Feminist SF Wiki - User contributions [en]

Masters of Horror (TV series)

2007-08-15T12:40:01Z

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'''Masters of Horror''' is a TV series created by Mick Garris. It first aired on Showtime in 2005.

==Production==
The series features weekly hour-long episodes, each directed by a well-known horror director. No [[women directors]] were hired during the first two seasons, and of the directors announced for the third season, none are female. Two have been Asian (Takashi Miike and Norio Tsuruta) and one African-American (Ernest Dickerson); the rest have been white.

None of the writers have been female, although two stories were based on stories by women writers:
* ''[[The Screwfly Solution (2006 film)|The Screwfly Solution]]'' was based on the story of the same title by a female writer ([[Alice Sheldon]], credited to her better-known male pseudonym, although originally published under her female pseudonym)
* "Imprint" was based on ''Bokkee Kyoutee'', a novel by [[Shimako Iwai]]

==Characterization==
The series largely tells the story from white male perspectives, although a few episodes have featured female protagonists, and a few others have not featured particular protagonists. Women are occasionally featured as villains, and frequently featured as victims — numerous stories featured intense and graphic violence against women. The premise of the series is that the directors are given free reign to do as they wish without censorship. Some use this to be blatantly political (Homecoming, Pro Life), but most merely grabbed at the opportunity to show more breasts (full frontal male nudity was prohibited) and gore (as long as it was not child-on-child violence).

Female protagonists:
* "Incident On and Off a Mountain Road" dir. by Don Coscarelli
* "Dance of the Dead" dir. by Tobe Hooper
* "Sick Girl" dir. by Lucky McKee
* "Pro-Life" dir. by John Carpenter
* "The Screwfly Solution" dir. by Joe Dante
* "Pick Me Up" dir. by Larry Cohen

Female villains or significant female characters:
* "Jenifer" dir. by Dario Argento
* "Chocolate" dir. by Mick Garris
* "Deer Woman" dir. by John Landis
* "Fair-Haired Child" dir. by William Malone
* "Imprint" dir. by Takashi Miike
* "Valerie on the Stairs" dir. by Mick Garris
* "Right to Die" dir. by Rob Schmidt
* "Dream Cruise" dir. by Norio Tsuruta

==Themes==
The episodes include representations of a variety of horror genres: slasher; supernatural horror; psychological horror; black humor; etc.

* "Homecoming" dir. by Joe Dante (political satire about Iraq war)
* "[[The Screwfly Solution (2006 film)|The Screwfly Solution]]"

==Further reading==
* [http://en.wikipedia.org/wiki/Masters_of_Horror Wikipedia entry]

[[Category:2005 publications]]
[[Category:TV series]]
[[Category:Works of horror]]

List of SF genres and sub-genres

2007-08-01T22:32:23Z

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A series of [[genre]]s & sub-genres, with sometimes conflicting definitions.

==alphabetical==
* [[alternative history]]
* [[cyberpunk]]
* [[elfpunk]]
* [[fables]]
* [[fabulation]]
* [[fabulism]]
* [[fairy tales]]
* [[fantasy]]
* [[filk]]
* [[folklore]]
* [[folk tales]]
* [[ghost stories]]
* [[gothic]]
* [[gothica]]
* [[historical fantasy]]
* [[horror]]
* [[interstitial fiction]]
* [[magical realism]]
* [[mannerpunk]]
* [[myth]]
* [[mythic art]]
* [[mythology|myths]]
* [[mythpunk]]
* [[new wave fabulism]]
* [[new weird]]
* [[parables]]
* [[planetary romance]]
* [[satire]]
* [[science fantasy]]
* [[science fiction]]
* [[science fiction romance]]
* [[scientifiction]]
* [[sciffy]]
* [[sci-fi]]
* [[SF]]
* [[SF western]]
* [[slipstream]]
* [[space opera]]
* [[speculative fiction]]
* [[speculative sensibilities]]
* [[steam punk]]
* [[steampunk]]
* [[supernatural fiction]]
* [[surrealism]]
* [[urban fantasy]]
* [[utopia|utopian fiction]] (including dystopias)
* [[weird fiction]]

==Based on setting==

===Based on earth era===
'''Historical SF'''
* [[Alternative history]] (usually imagines the world as it would have been had a major event occurred differently)
* [[Secret history]] (secret conspiracy or organization or species; supposedly normal life persists. Secret history stories pop up particularly in science fiction. They are, effectively, a subcategory of alternate history; but rather than supposing some major event went another way, they suppose a group of manipulators, hidden conspirators, minor events, unknown events, that conspired to get us here, today, to the place we are.)
* [[Alternative universe]] (very similar to earth-normal but tweaked in significant, or insignificant, ways)
* [[Time travel]]

==Based on plot==
* Mystery
* Western
* Romance

==Based on plausibility==
* Speculative fiction - what if this happens?
* Science fiction - This could theoretically happen
* Fantasy - this could not happen

==Based on technology==

==Based on a particular science/study==

==Based on sensibility / literary mode==
* Horror
* Prose
* Poetry

[[Category:Genres| ]]

Robert Chambers

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#REDIRECT [[Robert W. Chambers]]

Katharine Burdekin

2007-07-01T12:39:34Z

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==Biography==

Born Katharine Penelope Cade, July 1896, Spondon, England. Youngest of four children, including Rowena Cade (b. 1893). Married May 1915 to Beaufort Burdekin. Two daughters, born 1917 and 1920. Marriage ended by 1922. Met lifelong female companion in 1926. Died 1963.

==Names==
* Murray Constantine ([[pseudonym]])
* Kay Burdekin
* Katharine Penelope Cade (birthname)

==Bibliography==
In the 1930s alone, six published novels; seven unpublished novels (including ''The End of This Day's Business''). Burdekin wrote a total of more than 20 novels before 1956 (when she stopped writing). She also wrote plays, short stories, and poems.

* ''[[Anna Colquhoun]]'' (1922) London. Burdekin's first novel. Sequel was written but destroyed by Burdekin without being published.
* ''[[The Burning Ring]]'' (1927).
* ''[[St. John's Eve]]'' (written 1927; published 1929. Published in US as ''The Children's Country''.) Burdekin's only children's novel. A non-sexist children's novel.
* ''[[Two in a Sack]]'' (unpublished, written in mid-late 1920s, in galleys 1928).
* ''[[The Rebel Passion]]'' (1929) New York: William Morrow, 1929 (under name Kay Burdekin) Burdekin's fourth novel; her first utopian novel; she considered it her first mature work.
* ''[[The End of This Day's Business]]'' (written 1935; published 1989).
* ''[[Quiet Ways]]'' (1930) London: Thornton Butterworth. Sixth novel. anti-war, feminist.
* ''[[Proud Man]]'' (written 1933; published 1934 under pseudonym Murray Constantine) London: Boriswood, 1934; New York: The Feminist Press, 1993. Human from utopian future visits 20th century England
* ''[[No Compromise: A Political Romance]]'' (unpublished, written in mid-1930s). As Murray Constantine. Near future England; fascism on the rise; deals with communism.
* ''[[Swastika Night]]'' (1937) London: Victor Gollancz, 1937 (under pseudonym Murray Constantine) Old Westbury, NY: The Feminist Press, 1985. Published in German as Nacht der braunen Schatten An anti-Nazi dystopia.
* ''[[Children of Jacob]]'' (unpublished, written in 1938). As Murray Constantine. Attempts to explain Nazism, through looking at masculine violence from the Old Testament to the present.
* ''[[The Devil, Poor Devil]]'' as Murray Constantine.
* ''[[The Reasonable Hope]]''
* ''[[Venus in Scorpio]]'' (1940) as Murray Constantine and Margaret Goldsmith. Historical novel about Marie Antoinette; Burdekin's last published book.
* ''[[Father to the Man]]'' (unpublished; 1940s).

==References==
* Bonifas, Gilbert. ''Notes and Queries'' v. 34 No. 1 (March 1987), p. 59.
* Gorer, Geoffrey. Letter, in ''Time and Tide'', February 12, 1938, p. 204.
* [[Daphne Patai]]. "Afterword" to Burdekin's ''[[The End of This Day's Business]]'' (New York: The Feminist Press at the City University of New York, 1989), pp. 159-190.
* [[Daphne Patai]]. "Introduction" to Burdekin's ''[[Swastika Night]]'' (New York: The Feminist Press at the City University of New York, 1985).
* [[Daphne Patai]]. Foreword and Afterword to Burdekin's ''[[Proud Man]]'' (New York: The Feminist Press at the City University of New York, 1993)
* [[Daphne Patai]]. "Orwell's Despair, Burdekin's Hope: Gender and Power in Dystopia." ''Women's Studies International Forum'' v. 7, No. 2 (1984), pp. 85-95.
* Review of ''[[Swastika Night]]'' in ''Time and Tide'', June 26, 1937.

{{DEFAULTSORT:Burdekin, Katharine}}

[[Category:1896 births]]
[[category:Socialists]]
[[category:Writers]]
[[category:1963 deaths]]
{{stub}}

Remedios Varo

2007-07-01T12:38:31Z

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'''Remedios Varo''' was a [[surrealism|surrealist]] painter.

{{DEFAULTSORT:Varo, Remedios}}
[[Category:Artists]]
[[Category:1908 births]]
[[Category:1963 deaths]]
{{stub}}

List of action heroines in SF

2007-06-21T00:16:14Z

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{{EFC}}

This is a list of action heroines; female characters who play the leading or key roles in SF [[action adventure genre|action adventure stories]] — usually film, TV, games, and comics. Action heroines are distinguished from [[superheroines]]: action heroines do not necessarily have superpowers, and superheroines are not necessarily action-oriented (although more often than not they are).

* [[Wonder Woman]]
* [[Buffy Summers]] (aka "Buffy the Vampire Slayer")
* [[Ellen Ripley]] in the [[Alien series]]
* [[Sarah Connor]] in the [[Terminator series]]
* [[Elizabeth Swann]] in the [[Pirates of the Caribbean series]]
* [[Lara Croft]]
* [[Xena]] in [[Xena: Warrior Princess]]
* [[Gabrielle]] in [[Xena: Warrior Princess]]
* [[Trinity]] in the [[Matrix series]]
* [[Storm]] (Ororo Munro in [[The X-Men]]
* [[Yu Shu-lien]] in the [[Crane-Iron series]] (including the film [[Crouching Tiger, Hidden Dragon]])
* [[Jen Yu]] in "[[Crouching Tiger, Hidden Dragon]]"
* [[Emma Peel]] (in ''The Avengers")
* [[Max Guevara]] in "[[Dark Angel (TV series)|Dark Angel]]"
* [[Mace Mason]] in "[[Strange Days]]"
* [[Faith Lehane]] in "[[Buffy the Vampire Slayer]]"
* [[Kendra (slayer)|Kendra]] in "[[Buffy the Vampire Slayer]]"
* [[Jaime Sommers]] in "[[The Bionic Woman]]"
* [[Sydney Bristow]] in "[[Alias (TV series)|Alias]]"
* [[Wu Yen]] in "[[Wu Yen]]" (aka "Chung Mo Yim")
* [[Catwoman]]
* [[Elektra (Marvel)|Elektra]] - Marvel Comics' Elektra, from "[[Elektra (film)|Elektra]]" and "[[Daredevil (film)|Daredevil]]"
* [[River Tam]] in "[[Serenity (film)|Serenity]]"
* [[Zoe Alleyne]] in "[[Firefly (TV series)|Firefly]]" and "[[Serenity (film)|Serenity]]"
* [[Selene (vampire)|Selene]] in "[[Underworld (film)|Underworld]]" and "[[Underworld: Evolution]]"
* [[Violet (Ultraviolet)|Violet]] in "[[Ultraviolet (film)|Ultraviolet]]"
* [[Alice (Resident Evil)|Alice]] in the "[[Resident Evil]]" films
* [[Sara Pezzini]] in '''[[Witchblade]]'''

... many many more

==Further reading==
* [http://filmexperience.blogspot.com/2007/06/action-heroine-hq.html Action Heroine Blog-a-Thon], June 12, 2007, at "[http://filmexperience.blogspot.com/ Film Experience Blog]" ([http://filmexperience.blogspot.com/2007/04/action-hero-heroine-new-blog-thon.html announcement])
* [[List of female superheroes]]
* ''The Action Heroine's Handbook'' by Jennifer Worick and Joe Borgenicht (2003) ISBN 1931686688, ISBN 978-1931686686
* Angela Waldrop, [http://pages.emerson.edu/organizations/fas/latent_image/issues/2001-05/heroine.htm The Portrayal of the High Kicking Action Heroine: Across Space, Format, and Theories], ''Latent Image: A Student Journal of Film Criticism'' (Summer 2001)
* [[Yvonne Tasker]]. ''Spectacular Bodies: Gender, Genre, and the Action Cinema''. Routledge Press, London, NY. 1993.
* [http://www.girlswithguns.org/ GirlsWithGuns.org]

[[Category:Lists of female characters]]
[[Category:Action-adventure genre]]

Monstrous Regiment

2007-06-18T01:27:05Z

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"Monstrous Regiment" has been the title of numerous works, taken from the title of the 1558 manifesto by John Knox, "The First Blast of the Trumpet Against the Monstrous Regiment of Women".

* 1558: John Knox, "The First Blast of the Trumpet Against the Monstrous Regiment of Women"; a Protestant screed against Mary, Queen of Scots; Mary Tudor; and Mary of Guise.
* ''[[Regiment of Women (Berger novel)|Regiment of Women]]'' by [[Thomas Berger]] (1972)
* ''[[Monstrous Regiment (Pratchett novel)|Monstrous Regiment]]'' by [[Terry Pratchett]] (2003)
* ''A Monstrous Regiment of Women'' by [[Laurie R. King]] (1996; the second Mary Russell story in the Sherlock Holmes universe)
* ''Monstrous Regiment'' by [[Storm Constantine]] (1990)
* ''The Monstrous Regiment of Women: Female Rulers in Early Modern Europe'' by Sharon L. Jansen (work of history)
* "Monstrous Regiment" was a British women's theater company

{{disambig}}

The Lifted Veil (short story)

2007-06-15T16:34:32Z

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'''The Lifted Veil''' is an 1859 gothic novella by [[George Eliot]], which explores clairvoyance, fate, and other supernatural themes.

==Further reading==
* [http://www.gutenberg.org/etext/2165 Full text of "The Lifted Veil"] at Project Gutenberg, from Oxford University Press edition, 1921

[[Category:1859 publications]]
[[Category:Mid-length fiction]]
{{DEFAULTSORT:Lifted Veil, The}}

The Lifted Veil (short story)

2007-06-15T16:33:32Z

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'''The Lifted Veil''' is an 1859 gothic novella by [[George Eliot]], which explores clairvoyance, fate, and other supernatural themes.

[[Category:1859 publications]]
[[Category:Mid-length fiction]]
{{DEFAULTSORT:Lifted Veil, The}}

The Lifted Veil (short story)

2007-06-15T16:32:37Z

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'''The Lifted Veil''' is an 1859 novella by [[George Eliot]], which explores clairvoyance, fate, and other supernatural themes.

[[Category:1859 publications]]
[[Category:Mid-length fiction]]
{{DEFAULTSORT:Lifted Veil, The}}

George Eliot

2007-06-15T16:30:10Z

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'''George Eliot''' (born Mary Anne Evans) is a well-known English novelist of the Victorian era. While most of her work was non-SF, Eliot was interested in and occasionally wrote about supernatural themes, most notably in ''[[The Lifted Veil (short story)|The Lifted Veil]]'', an 1859 novella.

==Names==
* Mary Anne Evans (birthname)
* Mary Ann Evans
* George Eliot ([[pseudonym|pen name]])

{{DEFAULTSORT:Eliot, George}}

[[Category:1819 births]]
[[Category:1880 deaths]]
[[Category:Writers]]
[[Category:Women writers adopting neuter names]]
[[Category:Publishers (people)]]
[[Category:Editors]]
{{stub}}

Annoying Plot Conventions, Devices, Contrivances

2007-06-13T20:13:32Z

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Plot Devices that Make You Roll Your Eyes

* a woman character is raped or is in danger of being raped -- the eternal [[rapability]] of female characters

* a female character dies in childbirth

* "convenient" circumstances prevent a female character from going through with her decision to have an [[abortion]] (cf. Robin in ''[[V]]'', whose alien hybrid fetus's invasive vascularisation made it impossible to remove without killing her; spontaneous miscarriages and so forth) -- therefore rendering women's reproductive choices inconsequent when that oh-so-controversial subject is broached

* using female characters to voice misogynistic and/or patriarchal ideas because it would be "too obvious" to use male characters — victim-blaming, in short

* using evolutionary biology or the selfish gene theory as the primary reason a male and female character are drawn together sexually (''Darwin's Radio'' by Bear), or why a female character cannot possibly resist the man's man that will make the best sire of her children (''Lucifer's Hammer'' by Niven)

* the competent female needs rescuing by the man
* damsel in distress / perils of Pauline - women set up merely to be rescued
* [[Women in refrigerators]] (see http://violetcorona.blogspot.com/2006/10/women-in-refrigerators.html ) — female characters of whatever level of characterization depicted as more apt to be rescued, more in need of rescuing, more often in physical danger, deaths or physical assaults more horrible or graphically described

* innocent and universally loveable female characters that do not develop a sex drive or sex appeal until they turn evil (Doppleganger Willow from earlier in [[Buffy the Vampire Slayer]], Fred from [[Angel (TV series)]]) — where the sex drive is correlated with the amount of cleavage/leg shown.

