Thursday 31 January 2013, Friday 1 February 2013
Sydney, Australia
Call For Presentations
Narratives and interactive experiences developed across different media platforms—each of which contributes something unique and valuable to the whole—have become standard fixtures in the contemporary digital landscape. The term ‘transmedia storytelling’
has enjoyed particular currency within academic circles while the media industry speaks in terms of multiplatform experiences. Much has been written on the subject in the academic and industry press, though new technologies and the pressure to do something innovative with the digital medium mean that the idea and practice of transmedia are in flux. While the debate over what to call this phenomenon remains
unresolved, there is no denying its profound impact on the relationship between media producers, audiences/users, digital content and the devices used to consume and produce it. Naming conventions remain a contentious issue, however, there is also a need to examine other aspects of this emerging industry to ensure its ongoing
sustainability. This call for presentations represents an invitation to introduce, highlight or clarify key questions concerning issues such as models for benchmarking, techniques for user engagement, value measurement, pedagogy and curriculum design, and evaluative techniques for complex and dynamic user engagement. Transmedia is, by its very nature, an interdisciplinary enterprise that draws from fields such as creative writing, IT, film, television, media studies, economics, public policy, creative design, and education. Thus, the project seeks to create a space for critical engagement that is enriched by the participation of academics, industry professionals and other stakeholders, as well as audience/users from across the disciplinary
spectrum.
The project will launch in Sydney with 2 one-day events organised around separate, yet related themes. We therefore welcome proposals for presentations, papers and panels on topics on the following topics:
Day One: 31st January 2013—Innovation in Transmedia Design and Production
~ (Re)Defining and understanding the meaning of transmedia/multiplatform production
~ Narrative/Aesthetic/Thematic analysis of transmedia/multiplatform experiences
~ Social networking trends and their impact on transmedia/multiplatform development
~ Technologies that drive transmedia/multiplatform consumption, production and the post-broadcast era as a whole
~ Innovation in transmedia/multiplatform production
~ The future of transmedia/multiplatform development, uses and engagement
~ Pedagogies and curriculum design for teaching transmedia/multiplatform
~ Cultural policy and the promotion of transmedia/multiplatform innovation
Day Two: 1st February 2013—Innovation in Sustainable Business Practices
~ Transmedia/multiplatform production business models
~ Studies of transmedia/multiplatform audiences
~ Defining and measuring audience/user engagement
~ Uses and limitations of web analytics; new approaches
Abstracts and proposals not exceeding 300 words should be submitted jointly to the Organising Chairs by Friday 19th October 2012. Submissions may be in Word, WordPerfect, or RTF formats with the following information and in this order: a) author (s), b) affiliation, c) email address, d) title of abstract, e) body of abstract.
E-mails should be entitled: TM1 Abstract Submission.
Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Ann-Marie Cook, Deirdre Hynes and Debra Polson
Rob Fisher
This event is part of the Global Transmedia Research Initiative, whose aim is to bring together people from different disciplinary and professional backgrounds in an ongoing series of events dedicated to generating dialogue and research around the many facets of transmedia production and reception.
For further details of the event, please click here.
Please note: Since each day is a self-contained event, participants may opt to register for one or two days.
We regret that as a not-for-profit network, Inter-Disciplinary.Net is not in a position to assist with conference travel or subsistence.
Friday, 14 September 2012
Thursday, 13 September 2012
GUEST POST: Female Werewolves, Fur and Body Hair by Carys Crossen
This is the fourth and final post in my short series on female body hair. Links to previous posts in the series can be found at the end of this piece.
Today's guest writer is Carys Crossen, recent PhD graduate and my collaborator on the 2010 She-Wolf: Female Werewolves, Shapeshifters and Other Horrors conference.
