A brief note about the conference ‘Reflected Shadows: Folklore and the Gothic’, taking place over the weekend at Kingston University. I don’t see anything in the programme that’s directly relevant to Classics, but there are likely to be some shared thematic concerns.
At the Classical Association Annual Conference in Edinburgh a week ago, where I was part of a session on ‘Science Fiction and Classical Mythology’, along with Lynn Fotheringham, Nick Lowe, and the person who brought us all together, Marian Makins (you can find the abstracts in this document, at least until the site gets taken down, as it no doubt will soon), Frances Foster bemoaned the fact that nothing got published on this blog any more. So I have decided to resurrect it, though the Twitter account will remain dormant.
There’s a new issue out of Transformative Works and Cultures, the critical journal of the Organization for Transformative Works, who, among other things, maintain the fanfiction archive Archive of Our Own. This is a special issue on ‘The Classical Canon and/as Transformative Work’, edited by the redoubtable Ika Willis. I have a piece in here. I haven’t yet had time to read the rest, but dependable authors (and speakers at the ‘Swords, Sandals, Sorcery and Space’ conference) such as Amanda Potter and Juliette Harrisson have contributed.
Just this last weekend, Brett Rogers and Ben Stevens, who have previously brought us Classical Traditions in Science Fiction and ‘The Once and Future Antiquity’, together with Jesse Weimer, organized ‘The Modern Prometheus; or, Frankenstein’. The paper titles look really good, and I look forward to the publication.
Fantasy writer and Classics graduate Juliet McKenna writes about the importance of knowing how views of the past change, using attitudes to Greek homosexuality as her example.
C.E. Murphy has a new novel about Atlantis, Atlantis Fallen. I haven’t read this yet, so can’t comment.
Finally, Katherine McDonald has a blog post about the use of Latin in the 2008 Doctor Who episode ‘Planet of the Ood’ (the episode which follows immediately the famously Classical ‘Fires of Pompeii’), and how that text draws upon Seneca and Cicero and Petronius – maybe. The post is interesting in itself, but it also led me to Penny Goodman writing about the Latin in Murray Gold’s ‘Vale Decem’, and Philip Boyes’ gloriously fannish trawl through Classics in Doctor Who, in two posts. I’ve covered myself much the same material in a more academic fashion, in my contributions to Space and Time and Impossible Worlds, Impossible Things, and Amanda Potter will be writing about this for a forthcoming volume on Broadcasting Greece. Philip misses The Armageddon Factor, but brings my attention to the Greeks in Four to Doomsday, which I had missed. And I think that ‘The Fires of Pompeii’ very much is a celebrity historical in the general style of New Who, the celebrity in this case being Vesuvius itself. But Philip makes a lot of good points I shall have to consider when I return to this material.
Anyway, that should do for now.
The Ninth Science Fiction Foundation Masterclass in Science Fiction Criticism will be held from Friday 17 July to Sunday 19 July 2015.
Forgive me for I have sinned. It has been far too long since I blogged at this site. And there are things you need to know (and not just that Atlantis is back …)
First off, there will be another conference on Classics and Science Fiction, this time in the US, organized by Brett Rogers and Ben Stevens. The Once and Future Antiquity: Classical Traditions in Science Fiction takes place 27-29 March 2015. The deadline for the call for papers is 15 December 2015.
Speaking of Brett and Ben, their collection Classical Traditions in Science Fiction should be out by the end of the year (the OUP website says October 2015, but that seems to be wrong). This will be followed by Classical Tradtions in Fantasy. Meanwhile, the proceedings of the 2012 Paris-Rouen conference have come out: L’Antiquité dans l’imaginaire contemporain – Fantasy, science-fiction, fantastique, edited by Mélanie Bost-Fievet and Sandra Provini. This is an important volume, not least because it demonstrates that not all important works on Classical Reception are anglophone. Some pieces from Swords … are also starting to appear. Liz Gloyn’s and Stephe Harrop’s papers from the Hadrian’s Wall session are on Strange Horizons. And Foundation 118 is mostly devoted to a special issue reprinting six papers from the conference. Fantasy author Juliet McKenna, a Classics graduate herself, has written about this issue.
I’m very pleased that there is now more material appearing in print discussing the intersection of Classics and SFF. For too long these have been conversations going around – now finally the products of these conversations are starting to appear, and we can point people making enquiries of us at actual bibliography.
There are a few reports of the conference that I haven’t mentioned: Liz Bourke in Strange Horizons, Chris Pak in the SFRA Review, and myself and Cat Wilson in Foundation 116. I also talked about the conference on Classics Confidential.
Back in October there was a talk in Leeds on Greece and Rome in Star Trek. The audio should become available soon. Other interesting pieces on this blog include Malcolm Heath on the location of Atlantis, Bev Scott on George Lucas (not yet uploaded), and Eleanor OKell on The Hunger Games.
I shall leave you with notice of a conference that may be of interest to readers of this blog: Sideways in Time: Alternate History and Counterfactual Narratives. The CFP for this also closes on 15 December.
A special BSFA Lecture will be given at Loncon 3 by Dr Paula James (Open Unversity), and is entitled ‘Pygmalion’s Statue and her Synthetic Sisters: The Perfect Woman on Screen′. The lecture will be given at 20.00 on Saturday August 16th, the ExCel Centre, London Docklands. The lecture is open to any member of Loncon 3.
