysical opens into many other productive areas of inquiry as well: How can science fictional texts help us understand broader cultural processes of knowledge formation and paradigm shift? To what degree does SF act as a protected space for ideas that have been proposed within empiricist frameworks, but disproved and/or rejected by established scientific networks? In what way have references to religious cultures and institutions been used to reinforce or undermine normative gender roles in SF texts? How do treatments of metaphysical phenomena in Western SF differ from those which originate in other areas of the globe? How important are the symbols, tropes and imagery of an array of global religious traditions to the quality of enchantment that is as vital to SF as any other fantastic genre?

Other possible areas of research/interpretation include:

Philosophical explorations of metaphysics in SF

Intersections, tensions and harmonies between SF and mythical, magical or mystical traditions

The science fictional sublime (e.g. cosmic or divine horror, weird ontologies, Big Dumb Objects)

SF and the supernatural

Intersections between theoretical science and metaphysics in speculative fiction

The use of metaphysical phenomena to challenge or uphold dominant secularist or materialist discourses in SF
SF and ‘pseudoscience’

SF adaptations of images, concepts and practices from religious movements large (e.g. Christianity, Islam, Hinduism, etc.) and small (e.g. Raëlism, Discordianism, etc.)

Religious texts that reflect a science fictional narrative mode (e.g. in Theosophy and Scientology)

New Religious Movements founded on science fiction texts (e.g. Jedism from Star Wars; The Church of All Worlds from Stranger in a Strange Land)

SF as a forum for the exploration of religious experience

Technological simulation/production of alternative realities in SF (e.g. VR/AR, cybergods, hallucinogenic visions)

The liminal possibilities of the mind in science fiction—telepathy, clairvoyance, telekinetics, etc. Conversely, investigations of the Cartesian divide

Cognitive narratology

The boundaries of genre—metaphysical phenomena and definitional processes in science fiction scholarship
Metaphysical phenomena and the production of utopian/dystopian modes in SF

The conference will feature keynote addresses by Roger Luckhurst (Birkbeck) and Helen de Cruz (Oxford Brookes), as well as a roundtable with authors Justina Robson, Jeff Noon and Fiona Moore (Royal Holloway), moderated by Jim Clarke (Coventry)

Conference organizers: Rhodri Davies (PhD, Birkbeck), Aren Roukema (PhD, Birkbeck), Francis Gene-Rowe (PhD, Royal Holloway)

Submit abstracts of up to 300 words for 20 minute papers by 1 May 2018 to lsfrcmail@gmail.com. Two- to three-speaker panel proposals are also welcome. Please include a brief bio (c. 50 words). If accepted, abstracts and bios will be published in conference materials. Applicants will receive a response by 1 June.

Please click here for more information.

Call for Articles: Future Histories of the Middle East and South Asia

Future Histories of the Middle East and South Asia (edited volume)
Abstracts of up to 500 words are invited by June 15th, 2018 to futurehistoriesMESA@gmail.com

Contributions are invited for an edited anthology titled Future Histories of the Middle East and South Asia. The anthology will be open to articles dealing with future histories and science fiction across time periods written in any of the languages of the Middle East (including North Africa and Turkey) and South Asia (including Indian English). Addressing science fiction as a mode rather than genre, we bracket the question of how the line separating fictional from putatively non-fictional genres is articulated across cultures and languages and leave the door open for contextually sensitive studies of speculative uses of technological and scientific references within a wide range of fields, from novels and plays to jurisprudence and engineering. The anthology thus intends to fill the critical gap that exists with respect to future histories in the Middle East and South Asia while at the same time uncovering engagements with science-fictional modes of discourse that might otherwise be overlooked. It will be published with a leading academic press and will be targeted at an academic audience. Articles should range from 5000-7000 words including endnotes and bibliography and should be written in English. Discussions should have a strong theoretical underpinning or provide new insights on historical contextualization.

Possible topics include but are not limited to:

· Historical studies of future histories in the Middle East and South Asia regions, including science fiction, utopian and dystopian fiction

· Thematic studies of race, gender, colonialism, politics, ecology, and class issues in future-oriented speculative literature

· Future histories and science fiction adaptations in other media, including film, television, and the visual arts

· Political anxieties and aspirations as reflected in future histories

· Reworking of regional histories in future histories and speculative literature

· The entanglement with religion and mythopoetic thought from the region in future histories

· Inter- and intra-regional differences and similarities between different genre traditions

· Histories of societies, clubs and associations devoted to the discussion and/or fandom of science fiction, technological speculation and similar modalities

· Methodological considerations with respect to genre classifications and alternative genre aesthetics

· Reception studies of future histories

Abstracts of up to 500 words are invited by June 15th, 2018 to : futurehistoriesMESA@gmail.com

Please attach a current CV/short bio with institutional affiliation along with your abstract.