* alien women of ANY species will inevitably be irresistibly attracted to the only mid-30s male on a particular starship ([[Star Trek]], I'm looking at YOU) — even if it causes an interstellar incident

** related: females of alien species always have extremely large breasts, located in the exact same location as those of human females (i.e. they look exactly like human women except for a charming set of pointy ears, forehead ridges or swirly haircut that serves only to make them more exotic to the male characters)

* a man's casual slap (or threatened slap) of a woman that is scarcely worth mentioning again in the story and apparently does not actually bother the woman; or maybe she likes it because he has now shown himself to be a real man. Seen in [[Frank Mille]]r's "[[Sin City]]" (she liked it); [[Rob Reiner]]'s "[[The Princess Bride]]" (He raises the back of his hand threateningly; she flinches. "That was a warning, Highness. The next time, my hand flies on its own, for where I come from, there are penalties when a woman lies."). This is entirely distinguishable from a man and a woman involved in a physical fight, as in [[Joss Whedon]]'s "[[Firefly]]" between Mal and Saffron, or Buffy and Spike, or any slayer and various villains. "The Slap" is often stated plainly as a representation of patriarchy, as when the woman has crossed a boundary; the man may say he doesn't like to hit women but he'll make an exception, or she's crossed a line, etc. An obvious use of gendered violence to police patriarchal rules, present in both representations of the protagonists and villains.

* The female member of the team whose skill or superpower is (by comparison) passive, defensive, weak, or <I>underutilized</I>; her real role is as [[token]] or [[love interest]] to the leading male characters

* The trade-in granddaughter or descendant: A long-lived or immortal male starts a relationship with the hot young descendant of his former lover (or occasionally his own hot young descendant)

===Contiguous lists and related rants===

* "[[The Clichés from Outer Space]]" ([[1984]]), by Joanna Russ.

* ''See also [[Clichés, Archetypes, Stereotypes of Female Characters in SF]]''
* ''See also [[Gendered plot devices]]''

[[Category:Plot]]
[[Category:Plot devices]]
[[Category:Lists]]

List of stereotypes of female characters

2007-06-13T20:09:14Z

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Common portrayals of women in SF/fantasy that rely on stereotypes of gender, ethnicity, age, sexuality.

"The ''Oxford English Dictionary (OED)'' defines 'stereotype' as a simplified conception or idea that gets invested with special meaning by a certain group of people. An archetype is slightly different: It's a model or an ideal from which duplicates are made. Think of it this way: A stereotype is a box, usually too small, that a girl gets jammed into. An archetype is a pedestal, usually too high, that she gets lifted up onto. ... Stereotype or archetype, it's rarely a girl's own choice: It's a lable someone else gives you to make you less or more than you really are."<ref>The Guerrilla Girls, ''Bitches, Bimbos and Ballbreakers'' (2003), pp. 7-8.</ref>

* woman as nurturing partner / sex object ([[Deanna Troi]] in ''[[Star Trek: The Next Generation]]''; Josella in John Wyndham's ''The Day of The Triffids'')
* woman as nurturing mother ([[Dr. Beverly Crusher]] in ''[[Star Trek: The Next Generation]]'')
* woman as encapsulating Otherness; often monstrous evil, but also sometimes just the feared or inferior Other ([[Borg Queen]] in ''[[Star Trek: The Next Generation]]''; hive-like matriarchies a la [[Frank Herbert]]'s ''[[Hellstrom's Hive]]'') <i>see also [[Matriarchal Hives]]</i>
* woman as cold, powerful, threatening, dangerous (the [[Ice Queen]] myth, [[C.S. Lewis]]' ''[[White Witch]]'')
* woman as Pandora: curious, lacking self-control, leading to trouble ([[Eve]] in [[Genesis]], [[Pandora]] in Greek [[:category:Mythology|mythology]])
* woman as victim, needing rescue (the princess St. George rescues from the dragon)
* woman as controlling bitch
* woman as sex fantasy object
* woman as sex fantasy made real - Pygmalion, My Fair Lady, and a hundred other similar adaptations
* wicked stepmother (stepmother in [[Snow White]] and [[Cinderella]])
* hapless ingenue, innocent but sexually available to the Right Man
* the [[black warrior woman stereotype]] - too powerful to touch; must be feared; may be sexually unattainable
* the [[dragon lady stereotype]] (or Asian warrior woman) - "exotic", alluring, and dangerous Asian woman with martial arts skills, undercover jobs, and frequent large dragon tattoos on their bodies: deadly but beautiful, with mad sex skills, but not attainable; may be good or evil. (Miho in "Sin City")
* the fat, mothering cook - she's never a major character but is often a foil to the young protagonists, who are wealthy, in the military, or somehow in a castle or wealthy establishment. She might load you down with food or smack your hand if you get into the lord's banquet.
* professional old maid scientist (e.g., Asimov's [[Susan Calvin]])
* spunky teenage girl ([[Podkayne]])
* the mother of the Chosen Boy ([[Jessica Atreides]] from ''[[Dune]]''; the Virgin Mary; [[Sarah Connor]] in [[The Terminator]])
* loyal female subordinate, such as a secretary (Duffy in [[Alfred Bester]]'s ''The Demolished Man''; Tildy in Pohl and Kornbluth's ''The Space Merchants''; Eunice Branca in [[Robert A. Heinlein]]'s ''[[I Will Fear No Evil]]'')
* perky secretaries that are more competent than any of the male authority figures but who are happy to remain assistants, though it's the year 2500 and in space...
* bitter and/or suffocatingly small-minded, petty wife (see most wives as portrayed by [[Philip K. Dick]])
* wise grandmother or nanny; especially in people of color, see the [[Magical Negro]] (http://www.strangehorizons.com/2004/20041025/kinga.shtml)
* the team member whose power or skill is actually fairly weak or ineffectual, or just never used to its full strength; her main purpose is as a token, or to reinforce the heterosexuality of male characters by acting as a love interest for them.

''See also [[Annoying Plot Conventions, Devices, Contrivances]]''

==References==
* ''Bitches, Bimbos and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes'' by the [[Guerrilla Girls]] (2003) ISBN 0-14-200101-5. ISBN-13 978-0-14-200101-1.

===Notes===
<references />

[[Category:Characterization]]
[[Category:Characters by gender]]
[[Category:Lists]]

Stereotypes of female characters

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#REDIRECT [[List of stereotypes of female characters]]

Main Page/sandbox

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testing captcha - laura q

testing with [http://spamalot.com/ URL]

Main Page/sandbox

2007-06-13T14:01:21Z

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testing captcha - laura q

But the Master Has a Black & Decker (WisCon 31)

2007-06-11T22:21:37Z

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[[But the Master Has a Black & Decker (WisCon 31)|213 But The Master Has A Black & Decker Cordless Drill]]

Feminism, Sex, and Gender•Senate B• Monday, 10:00-11:15 a.m.

How can we question literary standards that support the patriarchy/establishment/Man without suppressing critical judgment, and while maintaining a common critical language?

M: [[Jesse Kaysen]], [[Jennifer Dunne]], [[Micole Iris Sudberg]], [[Catherynne M. Valente]]

==Notes, comments, etc.==
* [http://brownfemipower.com/?p=1079 Audre Lorde's essay The Master's Tools Will Never Dismantle the Master's House]
* [http://yhlee.livejournal.com/818683.html?#cutid2 Yoon Ha Lee panel notes]
* [http://andweshallmarch.typepad.com/and_we_shall_march/2007/06/wiscon_bricks_i.html And We Shall March/BGF challenges cultural appropriation]
* [http://jesse-the-k.livejournal.com/2748.html Jesse the K responds to BGF]
* [http://coffeeandink.livejournal.com/708484.html Coffee and Ink] link roundup

[[Category:WisCon 31 panels]]

Micole Iris Sudberg

2007-06-03T03:37:03Z

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'''[http://yuki-onna.livejournal.com/ Micole Iris Sudberg]''' is a blogger.

{{DEFAULTSORT:Sudberg, Micole Iris}}
[[Category:Living people]]
[[Category:Year of birth missing]]
[[Category:Bloggers]]
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Micole Sudberg

2007-06-03T03:35:45Z

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#REDIRECT [[Micole Iris Sudberg]]

Catherynne M. Valente

2007-06-03T03:34:55Z

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'''Catherynne M. Valente''' (born [[1979]]) ([http://www.catherynnemvalente.com/ website], [http://yuki-onna.livejournal.com/ LJ]) is an American poet and fantasy author.

She participated in the [[WisCon 30]] panel "[[Feminist Fairy Tales (WisCon 30 Panel)|Feminist Fairy Tales]]" (among others), did a reading from her work, and presented an [http://www.catherynnemvalente.com/critical/ academic paper] there.

She was the guest of the [[Hour of the Wolf (radio show)|Hour of the Wolf]] on Saturday, [[December 9]], [[2006]].

Winner of the 2006 [[James Tiptree, Jr. Award]] for ''[[The Orphan's Tales: In the Night Garden]]'' (with [[Shelley Jackson]] for ''[[Half Life]]'').

== Bibliography ==

=== Novels ===
* The Labyrinth (2004)
* Yume No Hon: The Book of Dreams (2005)
* The Grass-Cutting Sword (2006)
* [[The Orphan's Tales: In the Night Garden]] (2006; winner, [[James Tiptree, Jr. Award]])
* The Orphan's Tales: In the Cities of Coin and Spice (forthcoming 2007)

=== Poetry ===
* Music of a Proto-Suicide (2004)
* Oracles: A Pilgrimage (2005)
* Apocrypha (2005)
* The Descent of Inanna (2007)

=== Short Fiction ===
* "Mother is a Machine" in Jabberwocky 1, edited by Sean Wallace (August 2005)
* [http://www.clarkesworldbooks.com/fiction/fict_valente_bones.html "Bones Like Black Sugar"] in Fantasy Magazine Issue #1 (2005)
* [http://www.cabinet-des-fees.com/issue1/maiden-tree.html "The Maiden-Tree"] in Cabinet des Fees Online Issue #1 (2005); reprinted in Best New Fantasy, edited by Sean Wallace (November 2006)
* "Thread: A Trpitych" in Lone Star Stories Issue #14 (April 2006)
* "A Grey and Soundless Tide" in Salon Fantastique, edited by [[Ellen Datlow]] and [[Terri Windling]] (September 2006)
* "Milk and Apples" in Electric Velocipede Issue #10 (fall 2006)
* [http://www.clarkesworld.com/magazine/valente_12_06.html/ "Urchins, While Swimming"] in Clarkesworld Magazine (December 2006)
* "Temnaya and the House of Books" in Mythic #2, edited by Mike Allen (March 2007)
* "A Dirge for Prester John" in Interfictions, edited by [[Delia Sherman]] and [[Theodora Goss]] (April 2007)
* [http://www.sensesfive.com/samples/palimpsest.php "Palimpsest"] in Paper Cities: An Anthology of Urban Fantasy, edited by [[Ekaterina Sedia]] (forthcoming November 2007)

=== Critical Work ===
* The Sacrifice of Polyxena: The Feminine Archetype in Greek and Roman Drama
* Tell Me About Your Mother: Oedipus, Female Archetypes, and Parallel Versions of ''The Phoenician Women''
* Wine, Women, and Song: Feminine Archetypes and the Destruction of the Male in ''The Bacchae'' and ''Hippolytus''
* Follow the Yellow Brick Road: Katabasis and the Female Hero in ''Alice in Wonderland'', ''The Wizard of Oz'', and ''The Nutcracker Ballet''

== External Links ==
* [http://www.catherynnemvalente.com/ Official website]

==Categories & Tags==

{{DEFAULTSORT:Valente, Catherynne M.}}

[[Category: 1979 births]]
[[Category:Living people]]
[[category:Female writers]]
[[Category:Poets]]
[[Category:Writers]]
[[Category:Tiptree Award winning authors]]
{{stub}}

WisCon 31 schedule

2007-06-03T03:33:09Z

75.69.231.7: /* Monday 5/28 */ link

WisCon 31 Program Schedule

: '''(T)''' indicates at least partial transcript available
: '''<—>''' indicates that there are links to other notes, thoughts, commentaries, photos, transcripts

==Friday May 25, 2007==
* [[The Gathering (WisCon 31 event)|The Gathering]]
* [[Staged Reading Juvenilia (WisCon 31)|16 Staged Reading Auditions]]
* [[Mod Squad (WisCon 31 panel)|17 The Mod Squad]] '''<—>'''
* [[Ergonomics for Writers (WisCon 31 panel)|18 Ergonomics for Writers]]
* [[Mid-Career Writers events (WisCon 31)|19 Mid-Career Writers Reception]]
* [[Half Lives, Orphans, and Other Tiptree Oddities|22 Half Lives, Orphans, and Other Tiptree Oddities]]
* [[WisCon 31 readings|20 Fey Faery Fiction]] '''<—>'''
* [[Poem to Song (WisCon 31 panel)|21 Poem To Song]]
* [[First WisCon Dinner (WisCon 31)|23 First WisCon Dinner]]
* [[Opening Ceremonies (WisCon 31)|24 Opening Ceremonies]] '''<—>'''
* [[Please Touch/Don't Touch (WisCon 31 panel)|25 Please Touch/Don't Touch]]
* [[Whither Hero(in)es? (WisCon 31 panel)|26 Whither Hero(in)es?]] '''<—>'''
* [[GOH Reading: Laurie Marks (WisCon 31)|27 GOH Reading: Laurie Marks]]
* [[The Feminist (and Other) Appeal of Kelly Link's Fiction (WisCon 31 panel)|28 The Feminist (and other) Appeal of Kelly Link's Fiction]]
* [[WisCon 31 parties|29 Ratbastard's Rabid Karaoke Blast]]
* [[Counting Past Two (WisCon 31 panel)|30 Counting Past Two]] '''<—>'''
* [[Evil Twin/Singing Like a Bird (WisCon 31 papers)|31 The Evil Twin Must Die: The Idea of The Collective in Science Fiction and Fantasy/ Singing Like a Bird: The Articulate Silence of Sarah Canary]]
* [[WisCon 31 readings|32 A Long-Expected Party]]
* [[Lifestyles of the Rich and Supernatural (WisCon 31 panel)|33 Lifestyles of the Rich and Supernatural]] '''<—>'''
* [[WisCon 31 parties|34 Tachyon Publications/Book Launch Party for Carol Emshwiller and Ellen Klages]]
* [[WisCon 31 parties|35 Think Galactic...Or Your World Is Lost!]]
* [[WisCon 31 parties|36 Carl Brandon Society Party]]
* [[WisCon 31 parties|37 Aqueduct Press/Payseur and Schmidt]]
* [[Silent SF Films of 2006 (WisCon 31 event)|38 Silent SF Films of 2006]] '''<—>'''
* [[Entering the Labyrinth (Wiscon 31 panel)|39 Entering the Labyrinth]] '''<—>'''
* [[Tools of Our Own (WisCon 31 panel)|40 Tools Of Our Own: Women And Hands-on Work]] '''<—>'''
* [[WisCon 31 readings|41 Voices from the West]] Readings
* [[WisCon 31 readings|42 Swords and Sabres]] Readings
* [[Ask Me Anything (WisCon 31 panel)|43 Ask Me Anything (About Publishing, That Is)]]

