Caldwell is cinema's first vampiric vamp — a
woman very much like her femme-fatale film-noir
contemporaries — as icily, chillingly sexually
aggressive as her more explicit cinematic sisters
of the sixties and seventies.
Session XI, Saturday,
9 -10:30 a. m.
LEONARD G. HELDRETH, Northern Michigan University,
"Fred Saberhagen's Variations on Dracula."
Saberhagen's novels detail Dracula's new escapades
over a period of almost a century. In
resuscitating Stoker's villain, Saberhagen
modifies him to reflect contemporary conflicts and
transforms the arch vampire into a vigorous old
man who moves smoothly through the modern world,
pursuing only his own interests unless
antagonized. While maintaining many of the
traditional vampire characteristics, the new
Dracula prefers animal blood to human, is merely
weakened by the sun, and is no longer a devilish
figure who can be warded off by crucifixes,
garlic, holy water, or the host.
TERENCE GREEN, reading "Susie Q'
Terence M. Green, BA, BEd, MA, was born in
Toronto, Canada in 1947, where he still resides.
His SF stories have appeared in the anthologies
Alien Worlds, Other Worlds, Aurora: New Canadian
writing 1979, and in The Magazine of Fantasy &
Science Fiction. Critical work has appeared in
such places as Science
Commentary, Books in Canada, and others.
THE NUMINA IN MODERN FANTASY
CHAIR: Roger C. Schlobin, Purdue University.
GARY K. WOLFE, Roosevelt University, "What is a
The author of the Eaton-Award-winning The Known
and the Unknown will discuss the history and
definitions of the concept of "numina" in a variety
of disciplines, including theology, philosophy,
psychology, and literature.
JULES ZANGER, Southern Illinois University, "Numina
as Technology: The Disenchantment of Magic."
A sociological approach to the "new" centrality of
magic and its practitioners in nineteenth- and
twentieth-century British and American literature
that examines the role of industrial-scientific
culture in threatening and supporting the artist.
This paradoxical combination of forces creates a
literature in which magic and the magician, rather
than Everyman, are critical to the action and
resolution. This is a change from magic as a
threatening, immoral force, which was usually
background to the story, to an evil or good force
whose attainment is the critical key to the plot.
FRITZ LEIBER, reading an excerpt from his forthcoming
autobiography, Not Much Disorder and Not So Early
Sex, (title inspired by Mann's "Disorder and Early
Fritz Leiber, a Special Guest of the Conference,
is perhaps the only author to win both Hugo and
Nebula Awards in the same year on three separate
occasions. Fritz has also garnered Gandalf,
August Derleth, Lovecraft, and the Nebula Grand
Master Awards. Best known among fantasy fans for
his continuing series of sword and sorcery stories
(six volumes, now) starring Fafhrd and The Grey
Mouser, Fritz has also written classic science
fiction, including The Wanderer, the culminating
volume of his "Change War" story series The Big
Time, and gothic horror novels in a modern setting
like Our Lady of Darkness and the now classic
Conjure Wife, which has • been filmed twice and
adapted for television. Nevertheless, as coiner
of the term "sword and sorcery," Fritz's popular
identity lies with fantasy, and his Swords of
Lankhmar has often been called "the best modern
FANTASY IN THE WORK OF TOM STOPPARD
CHAIR: Howard Pearce, Florida Atlantic University.
Film: BLACK MOON
1975, International. Directed by Louis Malle. "To
me, dreams are very real, very precise," Louis
Malle has said, and rarely has a dream-world been
delineated with such clarity as in Black Moon. A
compelling mixture of science fiction, ancient
myths, Lewis Carroll, Indian mysticism,
Cocteau-like surrealism, and playful avant-gardism
out of Malle's own Zazie, this self described
"dream of a dream" is all the more haunting and
magical for the matter-of-factness with which the
most outrageous conceits are presented. In
English and various unknown languages.
JOSEPH J. FEENEY, S. J., Saint Joseph's University,
"Fantasy in Structure: The Layers of Metaphor in
Jumpers, Every Good Boy Deserves Favor, and
Fantasy is usually structured informally, but Tom
Stoppard tightly constructs fantastic metaphors and
uses these (together with plot) as the very
structure of his plays. These complex layers of
metaphor continue throughout a play, and each
element of the comparison illuminates and is
illuminated by the others. Fantasy in structure
is provided by these bizarre metaphors: in
Jumpers, philosophy/ gynmastics/ sex/
aceademic-chairs/ politics/ murder/ parties/
astronauts/ love/ slapstick/ characters; in EGBDF,