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Author Archives: Skye Cervone

In 2018 Cardiff University’s ScienceHumanities research group will host a
week-long International Summer School dedicated to the examination of the
relations between the humanities and the sciences.

The Summer School programme features workshops from leading scholars in
literature and science, the histories of science and medicine, and the
philosophy of science from across the UK and Europe. It is designed to give you
access to significant researchers in the field, and professional development
opportunities on publishing, public engagement, and archival research.

In addition, you will have the opportunity to share ideas, concepts and methods
with other doctoral students and begin to build a network of global contacts.
The Summer School also incorporates a cultural programme focussed on the rich
heritage of Cardiff as both a Welsh and British city.

The Summer School is open only to doctoral students located in universities and
research centres outside the UK. There are only 12 places available.

It is free to attend, but participants must be able to meet the cost of their
own transport, accommodation and part of their subsistence during their stay in
Cardiff. Advice will be given on accommodation and transport and some meals will
be included during the Summer School.

Two bursaries of £400 are available for students from nations with limited
resources.

To express initial interest and receive an application form please email
Professor Martin Willis on willism8@cardiff.ac.uk. Further information can be
found on the ScienceHumanities website at: https://cardiffsciencehumanities.org.

The closing date for expressions of interest is 29 September, 2017. Applications
must be submitted by 30 November, 2017 and decisions will be communicated by 31
December, 2017. Participating doctoral students must be able to commit to the
full 5 days of the Summer School.

Call for Applications: Director of the Jamie Bishop Memorial Award

Letters of application should address the following items:

a. ability to collaborate with the IF Division Head (sharing contacts, etc)

b. ability to network with scholars working on all areas of the “fantastic” (broadly defined) in languages other than English

c. organizational skills, ability to respect deadlines, and to (politely) request others to respect deadlines

Address letters of application to the current director: Amy J. Ransom at ranso1aj@cmich.edu.

Deadline for applications: May 30

Applications will be reviewed by the current director, the IF Division Head and the ICFA Awards Director.

The selected applicant will begin his/her term June 1, 2017, with assistance by the current director.

For information on the Jamie Bishop Memorial Award, please visit: http://www.fantastic-arts.org/awards/jamie-bishop-memorial-award/

Kurt Vonnegut: Ten Years Later—So It Goes

deadline for submissions:
May 31, 2017

full name / name of organization:
Josh Privett / SAMLA

contact email:
jprivett1@gsu.edu

It’s been ten years since American novelist Kurt Vonnegut passed away, and twenty since he published his final novel, Timequake. Author of fourteen novels and nearly one hundred published short stories (not to mention numerous plays and essay collections) over his fifty-year career, Vonnegut has been called everything from a hack to an innovator. Blurring fact and fiction, high and low styles of art, and conventions from genre and “literary” fiction, Vonnegut’s work remains popular with general readers, especially high school and college students, but is often maligned in serious academic circles, perhaps for that same reason. This panel seeks papers that focus on Vonnegut—his life or work—specifically in relation to this year’s conference theme, “High Art/Low Art: Borders and Boundaries in Popular Culture.” By May 31, please send a 250-word proposal, a brief CV, and any A/V requirements to Josh Privett, Georgia State University, jprivett1@gsu.edu, for SAMLA 89, Nov. 3-5, in Atlanta, GA.

Spaced Out. Spatiality in Comics

deadline for submissions:
May 31, 2017

full name / name of organization:
Comics Studies Research Clutster. Department of Humanities, University of Cagliari (Italy)

contact email:
spazi.nuvole@unica.it

Spaced Out. Spatiality in Comics

International Conference
Cagliari, Italy, 26-27 October 2017

How is space thematised and transformed, strengthened or weakened in the narrative comic? To what extent do comics rewrite and reinvent space by offering a place where spatial coordinates can be reconfigured in a utopian or fantastic manner? How does this reconfiguration affect perception devices? And again, how can the representation of spatiality in comics be modified within the network of the ongoing transmedia transformations?

Comics writers have long shown a preference for setting their works in the city and have implicitly tailored their works for readers, whose lifestyle and way of consuming comics as ‘products’ of the cultural industry single them out as a completely urbanised audience. Alongside this representation, interest has also been growing in internal or domestic space, from houses to artists’ studios, from apartment buildings to nursing homes, from hospitals to prisons. Such spaces are anything but neutral settings and, just like urban spaces, play a decisive role in shaping the narrative and the characters that move therein. Last but not least, space must be considered as asemiotic phenomenon: the language of comics manages to produce its own spatiality on the flat surface of the page, a spatiality that defines the coordinates of perception and the representation of space.