==Saturday programs==
* [[WisCon 31 activities|44 Farmer's Market]]
* [[How To Read Aloud (WisCon 31)|45 How To Read Aloud]] '''<—>'''
* [[Underneath It All (WisCon 31 panel)|46 Underneath It All]] '''<—>'''
* [[Revisiting the Wow (WisCon 31 panel)|47 Revisiting the Wow: Books That Changed Everything]]
* [[Pat Cadigan's Cyberpunk Realities (WisCon 31 panel)|48 Pat Cadigan's Cyberpunk Realities]]
* [[Officer Unfriendly? (WisCon 31 panel)|49 Officer Unfriendly? Problematizing Law Enforcement and the "Justice" System]]
* [[I Sense Your Pain (WisCon 31 panel)|50 I Sense Your Pain]]. '''<—>'''
* [[Genre Tokenism Today (WisCon 31 panel)|51 Genre Tokenism Today: The New Octavia]] '''(T)''' '''<—>'''
* [[Editing Anthologies (WisCon 31 panel)|52 Editing Anthologies]] '''<—>'''
* [[Boys and Gender Expectations in YA (WisCon 31 panel)|53 Boys and Gender Expectations in Contemporary YA Fantasy and Science Fiction]]
* [[Please Explain Slash To Me (WisCon 31 panel)|54 Please Explain Slash To Me]] '''<—>'''
* [[WisCon 31 readings|55 Aqueduct Press Writers]]
* [[Moving Toward Marrige/Historical Revision (WisCon 31 papers)|56 Moving Toward Marriage: The Politics of Consent in the Fiction of Ursula Le Guin/Historical Revision in Earthsea]]
* [[Women Authors You Should Read (WisCon 31 panel)|57 Women Authors You Probably Never Heard Of (But Should Read!): The Karen Axness Memorial Panel]]
* [[Modern Myth and the New Skepticism (WisCon 31 panel)|58 Modern Myth and the New Skepticism]]
* [[Implausible Teaching (WisCon 31 event)|59 Implausible Teaching]]
* [[Kids Programming (WisCon 31)|60 Set–Up and Legos]]
* [[The Double Life of Alice Sheldon (WisCon 31 panel)|61 The Double Life of Alice Sheldon]]
* [[Feminine God Imagery (WisCon 31 event)|62 Feminine God Imagery: Not Just For Pagans!]]
* [[Claiming Your Voice (WisCon 31 event)|63 Claiming Your Voice]]
* [[Short Fiction Markets (WisCon 31 panel)|64 Short Fiction Markets You Should Know]]
* [[Foremothers of Today's Feminist SF (WisCon 31 panel)|65 Foremothers of Today's Feminist SF]] '''(T)'''
* [[Why Is The Universe So Damn White? (WisCon 31 panel)|66 Why Is the Universe So Damn White?]] '''(T)''' '''<—>'''
* [[Three Comrades Go on a Quest (WisCon 31 panel)|67 Three Comrades Go On A Quest....]] '''<—>''' '''(T)'''
* [[Gendering A.I. (WisCon 31 panel)|68 Gendering A.I.]]
* [[WisCon 31 readings|69 Special Guests: Julie Phillips and Dorothy Allison (Reading)]]
* [[Sexism: A Spotter's Guide (WisCon 31 panel)|70 Sexism: A Spotter's Guide]] '''<—>'''
* [[WisCon 31 readings|71 YA Fantasy]]
* [[Hopkins & Butler papers (WisCon 31)|72 Pauline Hopkins’s Of One Blood as Speculative Fiction / The Scientific Horror of Addiction in Octavia Butler’s Fledgling]]
* [[Making Good Books (WisCon 31 panel)|73 Making Good Books]]
* [[Conversation on Feminism and Japan (WisCon 31 panel)|74 A Conversation on Feminism and Japan]] '''<—>'''
* [[Kids Programming (WisCon 31)|75 Take Things Apart!]]
* [[Tiptree Bake Sale (WisCon 31 event)|76 Tiptree Bake Sale]]
* [[SM in Feminist Science Fiction (WisCon 31 event)|77 SM in Feminist Science Fiction]]
* [[Liking Your Life (WisCon 31 panel)|78 Liking Your Life in an Unlikeable World: Personal Energy for Political Work]]
* [[Feminism and YA (WisCon 31 panel)|79 Everything I Needed to Know About Feminism I Learned From YA]] '''<—>'''
* [[WisCon 31 readings|80 Lady Poetesses From Hell]]
* [[Sensuality of Writing (WisCon 31 panel)|81 The Sensuality of Writing and Writing Sensuality]]
* [[Cultural Appropriation Revisited Part 1 (WisCon 31 panel)|82 Cultural Appropriation Revisited Part One]] '''(T)''' '''<—>'''
* [[Wicked! (WisCon 31 panel)|83 Wicked!]]
* [[Ten-Foot Shelf of Perdition (WisCon 31 panel)|84 The Ten-Foot Shelf Of Perdition: Books to Avoid]]
* [[Can Technology Be the Answer? (WisCon 31 panel)|85 Can Technology Be The Answer?]]
* [[WisCon 31 readings|86 General Reading Group]]
* [[Problem of Gender / Technoscience papers (WisCon 31)|87 Feminism and the Problem of Gender for the Source, Voice, and Identity of the Woman Who Writes/Feminist and Science Fictional Resources for the Cultural Critic of Technoscience]]
* [[Japanese Sense of Gender (WisCon 31 panel)|88 The Japanese Sense of Gender]]
* [[Outsourcing and the Auxiliary Brain (WisCon 31 panel)|89 Outsourcing and the Auxiliary Brain]] '''<—>'''
* [[Endicott Studio Living Room (WisCon 31 panel)|90 Endicott Studio Living Room]]
* [[WisCon 31 readings|91 Call and Response]] readings
* [[Around the Writer's Block (WisCon 31 panel)|92 Around the Writer’s Block]] '''<—>'''
* [[Broad Universe Reading (WisCon 31 panel)|93 Broad Universe Rapid Fire Reading]]
* [[Wiki Workshop (WisCon 31)|94 Feminist SF Wiki Workshop]]
* [[Judging the Tiptree (WisCon 31 panel)|95 Judging the Tiptree Award]]
* [[Cultural Appropriation Revisited (WisCon 31)|96 Cultural Appropriation Revisited Part Two: Facilitated Discussion]] (»)
* [[Sarcasm and Superheroics (WisCon 31 panel)|97 Sarcasm and Superheroics: Feminism in the Mainstream Comics Industry]]
* [[GOH Mutual Interview Marks & Link (WisCon 31)|98 GOH Mutual Interview: Laurie Marks Interviews Kelly Link/Kelly Link Interviews Laurie Marks]]
* [[Outreach to Non-Readers (WisCon 31 panel)|99 Outreach to Non-Readers]]
* [[WisCon 31 readings|100 Fantastical Girls in Fantastical Worlds]] readings
* [[Video Game Papers (WisCon 31)|101 Playing for Self-Esteem: How Video Games Represent Females And Affect Female Self-Esteem/Idealizing Fantasy Bodies in Video Games]] '''<—>'''
* [[Staged Reading Juvenilia (WisCon 31)|102 Staged Reading Rehearsal]]
* [[Real World Magic (WisCon 31 panel)|103 Real World Magic and Speculative Fiction]]
* [[Kids Programming (WisCon 31)|104 SF Swim]]
* [[Putting the D in InterDisciplinary (WisCon 31 panel)|105 Putting the "D" in InterDisciplinary]] '''<—>'''
* [[Rocking the Good Boat Utopia (WisCon 31 panel)|106 Rocking the Good Boat Utopia]] '''<—>'''
* [[SF&F — Revolutionary or Conservative? (WisCon 31 panel)|107 SF&F — Revolutionary or Conservative?]]
* [[Tiptree Auction (WisCon 31)|108 Tiptree Auction]] '''<—>'''
* [[Let's do the Time Warp Again (WisCon 31 panel)|109 Let's Do the Time Warp Again]]
* [[Tragedy of Change (WisCon 31 panel)|110 The Tragedy of Change]] '''<—>'''
* [[Feminism and Fantasy Art (WisCon 31 panel)|111 Feminism and Fantasy Art]]
* [[WisCon 31 readings|112 Last of the Michigan Clarionites]]
* [[Marks & Link papers (WisCon 31)|113 Bodies/Politics: Disability, Addiction, and Larger-than-life Women in Laurie Marks’s Elemental Logic/Kelly Link Is Haunting Me—Who Is Haunting Kelly Link?]]
* [[Making War on "War" (WisCon 31 panel)|114 Making War on "War"]] '''<—>'''
* [[Lightning Write (WisCon 31)|115 Lightning Write]]
* [[WisCon 31 parties|116 Tales of the Unanticipated Party]]
* [[WisCon 31 parties|117 Haiku Earring Party]]
* [[WisCon 31 parties|118 Tor party]]
* [[WisCon 31 parties|119 Scribe Agency/Farrago's Wainscot/Wheatland Press Release Party]]
* [[WisCon 31 parties|120 Water Logic Book Launch/Small Beer Press Party]]
* [[SF Films of 2006 (WisCon 31)|121 SF Films of 2006: The Year the Critters Ran Wild]]
* [[Unfair to Middle-Class White Guys (WisCon 31 panel)|122 Unfair to Middle-Class White Guys!]]
* [[WisCon 31 readings|123 Fay Goddesses and Little Deaths]]
* [[Criticism: Beyond Slamming and Mythologizing (WisCon 31 panel)|124 Criticism: Beyond Slamming And Mythologizing]] '''(T)''' '''<—>'''
* [[When Good Books Happen to Bad People (WisCon 31 panel)|125 When Good Books Happen to Bad People]] '''<—>'''
* [[Privilege of the Sword Denied (WisCon 31 panel)|126 The Privilege of the Sword, Denied: Pacification in History)]] '''(T)'''
* [[There Be Dragons! (WisCon 31 panel)|127 There Be Dragons!]]
* [[WisCon 31 readings|128 General Reading Group 2]]

==Sunday 5/27==
* [[What the Shadow Knows (WisCon 31 panel)|129 What the Shadow Knows About SF&F]] '''<—>'''
* [[The New Atheism (WisCon 31 panel)|130 The New Atheism: Hope of the Future or Throwin' Gas on the Fire?]]
* [[Doing Your Homework (WisCon 31 panel)|131 Doing Your Homework: Where Do You Find the Good Stuff On the Web?]]
* [[Transsexuality as Trope (WisCon 31 panel)|132 Transsexuality as Trope]] '''(T)''' '''<—>'''
* [[Carl Brandon Society Update (WisCon 31)|133 Carl Brandon Society Update]]
* [[Allure of the Unreconstructed Stereotype (WisCon 31 panel)|134 The Allure of the Unreconstructed Stereotype]] '''<—>'''
* [[What These People Need Is A Honky (WisCon 31 panel)|135 What These People Need Is A Honky]] '''<—>'''
* [[Can This Genre Be Saved? (WisCon 31)|136 Can This Genre Be Saved?]]
* [[Laurie Marks' Fiction (WisCon 31)|137 The Feminist (and other) Appeal of Laurie Marks' Fiction]]
* [[President Wears Prada (WisCon 31 panel)|138 The President Wears Prada; or Women: The Dark Side]]
* [[WisCon 31 readings|139 Bond, Butner, Rowe, Nakashima-Brown LLC]]
* [[Baby Yaga and Ryman's Air papers|140 Baba Yaga Abroad/A Postcolonial “Borders View” of Geoff Ryman’s Air]]
* [[WisCon 31 readings|141 Take a Ride Across Dark Energy into the Fantastic]]
* [[Object in the Story (WisCon 31 panel)|142 The Object In the Story, the Story In the Object]] '''<—>'''
* [[Let's You and Her Fight (WisCon 31 panel)|143 Let's You And Her Fight]] '''<—>'''
* [[WisCon 31 activities|144 Circulation Reboot: Basic Bellydance Moves]]
* [[Romance of the Revolution (WisCon 31 panel)|145 Romance of the Revolution]] '''(T)''' '''<—>'''
* [[Male Allies (WisCon 31 panel)|146 Male Allies]]
* [[WisCon 31 readings|147 GOH Reading: Kelly Link]]
* [[Colonialism ... In ... Space! (WisCon 31 panel)|148 Colonialism...In...Space!]] '''<—>'''
* [[Mixed-Race Characters in SF (WisCon 31 panel)|149 Mixed-Race Characters in Speculative Fiction]]
* [[X-Women (WisCon 31 panel)|150 The X-Women]]
* [[Sparkly Boys and Tough Girls (WisCon 31 panel)|151 Sparkly Boys and Tough Girls: Raising Children Outside of the Gender Binary]]
* [[Baba Yaga (WisCon 31 panel)|152 The Transformative Power of Baba Yaga and the Armless Maiden]]
* [[WisCon 31 readings|153 Supersonic Stories]]
* [[Joanna Russ papers (WisCon 31)|154 Destroying the Illusion of Traditional Gender Roles in Joanna Russ’ The Female Man / Weird Worlds, Warrior Women: The Cyberfeminists of Joanna Russ and William Gibson]]
* [[Stargate panel (WisCon 31)|155 The Role of Women and People of Color in Stargate SG-1 and Atlantis]]
* [[Adventures in Peacemaking (WisCon 31 panel)|156 Adventures in Peacemaking]] '''<—>'''
* [[Domestic Fantasy (WisCon 31 panel)|157 Domestic Fantasy]] '''<—>'''
* [[Kids Programming (WisCon 31)|158 TBA Kids Programming]]
* [[Room of Your Own (WisCon 31 panel)|159 A Room Of Your Own]]
* [[Fermi's Paradox (WisCon 31 panel)|160 The Many Answers to Fermi's Paradox]]
* [[So What Is the Plunkett? (WisCon 31 panel)|161 So What Is The Plunkett, Anyway?]]
* [[Pre-Pregnancy Program (WisCon 31 panel)|162 The Pre-Pregnancy Program]]
* [[SF&F on TV This Season (WisCon 31 panel)|163 SF&F on TV This Season]]
* [[Battlestar Galactica (WisCon 31 panel)|164 Battlestar Galactica: The Debate]] '''<—>''' '''(T)'''
* [[Writing About War (WisCon 31 panel)|165 Writing About War]]
* [[Little Girls on the Hero's Journey (WisCon 31 panel)|166 Little Girls on the Hero's Journey]]
* [[That's Not Scary Anymore (WisCon 31 panel)|167 That's Not Scary Anymore]]
* [[What Do Writers Owe Their Readers? (WisCon 31 panel)|168 What Do Writers Owe Their Readers?]]
* [[WisCon 31 readings|169 This is Not Your Mother's Childhood]]
* [[Author's Blog (WisCon 31 panels)|170 The Author's Blog: Does It Help? Does It Hurt?]]
* [[These Kids Tomorrow (WisCon 31 panels)|171 These Kids Tomorrow]]
* [[The Human Genome (WisCon 31 panel)|172 The Human Genome]]
* [[Just How Smart Are Animals (WisCon 31 panel)|173 Just How Smart Are Animals, Anyway?]] '''<—>'''
* [[Kids Programming (WisCon 31)|174 TBA Kids Programming]]
* [[WisCon 31 parties|175, 191 Strange Horizons Tea Party]]
* [[Mad Scientist Japanese Tea Party (WisCon 31)|176 Mad Scientist Japanese Tea Party Parties]] '''<—>'''
* [[Speculative Fiction Theatre (WisCon 31 panel)|177 Speculative Fiction Theatre]]
* [[Fun Home (WisCon 31 panel)|178 Fun Home]] '''<—>'''
* [[John M. Ford In Memoriam (WisCon 31 event)|179 John M. Ford: In Memoriam]] '''<—>'''
* [[Overnight Success (WisCon 31 panel)|180 "Overnight" Success and the Experienced Writer]]
* [[Feminism, Submission, Loving-Kindness (WisCon 31 panel)|181 Feminism, Submission and Loving-Kindness]] '''<—>'''
* [[Escape from the Body (WisCon 31 panel)|182 SF & The Escape From The Body]]
* [[Good Work in High Fantasy (WisCon 31 panel)|183 How To Do Good Work in High Fantasy]] '''<—>'''
* [[Love, Marriage, Feminist Pair-Bonding (WisCon 31 panel)|184 Love, Marriage, and Feminist Pair-Bonding]]
* [[WisCon 31 readings|185 Desire and Disappearances]]
* [[Inherited Traits (WisCon paper)|186 Inherited Traits: Race, Gender, and Intertextuality in Heroes]]
* [[Writing Violence (WisCon 31)|187 Writing Violence]]
* [[Third Culture Kids (WisCon 31 panel)|188 Third Culture Kids]]
* [[Welcome Back to Riverside! (WisCon 31)|189 Welcome Back to Riverside!]] '''(T)''' '''<—>'''
* [[Kids Programming (WisCon 31)|190 SF Swim]]
* [[Updates on Decluttering (WisCon 31 panel)|192 Updates on Decluttering]]
* [[WisCon 31 activities|193 Dessert Salon]]
* [[GoH Speeches and Award Ceremony (WisCon 31)|194 GoH Speeches and Awards Ceremony]]
** [[Tiptree Song 2007]] '''<—>'''
* [[WisCon 31 parties|195 Sunday Night Fancy Dress Party]]
* [[WisCon 31 parties|196 Diversicon Party]]
* [[WisCon 31 parties|197 LiveJournal Party]]
* [[WisCon 31 parties|198 The Endicott Studio for Mythic Arts]]
* [[WisCon 31 parties|199 Doctor Who & Torchwood]]
* [[WisCon 31 parties|200 Wyrdsmiths Party]] '''<—>'''
* [[Fantasy Films of 2006 (WisCon 31)|201 Fantasy Films of 2006: The Year the Critters Ran Wild]]
* [[What If You Don't Want To Have Children? (WisCon 31 panel)|202 What If You Don't Want to Have Children?]] '''<—>'''
* [[Words Like Icebergs (WisCon 31 panel)|203 Words Like Icebergs]] '''<—>'''
* [[Staged Reading Juvenilia (WisCon 31)|204 Staged Reading Performance: Juvenilia]]
* [[WisCon 31 readings|205 Sailing Strange Winds: Heave To and Prepare to be Boarded!]]
* [[Writing a Spiritual Practice (WisCon 31 panel)|206 Writing as Spiritual Practice]]
* [[WisCon 31 readings|207 Glorifying Terrorism Readings]]

