to a polarization of good and evil forces, as
opposed to the generalized moral squalor in the
poem. The two authors also assign divergent
values to the Fisher King's wound and to his
waiting. The fact that Lewis often challenged
Eliot leads to increased speculation about the
different ways in which each author approaches the
Medieval material common to the work of both.
Session V, Thursday,
Film: BEAUTY AND THE BEAST
1946, France. Directed by Jean Cocteau. Scenario by
Cocteau, based on the story by Mme. Leprince de
Beaumont. Music by Georges Auric. With Jean
Marais, Josette Day, Mila Parely, Marcel Andre,
Michel Auclair. Beauty saves her father by giving
herself to the beast. Because she loves him, he
is transformed into a handsome prince. A
sumptuous film fantasy, superbly photographed. The
sets of Christian Berard contribute to the visual
enchantment and Arakelian's make-up creations are
splendid. One of Cocteau's greatest successes as a
Film: MURDER IN 3-D
1941, United States. Director unknown. In
anaglyphic three-dimension (special glasses will
be provided). "You'll SHRIEK as the FRANKENSTEIN
MONSTER pours hot, molten lead right at your face!
Then you'll SHRIEK AGAIN when he hurls the pot!
These are just TWO of the 21 certified shocks in
MURDER IN 3-D, a real, old-fashioned mystery
mellerdrammer, with spooks, spiders, and skeletons
that come right out at you! It's the greatest
novelty in show business!" — Eric Spilker.
Film: SON OF DRACULA
1943, United States (Universal). Directed by Robert
Siodmak. With Robert Paige, Louise Allbritton, Lon
Chaney, Evelyn Ankers, Frank Craven, J. Edward
Bromberg. "Robert Siodmak's Hollywood films were
more Germanic than his German ones, and that is as
it should be. Why should Germans want to look at
Germanic films?" — Andrew Sarris.
BARRY N. MALZBERG, reading "Icons" and "Chained."
faculty, is the
a member of our Writer's Workshop
author of 27 sf novels, eight
the recently published Engines of
Night: Science Fiction in the Eighties
(Doubleday, 1982). A winner of the John W.
Campbell Memorial Award in 1972 for Beyond Apollo,
he is also a second violinist.
JACK DANN, reading "Going Under," a story selected
for Terry Carr's Best Science Fiction of the Year
Jack Dann's stories have appeared in Playboy
Omni, Penthouse, Fantasy & Science Fiction, Qui,
Gallery, Orbit, The Twilight Zone, and many other
magazines and anthologies. He has published two
novels, Starhiker and Junction, and a story
collection, Timetipping. He has edited numerous
anthologies, most recently More Wandering Stars.
A resident of New York State, Dann has lectured on
radio and television, and taught science fiction
THE FANTASTIC WORKS OF EDGAR ALLEN
POE: PART I
CHAIR: Richard Kopley, Walden School.
BENJAMIN FRANKLIN FISHER IV,
Mississippi, "The Flights of
The University of
a Good Man's Mind:
Fantasy in Poe's 'The Assignation.'"
The "good man" of the title is Poe's narrator, in
whom we discover a mind and viewpoint linked to the
commonplace morality of the time. Limited as his
sensibilities are—like those of the actual Thomas
Moore—he can only envision earthly causes and
effects in relation to the intense passion
dramatized before him. His way of seeing things
(and his perceptions are always fraught with the
concrete obvious) is distorted. Such distortion
makes for rich ambiguity throughout, and the
fantasy substance achieves high art. Poe's use of
the narrator's fantasies to advance and arrest the
course of the "The Assignation" is a masterstroke,
and one very often ignored.
KENT LJUNGQUIST, Worcester Polytechnic Institute,
"The Titan Myth and the Fantastic Endings of Poe's
Pym and Melville's Pierre."
Varied versions of the Titan myth were of
particular interest to writers of the American
Renaissance. This myth was, of course, treated by
the British Romantics in a gallery of works:
Shelley's Prometheus Unbound, Keats's Hyperion: a
Fragment and The Fall of Hyperion, and Carlyle's
The French Revolution and Sartor Resartus. These
works were clearly "models" for American
Romantics, as a number of works of the American
Renaissance attest: Poe's The Narrative of Arthur
Gordon Pym, Melville's Pierre, or The Ambiguities,
and Longfellow's Hyperion. Elements of the Titan
myth contribute to the fantastic conclusions o
Pym and Pierre respectively. By focussing on
source material provided by the so-called
"speculative" mythologists— most notably Jacob
Bryant, Francis Wilford, and Edward Davies— one
can show the applicability of this complicated body
of mythological data and antiquarian lore to two
masterworks of American Romanticism.