Skip navigation

Author Archives: Skye Cervone

The recent rise of the interdisciplinary subfield of “Energy Humanities” as a prominent critical endeavor has seen an efflorescence of academic and cultural production from around the world focusing on the crucial topic of energy resources. A major spur for this work is, of course, the pervasive anxiety of late environmentalism in the face of anthropogenic climate change, a phenomenon in which energy use plays a central role: as both cause and possible solution. A variety of critical thinking around past, present, and future energy scenarios is motivated by what has been called the contemporary “energy trilemma”: how to balance energy security, equality, and sustainability on a world – and indeed planetary – scale? This question starkly confronts humans as we seek to configure a means to a less environmentally precarious future. The trilemma is further stressed by the contradiction between a seemingly inexorable rise in global demand and the fact that the world-system remains stubbornly beholden to a toxic carbon economy. As post-oil culture either mourns or celebrates the passing of cheap and easy oil it speculates on the elevation of its potential alternatives. Despite the unprecedented degree of consensus over the findings and pronouncements of climate science and despite an abundance of technological innovations, engineering skill and infrastructural promise, we still find ourselves at somewhat of a general impasse preventing transition to another, “cleaner” energy regime.

So what chance cultural production? What role does Humanities scholarship play, in breaking what has been called the techno-social-lock-in of oil-driven modernity? How preposterous is it to ask how cultural work can “save the future”? In fact Humanities scholars have been contributing in novel ways to the issues and concerns around energy for some time. An insistence on energy forms and their related infrastructures as social phenomena has sparked new research exploring the long – and sometimes unconscious or under-determined – inter-relation between energy and culture, registering in literature, visual art, film and media, philosophy, performance, design and many other fields. As well as asking fundamental questions of the Humanities’ responsibility and relation to crisis-ridden issues of power, politics, and the environment, this work is also asking fundamental questions of critical practice, genre, form and periodization.

The genres of science fiction (SF) and the fantastic have considerable salience here. Given the future-orientation of energic concerns as a significant strand in the Energy Humanities’ trajectory, we should expect work in the speculative mode to feature strongly. Novel systems and radical visions proliferate in SF/F, offering futures of resource scarcity and eco-apocalypse or, alternatively, of “free” and “abundant” energy forms; alternative and even “inconceivable” fuel supplies. Fantastic, desirable and “impossible” forms of mobility are presented in countless examples of “alien” infrastructures or post-human, after-earth scenarios of dwelling, moving, producing and consuming. Questions and opportunities proliferate throughout SF/F as to how we might envisage an alternative energy world; model a post-oil scenario; employ a utopian or dystopian vision of the future to orient and overcome the present lock-in. Yet they remain somewhat embedded within critical outlooks that still tend to regard energy and power resources as background features at best. Work already begun in this evolving area has insisted that sf is the cultural genre best placed to realize, communicate, and extrapolate the issues and concerns of the Energy Humanities in innovative and exciting ways. An alternative energy imaginary – involving both “powered-up” and “powered-down” visions – is prolific across the histories and genres of SF/F. It only awaits critical extraction and empowerment. This call for papers seeks essays that will deepen and heighten this engagement.

Topics for submission may include, but are not limited to:

  • SF/F and petroculture: visions of enduring petroworlds, peak and post-oil imaginaries in literature, television, cinema, and art
  • Energy Utopias / Dystopias
  • Theoretical readings of SF/F as an energy-bound genre
  • Past and present energy resources as SF/Fantasy (fossil fictions of surplus and/or “magic” sources and solutions / electro-SF/F / thermodynamics / magnetism)
  • Narrating / Narratives of “Low-Carbon” living and/or “Sustainability” in SF/F
  • SF and “Renewables”: solar/wind/hydro/bio/geothermal readings
  • SF and extractivism
  • History of fuel / power / energy in SF/F’s historical registrations of energy use / forms / infrastructures / machines
  • Political / ecocritical theories/readings of SF/F as a means to system change/ model climate change scenarios
  • Nuclear SF/F
  • ‘Monstrous’ and/or alien and/or “magic” energy systems
  • SF and alternative dwelling / design
  • Post-autopia? Mobilities of the far future – transport infrastructures / travel / imagining new affective “energic” embodiments
  • Energy Retrofutures and Counterfactuals
  • SF media / digital paradigms related to the energy crisis.
  • Science / Technologies of Energy in SF

Research articles should be approximately 8000 words in length, including references and a short bibliography. Submissions in languages other than English are welcome. Submissions should comprise of:

•    Abstract (250 words)
•    Full-length article (8000 words)
•    Author information (short biographical statement of 200 words)

The deadline for submission is 1st July 2016.