==Monday 5/28==

* [[WisCon 31 activities|208 Workshop: Morning Taekwondo]]
* [[WisCon 31 readings|209 InterFictions Anthology Reading]]
* [[Future of Feminism (WisCon 31 panel)|210 The Future of Feminism]] '''<—>'''
* [[Teaching SF&F (WisCon 31 panel)|211 Teaching SF&F]]
* [[Boy Books? Girl Books? (WisCon 31 panel)|212 Boy Books? Girl Books?]]
* [[But the Master Has a Black & Decker (WisCon 31)|213 But The Master Has A Black & Decker Cordless Drill]] '''<—>'''
* [[WisCon 31 readings|214 Farthing Magazine/Nights at the Gauntlet]] Readings
* [[Starman / Woman's Superpower papers (WisCon 31)|215 “Wait and See What I Become”: Gender and Performativity in James Robinson’s Starman/The Woman's Superpower: Ghosts, Empaths, and Psychics in Contemporary American Prime-Time Television]]
* [[How Dense Can We Get? (WisCon 31 panel)|216 How Dense Can We Get? Options for Making a Better Future]]
* [[Religious Left WisCon 31 panel)|217 The Religious Left Takes to the Streets]]
* [[Kids Programming (WisCon 31)|218 Board and Card Games Kids Programming]]
* [[Crutch of Religion (WisCon 31 panel)|219 The Crutch of Religion in Moral Behavior]] '''<—>'''
* [[Charting Interstitiality (WisCon 31 program)|220 Charting Interstitiality: Choosing stories for InterFictions]]
* [[WisCon 31 activities|221 The SignOut]]
* [[Post-Mortem (WisCon 31)|222 Post–Mortem]]
* [[Mid-Career Writers events (WisCon 31)|223 Mid Career Writers Gathering]]
* [[WisCon 31 parties|224 OddCon/Dead Cow Party]]

[[Category:WisCon 31| ]]
[[Category:WisCon 31 panels| ]]
[[Category:WisCon 31 events| ]]

Colonialism ... In ... Space! (WisCon 31 panel)

2007-06-03T03:32:30Z

75.69.231.7: added

[[Colonialism ... In ... Space! (WisCon 31 panel)|148 Colonialism...In...Space!]]

Politics, Race, Class, and Religion•Senate B• Sunday, 1:00-2:15 p.m.

This topic never gets old. Let's rehash some of the first-contact scenarios in science fiction through the lens of real, historical first contact situations among world cultures. How alien is alien? How do recent examples of first-contact stories work with, reject, or subvert the same old stereotypes? Your thoughts on modern ideas of empire are also appreciated.

M: [[Victoria McManus]], [[Jane Acheson]], [[Sara Brodzinsky]], [[Naamen Gobert Tilahun]], [[James A Trimarco]]

==Reports, notes, etc.==
* [http://veejane.livejournal.com/319359.html#cutid2 Veejane]
* [http://yhlee.livejournal.com/818683.html?#cutid1 Yoon Ha Lee]

[[Category:WisCon 31 panels]]

But the Master Has a Black & Decker (WisCon 31)

2007-06-03T03:31:53Z

75.69.231.7: added links

Shifra Nerenberg

2007-06-03T02:44:03Z

75.69.231.7: cat

== '''Research''' ==

"Ecofemtopia" or "Earth's Utopia" -- a wholistic alternative to patriarchal capitalism.

It is a society based on [[ecofeminist]] principles of equality, sustainability, diversity, non-hierarchical politics, and discrimination-free economics. The original thesis examined three feminist intentional communities and three feminist utopian novels in order to establish the aforementoined principles.

In 2006, she presented this research at the National Women's Studies Association's conference in Oakland, CA.

Ecofemtopia is an on-going process, so Shifra invites collaboration to expand the research. Currently, she is looking at many authors, from the obvious [[Sheri S Tepper]] and [[Marge Piercy]] to the perhaps less obvious [[Charles de Lint]]. She welcomes any suggestions of books, authors, scientists, activists, academics, etc. to add to her ever-expanding list.

== '''Editor''' ==

In addition to her own research and writing, Shifra is a freelance editor. She specializes in science fiction and fantasy novels but also works on nonfiction, general fiction, websites, etc.

== '''Contact''' ==

Please feel free to contact Shifra Nerenberg via crondias@gmail.com for ecofemtopia-related information, or sen.editor@gmail.com for editing questions, quotes, etc.

{{DEFAULTSORT:Nerenberg, Shifra}}

[[Category:Scholars]]
[[Category:Living people]]
[[Category:Editors]]
[[Category:Year of birth missing]]

Shifra Nerenberg

2007-06-01T16:20:06Z

75.69.231.7: sort

2006 March 17

Shifra Nerenberg crondias at gmail.com

I am researching what I call "ecofemtopia" or "the earth's utopia." It is a wholistic alternative to patriarchal capitalism -- a society based on [[ecofeminist]] principles of equality, sustainability, diversity, non-hierarchical politics, and discrimination-free economics. The original paper looked at three feminist intentional communities and three feminist utopian novels in order to establish the aforementoined principles.

Now, I am looking to possibly collaborate with someone(s) to take ecofemtopia to the next level. Currently, I am looking at many authors, from the obvious [[Sheri S Tepper]] and [[Marge Piercy]] to the perhaps less obvious [[Charles de Lint]]. I welcome any suggestions of books or authors to add to my ever-expanding list.

{{DEFAULTSORT:Nirenberg, Shifra}}

[[Category:Scholars]]
[[Category:Living people]]
[[Category:Year of birth missing]]

Who Wants a Revolution? Will a Reform Do? (WisCon 30 Panels)

2007-06-01T15:25:27Z

75.69.231.7: adding

134 Who Wants a Revolution? Will a Reform Do?

Politics, Religion, and Money•Senate A• Saturday, 9:00-10:15 p.m.

At the radical caucus panel last year, we spent a great deal of time discussing the idea of radical politics and discovered that there is a wide notion of "radical." Much of the discussion hinged on differences between incremental change and radical change. To many, a world without hierarchical thinking [racism, sexism, homophobia, transphobia, etc.] is still only a dream. How do we balance the inertia of the status quo with the frustration of "if only.. . .?" How can we affect change [great or small], and what role can our interests in SFF play?

M: Laura M. Quilter, Lenny Bailes, Ian K. Hagemann, Susan Karen Kinast-Porter, Patrick Nielsen Hayden

==Panelists==

* [[Laura Quilter]] (moderator), [[Susan Karen Kinast-Porter]], [[Patrick Nielsen Hayden]], [[Lenny Bailes]], [[Ian K. Hagemann]]

==Works Cited==

* [[Kim Stanley Robinson]]'s Mars trilogy [[Red Mars]], [[Green Mars]], [[Blue Mars]]
* [[Robert A. Heinlein]]
* [[Alice A. Nunn]]'s [[Illicit Passage]]
* [[Ursula K. Le Guin]]'s "[[The Ones Who Walk Away from Omelas]]"
* Dan Froomkin's column in ''The Washington Post''
* [[Upton Sinclair]]

==Transcript Notes==

''Original transcript notes by Liz Henry - please correct or fill in or add commentary''

laura: [...]

ian: for me to be here as a black man... it's something we can't go back from. i don't think. not so easily as we seem to have gone back in feminism

joe: wto in seattle started out protesting etc thinking no big deal really but after 4 days of being gassed and clubbed my perspective changed completely. i think when revolution happens you can't predict your response to it. you get caught up in it.

ian: ... something about seattle wto etc

laura: have not learned a lot about revolutioin from sf. but maybe from Kim Stanley Robinson's mars trilogy. when they destroyed the shoot to the moon i'm curious if there is more about revolution in sf

patrick : not really very much... sf tends to... [] revolutionary in much more simple way but to expand our consciousness... what we can get to. not good at actual process. sf does not have actual procedural recommendations we'd be in a different world.

woman from audience: .... []

susan: sf is in a way our religion and keeps us from exploding. that's true for me. makiing it very very clear for me that i don't want to be in a revolution or a catastrophic scale of change.

[i think that's b/c she has something to lose]

joe: martha ward. gw bush. same char. they antagonize people from looking around,

guy wth pink hair and beard... contingent focus point, circumstance develop and things happen. revolution and sustained change. it would not do any good if a bunch of folks took out the white house and executed the ruling elite. b/c in a few weeks a new set would be ushered into place. culturally the us is not prepared, not ready, to have a society different from what it has now. if we got the revolution, it would not last.

laura: i agree but don't agree at all b/c I heard the SAME words from people about apartheid and about black people in SA not being "ready" or "capable" to run htings. and there are problems in SA but they have a very progressive constitution, etc

lenny: the underlying conditions that allowed that to take palce would not be removed. we have to remove the infection but also change the underlying conditions. we have let these people take power.

laura: question... yes, a paradigm shift but that may not work if they steal the ballots, if they maintain control in every conceivable way. i am not confident whether at this point we CAN...

lenny: getting the media to do their job

patrick : i think the media is the problem there has always been a thuggish business class the present media is morally feckless and corrupt. Decadent, meretricious, "human beings"...

[audience cheer!]

susan: well they kept saying how liberal the media was

patrick: this was a great piece of mau mauing. i popped my cork recently.. over this thing on slate... vic weissberg, editor... hilary clinton... interview of what's on her ipod. his entire article was about how her beatles and rolling stones are evidence that she is weaselly... wtf somenoe who went to college in 1972 likes the beatles and aretha franklin? big surprise!

audience: guy with grey hair and beart and glasses in front row: the problem with the media is like everyone else in this world we have ruules and conventions by which we operate. most businesses are part of a larger structure...

patrick: and how did we get to the ...

bearded guy: let me finish. the problem is... the repulicans hav learned to subvert them. i'll tell you exactly what it is . The talking point.

[jesus.. the testosterone in here...]

patrick: can I finish,

bearded due: Let me finish. [something about reporters and their talking points]. you almost have to view them like the soviets. you knew that everyone in the soviet power structure ...

other guy: the republicans haven't ... [something]

patrick: well i wan't thinking of wisconsin public television as the ...

guy: I'll tell you exactly what i think the problem is is, at one time in our country you have ... obviously partisan presses... but at some point we started getting into the idea of this one quote unquote objective voice.

laura tries to put a lid on it... guy keeps talking right over her. oh man .. i might as well be teleported into the comments thread of daily kos. hello did we forget the "feminist" as well as the "sf" partof this panel? overbearing dudes need to shut up a bit

woman in audience with feathered hat: revolution...

ian: most revolutions happen when things start getting a little bit better after a long slow downturn,. ideas... what it is they're fighting for. for example responsible nonmonogamy as a lifestyle, mostly started by sf fans. who read about it in sf. and then it moved out into the larger culture. it was something people did but not that they talked about or thought carefully about. whether they were so well written... or treated women very well... *laughter*

quilter: you are talking about heinlein?

*laughter

woman with ponytail in back: revolution in us now: gay marriage. knocking on doors... passionate about it.. in wisconisn. that's not where the real battle is. it's not the physical battle it's aesthetic.

patrick: .... people consider the dmo party... 50 state strategy. raising and spending money

another guy in audience: I'll tell you exactly what the problem is . the media keeps exacerbating divisions and turns us into mobs against each other.

[what? some other dude just said the opposite, that everyone says the same thing... and everyone agreed with that and now everyone is agreeing with this new guys]

patrick : We have to make a point of telling them what a fossilized pieces of shit they are, has a point to appeal to any last withered vestige of human decency they have.

laura: wait, wait, wait.. what is the solution? revolution? if the problem is the media, then what is the solution? what is revolution look like ? we must own the media.
so, let's have a quick round from the audience and then more panel discussion.

john, in audience: moderates vs. extremes. do we play to moderates or extremes?

pink hair guy: in many mentions of revolution there are assumptins it is violent revolution or physical overthrow. a cultural revolution that's slower than taking up arms and burning down centers of power... you can reach out to people you know, talk to them. call your coworkers on their shit. challenge people in everyday life.

[hmm sounds like 'reform' to me]

guy in back: 30 years ago we brought them down [what??] 20 years ago we said yessuh massa [wtf] and... to what happened at el mozote. as in that richard vigory article that patrick linked to... no longer come up with talking point. [...]

laura: i'd like to hear from some of the women.

guy in front: what about blogging, what do we see the media enacting? does the stuff hapening in blogging need to happen in the mainstream?

patrick: what would moving to the mainstream MEAN?

guy in front: there's a large number of people online... and the largest people are white collar workers.. how do you get blogs to everyone... blue collar workers...

laura: radio.

womn in front: pornography.

laura: radio is something people who work with their hands can listen to. media and commercialization.

woman in black velvet hat in back: maybe this is obvious but hasn't been said. The way things are not, is VIOLENT. children don't have health care... people's livelihood taken away from them... that's violence.

guy about the el mozote: But, people don't see that as violence.

me: but it is.

cynthia white: well... this is a strategizing question...

susan: how to make people see. "[[The Ones Who Walk Away From Omelas]]"

el mozote guy: can you make people see that the poor are us, rather than, they are the poor.

laura: tv showed the images about vietnam and people hurt and dying. and yet a huge amount of people voted bush after seeing abu ghraib.

susan: well,

lenny: well the problem is, I'll tell you,

laura: i want to hear susan.

susan: people don't seem to see it or know it. 14 million...

lenny: how many people in this room write letters to newspapers and tv stations. we need to let them know there's things we don't like. because they care about that.

laura: it's a little bit more efffective in my opinon than voting.

patrick. you can shame people who have been toadies a little bit. and even a little bit is a plus.

woman in pirate hat: american mindset is that your primary motive is self-interest. (is that anna from italy/london?) you need to change that so their motivation; is moral.

laura: that's so true it's shaping the vision of what's going on.

larra clark: i'm a librarian.... we see fox and cnn... letters to the editor is effective... it has a voice. but people have to engage the media in a very active way. just like with politics we need to engage in a very active way. rather than giving up and calling it crap. i don't watch tv, it's not for me and i don't care about it.

laura: creating media i totally see, but what would engaging mean?

larra: avenue and outlets for it. community radio station, look for ways to talk to other people, media as a way to talk to people. chicago, ney, la than if you're in another community we have an obligation to engage. it's a struggle. if we don't our voices will never be heard.

patrick you're exactly right and i don't want to overstate...and you've been very polite,.... and blogging is effective. political blogging makes them defensive. they read it. they pay attention to it:

michael, in front row: child death. problem isn't i see it is that people dont know... they don't care. it's what anna said about self-interest. Reagan made the poor into the enemy.

woman in middle: people at work... no sense of shame. no sense of public property. i've talked to people who didn't know that libraries belong to the public.

avedon : national health service... people here think it's bad.. but it's not... what's bad is losing your health b/c you can't afford it

laura: there's been a structured attempt to degrade the quality of public media and the spread of public information.

ian: revolutions... quote from goebbels, if you repeat a lie often enough it becomes the truth. pick a revolution. civil rights movement. mlk didn't create the bus boycott. rosa parks not an individual, community efforts... figurehead to be sacrificed in case it went badly... hundreds of hours of people volunteering... to make that bus boycott work. when i look at what made seattle effective, was new tactics. decentralization. they weren't able to stop the activists b/c there wasn't a top. it was affinity groups.

laura: that's how we took over the streets in san francisco... we had affinity groups. i had friends [post-panel accuracy check: "friends with family"] in iraq who said that they didn't think america cared but when they saw that san francisco was shut down they had some hope:

ian: quote from [[Upton Sinclair]]

lenny: take the time to call the media

arthur (bearded guy in front)

john: to bring this over to sf. who do you direct your political sf to? and what do you pick to try to change their minds. central vs. radical? we have to speak to red states in the same way that... we have to have ... i don't like the term moderate b/c your way is still there but you have to speak in a way that is understandable...

laura: susan take that.

susan: i'm a democratic organizer in addition to a doctor and sf fan. people who live there should speak to their neighbors and friends. i don't want south dakota to have banned abortion. if you don't want things to get worse... we can't have a one party system. it's important we work to get back one or two of the four institutions so there is some difference. even if you don't see the dems and repubs as very diff

lenny: how many people read atrios/ eschaton... in 10 most important congressional lists. buttons where you can donate. we have to start doing things like that.

arthur: everyone should read dan froomkins's column in the wash post. blog, nytimes, all on equal footing there. based upon the significance of it... they all get equal weight. all sorts of diff voices

cynthia white: in terms of media forums. you can put pressure on your local tv stations. if they don't show a production that's broadcast nationally... tyou can organize write-ins to tv stations. i have conflicted feelings about oprah. she's been doing stuff around poverty in the us... she focuses on individual solutions. but she does talk about health care, minimum wage... i wish she were more collective. i wish i could push her a little bit more to the left. and she goes into the red states.