Carys Crossen was recently awarded her doctorate, entitled '"There is God and the Devil in Them": Gender and Sexuality in Post-1800 Werewolf Fiction and Film' by the University of Manchester, and is currently working as a Graduate Teaching Assistant in the university’s Department of English and American Studies. Her main research interests include the Gothic, psychoanalytic criticism, Monster Theory, Victorian literature, Young Adult fantasy and horror fiction, feminist theory and anything with werewolves. Her publications to date include a book contribution on celibate male vampires, a review of a new collection of stories by Robert Louis Stevenson and a forthcoming contribution to Hannah Priest's forthcoming collection on female werewolves, on the little-known authors Clemence Housman and Rosamund Marriott Watson.
Imagine this: you’re a werewolf. More specifically, you are a female werewolf. Life as a werewolf isn’t bad, despite what the films tell you. The full moon lends a whole new meaning to ‘that time of the month’, admittedly, and you like your meat rare, but it’s by no means a curse. If you eat the neighbours, you can always get new ones and property prices will recover soon. And you can cope with the fangs, the claws, the hair...
And it is here that, if you are a werewolf devotee, you may notice something odd. Hair. Not that being hairy is at all peculiar for a werewolf: sprouting hair every full moon is traditional and looks fantastic in cinematic transformation scenes. However, in the vast majority of werewolf fiction and film, particular that featuring a female protagonist, body hair is scarcely ever mentioned, let alone discussed in any detail. As an academic whose PhD thesis was focused on the contemporary lycanthrope, I thought this absence a striking one. Body hair is mentioned briefly in Faith Hunter’s Skinwalker (2009) and Sparkle Hayter’s Naked Brunch (2003) but only mentioned. The one pulp fiction series that deals with it in any depth is Karen MacInerney’s Tales of an Urban Werewolf series, in which the heroine has a ‘bic razor habit.’ (1) Rather frustratingly however, the series does not discuss body hair as signifier or cultural taboo, and focuses primarily on the disappointingly conventional removal of hair from legs, arms and other areas. And the classic Ginger Snaps film trilogy does indeed have hairy anti-heroines, but once again focuses on the removal of body hair rather than the hair itself.
Considering how the popularity of the female werewolf has mushroomed in recent years, it seems astonishing that these were the only instances of lycanthropic, female body hair being mentioned that I discovered during four years of research, but it is so. Body hair simply is not looked at, talked about or made visible in relation to the female werewolf, that hairiest, fuzziest of monsters. Moreover, it is hair that seems to be unmentionable – fur is another matter entirely. Fur has different connotations than hair: it implies luxury, decadence, softness, beauty and is just a little bit illicit in this enlightened era. Loving descriptions of beautiful wolf pelts are not uncommon in lycanthropic fiction. But hair brings with it an entirely different set of associations, particularly in relation to the female body. As Karín Lesnik-Oberstein in the appropriately titled academic text The Last Taboo: Women and Body Hair (2007) comments, ‘women’s body hair is configured as a taboo: something not to be seen or mentioned; prohibited and circumscribed by rules of avoidance; surrounded by shame, disgust and censure’. (2) This taboo is so strong, it seems, that it extends to fictional female werewolves, for whom hairiness is an unavoidable fact of lycanthropic life.
The hairiness of the werewolf is an essential aspect of its monstrosity. As Marina Warner comments, ‘hairiness indicates animal nature: it is the distinctive sign of the wilderness and its inhabitants’. (3) The significance of the werewolf’s hairiness is obvious in this context – it is, if not quite an animal, the ‘beast within’, a representative of wildness, beastliness and ferocity. So, why exactly have female werewolf texts failed to examine the issue of body hair? Texts featuring female werewolves are seldom averse to embracing the lycanthrope’s potential beastliness – just look at Ginger Snaps or Clemence Housman’s story 'The Werewolf' (1896). So why have they resisted using the signifier of beastliness and animalism? Well, one thing I’ve noticed about a great many female werewolf heroines – often gutsy, independent and clever – is their overwhelming desire to be ‘normal’ or at least mimic normality. This usually means holding down a job, having a relationship, and most importantly conforming to society and its expectations. And society simply does not accommodate hairy women. As Lesnik-Oberstein comments, ‘"hairy" women, on the other hand, are monstrous in being like men, or masculine’. (4) In other words, you want to be normal, girl, that beard’s got to go. Never mind if your pack thinks it’s cute. Of course, not all female werewolves cling to their desire for normality, especially when they discover the perks of being a werewolf, but nor do they renounce it to the extent that they embrace their hairiness and all its negative cultural connotations. Ignoring hairiness, or removing hair, is a quick and easy way to integrate into human society, a discarding of an important indicator of wildness.