The Spaced Out. Spatiality in Comics Conference calls on scholars to tackle the issue of space in the narration of comics, against the background of the broader contemporary narrative and transmedia landscape, adopting various theoretical and critical approaches. There are two ways to participate:

– submitting a proposal for a paper to be presented at the general sessions coordinated by the respondent appointed by the Scientific Committee;

– submitting a workshop proposal for the two roundtable sessions that will focus on how the City and House are represented in the following works:

The city

Andrea Pazienza, Le straordinarie avventure di Pentothal (1982); Art Spiegelman, In the Shadow of No Towers (2004)

The house

Richard McGuire, Here (2014); Paco Roca, La casa (2015)

Paper proposals should be around 500 words long. A short bio-bibliography of the author and an essential annotated bibliography must also be submitted. Two papers can be presented if one of these concerns the workshop sessions. Proposals must be submitted by May 31, 2017 to spazi.nuvole@unica.it. Authors will be notified of paper acceptance by June 30, 2017. Papers presented at the conference will be peer-reviewed and considered for publication. The deadline for sending the final version of the articles is December 30, 2017.

Participants:

Michael A. Chaney is Associate Professor of English at Dartmouth College, Chair of African and African American Studies. He specialises in nineteenth-century American literature and African American literature, visual culture studies and mixed race representation, comics and graphic novels. He has published Reading Lessons in Seeing: Mirrors, Masks, and Mazes in the Autobiographical Graphic Novel (University Press of Mississippi, 2017) and edited Graphic Subjects: Critical Essays on Autobiography and Graphic Novels (The University of Wisconsin Press, 2011).

Sara Colaone is a comics writer, illustrator and animator of short films. She teaches Illustration at Bologna’s Academy of Fine Arts. Her work has been published by Kappa, Dargaud, Coconino, Norma, Schreiber&Leser, Centrala, Stripburger, Giunti, Zanichelli, Pearson and in several journals: Internazionale, Le Monde Diplomatique DE, Rivista Il Mulino, Ventiquattro Magazine. Her latest graphic novel is Leda.Che solo amore e luce ha per confine (Coconino, 2016).

Manuele Fior is a comics writer and illustrator. His work has been published by Coconino, Atrabile, Futuropolis, Delcourt and in several newspapers and magazines: The New Yorker, Le Monde, Vanity Fair, La Repubblica, Sole 24 Ore, Internazionale, Il Manifesto, RollingStone Magazine. His latest book is entitled I giorni della merla (Coconino, 2016); his latest graphic novels are L’Intervista (Coconino, 2013) and Cinquemila Chilometri al Secondo (Coconino, 2010), which won the Fauve d’Or (Golden Wildcat) at the 2011 Angoulême Festival.

International Conference

19 AUGUST 2017 – LONDON, UK

ORGANISED BY INTERDISCIPLINARY RESEARCH FOUNDATION AND LONDON CENTRE FOR INTERDISCIPLINARY RESEARCH

http://uncanny.irf-network.org/

The twentieth-century literature and culture tended to explore and to celebrate subjectivity. But this tendency did not mean the turn to the self, but beyond the self, or as Charles Taylor puts it, “to a fragmentation of experience which calls our ordinary notions of identity into question”. 

In his attempts to define the uncanny Freud asserted that it is undoubtedly related to what is frightening – to what arouses dread and horror. It may be something domestic but at the same time unfriendly, dangerous, something that sets the sense of insecurity within the four walls of one’s house. “Persons, things, sense-impressions, experiences and situations which are known and long familiar arouse in us the feeling of danger, fear and even horror. Everyday objects may suddenly lose their familiar side, and become messengers”.

The uncanny suggests an unsettling of the feeling of comfort and reassurance in one’s home, but also in oneself. Architecture takes the place of psychology (Kreilkamp). The perturbed relationship between the characters and their familiar world, the troubled sense of home and self-certainty is a result of a traumatic experience of loss.

As Cathy Caruth claims, “to be traumatized is precisely to be possessed by an image or event”. It usually involves time disruption with the past surfacing in the present, especially the past which has not been worked through. The memory traces are revised and interweave with fresh experiences producing the uncanny effect.