The special collection, edited by Dr Graeme Macdonald and Dr Caroline Edwards is to be published in the Open Library of Humanities (ISSN 2056-6700). The OLH is an Andrew W. Mellon Foundation-funded open-access journal with a strong emphasis on quality peer review and a prestigious academic steering board. Unlike some open-access publications, the OLH has no author-facing charges and is instead financially supported by an international consortium of libraries.

Submissions should be made online at: in accordance with the author guidelines and clearly marking the entry as [“POWERING THE FUTURE,” SPECIAL COLLECTION]. Submissions will then undergo a double-blind peer-review process. Authors will be notified of the outcome as soon as reports are received.

Beginning August 1st, Amanda Rudd will serve as Student Caucus Representative, and Sarah Fish will serve as Student Caucus Vice-Representative. Congratulations, Amanda and Sarah!

47th Annual Mythopoeic Conference

Omni Colonnade – San Antonio, Texas

August 5-8, 2016

Faces of Mythology: Ancient, Medieval, and Modern

Author Guest of Honor: Midori Snyder
Midori Snyder is an American writer of fantasy, mythic fiction, and nonfiction on myth and folklore. She has published eight novels for children and adults, winning the 2001 Mythopoeic Fantasy Award for The Innamorati (2000), a novel inspired by early Roman myth and the Italian “Commedia dell’Arte” tradition. Snyder’s first novel, Soulstring (1987), is a fairytale fantasy loosely inspired by the Scottish legend of Tam Lin. This was followed by an imaginary world trilogy: New Moon, Sadar’s Keep, and Beldan’s Fire (1989–1993). The Flight of Michael McBride (1994) is a work of mythic fiction set in the old American West, drawing upon Irish-American, Mexican, and indigenous folklore. Hatchling (1995) is a children’s book set in the world of Dinotopia. Hannah’s Garden (2004) is a contemporary fantasy for young adult readers about fairies, folk music, and family dynamics, set in rural Wisconsin. With Jane Yolen, Snyder co-authored the novel Except the Queen (2010), a contemporary urban fantasy featuring two fey who are banished to the World as elderly women, where they find themselves embroiled in a much larger struggle for power. Her short stories have appeared “The Year’s Best Fantasy and Horror,” as well as numerous adult and young adult anthologies. Her nonfiction essays on fairy tale and folklore have appeared in folklore anthologies, magazines, and the Journal of Mythic Arts online. In addition to writing, she co-directs the World Fantasy award winning Endicott Studio for Mythic Arts with Terri Winding.

Scholar Guest of Honor: Andrew Lazo
Andrew Lazo co-edited Mere Christians: Inspiring Stories of Encounters with C.S. Lewis and has contributed articles and reviews on C.S. Lewis and other Inklings to several books and journals, including Mythlore. More recently, he transcribed and edited the landmark “Early Prose Joy,” which has definitively corrected the accepted dating of Lewis’s conversion to Theism. Lazo regularly speaks in Houston and around the country and has taught Lewis in both Oxford and Cambridge. He also teaches English and a course on Lewis at Houston Christian High School and is currently researching and writing a book on Till We Have Faces. This is his first appearance at Mythcon.

Faces of Mythology: Ancient, Medieval, and Modern

Inspired by the 60th anniversary of C.S. Lewis’s Till We Have Faces and The Last Battle, this year’s theme focuses on the mythology that has shaped and “given faces” to so many of our beloved characters, ranging from the myths of the Ancient Greeks to the legends of the Middle Ages and even to the modern mythology of the American Southwest. Similarly, this mythological influence is also evident in the works of many of our favorite mythopoeic authors, from J.R.R. Tolkien to J.K. Rowling, from Ursula K. Le Guin to Alan Garner, and many, many more.

Papers dealing with the conference theme are especially encouraged. We also welcome papers focusing on the work and interests of the Inklings (especially J.R.R. Tolkien, C.S. Lewis, and Charles Williams), of our Guests of Honor, and other fantasy authors and themes. Papers from a variety of critical perspectives and disciplines are welcome. Papers from graduate and undergraduate students are encouraged; we offer an award for “Best Student Paper.” See details here.