Moreover, the very fact that the werewolf is nearly always a hairy monster may be the reason why its hairiness is so seldom mentioned; it is hidden in plain sight, so to speak. The female werewolf’s hairiness is revealed for all to see when she is transformed; ergo there is no need to mention the issue. Hair, often an emblem of deviant sexuality, beastliness, and masculinity, is displayed on the transformed body and hence there is no need to address the issue of hairiness, not when it is flaunted by the lycanthrope in her transformed state. Or else, as I suggested earlier, feminine hair is more taboo than being a werewolf, which, looking at Western notions of feminine beauty may not be as far-fetched as you might imagine.
So, onto my final question – will feminine lycanthropic hairiness ever be embraced, or at least discussed in werewolf texts? I haven’t got a clue, I can’t predict the future. But I certainly hope so. There are stories about female werewolves and body hair out there, academic discussions are slowly starting up, attention is being paid. I’ll leave you with a quote from a story by Helen Cross, entitled ‘Fur’ – guess what it’s about? ‘In fact wolf lies deep in female nature. They are all capable of this, all of them have it in them – once they choose to let themselves go.’ (5)
References
(1) Karen MacInerney, On the Prowl (New York: Ballantine Books, 2008), p. 9.
(2) Karín Lesnik-Oberstein, 'The Last Taboo: Women, Body Hair and Feminism, in Karín Lesnik-Oberstein (ed.), The Last Taboo: Women and Body Hair (Manchester: Manchester University Press, 2007), pp. 1-17, p. 2.
(3) Marina Warner, From the Beast to the Blonde: On Fairy Tales and Their Tellers (London: Vintage, 1995), p. 359.
(4) Lesnik-Oberstein, p. 3.
(5) Helen Cross, ‘Fur’ in Hannah Kate (ed.), Wolf Girls: Dark Tales of Teeth, Claws and Lycogyny (Manchester: Hic Dragones, 2012), pp. 219-226, p. 226.
Read the other posts in the Body Hair blog series:
On Making and Publishing The Last Taboo: Women and Body Hair, by Karín Lesnik-Oberstein
Damned if you do and damned if you don't, by Rosie Garland
On Body Hair, by LJ Maher
Today's guest writer is Carys Crossen, recent PhD graduate and my collaborator on the 2010 She-Wolf: Female Werewolves, Shapeshifters and Other Horrors conference.
Carys Crossen was recently awarded her doctorate, entitled '"There is God and the Devil in Them": Gender and Sexuality in Post-1800 Werewolf Fiction and Film' by the University of Manchester, and is currently working as a Graduate Teaching Assistant in the university’s Department of English and American Studies. Her main research interests include the Gothic, psychoanalytic criticism, Monster Theory, Victorian literature, Young Adult fantasy and horror fiction, feminist theory and anything with werewolves. Her publications to date include a book contribution on celibate male vampires, a review of a new collection of stories by Robert Louis Stevenson and a forthcoming contribution to Hannah Priest's forthcoming collection on female werewolves, on the little-known authors Clemence Housman and Rosamund Marriott Watson.
