Skip navigation

Submissions open for a Superhero Anthology

Submissions open for a Superhero Anthology

Behind the Mask is Meerkat Press’ next themed anthology and it’s all about superheroes! But not how they saved the world this time. We’re more interested in the ordinary day-to-day challenges facing these extraordinary individuals: growing up, growing old, relationships, career struggles, parenting. How they cope with that age-old desire to fit in when, let’s face it, they don’t.

We want superhero stories with originality, diversity, and strong character development that celebrate the genre but manage to push its boundaries as well. Fun, quirky, serious, happy, sad: any tone will do, and we plan to have a nice variety. But bring us something fresh and relevant to this crazy world we live in today.

So without further ado, here are the details!

Short Fiction (3K to 6K words) for Behind the Mask: A Superhero Anthology

We are currently seeking short stories for our next short fiction superhero themed anthology, Behind the Mask.

Submission Deadline 9/15/16

Submission Guidelines:
Include a cover email containing genre, word count, brief bio, and contact information
Please confirm that your story has not been published before
Attach your complete story using Proper Short Story Manuscript Format (Meerkat exceptions: Times New Roman preferred, one space after period, italics are okay, em dashes are okay)

We accept .doc, .docx, .txt and .rtf files.

We do not accept reprints.

We do accept simultaneous submissions for short stories (but ask that you contact us immediately if your story is accepted elsewhere).

Send to Submissions@MeerkatPress.com with subject line: Superhero – Genre – Title – Author

Payment: We pay .02 to .08 per word for short fiction.

Final selections will be made in October-November 2016.

Behind the Mask Final Lineup Announced!

Short Entries on Economics in Science Fiction and Fantasy

Short Entries on Economics in Science Fiction and Fantasy

deadline for submissions:
January 1, 2017

full name / name of organization:
Economics in Science Fiction and Fantasy

contact email:
j.walton@northumbria.ac.uk

Researchers are invited to submit short entries on individual works of SFF, exploring their economic themes, to be included in a new online resource (http://economicsciencefiction.blogspot.com).

Preference is for entries on SFF that makes explicit use of the terminology of economics, finance, accountancy or business management, and/or SFF which strongly resonates with the themes already developing in the database, including scarcity/post-scarcity, money and currency, game theory, inter-polity trade, finance and performativity, automation and labour, gender and class, financialization and gamification, and enterprise and entrepreneurship. Excerpts from previously published books, articles or reviews will be considered. Both academic writing and more informal writing aimed at a general audience are acceptable.

The focus of the database is fiction but some entries on film and other media may also be included. Please keep submissions below 800 words.

CfP: New American Notes Online NANO Issue 12 on Star Wars: The Force Awakens

Call for Papers: New American Notes Online NANO Issue 12 on Star Wars: The Force Awakens
Deadline: February 1, 2017
Special Issue: Star Wars: The Force Awakens: Narrative, Characters, Media, and Event
Guest Editors: Jason W. Ellis, Alan Lovegreen, and Sean Scanlan
This thing [Star Wars] communicates. It is in a language that is talking to young people today, and that’s marvelous.
–Joseph Campbell in conversation with Bill Moyers, The Power of Myth (1988)
 There are certainly many more themes in The Force Awakens that speak to us, and help us to learn more about these characters and what makes them tick.
–Dan Zehr, “Studying Skywalkers” column on starwars.com (May 18, 2016)

 

It is the aim of this special issue of NANO to address the significance of the latest installment of Star Wars by exploring its narrative, characters, media, and event. Across nearly four decades, audiences spanning generations have experienced Star Wars through films, television programs, books, video games, special events such as the annual “celebrations,” and other storytelling media, including action figures and LEGO. Following Disney’s acquisition of Lucasfilm, George Lucas’ production company, audiences experienced a new transmedia event and a continuation of the old stories with the release of Star Wars Episode VII: The Force Awakens in 2015. Joseph Campbell’s earlier observations about the first film raises new questions that deserve to be answered about the latest: How does this new film communicate? What language does it use? And, to whom is it speaking?