woman in back: i'm frustrated b/c we keep focusing on media, government. what about the dollars. what about business. sf, and relationship btwn who we see as bad guys based on reading sf.

more...

quilter recomends good book by [[Illicit Passage]] by [[Alice Nunn]], Australian writer: turnkey girl, ... and anna... very good...

girl in white frilly outfit; civli rights movement, xtian church acted in significant way. when most of us think of xtian churches we hardly think of anything positive. hijacking of symbols. it's not a charismatic leader, it's... license plate for wildlife was eagle with flag. but now that looks like a gun-owner-rights right wing thing.

ian: left has to do a better job at dealing with strategic alliances. right wing pulled those feminist out of their fucking minds to coopt them for anti-pornography movement. that gave them power b/c they have formed an alliance.

patrick: are you suggesting that if we have an anti-iraq war demonstration, that we shut the fuck up about mumia:

ian: yes, but. BUT.

lenny: write letters to the paper.

avedon: let's not foget what republican did -- think tanks. not even think tanks they are propaganda strategy machines. throwing money at them. at building

patrick: youth thing — you can get an easy career in being a professional conservative as long as you are wiilling to spend your life spouting right wing talking points

avedon: where is the left wing equivalent

patrick there is no money in being a left wing activist/pundit... [or was that avedon?]

laura: how do we know if what we're doing is the right thning and when it's time to focus on small local elections... and...

me: how do we know when it's time for revolution?

laura: yeah how do we know when it's time for revolution?

woman in middle: people on left have missed the boat in villifying business. small business in particular. what is number one issue.

avedon: you think it's us who missed the boat, you're wrong. it's them. we've been saying it. they missed the boat. they need to help us.

patrick: small businesses... worst bunch of pampered sissies...!!! every politician pandering to them...

woman in black velvet hat: it's people getting together and acting together that will make that change. to stop that violence that's been happening. i operate by the ethic of least harm.

kathleen: i dont know where you live but where i live hundreds of thousands of people ... took to streets, left jobs and school... immigration.

allen baum: i'm not hearing the long term strategizing... the left has money.l..

laura: summary

* strategic long term thinking
* contribute to media, write, respond to things wrong right away.
* elections, where will make difference
* blogging and creating own media
* general strike
* build coalitions
* win culture wars on the moderates, not focus on the extremes and individual red state races
* universal health care, will make real difference in people's lives
* calling people on their bullshit
* convincing middle class doing to its employees what GM has done will continue happening
* celebrate success when we get it
* health care again. keeps people from taking risks. protecting themselves.
* read, stay informed, think about what you're reading so you can recognize a good colaition where you see one
* talk. get the radios back
* vote with dollars . like really.
* put your money into businesses that have political
* sense of humor rather than getting angry
* try and show and help peole to do critical thinking.
* if you have a 401 k, check and make sure you're not investing in something horrible
* support long attention spans....

laura: we have a right to health care, we do not have a right to health insurance.

[[category:WisCon 30 Panels]]

The Muse Is Never Monogamous (WisCon 30 Panel)

2007-06-01T15:24:21Z

75.69.231.7: adding desc

'''195 The Muse is Never Monogamous'''

Writing SF&F: The Business•Conference Room 5• Sunday, 1:00-2:15 p.m.

Sometimes ideas seem to be in the air, and people can gain individual but similar inspirations from disparate sources. The increasingly comprehensive reach of intellectual property laws seems troubling in the context of artistic and scentific creativity. What should the limits of copyright, trademark, and patent be?

Jeannie Bergmann, Bill Humphries, Hilary Moon Murphy, Lucy Jane Sussex

==Panelists==
* [[Bill Humphries]], [[Jeannie Bergmann]], [[Hilary Moon Murphy]], [[Lucy Jane Sussex]], [[Laura Quilter]] (last-minute addition)

==A few notes about titles & incidents mentioned on the panel.==

ip /

writer of the happy cat / ... ? before colin doyle
* sold his copyright
* handsome cat publishing company formed
* first guaranteed million seller in crime genre
* FERGUS SHIRE NEVER HAD A BOOK SO SUCCESSFUL AGAIN
* worst business decision he made in his career

j. m. barrie - peter pan
* what happened with hook

* creativity ... right to re-use works

* insulin re-peating patents with twists

* 17.5 years ago published a short story in a fantasy magazine; 8 years ago this story was paid homage to in a movie that made a lot of money. told two things: don't own the idea; hard lesson to learn. they don't own the idea either but anyone can pay homage to it.

* h. g. wells still in copyright ... continuation from The Time Machine
* manuscript assessment / did a sequel to h.g. wells. i said do you realize that you might end up having to pay money to h.g. wells estate; he phoned me up long-distance & thanked me.

* gregory maguire - wicked. did lots of checking on movie as well as book to make sure not taking too much.

* panelist poem on making light

* dr. rink superhero shrink

* lucy sussex / writing a history of crime fiction -- enabled circulation of texts
** poe w/in a couple of months of rue morgue published
** began to get picked up in france
** poe never saw any money from his

* the hitler diaries / forger who mostly forged paintings
** news of the weird
** the guy's daughter has been selling his forged paintings
** two forgers, the one was forging vermeers for the nazis
** forged old masters collectible in their own right
** fake fakes
** orson welles /

* graphic design - notion that everything is up for grabs
** susan mieselas / riot /

* poets & graphic artists - want a particular reaction

* nonfiction book on teaching genetics to non-scientists

* mad hot ballroom

* poem about death of princess diana / andrew motion
** published all over the web
** a lot of people saw it who had never seen his work before
** contributed to him becoming the british poet laureate

* star wars / crewof2.com

[[Category:WisCon 30 Panels|Muse Is Never Monogamous]]

Laura M. Quilter

2007-06-01T15:23:14Z

75.69.231.7: redirect

#REDIRECT [[Laura Quilter]]

The Librarian Hero (WisCon 30 panel)

2007-06-01T15:20:44Z

75.69.231.7: links

'''The Librarian Hero: Real and Imagined (WisCon 30 Panel)'''

151 The Librarian Hero : Real and Imagined

Politics, Religion, and Money•Senate B• Saturday, 10:30-11:45 p.m.

Protectors of free speech, free access, and information resources unite! Some librarians get to fight vampires, preside over the Jedi library, or time travel... lucky them. Those of us in the real world must fight against shrinking budgets, uncaring administrators, and an increasingly restricted society. How are librarians represented in genre? What are the issues in the library world in relation to genre (such as the graphic novel issue or classification/cataloging)? How can librarians, real and imagined, influence each other? Can SF/F help the library profession reimagine our profession and spaces to overcome the issues we face?

M: [[Heather H. Whipple]], [[Jay Lake]], [[Laura M. Quilter]], [[Georgie L. Schnobrich]], [[Deborah Stone]]

==some notes==

* quote from ''The Golden Globe'' by [[John Varley]]
Hal had a UniKnowledge module, which was the nearest thing we'd ever get to summing up all human information collected since the days of the Cro-Magnon. It held all the libraries of Old Earth. All the movies, television shows, photo files. Billions of billions of bits of data so obscure a researcher might visit some of it once in two or three hundred years, and then only long enough to find it no longer had any reasonable excuse for being. But it wasn't thrown out. Capacity was virtually infinite, so nothing was ever tossed. Who knew? In ten centuries the twenty years of telemetry from Viking I might be of use to somebody. A vanity-press book, published in 1901, all about corn silage in Minnesota, of which no hard copy existed, might be just the reading you were looking for some dark and stormy night. The UniKnowledge held thousands of books printed in Manx, a language no one had spoken in a hundred years. It held Swahili comic books teaching methods of contraception. It contained cutting-room debris saved from a million motion pictures, discarded first drafts of films never made. A copy of every phone book extant at the time we began to record data by laser, and every one printed since. Fully half of the information in the UK had never been cataloged, and much never referenced in the centuries since its inception, and most of it was likely never to be cataloged. That would be taking the pack-rat impulse too far. Librarians had other things to do, such as develop more powerful search engines to sort through the inchoate mass of data when somebody wanted to find out something truly obscure.

==Works Cited==

* The librarian in Terry Pratchett's Discworld - horace warblehatt (orangutan)
* library in Gene Wolfe's city of the new sun - library underlying time & space
* david brin's libraries in his uplift series
* use the library & then you get the bill ...
* Piers Anthony's ''Macroscope'' sort of a library
* the grand complication / kurzweil - research librarians
* Cheshire cat in thursday ... series / Jasper Fforde
* ''The Time Traveler's Wife'' by Audrey Niffenegger
* Neil Gaiman's Sandman graphic novel series / librarian of the dreamland
* ''Fingersmith'' / by Sarah Waters - (not a speculative novel) features a Victorian porn librarian
* the librarian in The Mummy
* Elizabeth Peters' jacquelyn kirby characters
* "Barbara Gordon" who was Batgirl & managed to run a public library size of NYPL straight out of library school; then when crippled is now Oracle, reference librarian to entire superhero community
* the librarian of basra / Jeannette Winterson
* "read or die" / anime - miniseries; broken into 3 parts, avail on one disk. then a series b/c that was so popular. but doesn't contain main characters.
* Rex Libris comic book series - issue #4 - "Slave Labor Graphics"
* Jedi Librarian
* Harry Potter librarian (creepy)
* Steven King / "The Library Policeman"
* Joel Rosenberg's librarians of the flame
* Gill Alderman / The Archivist
* "In the Stacks" edited by Michael Cart - short stories about librarians
* ''Magic and Madness in the Library'' ed. by Eric Graeber
* "Mainspring" / Jay Lake - librarian saving the world
* Other Jay Lake librarian characters

===where to get more===
* novelist / what do i read next - reader advisory services
* bookstore in ohio / book detective

==real librarian heroes==
* Kathy Glick-Weill / newton free library - stood off FBI for 48 hours
* Clara Breed / librarian during WW2 - when Japanese Americans were taken away to internment camps she kept in touch with her patrons
* Miss Ruth Brown - racial integration in her southern library. "Storm Center" movie; book by Louise Robins
* The 4 Connecticut librarians who resisted the PATRIOT Act subpoenas

==External Links==

* http://feministsf.org/bibs/librarians.html Librarian Bibliography from feministSF.org

[[Category:WisCon 30 Panels|Librarian Hero]]

The Muse Is Never Monogamous (WisCon 30 Panel)

2007-06-01T15:18:49Z

75.69.231.7: adding panelists

==Panelists==
* [[Bill Humphries]], [[Jeannie Bergmann]], [[Hilary Moon Murphy]], [[Lucy Jane Sussex]], [[Laura Quilter]] (last-minute addition)

==A few notes about titles & incidents mentioned on the panel.==

ip /

writer of the happy cat / ... ? before colin doyle
* sold his copyright
* handsome cat publishing company formed
* first guaranteed million seller in crime genre
* FERGUS SHIRE NEVER HAD A BOOK SO SUCCESSFUL AGAIN
* worst business decision he made in his career

j. m. barrie - peter pan
* what happened with hook

* creativity ... right to re-use works

* insulin re-peating patents with twists

* 17.5 years ago published a short story in a fantasy magazine; 8 years ago this story was paid homage to in a movie that made a lot of money. told two things: don't own the idea; hard lesson to learn. they don't own the idea either but anyone can pay homage to it.

* h. g. wells still in copyright ... continuation from The Time Machine
* manuscript assessment / did a sequel to h.g. wells. i said do you realize that you might end up having to pay money to h.g. wells estate; he phoned me up long-distance & thanked me.

* gregory maguire - wicked. did lots of checking on movie as well as book to make sure not taking too much.

* panelist poem on making light

* dr. rink superhero shrink

* lucy sussex / writing a history of crime fiction -- enabled circulation of texts
** poe w/in a couple of months of rue morgue published
** began to get picked up in france
** poe never saw any money from his

* the hitler diaries / forger who mostly forged paintings
** news of the weird
** the guy's daughter has been selling his forged paintings
** two forgers, the one was forging vermeers for the nazis
** forged old masters collectible in their own right
** fake fakes
** orson welles /

* graphic design - notion that everything is up for grabs
** susan mieselas / riot /

* poets & graphic artists - want a particular reaction

* nonfiction book on teaching genetics to non-scientists

* mad hot ballroom

* poem about death of princess diana / andrew motion
** published all over the web
** a lot of people saw it who had never seen his work before
** contributed to him becoming the british poet laureate

* star wars / crewof2.com

[[Category:WisCon 30 Panels|Muse Is Never Monogamous]]

So Fey

2007-05-31T15:58:37Z

75.69.231.7: see also

'''So Fey: Queer Faery Fiction''' is a 2007 anthology of queer faery fiction, edited by [[Steve Berman]].

==Editions==
* 2007: Haworth Press

==See also==
* [[WisCon 31 readings]] ("Fey Faery Readings"), a selection of readings from the anthology

==External links==
* http://www.steveberman.com/sofey.htm

[[Category:Forthcoming publications]]
[[Category:Anthologies]]
[[Category:2007 publications]]
[[Category:Anthology contents missing]]

WisCon 31

2007-05-31T15:52:28Z

75.69.231.7: added

'''[http://wiscon.info/ WisCon 31]''' is the 31st WisCon, taking place May, 2007. The Guests of Honor are [[Laurie J. Marks]] and [[Kelly Link]]. The [[James Tiptree, Jr. Award]] ceremony will also be held at Wiscon.

== Panel transcripts and notes ==
* For individual panels, linked from [[WisCon 31 schedule]]
* [http://www.flickr.com/groups/wiscon31/ Flickr pool for Wiscon 31]
* [http://www.technorati.com/posts/tag/wiscon technorati for wiscon]

[[category:2007 events]]
[[category:WisCon]]
[[category:WisCon 31]]

Cultural Appropriation Revisited (WisCon 31 panel)

2007-05-30T04:43:04Z

75.69.231.7: formatting

Cultural Appropriation Revisited Panel
: [[WisCon 31]]
: Saturday, May 26, 2007

Panelists:

* [[Candra K. Gill]] (substituting for [[Claire Light]])
* [[Yoon Ha Lee]]
* [[K. Tempest Bradford]]
* [[Victor J. Raymond]]
* [[M. J. Hardman]]
* [[Nnedi Okorafor-Mbachu]]

==Report/transcript==
The room is packed.

Candra: I'm subbing as moderator for [[Claire Light]], who couldn't be here, she couldn't make it because she's sick. She structured this panel to be panelist-driven. There will be 10 minutes at end for audience response. Part 2 of panel will happen after. A discussion afterwards in an entire different panel slot to hash some stuff out. Right now, the panelists will intro themselves, then a few initial questions and go from there.

MJ: linguistic anthropologist. My interest is that scientists working with other cultures and how it can be done ethically with respect for other cultures and whose agency will be involved with all this

Victor Raymond: I'm a sociologist, or will be someday. My background in this is similar to MJ's but also my ethnic heritage, a Lakota tribal member as well as European heritage. I have feet in at least 2 worlds. Cultural appropriation has personal aspect for me as well as professional in character.

Yoon Ha Lee - I grew up in U.S. and Korea. I started out writing [[Eurofantasy]] and wondered why was I doing this? Also I was on this panel last year and wrote a LJ post that ignited a very large response.

*audience laughter*

Tempest: I have an interest in this topic b/c of the Internet discussion after the panel last year. Also because when I was growing up I felt very much split between cultures. By the nature of my mom's work I spent times in the suburbs and among kids not in my ethnic background and coded as a white person and then there was abrupt shift when hanging out in city in school year. Oh you're just an oreo, etc. So sometimes I feel like I'm culturally appropriating when I write about black people. What do I know.

Nnedi Okorafor-Mbachu Got my Ph.D. recently. (cheers from audience) I am really interested in this topic as the daughter of 2 Nigerian parents born and raised in U.S. Writing in tradition of fantasy and sf but my stories take place in Nigeria. What makes one writer able to product a type of fiction that is "authentic" as opposed to someone else? I'm of Nigerian background, and i've been there — but I haven't lived there! What questions does that raise of authenticity? The issue of boundaries and categories and what makes what authentic is an (...) topic.

Candra. In the interests of having a set of how we're going to take this I'm going to ask each of the panelists to define what are you talking about on a basic level what are you talking about when you say cultural appropriation. Who wants to speak first?

*long pause*

MJ: I guess I'm at the end of the table. Well for me [[cultural appropriation]] is the misuse of cultural info for personal gain especially to detriment of people from whom the information first came. For example, patenting varieties of Peruvian potatoes such that the people who originally produced them can't legally use them. *applause* Jungle medicines are a massive issues in Peru. Issues of cultural appropriation in Peru. (...) this helps us ... No you did it wrong. Those people's voices cannot be heard. And the reification that happens with English is that the culture gets defined as being what it was when the anthropologist was there a hundred years ago. Expecting cultures to be the same as they were. Any living culture changes over time. ... the museum mentality of cultures.