Imagine this: you’re a werewolf. More specifically, you are a female werewolf. Life as a werewolf isn’t bad, despite what the films tell you. The full moon lends a whole new meaning to ‘that time of the month’, admittedly, and you like your meat rare, but it’s by no means a curse. If you eat the neighbours, you can always get new ones and property prices will recover soon. And you can cope with the fangs, the claws, the hair...
And it is here that, if you are a werewolf devotee, you may notice something odd. Hair. Not that being hairy is at all peculiar for a werewolf: sprouting hair every full moon is traditional and looks fantastic in cinematic transformation scenes. However, in the vast majority of werewolf fiction and film, particular that featuring a female protagonist, body hair is scarcely ever mentioned, let alone discussed in any detail. As an academic whose PhD thesis was focused on the contemporary lycanthrope, I thought this absence a striking one. Body hair is mentioned briefly in Faith Hunter’s Skinwalker (2009) and Sparkle Hayter’s Naked Brunch (2003) but only mentioned. The one pulp fiction series that deals with it in any depth is Karen MacInerney’s Tales of an Urban Werewolf series, in which the heroine has a ‘bic razor habit.’ (1) Rather frustratingly however, the series does not discuss body hair as signifier or cultural taboo, and focuses primarily on the disappointingly conventional removal of hair from legs, arms and other areas. And the classic Ginger Snaps film trilogy does indeed have hairy anti-heroines, but once again focuses on the removal of body hair rather than the hair itself.
Considering how the popularity of the female werewolf has mushroomed in recent years, it seems astonishing that these were the only instances of lycanthropic, female body hair being mentioned that I discovered during four years of research, but it is so. Body hair simply is not looked at, talked about or made visible in relation to the female werewolf, that hairiest, fuzziest of monsters. Moreover, it is hair that seems to be unmentionable – fur is another matter entirely. Fur has different connotations than hair: it implies luxury, decadence, softness, beauty and is just a little bit illicit in this enlightened era. Loving descriptions of beautiful wolf pelts are not uncommon in lycanthropic fiction. But hair brings with it an entirely different set of associations, particularly in relation to the female body. As Karín Lesnik-Oberstein in the appropriately titled academic text The Last Taboo: Women and Body Hair (2007) comments, ‘women’s body hair is configured as a taboo: something not to be seen or mentioned; prohibited and circumscribed by rules of avoidance; surrounded by shame, disgust and censure’. (2) This taboo is so strong, it seems, that it extends to fictional female werewolves, for whom hairiness is an unavoidable fact of lycanthropic life.
The hairiness of the werewolf is an essential aspect of its monstrosity. As Marina Warner comments, ‘hairiness indicates animal nature: it is the distinctive sign of the wilderness and its inhabitants’. (3) The significance of the werewolf’s hairiness is obvious in this context – it is, if not quite an animal, the ‘beast within’, a representative of wildness, beastliness and ferocity. So, why exactly have female werewolf texts failed to examine the issue of body hair? Texts featuring female werewolves are seldom averse to embracing the lycanthrope’s potential beastliness – just look at Ginger Snaps or Clemence Housman’s story 'The Werewolf' (1896). So why have they resisted using the signifier of beastliness and animalism? Well, one thing I’ve noticed about a great many female werewolf heroines – often gutsy, independent and clever – is their overwhelming desire to be ‘normal’ or at least mimic normality. This usually means holding down a job, having a relationship, and most importantly conforming to society and its expectations. And society simply does not accommodate hairy women. As Lesnik-Oberstein comments, ‘"hairy" women, on the other hand, are monstrous in being like men, or masculine’. (4) In other words, you want to be normal, girl, that beard’s got to go. Never mind if your pack thinks it’s cute. Of course, not all female werewolves cling to their desire for normality, especially when they discover the perks of being a werewolf, but nor do they renounce it to the extent that they embrace their hairiness and all its negative cultural connotations. Ignoring hairiness, or removing hair, is a quick and easy way to integrate into human society, a discarding of an important indicator of wildness.
