for order, and they trade upon the conventional
assumption, incorrect for polymorphous fantasy,
that it will be possible to make order out of the
prevailing chaos of the text. Robert Coover's
short story, "The Magic Poker," illustrates the
ways in which these texts rely on the sustained
sense of disorder for their effects.
Session VII, Friday,
Film: JUST IMAGINE
1930, United States (Fox). Directed by David Butler.
Songs by DeSylva, Brown, and Henderson. With El
Brendel, Maureen O'Sullivan, Mischa Auer, Frank
Alberton. New York in 1980. "A fantastic
celluloid extravaganza." — Variety.
DAVID LUNDE, reading "The Cozening of Andragash," a
story about magicians.
David Lunde considers himself "primarily a poet,"
has two published volumes of verse, Sludgegulper I
and Calibrations, the latter published last May.
Much of his fiction was done in collaboration with
Jim Sallis of New Worlds back in the sixties, and
published there. He has also appeared in
Whispers, Galaxy and 2076: The American
Tricentennial, ed. Ed Bryant. Lunde is an expert
linguist, and does translations
Italian, Provencal and Friulano.
BRIAN W. ALDISS, reading "The Boat Animals."
Brian Aldiss, the dean of British Science fiction
writers, is also a member of our Writer's Workshop
faculty. Aldiss' latest novel, Helliconia Spring,
has won rave reviews on both sides of the Atlantic.
Aldiss has also won the Nebula, Hugo, and British
Science Fiction Awards, and among his dozens of
novels Barefoot in the Head, Greybeard and The
Malacia Tapestry rank among the all-time classics
in the field.
THE FANTASTIC IN THE WORKS OF EDGAR
ALLAN P0E: PART 2
CHAIR: Richard Kopley, Walden School, New York City.
HAL BLYTHE and CHARLIE SWEET, Eastern Kentucky
University, "Poe's Satiric Use of Vampirism in
The essential motif in Poe's "Berenice" is the
familiar legend of the vampire. The narrator's
final oral violation of Berenice can best be
understood as the narrator's futile attempt to
break what he thinks'is the vampire's spell. Poe
treats the narrator ironically, thus satirizing
the legend which so obsesses Egaeus.
JOSEPH FRANCAVILLA, State University of New York,
Buffalo, "Poe's Uncanny Doubles."
Freud's definition of the uncanny as the return of
the repressed and as a seeming resurgence of the
magical and the supernatural characterizes the
doubles in Poe's stories such as "William Wilson,"
"The Black Cat," "The Fall of the House of Usher,"
and "The Imp of the Perverse." Freud and Otto
Rank see narcissism, guilt, and repression as the
forces behind doubling and perceive the
Doppelganger as an ambivalent figure, both savior^
and destroyer. Poe's doubles by division follow
these models and take on the role of an avenging,
diabolical conscience and imp of the perverse
which destroys the protagonist's ego.
CAROLE WEISZ, Pennsylvania State University, "Poe's
Night Terror: The Deep Sleep."
The basic difference between Poe's Grotesques and
his Arabesques is their origin. The Grotesques
may be linked with the dreams of rapid eye movement
sleep (REM); the Arabesques may be connected with
the dreams of non-rapid eye movement sleep (NREM).
The terror of the Arabesque owes much to the
terror characteristic of nonrapid eye movement
sleep. This study allows us to perceive not only
the source of terror for Poe, but for ourselves as
TIME AND THE FANTASTIC
CHAIR: Walter M. Gershuny, Northeastern University.
LILLIAN BULWA, Northeastern University, "Time Before
Time: La Vie anterieure in Nerval and Baudelaire."
The idea of la Vie anterieure is a pervasive one
in Romantic literature. It is tied to the broader
of nostalgia for lost innocence or
the "clouds of glory" that have
both notions look back in time,
to the same, single lifetime
life" evokes another
Two nineteenth century
writers, Gerard de Nerval and Charles Baudelaire,
write poetry haunted by memory and time. Their
remembrances of lives past reveal clear
differences of style and attitude toward times and
places beyond the writer's traditional persona.
JOSEF SCHMIDT, McGill University, "Duerrenmatt and
the Grotesque: Falling Behind Reality."
Duerrenmatt has used the grotesque in
his plays. An integral part in his
is the function of deliberate
sms in the Brechtian tradition. Taking
and his last play (It is written, 1947
ine, 1980), I want to show how he has
attain the level of the grotesque that
historical episodes serving as a basis for
entail: an anabaptist republic in the