I know, it’s ages since I’ve done a proper post here. I do mean to do that, but in the meantime, I’d like to plug this year’s Science Fiction Foundation Masterclass.
People I think would find this immensely valuable: pretty much anyone who wants to write seriously about science fiction, at whatever level you’re currently operating. Great for learning, great for networking. And no bar on applying if you’ve attended previously.
Here’s a link to details:
So, the BBC’s Atlantis has started – indeed, it’s up to episode 4. I thought it started off rather more confidently than did Merlin, with which is is most often compared (though it looks more like Sky’s short-lived Sinbad, from which it has borrowed the theme of “we cannot tell him who he truly is”). There’s a great explanation of why these characters may not behave exactly as to would expect them to, given their names – yet at the same time, effective use is made of the audience’s (and Jason’s) foreknowledge of the implications of names like Medusa and Oedipus, to create the same feeling of foreboding that the audience’s knowledge of the basics of Arthurian myth brought to Merlin. Mark Addy gives good value as a Hercules who is not the Hercules you’d expect. And I did like the atmospheric cave of the Minotaur in the first episode (at one point I thought they might suggest that this was an entirely psycological threat – that there was no Minotaur at all, and everyone was destroyed by their own fears – but in the end they chose the more obvious monster route).
I note in passing that an awful lot of the mise-en-scène of this Greek series is rather, well, Roman, particularly in the architecture. This comes out most clearly in the third episode, which has bull-leaping transported into an amphitheatre. I also note that Jack Donnelly is expected to take his shirt off at least once an episode. And that they seem to adhere to the Murray Gold school of incidental music.
Overall, though, I’m a bit disappointed. No cliché is left unturned, especially when Sarah Parrish is onscreen as wicked scheming Pasiphae. This might have been more easily born if we had more of Alexander Siddig’s Minos; Siddig is an actor whose natural instinct is to say “Scenery? I’ll have some of that, please. Nom, nom, nom.” But he’s really not on screen very often. And I just don’t think the series has the strength for the Saturday night alternative to Doctor Who slot it’s been placed in, as opposed to a Sunday teatime slot.
Lottie has also tweeted a picture from the set of Hercules: The Thracian Wars.
There is another Hercules movie coming up, Hercules: The Legend Begins, for which a trailer has been released for. This movie looks like an unsurprising mix of Lord of the Rings, 300, Gladiator, Percy Jackson and Clash of the Titans.
Cara Sheldrake has written the next part of her write-up of Swords, Sorcery, Sandals and Space .
Speaking of Cara, on 8 November she’ll be giving a version of her Swords, Sorcery, Sandals and Space conference paper, on “History, Identity and Independence: Children’s Time-Travel to Roman Britain”, as part of the Institute of Classical Studies’ Early Career Seminar for Classical Studies. In the same seminar series, Stephe Harrop gives a version of her conference paper, “The End of the World? On the Wall with Rudyard Kipling and George R.R. Martin”, on 6 December.
Meanwhile, Eleanor OKell gives a version of her paper, “Classical Names as key to The Hunger Games“, at Leeds City Museum in 31 October. The second Hunger Games movie, Catching Fire, goes on general release on 22 November. There’s a trailer here.
And a version of Liz Gloyn’s paper should be appearing soon in Strange Horizons.
In the latest issue of Vector, Andy Sawyer writes about I.O. Evans’ Gadget City, inspired by Nick Lowe’s mentioning of it at the conference. You can get hold of a copy of Vector by contacting the British Science Fiction Association.
In other conference news, registration is now open for Monstrous Antiquities on 1-3 November, and the programme is up. Lots of relevant stuff in there.
On 9-10 January there’s a conference, Antiquity in Popular Literature and Culture. They will be releasing their programme soon, and I shall look through it for papers relevant to our interests.
And there’s a call for papers up for From I, Claudius, to Private Eyes: the Ancient World and Popular Fiction, taking place in Bar-Ilan University, Israel. 16-18 June. They should be pretty receptive to our interests – one of the organisers, Lisa Maurice, spoke at Swords, Sorcery, Sandals and Space. The call closes on 31 December.
This coming Friday, 24 October, our fellow-travellers in the Mediaeval Science Fiction group have a roundtable discussion with some major figures, including Edward James and Andy Sawyer, both of whom were on the conference committee. I shall be going, and will report back here.
I picked up from Facebook a link to Janet and Chris Morris’ The Sacred Band, part of a larger series of Greek-inspired fantasy novels. This came out in December, but I wasn’t aware of it before now.
There’s a consistent idea that our favourite Greek-inspired superheroine, Wonder Woman, can’t be made to work on screen, for reasons that are, frankly, bullshit. To disprove this, Rainfall have made a short and rather wonderful Wonder Woman film. Meanwhile, former Wonder Woman writer Gail Simone waxes lyrical about the Amazons on her Tumblr, and DC are reprinting their first New 52 Wonder Woman stories as a DC Essential.
In other comics news, not strictly fantasy, but Kieron Gillen and Ryan Kelly have launched Three. What is particularly interesting is that Gillen has gone out of his way to consult members of the University of Nottingham’s Centre for Spartan and Peloponnesian Studies. He’s also posted some writers notes on the first issue. As if there weren’t already enough reasons to love Kieron Gillen.