Each paper is generally given a one-hour slot to allow time for questions, but individual papers should be timed for oral presentation in 40 minutes maximum. Participants are encouraged to submit papers chosen for presentation at the conference to Mythlore, the refereed journal of the Mythopoeic Society. Paper abstracts of no more than 300 words, along with contact information, should be sent to the Papers Coordinator at the address below (e-mail preferred) by May 15, 2016 (a further extension to May 30 may be possible; please contact Papers Coordinator Jason Fisher). Please include your A/V requirements and the projected time needed for your presentation. You will be notified if your paper is accepted after that date.

Participants are encouraged to submit papers chosen for presentation at the conference to Mythlore, the refereed journal of the Mythopoeic Society. All papers should conform to the MLA Style Manual.

All paper presenters must register for the conference; please see the Mythcon 47 web page for information and rates.

Jason Fisher
Mythcon 47 Papers Coordinator

The Mythopoeic Society is an international literary and educational organization devoted to the study, discussion, and enjoyment of the works of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and mythopoeic literature. We believe the study of these writers can lead to greater understanding and appreciation of the literary, philosophical, and spiritual traditions which underlie their works, and can engender an interest in the study of myth, legend, and the genre of fantasy. Find out about the Society’s activities at:


The Colloquium is devoted to the history of fish, aquatic monsters and mammals in the northern seas (the English Channel, North Sea, Baltic Sea, Norwegian Sea, the North Atlantic), from antiquity to 1600. The colloquium is based on three themes:

  1. Knowledge and the Transmission of Knowledge : Medical Knowledge, Zoological Knowledge, Descriptions, Identifications
  2. Savoir-faire and Exploitation: aquatic farming, fishing, cooking, medicine
  3. Explorations – real and imaginary

Read the detailed Call for papers:

Submit a paper

The event is organised by the Centre for Research in Archaeology, Ancient History and the Middle Ages (CRAHAM, University of Caen Normandy, UMR6273) as part of the research programme ICHTYA and that of the International Research Group, GDRI Zoomathia. It belongs to the cycle of colloquia on Medieval Normandy, organised by the Office Universitaire d’Etudes Normandes in partnership with the Centre Culturel International of Cerisy la Salle

Scientific comitee


Utopia at the Border

The fourth symposium of the Imaginaries of the Future Research Network
University of Regensburg, 20-22 September 2016

‘There was a wall. It did not look important…’ – Ursula Le Guin, The Dispossessed

‘[We seek]…a world without borders, where no one is prevented from moving because of where you were born, or because of race, class or economic resources…’ – No Borders UK

‘We resolve…to strengthen control over our territories and to not permit the entry of any government functionary nor of a single transnational corporation.’ – The Confederation of Indigenous Nationalities of Ecuador

Borders are a key feature of our present. Whether national, regional, physical, electronic, cognitive, performative, or cultural, they unevenly regulate the movement of bodies, ideas, objects, capital and bytes. Geopolitical borders are frequently sites of domination, but they may also provide solace for oppressed groups, some of whom actively call for or construct borders so they might protect their ways of living and advance their struggles. Conceptual borders allow us to grasp a complex world, but may inhibit understanding, communication and change. Temporal borders, meanwhile, seek to fix history into discrete categories of past, present and future.

Yet borders are not permanent. They remain a key site of contestation and struggle; and must continually be remade through technology, performance and often violence. And border crossings transform subjects, the space-times they leave, and the space-times they enter; as well as borders themselves. This means that utopianism – praxis that seeks to transform space and time – has much to offer contemporary ways of relating to borders. It can educate our desire for alternatives, and by showing us these alternatives – in fiction, theory or practice – estrange us from borders as they currently exist. The need for utopian rethinking and contestation of borders strikes us as particularly urgent given the current refugee crisis in Europe, and the continued role of borders in neocolonial dispossession around the world. Yet whilst a utopian lens may have much to offer the thinking and practice of borders this does not mean that the utopian is without borders of its own. Indeed, despite a turn to ‘the horizon’ and process in recent utopian theory, borders play a key role in many fictional utopias and dystopias; in ‘real world’ utopian communities; and in definitions of utopia itself.

Utopia at the Border aims to consider the relationship between borders and the utopian. Borders are to be critically examined even as participants question their own relationships to borders through their work and travel. We would also like to think through what is gained and lost by extending the notion of borders beyond the geopolitical. We welcome papers of up to 20 minutes and are open to artistic or activist contributions; as well as to interventions that fall between or go beyond such boundaries. Please contact us if you would like to discuss this informally before submitting a proposal, or if you would like to take up more than 20 minutes. A special issue of the Open Library of the Humanities journal will be produced drawing on presentations from the symposium. This will form part of the Imaginaries of the Future publication series.