 

One way to approach these issues of communication and language is through the convergence of the film’s narrative and characters, especially how the transmission of this convergence gets revealed through a variety of media as an event. For example, how does the film’s narrative respond to, continue, and challenge those that it follows? And what about the cast of characters—some returning and some new? What do these characters and their performance of the narrative have to say about the here-and-now as well as the past? Of course, the narrative is told through media, which includes different film technologies, digital distribution, DVD and Blu-Ray discs, websites, video games, and apps. And stepping back for a larger perspective, the release of the film and its transmedia supporting elements inform The Force Awakens as an event, in part orchestrated by Disney/Lucasfilm, and in part connected to contemporary events, including #oscarssowhite, #womeninfilm, and #paygap. Furthermore, how does its event(s) relate to those of the past, including specifically those centered on the release of the earlier films and subsequent events awakening fans’ nostalgic enthusiasm. The Force Awakens’ considerable box office performance and tie-in successes signal how significant this film (and its progenitors) is, and it is the aim of this special issue to explore the promise and pitfalls of its cultural influence.

 

This issue welcomes multimodal essays up to 4,000 words (excluding works cited) exploring topics relating to Star Wars: The Force Awakens, including but not limited to the following:

 

* transmedia storytelling and The Force Awakens (including “Journey to Star Wars: The Force Awakens” publications, such as Chuck Wendig’s novel, Star Wars: Aftermath, and comic books Star Wars: Shattered Empire and Star Wars: Poe Dameron
* media transformation and adaptation (e.g., comparing the film with Alan Dean Foster’s novelization)
* materiality and The Force Awakens (e.g., LEGO, play, and collecting)
* Star Wars fandom and cosplay
* Star Wars reference materials and publications
* starwars.com and the official Star Wars app
* Star Wars videogames including LEGO Star Wars: The Force Awakens, Star Wars Battlefront, and the now defunct Disney Infinity tie-ins
* Jakku Spy VR experience
* Star Wars Celebration and ComicCon special events
* social and political movements’ coinciding/connecting with The Force Awakens
* the hero’s journey and the heroes’ journeys
* movement and storytelling
* vehicles as characters
* nostalgia and familiarity
* inclusive casting/characters
* droids and aliens
* hidden bodies/cgi characters (e.g., Maz Kanata/ Lupita Nyong’o and Captain Phasma/Gwendoline Christie)
* race and gender in The Force Awakens
* terrorism, insurgency, war, and militarism
* surveillance

 

Direct questions to the Special Issue co-editors: Jason W. Ellis [jellis@citytech.cuny.edu], Alan Lovegreen [alanlovegreen@yahoo.com], and Sean Scanlan [sscanlan@citytech.cuny.edu].

 

NANO is a multimodal journal. Therefore, we encourage submissions that include images, sound, or video in support of a written argument. These multimodal components may consist of objects and data sets that go beyond traditional media. The multimodal components of the essay must be owned or licensed by the author, come from the public domain, or fall within reasonable fair use (see Stanford University Libraries’ Copyright & Fair Use site,http://fairuse.stanford.edu/overview/fair-use/ and the U.S. Copyright Office’s Fair Use site, http://www.copyright.gov/fls/fl102.html for more information. NANO’s Fair Use Statement is available on its submission page,http://www.nanocrit.com/submissions-information/).

 

For questions about video, audio, or image usage, please contact NANO: editornano@citytech.cuny.edu.

 

NANO uses modified MLA (Modern Language Association) formatting and style.

 

Keywords and abstract: Each author is asked to submit 5 keywords and a 150-word abstract to accompany their submission.

 

Schedule: Deadlines concerning the special issue to be published in NANO:
* Submission deadline: February 1, 2017
* Complete comments and peer review June 2017
* Pre-production begins August 2017

CfP: Uses of Fantasy in Changing Media Landscape, University of Jyväskylä

Uses of Fantasy in Changing Media Landscape

October 20–21, 2016, University of Jyväskylä

Jyväskylä, Finland

 

In recent years, fantasy fiction has gained popularity in different mediums. For instance, in television fantastic or speculative themes are more visible than ever before, and – as television scholar J. P. Telotte has noted – they are even invading the so called reality television. The Uses of Fantasy seminar focuses on the uses and users of fantasy in contemporary culture and contemporary representation of fantasy in different cultural mediums. In other words, the seminar concentrates on the reception, representation and meaning of fantasy in a changing media landscape. The seminar is organised by the project Uses of Fantasy – The World Hobbit Project in Finland in cooperation with the University of Jyväskylä and The Research Centre for Contemporary Culture.

 

We invite presentations and panels on the uses and users of fantasy as well as on the contemporary representations of fantasy on different mediums, such as literature, television, film, comics and graphic novels, games and new media. These may include but are not limited to:

– Audience responses and the meanings of fantasy; affective attachments to fantasy; fantasy fandom and other participatory user practices

– Adaptation and transmedia; representing fantasy via different mediums

– The cultural meanings of fantasy; representations of cultural phenomena through fantasy; the politics of fantasy (e.g. in relation to gender, sexuality, ethnicity, age, class, disability etc.)

– Fantasy and narration; fantastic characters; fantastic genres (science fiction, horror etc.)

 

Proposals for scholarly papers from any academic discipline that seek to examine, interrogate, and expand research related to any aspect of uses of fantasy, in any medium are welcome. Papers will be allowed a maximum presentation time of 20 minutes.

 

Our keynote speakers will be:

 

Associate Professor Susana Tosca from the IT University of Copenhagen, Denmark

Professor Emerita Liisa Rantalaiho from the University of Tampere, Finland

Professor Emeritus Martin Barker from Aberystwyth University, UK

 

Please submit a 500-word proposal describing the content of your proposed paper, and few words about yourself and your research (including your current affiliation) to  hobbitprojectfinland(at)gmail.com. The deadline for the proposals is September 5, 2016.

 

If you have any questions about the seminar, please contact hobbitprojectfinland(at)gmail.com.

 

For more information, see https://theworldhobbitprojectfinland.com/seminar/

CfP: Graduate Journal aspeers, “American Monsters”

Graduate Journal aspeers Calls for Papers on “American Monsters”

Date:
October 23, 2016

Subject Fields:
American History / Studies, Cultural History / Studies, Popular Culture Studies, Literature, Graduate Studies

“The monster notoriously appears at times of crisis,” Jeffrey Jerome Cohen states in his Monster Theory. At first glance, Cohen’s assertion conveniently seems to fit the headlines by various venues–liberal and conservative–that all express a presumed crisis of the US Republican Party by referring to their 2016 presidential nominee as a “monster.” However, Cohen has a different kind of crisis, and different kinds of monsters, in mind, and a broader analytical trajectory to follow: For him, American culture as such can be read “from the monsters [it] engenders.”

Understood as a spectacular anomaly, a cultural shorthand that points at deeper turmoils, American culture has its fair share of monsters indeed. Whether we think of race, a social problem declared ‘dead’ by the post-race discourse, as a zombie roaming the land as deadly as ever, or whether we think of Barbara Creed’s seminal work on the perception and portrayal of femininity as ‘monstrous,’ categories of difference tend to express themselves with recourse to the figure of the monster and the logic of monstrosity. In fact, as Michael Rogin points out, monsters are “a continuing feature of American politics.” As such they are worthy of critical attention.

For its tenth issue, aspeers thus dedicates its topical section to “American Monsters” and invites European graduate students to critically and analytically explore American literature, (popular) culture, society, history, and politics through the monsters they beget. With a host of disciplines–ranging from economy and political science to history, media studies, literary and cultural studies, and beyond–engaging such monstrosity in various forms, we welcome papers from all the fields, methodologies, and approaches that comprise American studies as well as inter- and transdisciplinary submissions. Potential paper topics could cover (but are not limited to):

The literary figure of the fantastic monster, the zombie, the vampire, the alien, the cyborg, or the ghost, as tropes that do cultural work.

The forms of (racialized, gendered, etc.) othering involved in portraying social or cultural outsiders as monstrous.

Political rhetoric demonizing and dehumanizing the opponent.

The trope of the monster in various nonfictional discourses, such as law enforcement, medicine and psychology, and many others.

The pleasures and anxieties negotiated through representations of monsters, in genres such as horror, fantasy, science fiction, dystopia, (post)apocalypse, etc., and in media like novels, films, TV, graphic novels, or video games.

aspeers, the first and currently only graduate-level peer-reviewed journal of European American studies, encourages fellow MA students from all fields to reflect on the diverse meanings of monsters for American culture. Please note that the contributions we are looking for might address or go beyond the topical parameters outlined above. We welcome term papers, excerpts from theses, or papers specifically written for the tenth issue of aspeers by 23 October 2016. If you are seeking to publish work beyond this topic, please refer to our general Call for Papers. Please consult our submission guidelines and find some additional tips at www.aspeers.com/2017.

Contact Info:
aspeers: emerging voices in american studies

ISSN: 1865-8768
American Studies Leipzig
Beethovenstr. 15
04107 Leipzig, Germany

Contact Email:
info@aspeers.com
URL:
http://www.aspeers.com/2017

CfP: Octavia Butler Essay Collection

deadline for submissions:
December 15, 2016

full name / name of organization:
Martin Japtok/Rafiki Jenkins

contact email:
mjaptok@palomar.edu

We invite essays on any aspect of Octavia Butler’s multi-faceted work, from her continued exploration of the topics of domination, slavery, symbiosis, and exploitation, to her ecological vision, to her exploration of gender systems, to genre considerations, etc. etc. Essays from 3000 to 6000 words are recommended, but no strict word limit (MLA format).

Please send essays to either Martin Japtok (mjaptok@palomar.edu) or Rafiki Jenkins (jjenkins@palomar.edu) by December 15, 2016.

CfP: Why Afrofuturism, Why Now? (NeMLA 2017, March 23-26, Baltimore)

Why Afrofuturism, Why Now? (NeMLA 2017, March 23-26, Baltimore)

deadline for submissions:
September 30, 2016

full name / name of organization:
NeMLA 2017

contact email:
mbelilgn@umbc.edu

48th Annual Convention, Northeast Modern Language Association
March 23-26, 2017
Baltimore, Maryland

This session seeks papers that explore the temporal, geographical and aesthetic parameters of Afrofuturism. Within and beyond the academy, the speculative has emerged as central to black critical inquiry, creative expression, and theories of subjectivity and citizenship. In literature, visual and the performative arts, indeed in the global black cultural imaginary, the speculative is the discourse of our times. This panel asks “Why Afrofuturism, Why Now?” What is it about our contemporary moment that demands, solicits and activates the fantastic? Moreover, how do we understand the fantastic, futurist and speculative as modes of cultural production that trespass borders between high and low art, lived and imagined, theoretical and fictional, abstract and embodied, local and transnational?

Our panel proceeds from the premise that Afrofuturism is not solely a condition or expression of posthumanism, technological innovation or digitization but a re-visitation of late-nineteenth and early-twentieth century black sonic and textual cultures. While Mark Dery’s 1994 essay “Black to the Future” is widely viewed as consolidating an emergent expressive form, this “new” aesthetic reflects an enduring commitment to the speculative in black narrative and sonic expression from the nineteenth century onward. As ante- and postbellum works by Martin Delany, Pauline Hopkins, Sutton Griggs, and W.E.B. Du Bois show, making sense of the black present is inherently a futuristic endeavor. The papers in this panel will explore fictional, theoretical, sonic, performative, and visual expressions of futurity as constitutive of black thought and being.

Possible topics include, but are not limited to, black performativity, sound studies, black speculative fiction, literature of the black fantastic, black futurity in the visual, sonic and digital arts, black comic books, pulp fiction, and black critical theory.

Deadline for abstracts: September 30, 2016

Interested scholars should submit 250 word abstracts to Maleda Belilgne through the NeMLA website using the link below.

https://www.cfplist.com/nemla/Home/S/16185

CfP: The World in 2050: Imagining and Creating Just Climate Futures

The World in 2050: Imagining and Creating Just Climate Futures

deadline for submissions:
August 15, 2016

full name / name of organization:
University of California, Santa Barbara

contact email:
ehcfellow@gmail.com

The World in 2050: Imagining and Creating Just Climate Futures


A call for papers

We invite presentations of all kinds on the theme of “The World in 2050: Imagining and Creating Just Climate Futures” for an online, nearly carbon-neutral conference (described below) that will take place from October 24 to November 14, 2016. Coordinated by UC Santa Barbara, this conference is part of a series of events on “Climate Futures: This Changes Everything” [http://ehc.english.ucsb.edu/?page_id=11154]

The most pressing existential issue of the 21st century for humanity as a whole is the increasingly grim reality of climate change and our entry into a new era in the history of humans and the planet well signified by the Anthropocene. The changing conditions of life on Earth lie at the center of a storm of interconnected crises which include, among others, the precarity of the global economy, a widening deficit of political legitimacy, and cultures scarred by violence, from the most intimate interpersonal interactions to the most global realities of war-making.