In the new literary and artistic discourse authors tend to depict the new human being, “psychologically deep and multi-layered, fragmentary, floating on sensation and consciousness, fed by their random thoughts and their half-conscious dream worlds” (Bradbury). The new style relies on fragments, breaks, ellipses and disrupted linearity of the narration. It serves to convey the idea of the fractured character of modern time and fragmentariness and allusiveness of subconscious thought. As “an externalization of consciousness”, the uncanny becomes a meta-concept for modernity with its disintegration of time, space and self.

This conference seeks to explore the representations of the uncanny in language, literature and culture. Papers are invited on topics related, but not limited, to:

  • uncanny geographies
  • uncanny technologies
  • the uncanny and visual tropes
  • the uncanny and postcolonialism
  • the uncanny and gender studies
  • the uncanny and sexuality

We also welcome poster proposals that address the conference theme.

The conference aims to bring together scholars from different fields. We invite proposals from psychology, sociology, anthropology, literature, linguistics, etc.

Paper proposals up to 250 words and a brief biographical note should be sent by 31 May 2017 to: uncanny@irf-network.org.  Download paper proposal form.

We are saddened to hear of the death of the IAFA’s second President, Roger C. Schlobin. Roger had not attended the conference in several years, but he was instrumental in both founding the ICFA and preserving it through its early transitional stages. Our sympathy goes out to his family.

You can view his obituary and follow the link to leave online condolences here: http://www.chestertontribune.com/Obituaries%202017/roger_c_schlobin_passes_away_at.htm.

The International Association for the Fantastic in the Arts is accepting applications for the position of Division Head of the Film and Television (FTV) and Fairy Tales and Folk Narratives (FTFN) Divisions.

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 terms are for three years. The FTFN Division Head will begin immediately following the 39th ICFA in 2018, the Head of FTV will “shadow” the current Division Head until their appointment begins at the conclusion of the 40th ICFA in 2019. Descriptions of the divisions below.

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, Isabella van Elferen i.vanelferen@kingston.ac.uk, no later than 20 May 2017.

Division descriptions:

The Fairy Tales and Folk Narratives (FTFN) division welcomes critical scholarship on all aspects of folk narrative and culture in all media. This includes but is not limited to oral and literary fairy tales, folk tales, wonder tales, legend, and myth, as well as adaptations. In placing fairy tales within a broad spectrum of folk narratives, we want to encourage embedding narratives in culture and considering non-Euro-centric genres. We want to feature artists and critics who draw upon a wide variety of perspectives. Papers in this division may explore traditional and contemporary folk narratives, including ways they influence literature of the fantastic and intersect with other genres of the fantastic. Texts discussed can range from traditional print texts and images to comic books and graphic novels, film and television, video games, live performances, fashion, and transmedia texts, among other media. Folk narrative studies is inherently interdisciplinary; cuts across genre, audience, and medium; and its current practices are informed by feminist, historical, linguistic, materialist, narratological, postcolonial, psychoanalytic, queer, translation studies, and others approaches. This division aims to bring together scholars and creators of fairy tales and folk narratives for productive and fruitful dialogue.

The Fantastic in Film & Television (FTV) division welcomes proposals for paper presentations that deal with the fantastic broadly construed in cinema and television.

Call for Papers

Conference: Caspar Walter Rauh and Phantastic Realism

Within German 20th century art, the graphic artist, illustrator, painter and writer Caspar Walter Rauh (1912-1983) is an outsider who has not yet received the attention that he deserves. The critical exploration of his oeuvre is still at an early stage.

Since Rauh started his career as an artist during the years of World War II, his work has unsettled viewers as he juxtaposes representations of the most frightening and traumatizing events of the epoch with joyful scenes of escapism into idyllic “alternate” worlds and into humour. Rauh’s dream-like images confront the viewer with the barbarism of the 20th century, with suffering, death and destruction on the one hand, and utopian sketches of better worlds on the other hand. His works have a strong narrative quality telling stories in a visual language based on fantasy and surrealism. They display private mythologies in which fish and birds, weird plants and imaginary vehicles play a major role.