Victor: Who here has seen Dances with Wolves. I can't go anywhere without having someone say, "Oh, you're – 's son". Because my parents were leaders in that community. and when that movie came out there was a theater and we brought everyone in from all sorts of different backgrounds and one of the things was there were large sections ... Lakota... talking way too fast. "oh well that's interesting did they get it right?" In some ways they did. As far as my parents were able to report. A few months later my parents were in Omaha and they saw the movie in a theater and people were laughing and joking. And in Omaha people were sitting as if they were sitting in an important event, as if it was about the Important Film of the Vanishing People of Our Land. And I thought "Oh, that was a whole different experience for them." They were treating the movie despite (knowing its source material) as if that were real. That in itself is a problem.

Nnedi: Add to the definition: it's not always a conscious effort to do something bad to a group of people. It can be unconscious. The people who made Dances with Wolves didn't want it to be treated this way.

[[Andrea Hairston]]: They fought the Lakota being in. The subtitles... the movie producers didn't want the Lakota in...

Tempest: I'm still confused about what cultural appropriation is. Mainly because it's hard to have a conversation about it. Given what happened on the internet last year. People responding instantly "well I'm not a racist". *laughter* Examples I hear, things like the whole idea of white people wearing dreads is appropriation. Then it becomes a whole other thing because people start talking about their own hair choices. So it's hard to get to the actual cultural appropriation problem, because it gets mired down.

MJ: Any time two cultures touch each other there is an effect. sometimes the (tar baby story?) early contact between spanish and indian (????) bidirectional situationally described. it's complicated.

Yoon Ha: I came into this with a neutral definition: Cultural appropriation is the use of a culture's artifacts, whether for good or for ill.

Victor: It's interesting to hear the range people come up with and the concerns. some of this had to implicitly involve issues of power and inequality and culture as commodity. what we're concerned about is dominant culture use.

MJ: something... no value. If you have written anything about a language or culture then you must immediately provide those who gave you the information a copy of the information. No excuses about how they can't read it. Give the library a copy! It was said to me, "What did you do that for? It's in English, they can't read it! Tough. Anything I do, they get a copy. And people in the (central government) had said (Hakata) is not a language, it's just a dialect. And in response they went to the library and held up a copy of my book and said "Yes it is! Here's the grammar!" and I can think of no better use for my grammar!! *applause* And here is where agency is important. (...) translating the Bible. They have a policy that they will never share linguistic science knowledge with the people whose language they are translating. When I went to Bolivia ... Institute ... I taught Bolivians the linguistics that the SIL had done. so we ended up with 25 Bolivian linguists. My knowledge has to be of value to others or what am I doing here. You need an inside and an outside view! Both! That includes me looking at and aware of my own culture. I sponsored a Hakata speaker to become a linguist. You can only see your own if you can see the other. Attitude of equality among the (Imata), human / non human is the major noun category. If you behave like an animal, that which is quintessentially human - - - language - - - is removed from you, and then no one talks to you. You get absolute courtesy and no information. Years later I found I had behaved like a human. I have read old ethnographies that say the Imata are "suspicious and taciturn". This says much more about the anthropologists than it does about the culture they were studying.

Candra: How can you shift between cultures without appropriating? Can you?

Tempest: The major point for me was that cultural appropriation was not a bad thing. When inappropriate appropriation happens it's because of a person took the frosting off the cake. They didn't do research. In our first week of [[Clarion]] we had an incident. One student wrote a story set in some sort of vague future set in China. But it was based on stereotypes. On vague knowledge from (...) We all went around, this is very good and then we came to Claire but she said "This is all very offensive to me because you're dealing with a lot of very basic stereotypes." It was a wakeup call for a lot of us because we all knew (and were operating from) the same stereotypes. All the rest of us didn't notice it. That became the problem, that we didn't notice it. It took Claire pointing it out to us. I felt particularly annoyed with myself, because I notice it as a black person for black characters all the time. You can't just put in someone taking jive and expect that's okay, or put someone in your story who is experiencing the world just as a white person but their skin is a different color.

Nnedi: Positively appropriate. Say you're writing about a different culture other than yours, the main thing to do is to shift your focal point. With your own culture, you're in the center and everything else is outside. You have to move out of your own focal point, out of your own center, and view the world from there. That's what makes it so difficult. Research comes in! If I'm writing about Nigeria. I wouldn't feel comfortable writing about it if I didn't go there at all. I can't finish this novel if I don't go there. The focal point gets shifted. You need a little culture shock. Truely step out of your comfort zone. Not just imagining or research. Step out for real. If you don't you will end up wiht stereotypes and assumptions. Guessing what someone else is like rather than truely experiencing that thing. Shift your focus.

Victor: This brings up an important point. I agree with you 110%. But people need to be aware before that where they themselves are starting from. They need to take the time to figure that out. I teach a race and ethnicity class in a public university. The state is 96% white. Most of my students do not believe they have any culture. *laughter* They do. They are so close to it and so immersed and have no comparison that they don't know what culture they do have. We have to take a moment to remind them the world mostly is from towns of under 200 people. The authors might be of different ethnic origin. It's not their (the students') fault. It is context. The blinders they have on from the time they were born. Also, for them 200,000 people is a big city. For me it's a small town.

MJ: i've thought of appropriation as a bad term. Otherwise it's borrowing. Or influence. Those are my neutral terms. And the assumption of entitlement. That the people you are talking about have an assumption of entitlement that they are entitled to use another culture. For them, white is not a race. Male is not a sex. That is the pure human . . . and "we" can take anything we see. right? That's a very cultural notion. In itself it's the recipe that leads to misappropriation of other people's culture, viewing them as stereotpyical, funny, etc.

Yoon Ha: People think only people in a dominant culture are capable of cultural appropriation. Not true. I'm Korean-American. I'm wearing a kimono, illustratively. *laugther* I don't have magical power that allows me to enter other culture *laughter*

Victor (with mock surprise): Are you not spekaing for all other korean people? *laughter*

Yoon Ha: People are more hestiant to call people of color or non-dominant culture on their appropriations. And that needs to change.

Victor: Focus on people who are writing. Contact with other cultures, is it not possible to make something that actually works? When does it happen right? How do we do that? What works? Notice i'm not defining that "thing" (the thing that works)

Nnedi: You're asking how do you properly culturally appropriate?

Victor: Otherwise we're left in an essentialist position where we can only write what we come out of.

Tempest (to Nnedi) Go ahead, becuase I don't know. *laughter*

Nnedi: Shifting your focal point. How would you write about a different culture without having this problem

Victor: How can writing be informed by this problem in a way that allows a transcendence that .... without having to only write what's supposedly yours?

Tempest: Being able to step out of your own head, just another person not like you, whether or not it's another culture... writers have to learn to do it.

Nnedi: Everything I've written so far, the main character has been black. That's just where I'm at. I'll cross that bridge when I get to it. I would have a hard time writing a white male character. It would be really difficult.

Tempest: My early stories were written with characters who were not defined racially and were therefore default white. I found that pretty easy to do. I grew up in white suburbia because of that I was told I identified with white people. I was afraid of getting it wrong myself (writing black characters). Being "in" that other culture. It takes baby steps. First of all you have to figure out how to write someone of another gender. Right now i'm writing a novel about ancient Egypt. How do I write about a place i've never been and that doesn't exist anymore! Now you're culturally appropriateing a dead culture, which, who's coming up to object about that? Supposedly dead cultures are plundered by fantasy and sf writers because there's no one to object. Unless the ghost of Aknahton is going to come and kick my ass. *laughter* For example, did they have doors? Could you slam your door if you had a hissy fit?

Nnedi: As a writer I would not "just not do it" Authenticity. What makes a person able to write about something? Let's say I wanted to write a male character. Let's say part of my studying was to hang out with MEN. *laughter* You know? For several weeks! Only men! *laughter* Would I still be able to authentically be able to create this male character? For example Wally Lamb, She's Come Undone. It had a female character who I thought was really authentic! Some people are just really good at channelling other people. (...) I consider myself Nigerian but I wasn't born and raised there so if you look with a magnifying glass it all starts to fall apart. Then things start getting a little shakey.

Candra: Can we talk about authenticity? How do people respond in this context?

Victor: Who is doing the observing? Where is the granting of authenticness coming from? People ask me what it was like growing up on a reservation? I dunno! I didn't grow up on one! I grew up in the inner city and my father was a university professor - does that make me less authentic? If so, if I don't conform to another culture's stereotype of what my culture should be like, then I must not be authentic?! People's backgrounds are more complicated than that.

Aud - You have to define yourself. You can't listen to "them".

Victor: Essentialism. Problem. It puts people who are in the wrong culture in the pedestal. Of oh, you now have the moral force to say something about this. Well, yes and no.

Aud: Can you define essentialism for those of us (...).

Victor: Authority comes from a trait that you possess not anything that you may have some other contact with.

Andrea Hairston: That there is an essential group of femaleness or Asian-ness that if you don't have those qualities, you aren't those things.

MJ: The verb "to be" reifies thing in an absolute sense. What IS an indian, what IS a woman, in an absolute sense. Quite frankly, this is all culturally determined and it's all in someone's head. My granddaughter is of Peruvian descent. Native to Peru (...) It was declared that she could not put American Indian as an identification, in the U.S., because she was not in a tribe.

Victor: The BIA, Bureau of Incompetent Americans. *laughter*

MJ: A lot of this has to do with empathy. How one can imagine the other. Knowledge of others. Agent rather than object. Nisi Shawl's very nice workshop on perceiving the other as also an agent. She did it here one year. All very complicated. But essentialism comes from the Is-ness of English. The verb "to be" is an act of violence. Back to food. Noodles and tomatoes. Italy. Tony Hillerman, mystery author. I bought his books on the Navajo reservation. He grew up with Navajo friends. Personal knowledge there. Authenticity.... Always Coming Home, Ursula Le Guin, draws upon native American cultures, in a repectful way, that does not feel negative at all.

Candra: (...) the ways people react. What Tempest said about growing up in suburbs. I also grew up in a predominanely white area and the only people who have told me I act white have been white people who mean it as a compliment.

All of audience: OoooOOOoooo.

Candra: And how that constructs things...

Victor: Candra you are absolutely right how to be more constructive. okay. *laughter* The problem here is one of, there are cultures in marginal positions and the appropriation that takes place... and that's a dynamic that changes over time. The 15th century Spanish were dominant. Later it changed to English. The problem here in terms of authenticity is so who's making the grant, who's saying that. You can be in the position since art is controversial, particularly when art is done well it is controversial, you have people who are the lord high priests of your own culture telling you that what you're doing isn't right? Then is that cultural appropriation in your own culture?

MJ: It's cultural conflict, which does exist also.

Victor: To take on the other you have to know where you're starting from. I notice in sf we talk about things that never existed.. as if we don't have to play that game.. that's missing the point entirely. Those thing we've created aren't for a galaxy far far away they're for right here and now. We have to pay attention to what culture we're in.

Tempest: Creating people who supposedly don't have a culture but in fact have that default american white culture. The Star Trek effect. There's some people of a different hue. But everybody the same culture. And a new culture, it's like some big revelation. Sisko on DS9 had a culture. And food that his father served to him and a place he came from. Who else in the Star Trek universe? Geordi didn't have a culture. Did Tuvok? On the island of black Vulcans he came from? ***laughter*** Not even attempting to have a culture. They just sort of exist.

Nnedi: Responding to people who question your authenticy. I continue to insist I am what I am. Black people calling me oreo and trying to act white. And then flip side, african-americans saying i'm not african-american enough because my ancestors came on an airplane not a slave ship. Also Nigerians tell me I'm not nigerian. I'm kicked out of every single group I could possibly be a part of. That's why I'm attracted to sf and fantasy. I have that freedom to move around and shift. You can literally shape shift into whatever you want to be. That's what attracted me to it. The freedom and acceptance of it. You don't have so much the question what race are you because you've got aliens in the mix.
The insistance on not playing the game. Be who you are. I can partially but not completely define who I am.

Yoon Ha: Going back to earlier point about blending into a monoculture. I became concerned about appropriating. A lot of sf is not culturally diverse. It's less diverse than it should or could be. People become afraid of touching the subject. This becomes a vicious cycle. I grew up reading Piers Anthony or whatever. And I had no concept you could have sf and fantasy that was not white. I write monoculture and I write european fantasy but that's all i've been exposed to but we can't allow that to continue because it's only going to perpetuate itsef.

Victor: We have monocrops and now we have monocultures. Is there a test of this, how does one avoid cultural appropriation? Authors own attitude of first, be careful. Approach with no small sense of trepidation of how am I doing this? First do no harm. But if you have the sense of "Well I'll just pattern a culture on these people! " You might very well make a mistake. That's particularly important in sf and in fantasy where we use these pattern elements of other times and cultures...

Yoon Ha - Even if you've approached with the greatest of care you can still fuck up. You can still get it wrong. You can do it next time. Part of the internet debacle is people saying well we tried so hard why won't anyone give us a gold star? There's not an algorithm where you can follow steps 1-14 and it'll come out right.

Tempest: You shouldn't be afraid to do it .... so I won't. You can't say like, "Well everyone will yell at me I'll go back in my corner." People have to listen to criticism and htink oops I made a mistake and go back and do it differently Not jumping right into "oh I'm not racist" instead think "I didn't quite get it right, I didn't consider this angle, next time I'll think of this." Be wiling to admit that and to listen.

MJ: Every one of us in this panel, we live in the borderlands. Gloria Anzaldua. La Frontera.

Victor: People in our position end up being the cultural translators, interpreters.

Aud: bridges

Victor: In many ways people have places they're on a borderland and that's where we get informative stuff.

Andrea Hairston: Authenticity is an artifact of late 19th cent commodifcation of culture and minstrel shows and authentic Asians and authentic colored people. You (think you can) can recognize them . . . I get to be everything because I am white!!!

Victor: That leads us to some classic examples of getting it wrong.
Al Jolson, Charlie Chan, Charlie Chan was never played by anyone Asian. The author locating themslves. If you are always outside looking in, rather than locating yourself within a dynamic context where you will say something and someone will respond.

Andrea Hairston: See (Sarah Jones, Bridges and Tunnels), amazing.
She writes poetry... from many points of view and she plays them all...

Aud: Anne ((__ smith)

Andrea: Yes!

Guy in back: Would it have been better if charlie chan would be played by asian person? Would it be more right?

Victor: they were treating asianness as an object.

MJ: and keeping asian actors out of jobs

Yoon Ha: But we can't act.

*audience laughter*

[[Oyceter]]: I'm oyceter and it was my blog that exploded and .... dominant culture borrowing from minority then it's approp and if it is non dominant borrowing from dominant then it's different. When you are male and white and you are writing a minority voice there is the possibility that you may not intend, but (. . .)

Tempest: I as a black woman can write about white people. No one questions it. I get to write about white people without my authenticity being questioned but white people don't say I can't write about them because I don't know anything. White people have the privilege not to know anything about it (transcriber note: about not being white; while non-white people do "have to" know about being white.)

Questions now open.

Guy in audience: I want to talk about ally activism and oppression analysis space. The best place to start if you're from a majority group is go to a workshop on racism or sexism and get some structural knowledge and some history. I hear the panels giving caution but on the other hand don't be afraid. We don't want to homogenize any more. Operating in ally space. I as a man can be an ally by confronting sexism but I can't speak with a woman's voice (Transcriber note: A lot more stuff, I spaced out a bit) I could say so much. (Transcriber note: Apparently so.) Just one more thing. If you're white. If you're being called a racist or sexist or homophobe ... Rather than saying "no I'm not..." white people translate that in their heads to, "I am evil". (Transcriber note: More that I did not transcribe.) Just listen! It's not so hard!

Ellen (aud) : The word Respect... coming from power and privilege. The difference between pos and neg is fundamental respect.

Jacie: James Bond. Brian Denehy ... Kubla Khan... historical figure... we're in 21st century and that should not even come close to happening. Look at Angry Asian man blog...

Victor: That's better than John Wayne as Kubla Khan.

Johanna: I appreciate how this panel is run. At Wiscon we're feminist aud participation etc when talking about cultural appropriation. It's all about white people jumping in, "I want my gold star I really love china I showed my respect." Poeple need to sit down if you're white and shut the fuck up and listen. I wish that would happen more. All the white people, let's not generalize, but all of them are trying to get Yoon's gold star. Let's just stop that and shut the fuck up.

Tempest: And yes I spent all my time on the blogosphere arguing with people about this and I run a blog called Angry Black woman. And I had to recently create a post on my blog of required reading. Cultural appropriation is one of the topics. People looking for same validation. Whenever someone rolls up I can say go look at this post, these 12 people already said that. When you're talking to people face to face it's easier not to get upset. In a one on one conversation. I wish on the internet people could act more like they act face to face. It would make for civil conversation. I'm glad this conversation started at WisCon and came back to WisCon.

Nabil: I want to give a tip. I ran into in a talk about loaded topics, which is the concept of a gravity well. Something dense, a gravity center nearby, somehthing we want to talk about. We want to talk about cultural appropriation; racism is a gravity well. This is useful. But not exactly on topic.

Candra: Thanks to everyone... and there is going to be a discussion in the next panel slot.

==Links to reports, notes, etc.==

[[Category:WisCon 31 panels]]

List of James Tiptree, Jr., awards ceremonies and cons

2007-05-30T01:36:03Z

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* 1991 Award given at WisCon 16 (1992)
* 1992 Award given at WisCon 17 (1993)
* 1993 Award given at ReaderCon 7, July 1994
* 1994 Award given at Potlatch 4 (1995)
* 1995 Award & Retrospective Award given at WisCon 20, May 1996
* 1996 Award given at International Conference on the Fantastic in the Arts (ICFA), Fort Lauderdale, FL, March 1997
* 1997 Award given at [http://readercon.org/previous/r10.htm Readercon 10], July 11-12, 1998
* 1998 Award given at International Conference on the Fantastic in the Arts (ICFA), Fort Lauderdale, FL, March 17-20 1999
* 1999 Award given at Diversicon 8, St. Paul, MN, July 28-30, 2000
* 2000 Award given at WisCon 25
* 2001 Award given at [http://readercon.org/previous/r14.htm ReaderCon 14], Burlington, Mass., July 12-14, 2002
* 2002 Award given at [http://www.seacon03.ukfans.com/ Seacon 2003] (The 54th UK National Easter Science Fiction Convention, 18th to 21st April 2003, The Hanover International, Hinckley, Leicestershire)
* 2003 Award given at WisCon 28, May 28-31, 2004
* 2004 Award given at [http://www.gaylaxians.org/gaylaxicon2005/ Gaylaxicon], July 1-4, 2005, Cambridge, MA
* 2005 Award given at [http://wiscon.info/w30.php WisCon 30]
* 2006 Award given at both WisCon 31 (May 27, 2007) and will be given at Nippon Worldcon, Yokohama, Japan

[[Category:Tiptree]]
[[Category:Events]]
[[Category:Awards ceremonies]]

Category:Decades

2007-05-30T00:31:10Z

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[[Category:Calendar]]

Category:1930s

2007-05-30T00:30:08Z

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[[Category:Decades]]

Category:1930s establishments

2007-05-30T00:29:18Z

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[[Category:Establishments by year|1930s]]
[[Category:1930s|Establishments]]

Inklings

2007-05-30T00:28:18Z

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The '''Inklings''' were a literary group out of Oxford University in the mid-20th century including many male fantasists, including most famously [[J.R.R. Tolkien]], [[C.S. Lewis]], and [[E.R. Eddison]]. [[Dorothy L. Sayers]], who did not attend the all-male Inklings pub meetings. was a friend and colleague of and influence on several of the Inklings.

[[Category:SF organizations]]
[[Category:1930s establishments]]

Diana Pavlac Glyer

2007-05-29T22:33:49Z

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'''Diana Pavlac Glyer''', Ph.D., is a [http://www.apu.edu/clas/english/about/faculty/dglyer/professor of English at Azusa Pacific University] in Azusa, California. Her field of interest is the creative process, particularly the way that creativity thrives within small groups and creative clusters. She has published extensively on C. S. Lewis, J. R. R. Tolkien, Joy Davidman, and the [[Inklings]].

She holds degrees in art, education, literature, and composition: a B.A. and B.S. from Bowling Green State University, Bowling Green, Ohio; an M.S. from Northern Illinois University, DeKalb, Illinois; and a Ph.D. from the University of Illinois at Chicago.

==Works==
Glyer has written the new standard work on the Inklings writing group, ''[http://upress.kent.edu/books/Glyer_D.htm The Company They Keep: C. S. Lewis and J. R. R. Tolkien as Writers in Community],'' was published by Kent State University Press in March 2007.

Her scholarly articles about C.S. Lewis, the Inklings, and associated writers include:

* "C. S. Lewis Scholarship: A Bibliographic Overview" (with David Bratman) in ''C. S. Lewis: Life, Works, Legacy'', edited by Bruce L. Edwards, Greenwood Publishing Group, 2007.
* "More Than a Bandersnatch: The Influence of the Inklings on Tolkien’s Middle-Earth in ''Tolkien Centenary Conference Proceedings, Oxford, England'', 1994. Paper.
* "Dorothy L. Sayers and C. S. Lewis: Two Approaches to Creativity and Calling" in ''SEVEN: An Anglo-American Literary Review'', 2004. Article (with Laura K. Simmons).
* "A Reader’s Guide to Books about C. S. Lewis" in ''The Pilgrim's Guide: C.S. Lewis and the Art of Witness'', ed. D. Mills, Eerdmans, 1998. Book chapter.

{{DEFAULTSORT:Glyer, Diana Pavlac}}
[[category:Scholars]]
[[Category:Living people]]
[[category:Year of birth missing]]
{{stub}}

Diana Pavlac Glyer

2007-05-29T22:33:21Z

75.69.231.7: stub

'''Diana Pavlac Glyer''', Ph.D., is a [http://www.apu.edu/clas/english/about/faculty/dglyer/professor of English at Azusa Pacific University] in Azusa, California. Her field of interest is the creative process, particularly the way that creativity thrives within small groups and creative clusters. She has published extensively on C. S. Lewis, J. R. R. Tolkien, Joy Davidman, and the [[Inklings]].

She holds degrees in art, education, literature, and composition: a B.A. and B.S. from Bowling Green State University, Bowling Green, Ohio; an M.S. from Northern Illinois University, DeKalb, Illinois; and a Ph.D. from the University of Illinois at Chicago.

Glyer has written the new standard work on the Inklings writing group, ''[http://upress.kent.edu/books/Glyer_D.htm The Company They Keep: C. S. Lewis and J. R. R. Tolkien as Writers in Community],'' was published by Kent State University Press in March 2007.

Her scholarly articles about C.S. Lewis, the Inklings, and associated writers include:

"C. S. Lewis Scholarship: A Bibliographic Overview" (with David Bratman) in ''C. S. Lewis: Life, Works, Legacy'', edited by Bruce L. Edwards, Greenwood Publishing Group, 2007.

"More Than a Bandersnatch: The Influence of the Inklings on Tolkien’s Middle-Earth in ''Tolkien Centenary Conference Proceedings, Oxford, England'', 1994. Paper.

"Dorothy L. Sayers and C. S. Lewis: Two Approaches to Creativity and Calling" in ''SEVEN: An Anglo-American Literary Review'', 2004. Article (with Laura K. Simmons).

"A Reader’s Guide to Books about C. S. Lewis" in ''The Pilgrim's Guide: C.S. Lewis and the Art of Witness'', ed. D. Mills, Eerdmans, 1998. Book chapter.

{{DEFAULTSORT:Glyer, Diana Pavlac}}
[[category:Scholars]]
[[Category:Living people]]
[[category:Year of birth missing]]
{{stub}}

Karen Joy Fowler

2007-05-21T18:35:23Z

75.69.231.7: /* Short stories */ always

'''Karen Joy Fowler''' (born [[1950]] in the United States) is the author of four novels and dozens of short stories. She won the 1999 World Fantasy Award for *''[[Black Glass]]'' and the 2003 Nebula Award for “What I Didn’t See.” Not always easily categorized, her work is subtle, highly conscious, and dryly inflected with irony. Not all readers (or critics) agree that her novel ''[[Sarah Canary]] '' is science fiction, and when Ellen Datlow published “What I Didn’t See” on scifiction.com’s website in July 2002, a controversy erupted over whether the story had genre “credentials.” (See L. Timmel Duchamp, “Something Rich and Strange: Karen Joy Fowler’s ‘What I Didn’t See’,” in Justine Larbalestier, ed., ''[[Daughters of Earth: Feminist Science Fiction in the Twentieth Century]] '' for an account of the controversy and a discussion of why the story is science fiction.)

Karen Joy Fowler is a co-founder, with Pat Murphy, of the James Tiptree, Jr. Memorial Award. She lives in Davis, California.

==Bibliography==
===Novels===
*''[[Sarah Canary]]'' ([[1991]])
*''[[The Sweetheart Season]]'' ([[1996]])
*''[[Sister Noon]]'' ([[2002]])
*''[[The Jane Austen Book Club]]'' ([[2004]])

===Short Story Collections===
*''[[Artificial Things]]'' (1985)
*''[[Peripheral Vision]]'' (1990)
*''[[Black Glass]]'' (1997)

===Anthologies===
*''[[Letters from Home]]'' (1991) with [[Pat Cadigan]] and [[Pat Murphy]]; ed. by [[Sarah Lefanu]]
*''[[MOTA 3: Courage]]'' (2003)
*''[[The James Tiptree Award Anthology 1]]'' (2005) with Pat Murphy, Debbie Notkin, and Jeffrey D. Smith
*''[[The James Tiptree Award Anthology 2]]'' (2006) with Pat Murphy, Debbie Notkin, and Jeffrey D. Smith

===Short stories===
*"The War of the Roses" ([[1985]])
*"Praxis" ([[1985]])
*"The Lake Was Full of Artificial Things" ([[1985]])
*"The Poplar Street Study" ([[1985]])
*"Recalling Cinderella" ([[1985]])
*"The Dragon’s Head" ([[1986]])
*"The Gate of Ghosts" ([[1986]])
*"Face Value" ([[1986]])
*"Contention" ([[1986]])
*"Other Planes" ([[1986]])
*"The Bog People" ([[1986]])
*"Wild Boys” Variations on a Theme" ([[1986]])
*"The View from Venus: A Case Study" ([[1986]])
*"The Faithful Companion at Forty" ([[1987]])
*"Letters from Home" ([[1987]])
*"Lily Red" ([[1988]])
*"Heartland" ([[1988]])
*"Duplicity" ([[1989]])
*"Faded Roses" ([[1989]])
*"Game Night at the Fox and Goose" ([[1989]])
*"Lieserl" ([[1990]])
*"Sarah Canary and the Mermaid" ([[1990]])
*"The Dark" ([[1991]])
*"Black Glass" ([[1991]])
*"Shimabara" ([[1995]])
*"The Brew" ([[1995]]) (in Peter Beagle's ''The Immortal Unicorn'')
*"The Marianas Islands" ([[1996]])
*"The Elizabeth Complex" ([[1996]])
*"Standing Room Only" ([[1997]])
*"The Black Fairy’s Curse" ([[1997]])
*"Go Back" ([[1998]])
*"The Travails" ([[1998]])
*"What I Didn’t See" ([[2002]])
*"King Rat" ([[2003]])
*"Private Grave 9" ([[2003]])
* "Always" ([[2007]])

==External links==
*[http://www.sfwa.org/members/fowler/kjfinfo.html] Karen Joy Fowler's web site
*[http://en.wikipedia.org/wiki/Karen_Joy_Fowler] Wikipedia entry on Karen Joy Fowler
*[http://www.scifi.com/scifiction/originals/originals_archive/fowler/] "What I Didn't See"
*[http://www.sfwa.org/members/fowler/Elizabeth.html]"The Elizabeth Complex"
*[http://www.sfwa.org/members/fowler/StandingRoom.html]"Standing Room Only"
*[http://www.sfwa.org/members/fowler/KJFbiblio.html]Annotated Bibliography
*[http://dcn.davis.ca.us/~gizmo/1998/fowler2.html]Interview with Karen Joy Fowler
*[http://ltimmel.home.mindspring.com/gamenight.html]"Playing with the Big Boys: Alternate History in Karen Joy Fowler's 'Game Night at the Fox and Goose'" by L. Timmel Duchamp
*[http://ltimmel.home.mindspring.com/eliz.html]"Karen Joy Fowler's 'Elizabeth Complex'" by L. Timmel Duchamp
*[http://www.goonan.com/sarah.html]Review of ''[[Sarah Canary]]'' by Kathleen Ann Goonan
*[http://www.sfwa.org/members/fowler/SS_Goonan.html]Review of ''[[The Sweetheart Season]]'' by Kathleen Ann Goonan

{{DEFAULTSORT:Fowler, Karen Joy}}

[[category:Nebula Award winning authors]]
[[category:Writers]]
[[Category:Year of birth missing]]
[[Category:Living people]]
[[Category:Tiptree people]]

Teresa Nielsen Hayden

2007-05-20T22:24:58Z

75.69.231.7: ML

'''Teresa Nielsen Hayden''' is an editor, blogger, and critic. She invented "disemvowelling" as a response to trollish behavior. She blogs at [http://www.nielsenhayden.com/makinglight/ Making Light].

* see also [[Patrick Nielsen Hayden]]

{{DEFAULTSORT:Nielsen Hayden, Teresa}}
[[Category:Editors]]
[[Category:Critics]]
[[Category:Bloggers]]
[[Category:Living people]]
[[Category:1956 births]]
{{stub}}

Teresa Nielsen Hayden

2007-05-20T22:23:13Z

75.69.231.7: more on TNH

'''Teresa Nielsen Hayden''' is an editor, blogger, and critic. She invented "disemvowelling" as a response to trollish behavior.

* see also [[Patrick Nielsen Hayden]]

{{DEFAULTSORT:Nielsen Hayden, Teresa}}
[[Category:Editors]]
[[Category:Critics]]
[[Category:Bloggers]]
[[Category:Living people]]
[[Category:1956 births]]
{{stub}}

Ansible (zine)

2007-05-19T20:12:56Z

75.69.231.7: stub

'''[http://news.ansible.co.uk/ Ansible]''' is a British fanzine begun in 1979 by David Langford.

[[Category:1979 publications]]
[[Category:Journals]]
[[Category:Fanzines]]

Chroniques du Pays des Mères

2007-05-19T20:11:05Z

75.69.231.7: link

'''Chroniques du Pays des Mères''' is a novel by [[Élisabeth Vonarburg]].

''In the Mother's Land'' takes place a long time after ''[[The Silent City]]'' but in the same future. [[post-holocaust|After the holocaust]], and after the time of [[patriarchy]], women came to [[matriarchy|rule]] and organize the society. They reproduce by [[artificial insemination]] from the few men still born. The female lead in this novel [[coming-of-age|comes of age]] and makes discoveries about the society's past and about herself. This novel spends a lot of time exploring the society and the ramifications and little details of living in such a society. It is a very satisfying and fully realized woman-run society.

==Editions==
* 1992: Bantam, translated into English by [[Jane Brierley]] as ''In the Mothers' Land''

==Awards==
* Shortlisted for the 1992 [[James Tiptree, Jr. Award]]

[[Category:1992 publications]]
[[Category:Novels]]

Chroniques du Pays des Mères

2007-05-19T19:48:43Z

75.69.231.7: links

'''Chroniques du Pays des Mères''' is a novel by [[Élisabeth Vonarburg]].

''In the Mother's Land'' takes place a long time after ''[[The Silent City]]'' but in the same future. [[post-holocaust|After the holocaust]], and after the time of [[patriarchy]], women came to [[matriarchy|rule]] and organize the society. They reproduce by [[artificial insemination]] from the few men still born. The female lead in this novel comes of age and makes discoveries about the society's past and about herself. This novel spends a lot of time exploring the society and the ramifications and little details of living in such a society. It is a very satisfying and fully realized woman-run society.

==Editions==
* 1992: Bantam, translated into English by [[Jane Brierley]] as ''In the Mothers' Land''

==Awards==
* Shortlisted for the 1992 [[James Tiptree, Jr. Award]]

[[Category:1992 publications]]
[[Category:Novels]]

Laeta Kalogridis

2007-05-19T16:05:07Z

75.69.231.7: cat

'''Laeta Elizabeth Kalogridis''' is a screenwriter and producer.

She has worked on ''[[Birds of Prey (TV series)|Birds of Prey]]'', and is attached to the 2007 remake of ''[[The Bionic Woman (2007 series)|Bionic Woman]]''.

Co-wrote the screenplay for the movie [[Nochnoy Dozor]].

== External Links ==
* [http://www.imdb.com/name/nm0436164/ IMDb listing]

{{DEFAULTSORT:Kalogridis, Laeta}}
[[Category:1965 births]]
[[Category:Living people]]
[[Category:Producers]]
[[Category:Screenwriters]]
{{stub}}

Feminism

2007-05-19T15:28:23Z

75.69.231.7: sp

Feminism is a big tent, but most (maybe all?) feminists would agree that, at least, feminism "it is the radical notion that women are people".

For this site, let's start with anything relating to
* gender relations
* [[sex roles]]
* sexual & reproductive biology
* women's history
* feminist perspectives & analyses

'''Feminism''' is an attitude; a belief; a process.