Moreover, the very fact that the werewolf is nearly always a hairy monster may be the reason why its hairiness is so seldom mentioned; it is hidden in plain sight, so to speak. The female werewolf’s hairiness is revealed for all to see when she is transformed; ergo there is no need to mention the issue. Hair, often an emblem of deviant sexuality, beastliness, and masculinity, is displayed on the transformed body and hence there is no need to address the issue of hairiness, not when it is flaunted by the lycanthrope in her transformed state. Or else, as I suggested earlier, feminine hair is more taboo than being a werewolf, which, looking at Western notions of feminine beauty may not be as far-fetched as you might imagine.
So, onto my final question – will feminine lycanthropic hairiness ever be embraced, or at least discussed in werewolf texts? I haven’t got a clue, I can’t predict the future. But I certainly hope so. There are stories about female werewolves and body hair out there, academic discussions are slowly starting up, attention is being paid. I’ll leave you with a quote from a story by Helen Cross, entitled ‘Fur’ – guess what it’s about? ‘In fact wolf lies deep in female nature. They are all capable of this, all of them have it in them – once they choose to let themselves go.’ (5)
References
(1) Karen MacInerney, On the Prowl (New York: Ballantine Books, 2008), p. 9.
(2) Karín Lesnik-Oberstein, 'The Last Taboo: Women, Body Hair and Feminism, in Karín Lesnik-Oberstein (ed.), The Last Taboo: Women and Body Hair (Manchester: Manchester University Press, 2007), pp. 1-17, p. 2.
(3) Marina Warner, From the Beast to the Blonde: On Fairy Tales and Their Tellers (London: Vintage, 1995), p. 359.
(4) Lesnik-Oberstein, p. 3.
(5) Helen Cross, ‘Fur’ in Hannah Kate (ed.), Wolf Girls: Dark Tales of Teeth, Claws and Lycogyny (Manchester: Hic Dragones, 2012), pp. 219-226, p. 226.
Read the other posts in the Body Hair blog series:
On Making and Publishing The Last Taboo: Women and Body Hair, by Karín Lesnik-Oberstein
Damned if you do and damned if you don't, by Rosie Garland
On Body Hair, by LJ Maher
GUEST POST: On Body Hair by LJ Maher
This is the third post in my short series on female body hair. I'm pleased to welcome LJ Maher as today's guest blogger.
LJ Maher is a PhD student at the School for English Communications and Performance Studies at Monash University in Australia and is an affiliate of the Literature Research Unit and the Sídhe Literary Collective. She completed a combined Bachelor’s degree in Law and Performing Arts before redirecting her research toward literary studies. Her thesis interrogates representations of autobiography and identity in transmedial literacy, with a focus on the potential jurisprudential implications in intellectual property law.
It's cold and dark. I stand outside, wrapped up in my heavy blue gown while I pull the brush through my hair. It's longer now than it has been in years and every few weeks I see that glint of silver that reminds me to pour colour through it again. Once it was a familiar brown, red in the sun, short against my olive skin. Now I keep it black, and long and my skin is pale. There's a hole in the ozone layer and I worry about melanomas.
There are knots and gnarls that I pull my fingers through, and I leave a trail of curls and split ends on the paving. Eventually the magpies will line their nests with it and this is easier than vacuuming it from the carpet every morning.
My hair is still wet and I pull it back tucking it over itself and tie it up with a black elastic. When it dries, it will have an awkward curl to it. It takes so long to wash that I can't justify the time to blow-dry it. I try to keep my showers short, to preserve water, even though the dams are now at seventy percent. The dry has ended, but my habits have not. Wet my hair, shampoo once, rinse. Shampoo again, rinse. Condition and tie up. Do I have time to shave? Do I want to? I consider the down that covers my body. My skin is pale, my hair is dark. It is obvious. I don't usually bother, not unless I think I'm going to get laid. Even then, it depends on who I'm welcoming into my bed.