Unlike either the justifiably pessimistic critical discussions or the unrealistically optimistic policy approaches that increasingly confront (or ignore) each other around the climate crisis, this conference will depart from our present ground zero by asking participants to experiment with perspectives on the multiple possible states of the world in mid-century and work back toward the present in an attempt to imagine, envision, enable, and collaboratively find or create some of the pathways to a more just  – or just less worse – outcome for humanity by 2050.

Please note that this will be a nearly carbon-neutral conference. We believe that a conference that takes up the issue of climate change while simultaneously contributing to the problem to such a degree is simply unconscionable. Even a relatively small academic conference can generate the equivalent of 20,000 pounds or more of CO2 (chiefly from travel). To put that number in perspective, this is the total annual carbon footprint of ten people living in India, thirty-three in Kenya.

Consequently, this conference will largely occur online. Over a period of three weeks, starting on October 24 and running through November 10, accepted talks and other events will be available for viewing on the conference website. Q&A will also take place online during this period, as participants and registered attendees will be able to connect with speakers and each other via online comments and speakers will be able to reply in the same way. Both the talks and Q&A sessions will remain up on the website as a permanent archive of the event.

A conference using this format was staged at UC Santa Barbara in May of 2016. As that conference’s website [http://ehc.english.ucsb.edu/?page_id=12687] contains a complete archive of the event, please visit it if you would like to see how this conference will work. In particular, the opening remarks and the accompanying Q&A session [http://ehc.english.ucsb.edu/?p=13550] help explain the rationale for this approach while also demonstrating it.

While we realize that this will not replicate the face-to-face interaction of a conventional conference talk and Q&A, we believe that it will nonetheless promote lively discussion, as well as help build a community of scholars and activists with intersecting research interests and hopes for the world. An advantage to this approach is that individuals who would not otherwise be able to become involved in the conference owing to distance, daily life, or financial constraints will be able to fully take part. There will be no registration fee for the conference. Although this online conference will have its own carbon footprint, as data centers and web activity also require energy, we expect that this will be only a small fraction of that of a conventional conference, likely just 1-3%.

Instead of traveling to the conference to attend panels and deliver a talk, speakers agree to do the following:

1) Film yourself (or yourself with others) giving a talk of 15-17 minutes. The webcams that come with desktop and laptop computers have improved dramatically over the past few years. Aftermarket webcams with noise cancelling microphones, which can be purchased for under $50, often provide even better quality. It is also the case that most computers have video recording software preinstalled, such as Apple’s QuickTime. Consequently, it is now possible, and relatively easy, to record a talk of surprisingly good quality in your home, office, or just about anywhere. How easy is it and how good is the quality? A sample talk that explains the concept and process in detail can be found here: http://ehc.english.ucsb.edu/?p=12048.

2) Take part in your three-week online Q&A session by responding to questions raised by your talk. You will automatically receive an email each time a new question is posed. Only registered conference participants (this includes speakers, as well as others who register for the conference) will be posing questions.

3) View as many of the talks as possible, posing questions of your own to speakers. This is especially important, as this is how you will meet and interact with other conference participants. Given the subject matter, our goal is help establish relationships and to build a community. In this case, since travel has been removed from the equation, our hope is that this community will be diverse and truly global.

Abstracts of 250 words and a brief biographical note of about 150 words should be submitted as one document [Word or pdf, only please] by August 15 and attached in a single e-mail copied to both of the following e-mail addresses: conference co-organizer John Foran – foran@soc.ucsb.edu and our conference assistant Rick Thomas  –EHCfellow@gmail.com.

We welcome all international submissions if the talks themselves can be either in English or subtitled (see below) in English.  The Q&A will be in English. You should also please confirm that you have viewed the sample video and agree both to the above conference requirements and to allow your filmed talk to be posted to the conference website, as well as our Vimeo, YouTube, and SoundCloud accounts. As noted above, the talks will become part of a permanent conference archive open to the public.

Amara provides free closed captioning software that allows anyone to caption videos. As they note on their website, Amara makes it “incredibly easy (and free) to caption and translate your videos…. Amara is built by a nonprofit, 501c3 organization. We are driven by the mission to reduce barriers to communication and foster a more democratic media ecosystem.” Because it does not require a steep learning curve, Amara can generally be quickly learned. Since our goal is to have a conference that is accessible as possible, please consider using Amara to add closed captioning to your talk or have someone (perhaps a student intern or a tech-savvy friend) do it for you. If you will not be able to closed caption your talk, please note this when submitting your abstract.