"Feminism" might better be described as "[[feminisms]]", and it would include a number of different trends, identities, politics, and historical tendencies:
* [[Difference feminism]] (aka Different Voice Feminism, Relational Feminism, Cultural Feminism)
* [[Radical feminism]]
* [[Dominance feminism]]
* [[Power feminism]]
* [[Materialist feminism]]
* [[Separatist feminism]]
* [[Cyborg feminism]]
* [[Sex-positive feminism]]

Relatedly, "hyphenated" feminism (an FSFwiki neologism, derived from "anarchism without hyphenation") combines feminist analysis with another political analysis.
* [[Anarcha-feminism]]
* [[Ecofeminism]]
* [[Marxist feminism]]
* [[Socialist feminism]]
* [[Womanism]]
* [[Lesbian feminism]]

The "wave" model of feminism refers to a certain view of feminism, which divides the movement into "peak" periods of activity, generally beginning in the late 19th Century:
* [[First-wave feminism]]
* [[Second-wave feminism]]
* [[Third-wave feminism]]
This model is questionable for several reasons, notably its strong anglocentric, western perspective and bias, its reductive (a)historicism, its tendencious discontinuity, and its extremely loose definition, insofar as the choice of years or events bounding each wave fluctuates wildly and arbitrarily, as do the characteristics ascribed to them. There is a good deal of chronological snobbery at work in this model, and its overall simplicity contributes to a vast and popular mystification of the progress achieved in and the processes of women's liberation.

The [[WisCon]] version (at http://www.wiscon.info/faq.php) is also applicable:

::We define "feminist" broadly to include race and class issues, gay/bisexual/lesbian/transgender issues, and anything else that touches on strong women (authors, artists, readers, characters) in science fiction, fantasy, and horror.

At the FSFwiki, we are also concerned with the ways in which gender operates with or in relation to other establishments of hierarchy and privilege/oppression based on, for instance, race & ethnicity, nationality, wealth & class, language, education, marital status, sexual preference/orientation/behavior, age, and other physical attributes such as dis/ability, size, "beauty", etc.

Some hyphenated-feminisms are defined in order to differentiate adherents from other categories of feminist. For instance, "difference feminism" and "equality feminism". Some times, these categories of feminism may not be self-identified, but may in fact by labels assigned by detractors or critics. For instance, so-called "victim feminism", which allegedly focuses too much or solely on the ways in which women are victimized by men or sexism. Such labels can potentially be helpful in identifying threads or strains within some feminist analysis, including over-simplifications within analysis. However, such labels can sometimes be simply harmful, a way of setting up a "straw-feminist" to argue with. One potentially constructive approach is to take a label which has been created (as "victim feminism" was created by anti-feminists) and set up an alternative (such as "power feminism"). The caution would be to not allow anti-feminists to delegitimize entire analyses simply by creating a negative-sounding label; however, to the extent that there is useful analylsis in the label (even if intended to delegitimize feminist analysis), reconfiguring the language with a useful new label may be a way to recapture and frame the debate.

==Bibliography==

===Foundational Works of Feminist Theory===
* "A Vindication of the Rights of Woman" by [[Mary Wollstonecraft]] (1792)
* Seneca Falls Declaration (1848)
* "A Room of One's Own" by [[Virginia Woolf]] (1929)
* ''The Feminine Mystique'' by Betty Friedan (1963)
* "The Treasure of the City of Ladies" by Christine de Pizan (1405)
* See [[List of feminist theorists]]

===Introductions & Overviews & Feminism 101 Collections===
* ''Feminisms'', ed. Warhol & Price Herndel

* [http://blog.shrub.com/archives/tekanji/2006-03-08_146 How to be a Real Nice Guy] by Andrea Rubenstein
* [http://colours.mahost.org/org/maleprivilege.html The Male Privilege Checklist] by B. Deutsch
* [http://seamonkey.ed.asu.edu/~mcisaac/emc598ge/Unpacking.html White Privilege: Unpacking the Invisible Knapsack] by Peggy McIntosh

[[category:About]]
[[category:Feminism| ]]

Feminism

2007-05-19T15:26:36Z

75.69.231.7: notes

Feminism is a big tent, but most (maybe all?) feminists would agree that, at least, feminism "it is the radical notion that women are people".

For this site, let's start with anything relating to
* gender relations
* [[sex roles]]
* sexual & reproductive biology
* women's history
* feminist perspectives & analyses

'''Feminism''' is an attitude; a belief; a process.

"Feminism" might better be described as "[[feminisms]]", and it would include a number of different trends, identities, politics, and historical tendencies:
* [[Difference feminism]] (aka Different Voice Feminism, Relational Feminism, Cultural Feminism)
* [[Radical feminism]]
* [[Dominance feminism]]
* [[Power feminism]]
* [[Materialist feminism]]
* [[Separatist feminism]]
* [[Cyborg feminism]]

Relatedly, "hyphenated" feminism (an FSFwiki neologism, derived from "anarchism without hyphenation") combines feminist analysis with another political analysis.
* [[Anarcha-feminism]]
* [[Ecofeminism]]
* [[Marxist feminism]]
* [[Socialist feminism]]
* [[Womanism]]
* [[Lesbian feminism]]

The "wave" model of feminism refers to a certain view of feminism, which divides the movement into "peak" periods of activity, generally beginning in the late 19th Century:
* [[First-wave feminism]]
* [[Second-wave feminism]]
* [[Third-wave feminism]]
This model is questionable for several reasons, notably its strong anglocentric, western perspective and bias, its reductive (a)historicism, its tendencious discontinuity, and its extremely loose definition, insofar as the choice of years or events bounding each wave fluctuates wildly and arbitrarily, as do the characteristics ascribed to them. There is a good deal of chronological snobbery at work in this model, and its overall simplicity contributes to a vast and popular mystification of the progress achieved in and the processes of women's liberation.

The [[WisCon]] version (at http://www.wiscon.info/faq.php) is also applicable:

::We define "feminist" broadly to include race and class issues, gay/bisexual/lesbian/transgender issues, and anything else that touches on strong women (authors, artists, readers, characters) in science fiction, fantasy, and horror.

At the FSFwiki, we are also concerned with the ways in which gender operates with or in relation to other establishments of hierarchy and privilege/oppression based on, for instance, race & ethnicity, nationality, wealth & class, language, education, marital status, sexual preference/orientation/behavior, age, and other physical attributes such as dis/ability, size, "beauty", etc.

Some hyphenated-feminisms are defined in order to differentiate adherents from other categories of feminist. For instance, "difference feminism" and "equality feminism". Some times, these categories of feminism may not be self-identified, but may in fact by labels assigned by detractors or critics. For instance, so-called "victim feminism", which allegedly focuses too much or solely on the ways in which women are victimized by men or sexism. Such labels can potentially be helpful in identifying threads or strains within some feminist analysis, including over-simplifications within analysis. However, such labels can sometimes be simply harmful, a way of setting up a "straw-feminist" to argue with. One potentially constructive approach is to take a label which has been created (as "victim feminism" was created by anti-feminists) and set up an alternative (such as "power feminism"). The caution would be to not allow anti-feminists to delegitimize entire analyses simply by creating a negative-sounding label; however, to the extent that there is useful analylsis in the label (even if intended to delegitimize feminist analysis), reconfiguring the language with a useful new label may be a way to recapture and frame the debate.

==Bibliography==

===Foundational Works of Feminist Theory===
* "A Vindication of the Rights of Woman" by [[Mary Wollstonecraft]] (1792)
* Seneca Falls Declaration (1848)
* "A Room of One's Own" by [[Virginia Woolf]] (1929)
* ''The Feminine Mystique'' by Betty Friedan (1963)
* "The Treasure of the City of Ladies" by Christine de Pizan (1405)
* See [[List of feminist theorists]]

===Introductions & Overviews & Feminism 101 Collections===
* ''Feminisms'', ed. Warhol & Price Herndel

* [http://blog.shrub.com/archives/tekanji/2006-03-08_146 How to be a Real Nice Guy] by Andrea Rubenstein
* [http://colours.mahost.org/org/maleprivilege.html The Male Privilege Checklist] by B. Deutsch
* [http://seamonkey.ed.asu.edu/~mcisaac/emc598ge/Unpacking.html White Privilege: Unpacking the Invisible Knapsack] by Peggy McIntosh

[[category:About]]
[[category:Feminism| ]]

List of works of feminist theory

2007-05-19T15:24:52Z

75.69.231.7: cat

This is a necessarily incomplete list of significant works of feminist theory and philosophy. Here, feminism includes the various historical and cultural strands of feminism and its related studies; see [[feminism]], [[feminisms]], [[queer theory]], and [[gender studies]].

==pre-19th century==
* ''The Book of the City of Ladies'' (year), [[Christine de Pizan]], 1365-1430 (an argument that women had reason and virtue)
* ''Declaration of the Rights of Woman and the Female Citizen'' (1791), [[Olympe de Gouges]], 1748-1793 (political rights)
* ''Vindication of the Rights of Woman'' (year), [[Mary Wollstonecraft]], 1759-1797 (an argument for spiritual equality and equal access to education)

==19th century==
* ''The Subjection of Women'' (year), John Stuart Mill, 1806-1873
* "Letters on the Equality of the Sexes and the Condition of Women" (1837), Sarah Moore Grimké, 1792-1873
* ''Woman in the Nineteenth Century'', 1845, Margaret Fuller
* Seneca Falls Declaration of Sentiments (1848)
* "Ain't I a Woman?" (1851 speech), [[Sojourner Truth]], 1797-1883 (speech at 1851 Ohio Women's Rights Convention)
* "The Origin of the Female, Private Property, and the State" (1884), Friedrich Engels, 1820-1895 (early assessment of political economy of monogamy)
* "Enfranchisement of Women" (year), Harriet Taylor Mill, 1807-1858
* ''The Woman's Bible'' (year), Elizabeth Cady Stanton (with [[Matilda Joslyn Gage]])
* ''History of Woman Suffrage'' (six volumes, from 1887 to 1922), Matilda Joslyn Gage & Elizabeth Cady Stanton

==early-mid 20th century==
* ''History of Woman Suffrage'' (continued)
* ''[[Woman and Labour]]'', 1911, [[Olive Schreiner]]
* ''Women's Suffrage : a Short History of a Great Movement'', 1912, [[Millicent Garrett Fawcett]]
* ''The Cause: A Short History of the Women's Movement in Great Britain'' (1928), by [[Ray Strachey]]
* ''[[Le Deuxième Sexe]]'' (1949), Simone de Beauvoir, 1908-1986
* ''[[The Feminine Mystique]]'' (1963), Betty Friedan, 1921-2006
* "[[A Room of One's Own]]" (1929), [[Virginia Woolf]], 1882-1941

==1960s-70s==
* ''[[Sisterhood Is Powerful]]'' (1970) [[Robin Morgan]], editor
* ''[[The Dialectic of Sex]]'' (1970), Shulamith Firestone
* ''[[The Female Eunuch]]'' (1970), [[Germaine Greer]]
* "Goodbye To All That" (1970) [[Robin Morgan]] (essay critiquing sexism of 1960s/70s American Left movement)
* "[[The Tyranny of Structurelessness]]" by [[Jo Freeman]]
* ''[[Sexual Politics]]'' (1970) [[Kate Millett]] (significant text in feminist literary criticism)
* ''Woman, Resistance and Revolution'' (1973) Sheila Rowbotham
* ''Hidden from History: 300 Years of Women's Oppression and the Fight Against It'' (1973) [[Sheila Rowbotham]]
* ''[[Corps lesbien]]'' (The lesbian body) (1973), [[Monique Wittig]], 1935-2003
* ''Woman Hating'' (1974), Andrea Dworkin
* ''Speculum of the Other Woman'' (1974) [[Luce Irigaray]]
* "Against Our Will: Men, Women, and Rape" (1975), Susan Brownmiller
* "Le Rire de la Medusa" (1975), Hélène Cixous
* "The Traffic in Women: Notes on the 'Political Economy' of Sex" (1975) Gayle Rubin
* ''The Hite Report on Female Sexuality'', 1976, [[Shere Hite]]
* ''Of Woman Born: Motherhood as Experience and Institution'' (1976) [[Adrienne Rich]]
* ''This Sex Which Is Not One'' (1977) [[Luce Irigaray]]
* ''Pornography: Men Possessing Women'' (1979), Andrea Dworkin
* ''[[SCUM Manifesto]]'' (year), [[Valerie Solanas]]
* ''[[Women of Ideas and What Men Have Done to Them]]'' (year), [[Dale Spender]]
* ''[[Black Macho and the Myth of the Superwoman]]'' (1979), [[Michele Wallace]]

* ''Ain't I a Woman?: Black Women and Feminism'' (1981), [[bell hooks]]
* ''This Bridge Called My Back'' (1981), Gloria Evangelina Anzaldúa, 1942-2004, and Cherríe Moraga)
* ''Women, Race and Class'' (1981), [[Angela Davis]]
* ''[[Surpassing the Love of Men]]'' (1981), [[Lillian Faderman]]
* ''[[But Some of Us Are Brave|All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave: Black Women's Studies]]'' (1982), edited by [[Barbara Smith]], Gloria T. Hull & Patricia Bell Scott.
* "Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality" (1982) Gayle Rubin
* ''In a Different Voice: Psychological Theory and Women's Development'' (1982) Carol Gilligan (critique of models of ethics and sociology based on studies of boys and men)
* ''Home Girls: A Black Feminist Anthology'' (1983) edited by [[Barbara Smith]]
* ''Right-Wing Women'' (1983), Andrea Dworkin
* ''Zami: A New Spelling of My Name'' (1983) [[Audre Lorde]], 1934-1992 (a "[[biomythography]])
* ''Sister Outsider: Essays and Speeches'' (1984) [[Audre Lorde]], 1934-1992
* ''The Spinster and Her Enemies'' (1985), [[Sheila Jeffreys]]
* ''Between Men: English Literature and Male Homosocial Desire'' (1985) Eve Kosofsky Sedgwick
* ''Intercourse'' (1987), Andrea Dworkin (the source for people who like to claim that Dworkin said all heterosexual sex is rape))
* ''Feminism Unmodified'' (1987) [[Catherine MacKinnon]]
* ''In Search of Our Mothers' Gardens: Womanist Prose'' (1987?) [[Alice Walker]]
* ''[[How To Suppress Women's Writing]]'' (year) [[Joanna Russ]]
* ''[[A Cyborg Manifesto]]'' [[Donna Haraway]]

* ''Black Feminist Thought'' (1990), Patricia Hill Collins
* ''Gyn/Ecology'' (1990), [[Mary Daly]]
* "You Just Don't Understand" (1990) [[Deborah Tannen]] ([[difference feminism]]; an argument that inherent gender distinctions in communication patterns exist)
* ''[[Gender Trouble]]'' (1990), [[Judith Butler]]
* ''Epistemology of the Closet'' (1990) Eve Kosofsky Sedgwick
* ''Mismeasure of Woman: Why Women Are Not the Better Sex, the Inferior Sex, or the Opposite Sex'' (1992), Carol Tavris
* ''The War Against Women'' (1992), Marilyn French
* "Women's Time" in ''New Maladies of the Soul'' (1993) [[Julia Kristeva]]
* "[[The Five Sexes]]" (1993), [[Anne Fausto-Sterling]] (a tongue-in-cheek exposition of serious distinction between gender and sex)
* ''[[My Gender Workbook]]'' (1994), [[Kate Bornstein]]
* ''[[Chloe Plus Olivia|Chloe Plus Olivia: An Anthology of Lesbian Literature from the 17th Century to the Present]]'' (1994), [[Lillian Faderman]]
* ''[[Gender Outlaw]]'' (1997), [[Kate Bornstein]]
* "[[Can the Subaltern Speak?]]" (1997?) [[Gayatri Chakravorty Spivak]], 1942 (founding text of [[postcolonialism]])
* ''Myths of Gender'' (year), [[Anne Fausto-Sterling]]
* ''Fighting Words'' (1998), Patricia Hill Collins
* ''Female Masculinity'' (1998) [[Judith Halberstam]]

* ''Sexing the Body: Gender Politics and the Construction of Sexuality'' (2000), [[Anne Fausto-Sterling]]

==unsorted==
* ''Home Girls: A Black Feminist Anthology'' ed. by [[Barbara Smith]]
* ''Sisterhood Is Global: The International Women's Movement Anthology'' ed. by [[Robin Morgan]]
* ''Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype'' by [[Clarissa Pinkola Estés]] (bestseller)
* ''Backlash: The Undeclared War Against American Women]]'' by Susan Faludi (bestseller)
* ''[[The Beauty Myth]]'' by [[Naomi Wolf]] (bestseller)
* ''[[Woman: An Intimate Geography]]'' by [[Natalie Angier]]
* ''Sister Outsider: Essays and Speeches'' by [[Audre Lorde]]
* ''Our Bodies Ourselves'' by the Boston Women's Heatlh Collective
* ''The History of Sexuality'' [[Michel Foucault]]
* "The Myth of the Vaginal Orgasm" [[Anne Koedt]]
* Cherríe Moraga, 1952- (''This Bridge Called My Back'' with Gloria Anzaldúa)
* "Compulsory Heterosexuality and Lesbian Existence" [[Adrienne Rich]]

[[Category:Works of feminist theory| ]]
[[Category:Feminism]]