The proposed conference will explore the specific “fantastic” dimensions in Rauh’s work. It will focus – although not exclusively – on the following key questions:

1. How can Rauh’s Phantastik be conceptualised and what is its significance in relation to the wider context of fantasy theory? What concepts of genre, what theoretical approaches can help to define it? Which concepts from philosophy, psychology, art history or literary criticism can be applied? To what extent can theories of dream contribute to an understanding of the “dreamlike” qualities in Rauh’s works?

2. What is the relationship between Rauh’s work and the canon of fantastic art and literature? What does Rauh’s oeuvre owe to iconographic traditions of fantastic art – from Hieronymus Bosch to Alfred Kubin and Félicien Rops? What role does literature play for him? Was it only relevant for Rauh as illustrator of works by authors such as E.A. Poe, Jean Paul, E.T.A. Hoffmann and Mary Norton, or was literature a general source of artistic inspiration for him?

3. For a brief period of not quite ten years following the Second World War, German writers and visual artists engaged significantly with a concerted attempt to describe war experiences through the medium of fantastic realism. Is there a taxonomy for this Nachkriegsphantastik and how does Rauh’s oeuvre contribute to it? Comparisons with other artistic and literary outputs of the late forties and fifties are invited, as are investigations into the causes for the proliferation of fantastic art and its subsequent decline over the given period.

The interdisciplinary conference is aimed at historians and theorists of art, literature and other cultural sciences. Multidisciplinary contributions are welcome, as are interpretations of individual works and motifs. Contributions should not exceed 30 minutes in length; conference languages are English, Portuguese and German.

Interested participants should send their proposed topic, including a working title, abstract (200 words) and short CV to one of the following before 31st May 2017:

Prof. Dr. John Greenfield: jgreenfi@letras.up.pt
Prof. Dr. Hans-Walter Schmidt-Hannisa: h.schmidthannisa@nuigalway.ie

Costs of accommodation (and, if possible, travel expenses) will be refunded to contributors.
Selected papers will be published.

Time and venue:
Palacete dos Viscondes de Balsemão / Faculdade de Letras da Universidade do Porto, Porto, 26-28 October 2017

The conference is hosted by the DEG (Departamento de Estudos Germanísticos) / Faculdade de Letras da Universidade do Porto and CITCEM (Centro de Investigação Transdisciplinar Cultura – Espaço – Memória).

The event is sponsored by the Câmara Municipal do Porto and the Goethe-Institut, Porto.

Organisation:
John Greenfield (Universidade do Porto),
Hans-Walter Schmidt-Hannisa (National University of Ireland, Galway)

Exhibition:
The conference will be accompanied by an exhibition of selected etchings by Caspar Walter Rauh in the Palacete dos Viscondes de Balsemão, Porto.
The opening of the exhibition will be on Thursday, 26 Oktober 2017 at 6 p.m..

“What still is the look of things”: A Reflection on Michael M. Levy
By Judith Collins

Mike Levy, ICFA 8, 1987, photo courtesy of FAU Special Collections, the Robert A. Collins Collection

I first saw the name Michael M. Levy in June of 1985.  It appeared at the top of a type-written book review, possibly of The Glass Hammer by K.W. Jeter.  My summer job consisted of “punching in” the book reviews for Fantasy Review, a small, “semi-pro” fanzine with offices at Florida Atlantic University.  At the behest of a seriously OCD Editor, I would sit for hours with a stack of typed manuscripts at my side, staring at a green DOS screen connected to two eight-inch floppy drives that comprised the essence of a 1984 Xerox personal computer, and I would type.  Three issues worth of reviews that summer acquainted me with several recurring names – names I still remember.  Michael M. Levy from the University of Wisconsin at Stout, was the most prolific of them.  Since the OCD Editor was also my dad, I viewed all the people involved with the magazine as family friends, and at the time, the impression I had of Mike Levy was of an old friend, someone who was always there and would always help, someone my dad could count on.  My reason for believing this was little more than a feeling about a name on a page, but I wasn’t wrong.

About twenty years later, when Mike had long since established himself as a presence in the field of science fiction and fantasy scholarship, my dad referred to him once, in casual conversation, as “Good ol’ Mike,” and while this may sound a bit bland, my dad meant it as the most exalted of compliments.  The emphasis was on the “good,” but with the “ol’” sounding in the background as a significant modifier – not one that emphasized age (Mike was twenty years younger than my dad) but one that emphasized the length of time my dad had known Mike to be “good.”  In the ten or so years since then, I, too, have had many opportunities to witness Mike’s “good”-ness, and it was vast.

Mike’s faculty vita page on his University’s web site, lengthy as it is, is a serious understatement.  Since those early days in the 1980s when he was a newly minted Ph.D. writing book reviews for an obscure semi-pro fanzine in Florida, Mike has written and co-written numerous books, book chapters, and journal articles.  He has served as Co-Editor and then Managing Editor for Extrapolation.  He has served as both Treasurer and President of the Science Fiction Research Association.  He has also reviewed many, many more books, seemingly constantly, not only for academic presses, but also for Publishers Weekly, Science Fiction Studies, Extrapolation, Los Angeles Review of Literature, multiple children’s literature journals, The New York Review of Science Fiction, The Journal of the Fantastic in the Arts, and many others, as well as written the introductions to at least four science fiction and fantasy book review anthologies.  And of course, Mike was both Vice President and President of our own International Association for the Fantastic in the Arts – which my dad founded, and on behalf of which, my dad had much reason for gratitude to Mike Levy.

Mike first attended the International Conference on the Fantastic in the Arts in 1987, when he chaired one session.  He does not appear on the program again until 2000.  From that moment, however, his presence at the conference and his indispensability to our association became constant.  By the time the 24th ICFA began in 2003, Mike had not only organized the conference program as Vice President but had been instrumental in establishing an entire Division focusing on children’s and young adult literature, one of his many passions.  By the time the 26th ICFA began in 2005, Mike was President of the organization.  What many may not realize, however, is how vital to that organization Mike’s Presidency was.

In the previous decade, the organization had struggled with change.  Then Mike came on the scene, and . . . well, he was Mike.  He advocated for all groups and all people.  He balanced respect for the conference as it had been with foresight about what it could and should become, and during his ultimately eight-year tenure on the IAFA Executive Board (two years as Vice President, three as President, and three more as Immediate Past President), the ICFA grew substantially.

The IAFA, however, is only one example of Mike’s ability to transform people and their endeavors.  Sherryl Vint, the IAFA’s current President and Mike’s colleague both in the SFRA and on Extrapolation, has called him “a social glue that held together our at-times difficult communities through his warmth and kindness and compassion for people, his curiosity about ideas and their authors, his quiet way of just making everything better.”  Farah Mendlesohn, Mike’s co-author and immediate successor as IAFA President, credits him with “great gravitas and wisdom” and says that she would often “turn to him for advice on career moves, on projects to take up, and for sorting through in my head what kind of person I did and did not want to be.”  His fellow editors at Extrapolation have said that Mike was “a great mediator, a man who seemed to have a good word for everybody . . . unfailingly generous in his time and advice.  To many of us he was a mentor, but in such a way that it always felt like friendship rather than being taught.”

The recurring theme in all these tributes is Mike’s ability to serve many people in many capacities all at once.  He understood that everyone he met was a whole person, with professional ambitions, individual interests, and personal histories, and he didn’t feel the need to separate these things.  Whether or not a person should take on a job or continue with it, how a person should write or edit an article for publication, or in what ways a person should direct his or her life – Mike understood how these questions overlap and intertwine, and he was not only undaunted by the magnitude of ever-widening circles of human connectivity; he was inspired by it.

David Hartwell, Mike Levy, Bill Senior, June Board meeting 2006, photo courtesy of David G. Hartwell

Mike loved thinking.  In even the most casual conversation, if he heard you say something that interested him, even something you considered inconsequential, he would follow it up.  He would tell you a story of his own which in some small way explained his perspective, and then he would ask for yours.  And you would give it, because even if your perspective was different from his, you knew he wanted to understand, not judge.  You knew that his comparisons did not emphasize the contrasts.  And you knew that whatever conclusions he might draw would likely incorporate rather than divide.

His approach to the people whose lives he touched was therefore always one of inclusion and connection.  He recognized people’s strengths simultaneously with their sometimes crippling neuroses and simply added all of it to his understanding of them as whole people.  He loved and respected people for everything he knew about them.  He saw the best in us when others might have seen only our worst, but he also took that insight one step further, understanding that someone’s best and worst qualities were often the same thing, stemming from the same source, woven intricately together in the same whole person.