Authors of selected abstracts will be notified by 15th July. The deadline for completed articles is 10th January 2019.

Editors
Bodhisattva Chattopadhyay, Teresa Pepe, Joakim Parslow
(Department of Culture Studies and Oriental Languages, University of Oslo)

CFP: “Worlding SF: Building, Inhabiting, and Understanding Science Fiction Universes” (Phase 2), University of Graz, Austria December 6–8, 2018

  • February 20, 2018 – 12:31 pm
  • Posted in CFP
  • Comments Off on CFP: “Worlding SF: Building, Inhabiting, and Understanding Science Fiction Universes” (Phase 2), University of Graz, Austria December 6–8, 2018

Call for Papers (Phase 2) ++

NOW OPEN: Submission for individual paper proposals —>
http://www.worlding-sf.com

Deadline: April 18, 2018

“Worlding SF: Building, Inhabiting, and Understanding Science Fiction Universes”
University of Graz, Austria
December 6–8, 2018

Confirmed keynote speakers (in alphabetical order):
Mark Bould
(University of the West of England, Bristol, United Kingdom)

Gerry Canavan
(Marquette University, United States)

Cheryl Morgan
(Owner of Wizard’s Tower Press; Director of San Francisco Science
Fiction Conventions)

The conference “Worlding SF” seeks to explore these three thematic
clusters—(a) world- building, (b) processes and practices of being in
fictional worlds (both from the characters’ and
readers’/viewers’/players’/fans’ points of view), and (c) the
seemingly naturalized subtextual messages these fantastic visions
communicate (or sometimes even self-consciously address).

Based on the panel proposals we received in phase 1 of our call for
papers, we would like to invite interested scholars to propose
individual papers to the following thematic clusters:

* A and Gray: Non-Heteronormative Sexualities in Imagined Worlds
* Afro-Futurist Worlds
* Asian SF Worlds
* Between Scarcity and Abundance in SF Worlds
* Between Transmedia Storytelling and Money-Making: Franchising SF Worlds
* Beyond Petromodernity: Alternative Energy Futures
* “By the time you read this, you’ll be older than you remember”: Age
and Aging in SF Worlds (fan cultures included)
* Celebrating Brian Aldriss’s SF Worlds
* Celebrating Ursula K. Le Guin’s SF Worlds
* “Constants and variables”: Building the Multiverse
* Eastern-European SF Worlds
* Feel, Perform, and Picture the World: World-Building beyond Storytelling
* Gaia in Outer Space: SF Worlds as Sentient and/or Feeling Entities
* “How do we know that 2 and 2 make 4?” Ontologies (and
Epistemologies) of SF Worlds
* Indigenous Cosmologies
* “Infinite diversity in infinite combinations”: World-Building in Star Trek
* “It’s a trap!” Exploring the Star Wars Universe
* Movement is Key: Moving in/through SF Gameworlds (not restricted to
digital games!)
* Muslim SF Worlds
* Performing Fandom: Inhabiting SF Worlds in the “Real” World
* “The planet has survived everything […]. It will certainly survive
us”: Imagining and Building Non-/Post-/Transhuman Worlds
* The “Real” World Feeding Off of SF Worlds
* Regenerative Play in Utopia: Exploring Playful Counter-Discourses in
Eco-SF Games
* There and Back Again: The Shared World-Building Experiences of Video
Gamers and Game Designers
* Trans* Worlds: Imagining Non-Binary Futures

Of course, there is also an open track for proposals that do not quite
fit into these (rather broad) thematic clusters.

Limited funding for independent scholars and graduate students may be
available. In order to create a more inclusive environment for
international scholars who may have funding, scheduling, and/or travel
issues, the conference will feature a Skype track. We expect papers to
be presented live (and not to be pre-recorded), however.

Organizers: Stefan “Steve” Rabitsch, Michael Fuchs, and Stefan Brandt
(University of Graz)

We plan to publish a volume based on selected conference papers in the
New Dimensions in Science Fiction series, which is published by the
University of Wales Press. The series is co- edited by Paweł Frelik
(Maria Curie-Sklodowska University, Lublin) and Patrick B. Sharp
(California State University, Los Angeles). UWP is distributed by the
University of Chicago Press in North America.

