Readercon is in a very few days and I’m very much looking forward to it. Folks who may want to say hi will be able to find me either lurking in the halls, making notes in the audience, or part of the following panels/readings:
Thursday July 09
Friday July 10
1:00 PM ENL The Works of Joanna Russ. Gwynne Garfinkle, David G. Hartwell, Barbara Krasnoff (moderator), Scott Lynch. Joanna Russ (1937–2011) was, arguably, the most influential writer of feminist science fiction the field has ever seen. In addition to her classic The Female Man (1975), her novels include Picnic on Paradise (1968), We Who are About to… (1977), and The Two Of Them (1978). Her short fiction is collected in The Adventures of Alyx(1976), The Zanzibar Cat (1983), (Extra)Ordinary People (1984), and The Hidden Side of the Moon (1987). She was also a distinguished critic of science fiction; her books include The Country You Have Never Seen: Essays and Reviews (2007). Of her works outside the SF field, she is perhaps best known forHow to Suppress Women’s Writing (1983). Join us to discuss her works.
3:00 PM G Women of Technology. Karen Burnham, Barbara Krasnoff (moderator), Shariann Lewitt, B Diane Martin, Fran Wilde. Current technology is the handmaiden of hard science fiction. What can SF literature learn from the women who have made a difference in tech today? What have been their challenges, experiences, and frustrations? How can we use them as prototypes for the inhabitants of our imagined futures? And from the point of view of women in scientific and technical fields, what science fiction works have succeeded (or failed) in extrapolating not only future technology but the role of women within it?
Saturday July 11
9:00 AM F The Author’s Voice. Barbara Krasnoff (leader), Kate Marayuma, Tom Purdom, Paul Tremblay, Gregory Wilson. An old writing advice chestnut is that you should read your work aloud; supposedly this will help you notice awkward phrasing. Let’s dig a little further: when, how, and why do writers do this, if at all? How has it helped—and has it ever hindered? Do authors who are performers have the opposite problem, where their ability to make something come alive in a reading obscures the fact that it’s a bit dead on the page? How does reading aloud square with things like footnotes, parentheticals, illustrations, digressions, or visual representations of dialects? Is anyone emphatically against the practice of reading aloud as an element of process?