He's pretty, but not a thinker. He learnt about what women's bodies should look like from his father's magazines and he learnt how women will make them look that way from his mother's magazines. These are bodies pressed flat on smooth, shiny paper. These are bodies with the scars and shadows blurred out. He is not surprised to find my body smooth and hairless. He expects it. When we come together again, it is winter and he is surprised by my fur coat. He is not invited back.
She is political. She talks in clipped sentences. She keeps her hair short and doesn't wax or shave. She is surprised to find that although my hair is long, I do not look like a magazine woman beneath my clothes. She applauds me for my forward thinking, for challenging what it is to be a woman. I tell her to leave her internalised misogyny at the pub with the other girls who think that masculinity is androgynous.
I like the feel of my shins when I have shaved them. I rub oil into them. I rub them against each other. It is a delight. I am generally not phased by my legs, my cunt or my armpits. They are hairy or not, as I decide. I do not have to shape my eyebrows too often, they have a nice shape on their own. Every now and then I might pluck a stray hair.
But some of my hair is illicit. It shames me and I do nothing about it. The hair that shames me is the hair I angst the most about removing. I should leave it and show that this is my body and that I perform as a woman.
My toes. Like a man, I have coarse dark hair on my toes. I look at my feet and fancy myself a hobbit: short, stout, furry feet. More often than not I leave that hair as it is. No one is looking at my feet and I don't wear sandals or thongs.
My stomach. Trailing up from my mons is that path that I find so alluring on men. But mine is sparse and harsh, not thick and dark. I carry my weight on my stomach. I fancy that if I do situps, if I somehow lost that weight, I would also lose that awkward expanse. Every now and then it distracts me too much and I wax it. Then I feel that I have betrayed my sisters who refuse to shave their legs.
My breasts. I have one hair on my right breast. Just one. I pluck it out when I see it. It will be gone for months and then out of nowhere, hi! There it is. I pull it out.
My throat. I attack my whiskers each and every day with a small pair of black tweezers. They are rough, they interrupt the skin that covers my voice. They keep coming back. One day, when I am older and braver, I will be a bearded lady. I will relish my beautiful dresses and grow a black beard, it will match my hair dye. I will travel in a circus. I don't fool myself that I will be invited to nice parties once I grow my beard.
My lips. I have always joked that I grow a better moustache than my brothers. It is not quite true but it is not far from true. Every few weeks I tear these hairs from my lips. I hope that if I do it often enough, the hair will give up. It is definitely less thick that it used to be.
I take off my heavy blue gown and hang it behind my bedroom door. He calls to me from our bed. A question. Meow? I walk over to him and bury my face in his cotton fresh fur before I decide to face the day.
Read the other posts in the Body Hair blog series:
On Making and Publishing The Last Taboo: Women and Body Hair, by Karín Lesnik-Oberstein
Damned if you do and damned if you don't, by Rosie Garland
Female Werewolves, Fur and Body Hair, by Carys Crossen
LJ Maher is a PhD student at the School for English Communications and Performance Studies at Monash University in Australia and is an affiliate of the Literature Research Unit and the Sídhe Literary Collective. She completed a combined Bachelor’s degree in Law and Performing Arts before redirecting her research toward literary studies. Her thesis interrogates representations of autobiography and identity in transmedial literacy, with a focus on the potential jurisprudential implications in intellectual property law.
It's cold and dark. I stand outside, wrapped up in my heavy blue gown while I pull the brush through my hair. It's longer now than it has been in years and every few weeks I see that glint of silver that reminds me to pour colour through it again. Once it was a familiar brown, red in the sun, short against my olive skin. Now I keep it black, and long and my skin is pale. There's a hole in the ozone layer and I worry about melanomas.
There are knots and gnarls that I pull my fingers through, and I leave a trail of curls and split ends on the paving. Eventually the magpies will line their nests with it and this is easier than vacuuming it from the carpet every morning.
My hair is still wet and I pull it back tucking it over itself and tie it up with a black elastic. When it dries, it will have an awkward curl to it. It takes so long to wash that I can't justify the time to blow-dry it. I try to keep my showers short, to preserve water, even though the dams are now at seventy percent. The dry has ended, but my habits have not. Wet my hair, shampoo once, rinse. Shampoo again, rinse. Condition and tie up. Do I have time to shave? Do I want to? I consider the down that covers my body. My skin is pale, my hair is dark. It is obvious. I don't usually bother, not unless I think I'm going to get laid. Even then, it depends on who I'm welcoming into my bed.
He's pretty, but not a thinker. He learnt about what women's bodies should look like from his father's magazines and he learnt how women will make them look that way from his mother's magazines. These are bodies pressed flat on smooth, shiny paper. These are bodies with the scars and shadows blurred out. He is not surprised to find my body smooth and hairless. He expects it. When we come together again, it is winter and he is surprised by my fur coat. He is not invited back.
She is political. She talks in clipped sentences. She keeps her hair short and doesn't wax or shave. She is surprised to find that although my hair is long, I do not look like a magazine woman beneath my clothes. She applauds me for my forward thinking, for challenging what it is to be a woman. I tell her to leave her internalised misogyny at the pub with the other girls who think that masculinity is androgynous.
I like the feel of my shins when I have shaved them. I rub oil into them. I rub them against each other. It is a delight. I am generally not phased by my legs, my cunt or my armpits. They are hairy or not, as I decide. I do not have to shape my eyebrows too often, they have a nice shape on their own. Every now and then I might pluck a stray hair.
But some of my hair is illicit. It shames me and I do nothing about it. The hair that shames me is the hair I angst the most about removing. I should leave it and show that this is my body and that I perform as a woman.
My toes. Like a man, I have coarse dark hair on my toes. I look at my feet and fancy myself a hobbit: short, stout, furry feet. More often than not I leave that hair as it is. No one is looking at my feet and I don't wear sandals or thongs.
My stomach. Trailing up from my mons is that path that I find so alluring on men. But mine is sparse and harsh, not thick and dark. I carry my weight on my stomach. I fancy that if I do situps, if I somehow lost that weight, I would also lose that awkward expanse. Every now and then it distracts me too much and I wax it. Then I feel that I have betrayed my sisters who refuse to shave their legs.
My breasts. I have one hair on my right breast. Just one. I pluck it out when I see it. It will be gone for months and then out of nowhere, hi! There it is. I pull it out.
My throat. I attack my whiskers each and every day with a small pair of black tweezers. They are rough, they interrupt the skin that covers my voice. They keep coming back. One day, when I am older and braver, I will be a bearded lady. I will relish my beautiful dresses and grow a black beard, it will match my hair dye. I will travel in a circus. I don't fool myself that I will be invited to nice parties once I grow my beard.
My lips. I have always joked that I grow a better moustache than my brothers. It is not quite true but it is not far from true. Every few weeks I tear these hairs from my lips. I hope that if I do it often enough, the hair will give up. It is definitely less thick that it used to be.
I take off my heavy blue gown and hang it behind my bedroom door. He calls to me from our bed. A question. Meow? I walk over to him and bury my face in his cotton fresh fur before I decide to face the day.
Read the other posts in the Body Hair blog series:
On Making and Publishing The Last Taboo: Women and Body Hair, by Karín Lesnik-Oberstein
Damned if you do and damned if you don't, by Rosie Garland
Female Werewolves, Fur and Body Hair, by Carys Crossen
GUEST POST: Damned if you do and damned if you don't by Rosie Garland
This is the second in my short series of guest posts exploring the somewhat controversial subject of women and body hair. Links to the other posts in the series can be found at the end of this post.
I am very pleased to welcome today's guest writer, Rosie Garland.
Born in London to a runaway teenager, Rosie Garland has always been a cuckoo in the nest. She has an eclectic writing and performance history, from singing in Goth band The March Violets, to twisted cabaret and electrifying poetry as Rosie Lugosi the Vampire Queen, to conference presentations in the UK and overseas. As well as four solo collections of poems, her short stories and articles have been widely anthologised. She has won the DaDa Award for Performance Artist of the Year, the Diva Award for Solo Performer, and a Poetry Award from the People’s Café, New York. She is also the winner of the 2011 inaugural Mslexia Novel Competition with The Palace of Curiosities, a picaresque literary novel inspired by the life of Victorian Hairy Woman Julia Pastrana.
I’ve had an interest in the fraught female relationship with body hair since I started growing it anywhere but on my head. Years before I discovered feminism or any broader questioning of why women should present hairlessness to be acceptable.
I was the class geek. There was always one, sitting at the edge of school photos sporting a done-at-home haircut and a bewildered expression at just how unpopular a girl could be. Surrounded by pretty classmates wearing the right length skirt, the right size knot in the school tie (small one term, huge the next). Along with my mother, they gave out messages about hair. Basically, if it wasn’t on my head, it was gross and should be removed. Especially leg and underarm sproutings.
I resisted the pronouncements. I didn’t want to do it. It was just one item on the long list of things that made me an outsider, part of the same mindset that made my classmates obsessed with perfume, body spray and ‘feminine’ deodorant (you know, the stuff that brings on toxic shock). From where I stood, it seemed to be about spending a fortune on products that promised to hide the fact you were female.
No, I didn’t see myself as a rebel, but it struck me as overwhelmingly illogical (yes, I identified with Mr. Spock in Star Trek). For a start, it was such a mess: applying smelly cream, waiting for it to melt the hair away (never as successful as the adverts with their hysterically cheerful actors). If you didn’t use cream, there were cuts from shaving. Ouch. It was also a waste of time – the damn stuff grew back immediately, stubbly and far more noticeable than the soft fronds that covered my legs if I left them alone.
Being of an enquiring mind, I asked my mum why I needed to get rid of something that was occurring quite naturally, like my second set of teeth or the beginnings of breasts (I wasn’t being asked to get rid of them). She replied that body hair wasn’t ‘ladylike’. This confused me further. I was a ‘lady’, or at least one in miniature. Therefore if I was growing hair, then it was of or pertaining to the state of being a lady. I asked if I needed to shave the new growth on my vulva and was told to stop being rude. I didn’t get why it was supposed to be such a no-no.
Sure, hair or no hair can be personal taste. If you live in a culture where there is a modicum of choice then yes, you can choose to wax yourself to a standstill and ‘still be a feminist’ (whatever ‘still’ means). I don’t have a direct association of feminist = unshaved woman, which is the stereotype. If I choose to be unshaved, which I do, it goes back far earlier. I’m not of the Reductio ad absurdum opinion that intelligence evaporates with the removal of hair, in a female version of Samson being stripped of his strength when Delilah shaved him.
However. What does that ‘choice’ really mean when faced with a familial / societal / media barrage of ‘eeew’? Day in, day out, from the onset of the first spindly hair till we die – the message that it (and by extension we) = unhygienic / unladylike / unfeminine / dirty / messy / taboo and god damn it, ugly.
And don’t get me started on patriarchal / male reaction to women’s body hair. I’d need a dozen blogs for that. Feminism or not, I can still not get past this simple bottom line: the only females who are naturally free of hair under their arms, on their legs and on their pubis are children. The only acceptable females in porn are hairless. I do not need to say a word about how fundamentally this creeps me out. Let alone how mentally and socially infantilising it is. Sexual fixation on hairlessness in adult females is creepy. Go bloody figure.
Deep breath. I watched with interest as I grew into a world where nice girls depilate. Except the stuff on our heads which is our ‘crowning glory’. