Thurs. 9-10:30 Cont.
last year's symphonic suite, St
Anthology of Worlds, and winner
Campbell Award as "Best New Writer
the gently satirical "Mall Wor
Asimov's, which has recently been re
form by Donning/Starblaze. His
Starship: Haiku, drew wide attention
reviews. He will read a story nom
Hugo Award after its appearance
Sucharitkul was educated at Eton and
holds MA's in both music and litera
also present an illustrated talk on
Contemporary Music" Friday evening.
of the 1981
," largely for
Id" series in
issued in book
inated for the
ture. He will
GENE WOLFE, reading "Melito's Story — The Cock, The
Angel, and The Eagle," from The Citadel of The
Gene Wolfe, a member of
faculty, is winner of
Award, as well as severa
for such classic storie
Island," The Fifth Head o
as a superb prose stylist
the best seller lists with
tetralogy. His reading
volume in this series.
our Writers' Workshop
the 1981 World Fantasy
1 Nebula and Hugo Awards
s as "The Death of Doctor
f Cerberus. Long regarded
, Wolfe has recently hit
his Book of the New Sun
is drawn from the fourth
MAGIC IN LITERATURE
Pendexter III, Armstrong State College,
A second phase of the magic portrait tradition in
the Gothic novel began toward the middle of the
19th Century. Beginning with Hawthorne and
culminating with Wilde's Picture of Dorian Gray,
the portrait became the center of the story,
rather than merely a device to generate chilling
effects. The picture's magic now consisted in an
ability to foretell the future and disclose the
hidden depths of human personality. When Dorian
Gray stabs his own portrait, only to be
transformed himself into the "withered, wrinkled,
and loathsome thing" the picture had been, the
tradition achieved its most memorable expression.
FANTASY AND SOCIAL REALITY
CHAIR: Jules Zanger, Southern Illinois University,
PAUL L. GASTON, Southern Illinois
Edwardsville. "Spenser's Order,
Ireland: Competing Fantasies."
Although the Faerie Queene as a whole shows how
fantasy can facilitate responsible consideration
of social issues, Book V of Spenser's epic shows
instead how fantasy can be exploited for
propagandistic purposes. In the context of a
traditional rescue quest, Spenser uses conventions
of fantasy to conceal the logical problems in his
views on Ireland, to distort ideas which he
opposes, and to dehumanize those on the wrong side
of his argument. Book V reminds us how
insidiously fantasy can work upon the unwary when
the motives which sustain it are dark.
ANCA VLAS0P0L0S, Wayne State University, Detroit,
Michigan. "Frankenstein's Hidden Skeleton: The
Psycho-Politics of Oppression."
WILLIAM M. SCHUYLER, JR., University of Louisville,
Kentucky. "The Ethical Status of Magic."
Magic is making use of the supernatural. What
counts as supernatural depends on what counts as
subject on which there is broad
There is also disagreement about
have to do to make use of the
The standard Christian view is that
magical powers only by arrangement
possibilities. All of these present ethical
problems, but the problems and solutions vary
dramatically from one system to another.
C. CLARKSON WHITE, Armstrong State College, Georgia.
"...Voodoo. Black Magic..."
In the tradition of writing which recognizes the
evil inherent in the rise of Nazi Germany is Taylor
Caldwell's novel Time No Longer, published in 1941
but set in Nazi Germany of 1933. To enhance the
mood of evil throughout the story, advance the
plot, and embellish the theme, Caldwell uses
figures from and practices of voodoo which have
been brought to Germany from Africa by the adopted
Jewish brother of Aryan twin brothers.
KERRY POWELL, Miami University, Ohio.
Portrait in Fiction: Phase Two."
Continued interest in Frankenstein suggests that
the novel contains a covert structure which gives
it enduring coherence. The hidden logic of the
novel consists of political choices which lead to
the most divisive psychic struggles for the hero.
Class selection appears in incident after
incident, and the principal dynamics of Victor
Frankenstein's actions is incest-avoidance, a
problem of the aristocracy. Victor's fear creates
the monster and leads to the demise of his circle.
The monster represents the dispossessed, and
together with parallel characters who, though not
monstrous, lead abysmal existences and are
perceived as threats to established order, he
inspires cruelty and abhorrence. The novel's
subtext, psychic and political, reveals that
monsters are made, not born.
LYNN R. ATKINS, Rochester, Michigan. "Literary and
Social Terrorism: The Relationship between Gothic
Conventions and Feminist Issues."
The closed, nightmare world of monsters, inherited
evil, imprisoned victims, and "sympathetic" houses
serves to reflect symbolically the social reality,
especially of English women, in the 18th and 19th
centuries. More specifically, Gothic heroines
such as Emily St. Aubert in Ann Radcliffe's The
Mysteries of Udolpho or Catherine Earnshaw in Emily
Bronte's Wuthering Heights show how fantastic
predicaments serve as metaphors for the