To say that Mike Levy was caring and thoughtful is certainly true, but those words, “caring” and “thoughtful,” have become so ordinary that they struggle to describe the depth of Mike’s care and thought.  The same could be said of the phrase “Good ol’ Mike,” but then, Bob Collins, Editor of Fantasy Review and Founder of the International Conference on the Fantastic in the Arts, also understood the worth of real care and real thought.

Between 1984, when Fantasy Review began printing book reviews, and 1987, when the magazine folded, reviews by Michael M. Levy appeared in 28 out of 36 issues, often two per issue, sometimes even three.  Just to acknowledge the obvious for a moment, that means Michael M. Levy not only read but also thought and wrote analytically about at least one fantasy or science fiction novel per month, and he continued doing so for the rest of his life.  I don’t for a minute believe those books he reviewed were the only ones he read, nor will I believe they were the only ones he thought about in depth.  Nor can I imagine that, at any point in Mike’s career as a scholar, he ever solidified an opinion or a thought pattern or a position – on anything or anyone.  Mike was a thinker.  Thought was his way of living.  And he cared too much about people – authors, scholars, characters in books, as well as friends and family – ever to allow his thoughts to dig in their heels and stay put.  For Mike, thinking meant ever-widening circles.  To think about something new meant that one had to allow new thoughts to join the old ones.  Every book review Mike sent to my dad in those early years showed Mike’s care and thought.  Everything my dad had seen Mike do since then showed the same care and thought.  Mike’s ability and desire to think and to care were what caused my dad to consider Mike “good.”  The fact that Mike’s ability and desire never faltered explained the “ol’.”  “Good ol’ Mike” was a constant, steady, strong, unfailing force of all that was “good.”

And yet Mike was also, perhaps most importantly, a quiet man, which of course enabled him to listen, think, and analyze clearly, but it also allowed the astonishing breadth of his achievements to . . . not go unrecognized, exactly, but perhaps . . . be taken for granted in communities where others of us are louder.  His quiet manner most often resulted in positive outcomes for ideas, organizations, and people in his world, but I suspect they also spoke – or perhaps whispered – of very little desire for attention.  His lengthy but nowhere near all-inclusive faculty vita page and his befriending of so many people from so many backgrounds and of so many levels of influence all signify a man whose satisfaction came from doing the “good” rather than giving himself credit for it.  It came from the people and the ideas Mike Levy learned about and shared rather than from the rewards academia would offer to Michael M. Levy for the results.

Where people in Mike’s many circles have needed something, where there has been emptiness, confusion, urgency, or even strife, Good Ol’ Mike has stepped in – quietly – and more than once, saved the day.

Sandra Lindow, Miriam Levy, Mike Levy, ICFA 36, 2015, photo by Bill Clemente

 

The Handbook to Horror Literature – select chapters needed!

Most handbooks on the subject of horror focus specifically on film, whereas books on the literary manifestations of horror tend to be bound to the idea of the “Gothic.” The current field of Gothic studies grows out of the study of Romanticism, and refers specifically to a late eighteenth-century genre, but has also come to denote a critical approach to literature, film, and culture, drawing on psychoanalysis, post structural criticism, feminist and queer theory. These perspectives are all to be included here, but the book responds to a growing sense that “horror” is itself a worthwhile focus of analysis. This handbook will focus very strongly on literature, giving it specific value on established English literature University courses worldwide, and allowing for an exploration of horror that looks further back than the Gothic. It also takes an international approach. Each chapter will achieve a balance between a useful overview or context of the selected topic as well as posing an original argument.

We have collected several chapters for this handbook and are looking to fill some gaps. These include:
-Horror in Early Modern Europe
-Horror in Renaissance Drama (such as revenge tragedy)
-The Twentieth and/or Twenty First-Century Horror Novel
-Zombie Fiction
-Vampire Fiction
-Serial Killer Fiction
-Real-life Horror Stories
-Horror in Fairytales
-Horror and Censorship
-Transgressive Horror and Politics
-Horror and/or Beyond Psychoanalysis
-Other Theoretical Approaches to Horror (feminism, queer theory…)

Entries can be either longer (around 6000 words) or shorter (around 3000 words). Please specify which word count you would be interested in providing. Please send a 350-word abstract for one of these specific chapters to Kevin Corstorphine (k.corstorphine@hull.ac.uk) and Laura Kremmel (LauraRKremmel@gmail.com) by April 30th. Full articles will be due by June 30th.