Sat. 9-10:30 Cont.
LORRAINE MCMULLEN, University of Ottawa, "Humour and
Fantasy in Jack Hodgins' Resurrection of Joseph
Jack Hodgins is a west coast writer whose novels
and stories weave humour with fantasy to present
an essentially moralistic approach to life.
Hodgins exploits the local colour of his west
coast background and populates his lush setting
with bizarre, sometimes ludicrous characters, whom
he involves in fantastic, often humorous
situations. In Resurrection of Joseph Bourne, the
resurrection of Bourne, the cranky old radio host
in the small town of Port Annie, through the
intervention of a mysterious stranger, initiates a
chain of fantastic events, all designed to point
out the faxlseness of materialistic values and the
power of love to transform the world. Hodgins
exuberant language and comic inventiveness
entertain us as he leads us with his Port Annie
characters into a world stripped of material
values, united by love.
OLENA H. SACIUK, Inter-American University of Puerto
Rice, San German, "Today Reflected in Tomorrow:
Science Fiction Jokes as Satire."
Along with ^the popularity of science fiction
literature, 'science fiction humor, especially in
the form of a joke, has grown in popularity and is
used even in prestigious professional journals to
make a point or satirize not the future but the
present and the universal and ever-existing
foibles of human nature. This combination of the
present in the future gives the science fiction
joke an extraterrestrial twist. Furthermore,
familiar situations and expressions in a sci-fi
context acquire a new irony or satirical
ramifications as they mock us or our distorted
ALICE S. NAKHIMOVSKY, Colgate University, "The Black
Humor of Daniil Kharms."
"An old woman, from an excess of curiosity, fell
out of a window, smashed, and broke into pieces.
Then a different old woman stuck her head out of
the window and started looking at the broken one,
but from an excess of curiosity she also fell out
the window, smashed, and broke into pieces."
Having begun in so odd a fashion, this tiny story
will close in a few paragraphs in an even more
unsettling way. Kharms' prose miniatures are a
delicate balance of his ordinary, autobiographical
early 20th century life in Russia and the
fantasy-grotesque. I propose to show how they
work, concentrating on stylistic quirks and
HEIDI E. FALETTI, Pennsylvania State University, "The
Metaphysical Satire of Gogol's Narrative
Gogol's fantasy satire on the diabolical absurdity
of bureaucratic St. Petersburg is exemplified in
The Nose and The Overcoat. In these stories, the
inhabitants of the city become unreal by reduction
to rank, status, and accuracy. Gogol's satire
operates by use of surrealistic contrasts,
patterns of irrelevance, and non-communicative
dialogue. In The Nose, satirical fantasy focuses
on the wandering, disembodied nose of a petty
official, a sign of the confusion inherent in
bureaucracy. In The Overcoat, the demise of a meek
document copier through the loss of his luscious
new overcoat reflects the metaphysical
precariousness of his routine existence.
VIOLENCE AND THE FANTASTIC IN MOVIES
CHAIR: Phil Kuhn, University of Florida.
RICHARD E. HERSH, University of Florida, "Collage and
Creation — Necessary Violence and Thief."
Michael Mann's Thief narrates for Mann's major
character, Frank, and for Mann himself the triumph
of imagination in violent conflict with the
intellect. Initially, the movie is a collage of
epic devices and traditionally, even classically,
literary parts rationally assembled. Frank's
approach to his life — a life he attempts to
construct piece by ill-fitting piece according to a
collage he assembled and refers to — mirrors the
filmic narrative collage. Yet collage is a
mechanical, orderly compilation of sharp but still
images — nature morte; and in a necessarily
violent revolt against rational assemblage, Frank
abandons collage and embraces creative life at the
edge of experience just as Mann abandons the
traditional and literary forms for the imaginative
narrative method of moving picture.
RICHARD SUGG, Florida International University, "The
Meaning of Alex's Violent Fantasies in A Clockwork
Although the film is now ten years old, A
Clockwork Orange is still remembered and cited as
a benchmark in the history of violence in films.
Not only is there plenty of violence in the film,
but also the subject of the film is violence in
human nature; and an important subtext is the
relationship of violence to the creative energy
that begets art. At the center of all these
concerns are the fantasies of the main character,
Alex — visions of being a vampire, of exploding
atomic fireballs over cities, of whipping Christ
on the road to Calvary. To understand the meaning
of these fantasies, not just to Alex but also in
relation to the film itself, is to understand the
meaning of A Clockwork Orange.
Session XII, Saturday,
11 a.m.-12:30 p.m.
JOHN MORRESSY, reading "Welcome To WIZCON," a new
story about a Wizard's convention.
John Morressy is Writer in Residence at Franklin
Pierce College in New Hampshire. The third volume