Abstracts are due by Monday, August 15, 2016.

Participants will be informed whether their submissions have been accepted or not by Monday, August 29, 2016.

Videos of the talks will be due by Monday, October 10, 2016.


The online conference will take place from Monday, October 24 to Monday, November 14, 2016.

Please send any questions to conference co-organizers John Foran – foran@soc.ucsb.edu and Ken Hiltner –hiltner@english.ucsb.edu.

 

Please feel free to be as creative as you like in your proposals – we look forward to seeing them!

CfP: The Biannual International Margaret Cavendish Society Conference at Bates College, Maine

  • August 1, 2016 – 3:05 pm
  • Posted in CFP
  • Comments Off on CfP: The Biannual International Margaret Cavendish Society Conference at Bates College, Maine

The Biannual International Margaret Cavendish Society Conference

deadline for submissions:
January 9, 2017

full name / name of organization:
Lisa Walters/Liverpool Hope University

contact email:
walterl@hope.ac.uk

The International Margaret Cavendish Society is pleased to announce that the next biannual conference is set to take place on June 22nd-24th, 2017 at Bates College, Maine. Professor Carolyn Merchant from the University of California, Berkeley, will be the keynote speaker.  Preference will be given to abstracts that closely relate to the conference theme, but all talks about Cavendish, her family, and related subjects will be considered.   The conference theme is “Margaret Cavendish: Reception and Representations.”   Cavendish has increasingly garnered intense academic interest during the past twenty five years by scholars from a wide range of disciplines such as literature, history of science, philosophy, history and politics. She is also increasingly becoming a figure of interest in popular culture, as attested to by Siri Hustvedt’s The Blazing World and Danielle Dutton’s Margaret the First: A Novel. Regardless of the interest that she sparks and publications devoted to her, old caricatures and stereotypes of Cavendish still stubbornly remain within both popular culture and academia alike. Indeed, she still provokes aversion in many disciplines. It is our intent that this interdisciplinary conference will explore and investigate reactions to Cavendish by her own contemporaries as well as by writers from the late seventeenth century up to the twenty first century. We aim to gain insight into how and why Cavendish has been loved, hated and/or ignored as tastes and socio-cultural norms evolved. On a broader level, the conference will consider who or what hinders writers and/or certain ideas from being canonical or acceptable. An official call for papers will go out in August, 2016. The program committee (yet to be formed) will look at abstracts as they come in and will try to get decisions to authors quickly. We also will post advice on transportation and accommodation for the conference. We expect there will be both inexpensive dormitory housing and reasonably priced motels, perhaps with a shuttle bus to campus for the motels. Please check the Margaret Cavendish Society website in August for further details.

CfP: The Man in the High Castle and Philosophy

The Man in the High Castle and Philosophy

deadline for submissions:
September 1, 2016

full name / name of organization:
Bruce Krajewski / U of Texas at Arlington

contact email:
TMITHCandPhilosophy@gmail.com

The Man in the High Castle and Philosophy, edited by Bruce Krajewski and Joshua Heter, will be a book in Open Court Publishing Company’s Popular Culture and Philosophy series: http://www.opencourtbooks.com/categories/pcp.htm.The Saturn Award-nominated Amazon Production entitled “The Man in the High Castle” is based on the Philip K. Dick novel of the same name. The series explores a counter-factual history for a post-World War II USA, an answer to the question: What if the United States had lost WWII and been divided between Germany’s National Socialists and the Japanese? This takeover of the United States in connection to fascist power seems unfortunately relevant to the present, in which the United States, like parts of Europe, finds itself struggling with a rise in white supremacist groups, fears of colonization, and with capitalism in desperation, which is a working definition for fascism. As Amazon’s most-streamed original series, “The Man in the High Castle” has been booked for a second season, and is poised to become a cultural phenomenon.

Submit abstracts of no more than 300 words to: TMITHCandPhilosophy@gmail.com
Abstracts due: September 1st, 2016, but you can send them in sooner.

Notification of accepted abstracts: September 15, 2016
First draft of papers due: November 1st, 2016

3,000 to 3,500-word philosophy papers are written in a conversational style for a lay audience. Papers must frequently refer to ideas, arguments, characters, events, and circumstances in the Amazon series “The Man in the High Castle” or to the series’ source material. A detailed call for proposals can be found here: http://www.popularcultureandphilosophy.com/?p=791.