Papers may engage with one or more of the following aspects of borders, although this is by no means an exhaustive list:

The borders of utopia and dystopia

Borders in utopian and dystopian texts
The borders of utopian communities
Anti-borders utopianism in theory, fiction and practice
Colonialism, Indigeneity and borders

Colonial border construction and praxis
Indigenous borders
New and future borders: Antarctica, under the sea, extraterrestrial?
(Anti-)border technologies and practices

Walls, fences, barricades
Raids, detention and deportation
Metrics and biometrics
Anti-borders activism
(Refusing) temporal borders

The division of time into past, present and future
Spatial borders as temporal borders
Spatial history
The ‘not-yet’, the immanent, the prefigurative
Borders, identity and the body

Borders, race and racialization
Non-conforming bodies at the border
Affect at the border
Mestiza and cross-border identities
Public space, the commons and enclosure

Borders and the commons
Gated communities
Border technologies in urban space
Vertical borders
Cross border (non-) communication

Online borders
Disciplinary and conceptual borders
Censorship and gate-keeping
Communication technologies and border activism
More-than-human/non-human borders

Non-humans at the border
Finance, goods and trade
Wilderness, nature and ecology
Chemical, biological and physical borders/boundaries
Art of the border; art at the border; art against the border

The architecture and aesthetics of (former) border crossings
Artistic performance and representation of/at borders, their crossings and their refusals
Passport design
Beyond borders

Non-state space; the state of exception
Necropolitics and the border
Exile and statelessness
International waters
Struggles with and against borders

Fortress Europe and the migrant crisis
Border struggles and crossings in history, religion and myth
Borders and labour

Freedom of movement and ‘the career’
Borders and divisions of labour
University staff as border agents
The Network
Questions about the future are usually either goal-oriented, presupposing specific outcomes; or presume that the future is impenetrable, rendering thinking about it as irrelevant or fanciful. Confronted with these modes of thinking, the Leverhulme Trust funded Imaginaries of the Future Network investigates questions about the nature of futural knowledge; and seeks to understand how different disciplines conceptualise the future in order to enact change. Organised around a succession of international transdisciplinary encounters between leading and emerging scholars, artists, activists and others, the Network intervenes in current disciplinary methods and approaches to questions about the future.

Cost & Bursaries
There is no fee to attend the symposium. Lunches and refreshments will be provided during the conference. Five bursaries – two of up to £1000, and three of up to £350 – will be awarded through open competition to individuals who wish to contribute to the symposium. These can be used to cover food, travel and accommodation costs, but can only be reclaimed after the symposium upon production of receipts. The larger bursaries are intended for applicants traveling a significant distance to attend the symposium. We welcome submissions from all academic career stages, as well as from non academics. Bursary recipients will be expected to contribute a piece of writing and/or embedded media to the Network blog.


Please send proposals (up to 300 words) to, and Please indicate in your email if you would be interested in contributing to the special journal issue, which would have a deadline in spring 2017. The deadline for proposals is midnight (BST) on Sunday June 12.

If you have any questions about this call please email

Science Fantasy Panel at Escape Velocity, July 1-3, 2016 (deadline May 27, 2016)

full name / name of organization:
Kris Swank / Signum University, Hollis, NH (
contact email:



Signum University and its sister institution, the Mythgard Institute, are seeking 3-4 panelists and a moderator for a panel discussion on the crossover between SciFi and Fantasy, or Clark’s Third Law (“any sufficiently advanced technology is indistinguishable from magic”) for the upcoming Escape Velocity 2016 micro futuristic world’s fair, to be held July 1 – 3, 2016, at the Gaylord National Resort and Convention Center, National Harbor, MD (Washington, D.C.-area).

The “Science Fantasy” sub-genre includes works such as Frank Herbert’s Dune, Roger Zelazny’s Lord of Light, C.S. Lewis’ Perelandra, David Lindsay’s A Voyage to Arcturus, and Poul Anderson’s The Queen of Air and Darkness. Filmic elements include the “Force” of Star Wars, the “Q” of Star Trek, and the cylons of Battlestar Galactica.

No formal paper is necessary. Panelists, however, should be familiar with the topic and come prepared to discuss one or more relevant works, authors, or shows. Panel will be in a round-table format with moderator & audience questions. This panel is part of the Popular Culture Track at Escape Velocity.

Panelists and moderator will be given free registration to the event! (You’ll be responsible for transportation & accommodations.) For more info on Escape Velocity, see

To express interest in participating on the panel, please submit your name, relevant areas of interest, and a brief bio (<100 words) to Kris Swank, panel organizer,, before May 27, 2016, but slots will be filled on a first-come/first-considered basis.

Applications are invited for a fully-funded PhD scholarship in the Department of Literary Studies at Ghent University, Belgium, tenable for a period of up to four years. The successful candidate will participate in the research project “Imagining Climate Change: Fiction, Memory, and the Anthropocene,” sponsored by a grant from the Research Foundation Flanders (FWO-Vlaanderen) and directed by Prof.Stef Craps. S/he will research Anglophone climate change fiction within the context of the project’s three interrelated strands. The first, formalist strand explores the literary innovations demanded by climate change, a phenomenon whose magnitude and complexity challenge conventional modes of representation. The second, historicist strand links climate change fiction to literary responses to earlier crises that radically altered humanity’s relationship to the past, present, and future: the discovery of geological time in the early nineteenth century and the Cold War threat of nuclear annihilation. The third, postcolonial strand investigates to what extent and in what ways climate change fiction addresses inequalities in the global distribution of responsibility for and vulnerability to climate change, which the developing Anthropocene narrative risks obscuring.

Candidates should have:

  • a Master’s degree or equivalent qualification in a relevant field, such as English, Comparative Literature, or Environmental Humanities (candidates near to completion may also submit applications, indicating the expected date of the degree);
  • an outstanding academic record;
  • excellent writing and speaking skills in English;
  • an aptitude for original, independent, and creative work. 

Conditions of employment:

  • The position begins 1 October 2016 or as soon as possible thereafter but no later than 31 December 2016.
  • The scholarship is initially offered for a period of two years and can be renewed for another two-year period upon positive evaluation.
  • The net amount of the scholarship will be approximately 1900 EUR per month, gradually rising to approximately 2100 EUR per month in the fourth year. The PhD student will also receive a holiday allowance and an end-of-year bonus, and enjoy full social security coverage. Additional financial support is available for conference and workshop attendance.
  • The PhD student will be based at Ghent University.
  • The PhD student will complete the doctoral training programme offered by the Doctoral School of Arts, Humanities, and Law. 

Applications should include:

  • a cover letter, in which you specify why you are interested in this position and why you consider yourself a suitable candidate;
  • a current CV;
  • transcripts of your qualifications to date (degrees and grade lists);
  • a writing sample (excerpt from your Master’s thesis, article, etc.);
  • names and full contact details of two referees.

The application deadline is 20 May 2016 or until a suitable candidate is found.

The position announcement may be found here.

Further information about the position can be obtained from Prof. Stef Craps (

Applications should be submitted as a single PDF file via email to


The newly established Goldsmiths Press will be publishing a collection of essays on the topic of ‘economic science fictions’. The volume will be edited by Will Davies, Co-Director of PERC, and encompass various disciplinary perspectives, writing styles, including fiction and non-fiction. This builds on PERC’s launch event, at which Professor Ha-Joon Chang spoke on the topic ‘what can economics learn from science fiction?‘.

We are inviting proposals for additional contributions to this volume. Proposals should be no more than 300 words, and offer an overview of what the chapter will explore, what style and approach it will adopt, and which of the themes outlined below it will address. We particularly welcome contributions from designers and design theorists which reflect on how economic institutions are amenable to (re)design. If you are interested in contributing, please email Will Davies with an outline by 20th May. If proposals are accepted, full drafts will be required in late September.

About the book

Contemporary capitalism suffers from a grave shortage of alternative futures. While the dominant models of markets, of property, of money, of regulation no longer inspire much confidence, let alone enthusiasm, our contemporary fate is to repeat them regardless. Blank repetition of the status quo signals a society without the capacity to exercise economic imagination or economic design. The function of debt is precisely to ensure that such possibilities remain unexplored, creating bonds to the past, rather than blueprints for the future.

What we lack is ‘economic science fiction’, that is, the capacity to inject a modernist design ethos into institutions and practices which have come to feel permanent. This may also enable us to reconsider the present as the effect of past ‘science fictions’, and the on-going fictions as repeated by economists, financial services, accountants and managers. This is not simply about the need to revive utopian thinking, but also about the value of prosaic acts of institutional re-design, which go on in everyday situations. It is also about the need to open up the expert discourse of economics to a broader range of voices and styles, and to explore the overlap between economic ‘science’ and economic ‘fiction’. And it is an effort to re-capture the meaning of economic ‘creativity’ from its repetitive business usage.

This collection will bring together around 15-20 short chapters (circa 2,000-5,000 words each) from contributors inside and outside of Goldsmiths, from across economics and other social sciences, and also from creative and artistic spheres, such as creative writing and design.

Chapter topics could include:

  • What is ‘economic science fiction’?
  • Orthodox economics as a ‘science fiction’
  • Designing alternative futures: what do economic blueprints look like?
  • The art of writing an ‘economic science fiction’
  • Enclaves of utopian thinking: where (and by whom) will economic science fictions be crafted?
  • Alternative currencies or alternative property rights as ‘economic science fictions’
  • Postcapitalist organisations as ‘economics science fictions’
  • Economic science fictions of the past: excavating dead utopias
  • Prosaic acts of everyday fiction-building

Ha-Joon Chang’s PERC lecture will be included. We can also confirm contributions from Miriam Cherry, Mark Fisher, Judy Thorne, Owen Hatherley, amongst others.

Contributors are encouraged to write for a general readership and to explore ideas and opinions from a diversity of cultures and standpoints.

About the editor

Will Davies is a Senior Lecturer in Politics at Goldsmiths and Co-Director of the Political Economy Research Centre. He is author of The Limits of Neoliberalism: Authority, Sovereignty and the Logic of Competition (Sage, 2014) and The Happiness Industry: How the Government and Big Business Sold Us Wellbeing (Verso 2015). He blogs at

Type: Call for Papers
Date: May 31, 2016
Location: Germany
Subject Fields: American History / Studies, Cultural History / Studies, Film and Film History, Literature, Popular Culture Studies


Series or movies on vampires, werewolves, zombies, and monsters are en vogue again and have experienced a revival on the big and small screens and in novels. Zombies are marching through the United States in The Walking Dead and provide a new image of coolness iniZombie, while vampires have established a new life in the American South in True Blood (TB) or are in the process of saving a small town by unravelling its mysteries in The Vampire Diaries (TVD). Hollywood productions like Underworld have also attracted countless fans around the world. Although monster movies, series, and novels are not a new phenomenon, what has changed is the representation and the image of these monsters. While vampires, for example, used to be vile creatures literally sucking the life out of their human prey, we now encounter domesticized versions of these former monsters who more than once also save human lives instead of threatening them.

While all depictions of zombies, werewolves, etc. somehow link their monsters to historical aspects of a region or a broader historical or social context, the reception and acceptance of these monsters has changed with time. The editors of the edited volume Monster Media in their Historical Contexts consequently ask for different perspectives:

1) How is the depicted monster historically explained?
2) How is it historically linked to the depicted environment?
3) How has the reception of monster media changed throughout history?

Please send a short chapter proposal (300 words) on specific case studies (film, series, novel, short stories etc.), or broader theoretical approaches, to Verena Bernardi ( and Frank Jacob ( by May 31, 2016. Final chapters ranging from 6,000-9,000 words are due on February 15, 2017. Style guides will be provided by the editors in case of acceptance of a proposal.

Contact Info:

Verena Bernardi (Saarland University, Germany)

Frank Jacob (City Unversity of New York, NY)

Contact Email:

Studies in the Fantastic invites submissions for issue 4 of our peer-reviewed academic journal. Issue 3, which is available online through Project MUSE, covered reboots in a variety of incarnations. For issue 4, set for publication in late 2016, we seek contributions that examine the role of history (real and invented) as a fantastic mode in contemporary media. Analyses of works that employ historical or pseudo-historical methods as modes for fantastic narratives are especially encouraged, including examinations of faux chronicles, alternative histories, manufactured ephemera, epistolary and diary forms, and invented philology. Essays investigating the fantastic from other perspectives are also welcome. For consideration for issue 4, please send submissions to by August 1, 2016.

Submitted articles should conform to the following guidelines:
1. 6,000-12,000 words
2. MLA style citations and bibliography
3. A separate title page with author information to facilitate peer review
4. 1” margins, 12 point serif font, page numbers

Studies in the Fantastic is an annual journal publishing refereed essays, informed by scholarly criticism and theory, on both fantastic texts and their social function. Although grounded in literary studies, we are especially interested in articles examining genres and media that have been underrepresented in humanistic scholarship. Subjects may include, but are not limited to weird fiction, science/speculative fiction, fantasy, video games, architecture, science writing, futurism, and technocracy.