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Roger Schlobin and the IAFA: A Remembrance

C.W. Sullivan III

Roger Schlobin, ICFA 24, photo courtesy of FAU Library Special Collections, the Robert A. Collins Collection

In 1978, I attended and read a paper at the “International Symposium on Creatures of Legend” in Omaha, Nebraska. It was there that I saw, on a sheet of paper thumbtacked to a corkboard, the announcement of “The First International Conference on the Fantastic in the Arts,” Florida Atlantic University, Boca Raton. I went, and Roger Schlobin may well have been the first person I got to know there. Roger was already emerging as an important scholar, perceptive critic, and demanding editor in the field of fantasy literature. But as I think about Roger in these days since his passing, I am struck by how singularly important he was to ICFA and then IAFA (the conference came first and then the organization, oddly enough) and to many individuals in the group.

ICFA was fairly small in those days, and the regular returners were an even smaller group. Roger and I got to know each other initially through shared interests, especially medieval British literature (each of us had earned a PhD in that area) and fantasy literature. We also liked talking about cars, both of us “gear heads,” I suppose, and Roger’s progress with his Datsun 280Z (which he still had) or my adventures with my Mazda MX-6 (which I still have) were always important topics between us.

But Roger was also a social and intellectual force in the organization, introducing people with like interests to each other (Canadian scholar Nick Ruddick and myself, for example) and organizing groups to go out to dinner. Roger would get six or eight people together, and we would go somewhere he had picked (he had a good nose for restaurants) and sit around a big table and talk. Roger would preside, directing without dominating the conversation, and all of us would return to the hotel having had a great time. Throughout the years, even after his official duties were over, Roger would continue to be a social force.

Roger mentored or encouraged or pushed me into a more active role within the organization. I was on the original organizational committee for the IAFA and then moved up through the ranks to be a division head, vice president (with Don Palumbo as president), and president (with Nick Ruddick as vice president). I spent years on the Executive Board as a result of holding those offices and never forgave Roger for all the work I had to do. OK, I am kidding about that. Roger’s continuing interest in and concern for the health of the organization and the conference meant that he was always around—socializing, mentoring, encouraging, and influencing people he thought would be “good for the conference” and for the organization.

If Roger did not have the original idea for the Graduate Student Award, now the David G. Hartwell Emerging Scholar Award, he was its selection committee chairperson for a number of years and drew great pleasure from coming up to the podium at the banquet and announcing the graduate student winner. If he made more of a performance of the presentation of the award than some people liked, it was because he felt that the award was important and that its presentation was a serious event, honoring the future of scholarship, the future of the organization.

I do not know how many ideas for ICFA/IAFA came from Roger in discussions with Bob Collins, Tim Sullivan, and Donald Morse, but Roger’s one year as president may be the role for which he should be most remembered. In 1984-1985, the IAFA went independent from previously sponsoring organizations and moved the conference from Boca Raton, Florida, with some encouragement from Hap Henrikson, to Beaumont, Texas. As an independent academic organization and conference IAFA/ICFA was dependent for its success on membership dues and conference registrations, the latter being funds that would not be fully available until after the conference. Roger, as President, and the redoubtable Donald Morse, as Hotel Liaison, guaranteed to the conference hotel that they would be personally and financially responsible if not enough guests showed up to cover the expenses of the conference rooms, the conference meals, and the conference banquet. The discussions between Roger and Donald about how to hold a respectable conference as cheaply as possible are the stuff of legend. I kidded Roger and Donald over the years about risking “Their Lives, their Fortunes, and their Sacred Honors” (as we read in medieval narratives) for IAFA and ICFA, but that bit of humor was not far from the truth. If not for Roger and Donald, who more than stepped up at that crucial moment, we might not be approaching the 40th meeting of the ICFA in 2019.

Roger Schlobin and Donald Morse, ICFA 6, 1985, photo courtesy of FAU Library Special Collections, the Robert A. Collins Collection

Roger was absent from the last few years of the conference, and I am sorry for that. I have a feeling that he had begun to feel out of the loop, that he no longer mattered to the conference and the organization. If so, that was everyone’s fault and no one’s fault; an organization moves on, and running IAFA and putting on ICFA year after year is a full-time job for the Executive Board. Some years ago, when all the former presidents save Jules Zanger and Marshall Tymn could be or were going to be at the conference, I proposed that their oral histories be recorded. The proposal was rejected, and although there are some archives, we, as an organization, have lost much important information as we have since lost Bob Collins, Mike Levy, and Roger Schlobin.

I retired from East Carolina University in 2011 and had seen Roger only on occasional visits to Greenville since then. We had planned to have some kind of 75th birthday blowout in 2019 (he was two weeks younger than I, both of us June 1944 babies—and I never let him forget that), but, sadly, that celebration will not now happen. As John Donne wrote, “Any man’s death diminishes me,” and I think that Roger Schlobin’s death diminishes us all, especially the “us” that is the IAFA and the ICFA. Let us remember him.

The presentation of the first Collins award to Bob Collins by Roger Schlobin as IAFA President, ICFA 6, 1985, photo courtesy of FAU Library Special Collections, the Robert A. Collins Collection

deadline for submissions:
May 21, 2017

full name / name of organization:
Justin Wyble, Chaminade University of Honolulu

contact email:
justin.wyble@chaminade.edu

This panel seeks any and all papers related to science fiction, especially in relation to this year’s theme of sight, visuality, and ways of seeing.

Individual paper presentations will be between 15 and 20 minutes long. Please submit proposals via the online system by May 21, 2017. The PAMLA 2017 Conference will be held at the lovely Chaminade University of Honolulu (with the official conference hotel being the Ala Moana) from Friday, November 10 to Sunday, November 12.

Paper proposals must be made via our online system found here:

http://pamla.org/2017/topic-areas

Any questions can be sent to the above email address.

deadline for submissions:
May 21, 2017

full name / name of organization:
Daniel Ante-Contreras, University of California, Riverside

contact email:
dante001@ucr.edu

This session is interested in both analysis of games and the gaming industry and the visibility and role of “video game studies” as an institutional entity. It seeks papers willing to engage with the intersections of visuality and play in games and game studies as they are and as they might be.

Individual paper presentations will be between 15 and 20 minutes long. Please submit proposals via the online system by May 21, 2017. The PAMLA 2017 Conference will be held at the lovely Chaminade University of Honolulu (with the official conference hotel being the Ala Moana) from Friday, November 10 to Sunday, November 12.

Paper proposals must be made via our online system found here:

http://pamla.org/2017/topic-areas

Any questions can be sent to the above email address.

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.