Please join our Facebook event by clicking here.

If you have any questions, please send us an email to contact@worlding-sf.com.

SCIAFA Graduate Student Writing Workshop

SCIAFA Graduate Writing Workshop

One of the main events sponsored by the IAFA Student Caucus is the SCIAFA Writing Workshop that takes place during ICFA. It is a chance for graduate students to share their written work with a professional in the field and receive invaluable feedback and advice as they work to improve their writing and shift from conference papers to publications. In the past, this workshop has been run by such people as Sherryl Vint, Ritch Calvin, and Brian Attebery. This year we are pleased to announce that the workshop will be run by Dr. Pawel Frelik.

Paweł Frelik is Associate Professor in the Department of American Literature and Culture and Director of the Video Game Research Center at Maria Curie-Skłodowska University (Lublin, Poland). His research interests include science fiction, video games, fantastic visualities, digital media, and transmedia storytelling. He has published widely in these fields, serves on the advisory boards of Science Fiction Studies, Extrapolation, and Journal of Gaming and Virtual Worlds, and is the co-editor of the New Dimensions in Science Fiction book series at the University of Wales Press.

The workshop will focus on issues to consider when revising conference papers or dissertation chapters into articles that might be submitted to JFA or other journals. The workshop is capped at 10 participants. It will be held on Friday, March 16, from 8:30-10am. To apply for the workshop, please fill out the attached form and email it and a 2-page writing sample to r. Pawel Frelik at pawel(dot)frelik(at)gmail(dot)com. Applications are due by March 5th.

SCIAFA Writing Workshop Application

2018 IAFA Crawford Award and Shortlist Announced

FOR IMMEDIATE RELEASE
2/14/2018

2018 IAFA Crawford Award and Shortlist Announced

The winner of the 2018 Crawford Award, presented annually by the International Association for the Fantastic in the Arts for a first book of fantasy, is Carmen Maria Machado for the story collection Her Body and Other Parties (Graywolf Press).

The other finalists on this year’s Crawford shortlist are S .A. Chakraborty, City of Brass (Harper Voyager); Ruthanna Emrys, Winter Tide (Tor.com), Sam J. Miller, The Art of Starving (HarperTeen), K. Arsenault Rivera, The Tiger’s Daughter (Tor), and Sandra Unerman, Spellhaven (Mirror World).

Participating at various stages of this year’s nomination and selection process were previous Crawford winners Jedediah Berry, Daryl Gregory, and Candas Jane Dorsey, as well as Liz Bourke, Cheryl Morgan, Farah Mendlesohn, Graham Sleight, Ellen Klages, and Liza Groen Trombi. The award will be presented at a banquet on on March 17 during the 39th International Conference on the Fantastic in the Arts in Orlando, Florida.

Also at the banquet, the IAFA’s Distinguished Scholarship Award will be presented to the conference’s guest scholar, Fred Botting. The Jamie Bishop Memorial Award for a work of scholarship written in a language other than English will be presented to Guangyi Li, and the Walter James Miller Memorial Award, for a student paper on a work or works of the fantastic originally created in a language other than English, to Peter Adrian Behravesh. The winner of IAFA’s award for an outstanding student paper, formerly called the Graduate Student Award but rechristened in 2016 as the David G. Hartwell Emerging Scholar Award, will be announced at the banquet.

The International Conference on the Fantastic in the Arts, or ICFA, is held annually in Orlando, Florida. This year’s conference, March 14-18, will celebrate the 200th anniversary of the publication of Mary Shelley’s Frankenstein, with author guests of honor John Kessel and Nike Sulway.

ICFA 39 Call for Flash Plays

CALL FOR PLAYS

Unfashioned Creatures…Half Made Up
ICFA Flash Play Festival III

Friday, March 16th 9:45-10:45 pm

Capri

Directed by Carrie J. Cole and Kelli Shermeyer

Hosted by Guest of Honor John Kessel

Performed by some of the usual suspects–authors, academics, and editors in attendance at ICFA

Your challenge:

Write a ten-minute play (roughly ten pages of dialogue) which MUST INCLUDE THE FOLLOWING:

  • No more than THREE characters
  • One of THREE props
  • A pitchfork
  • A meteorite
  • A giant inflatable banana
  • The following line of dialogue: You look like somebody dug you up and stitched you together.

Deadline for submission: SUNDAY, March 4th. Send your plays (and any questions you may have) to carriejcole@gmail.com with the subject line “ICFA Flash Play Festival”.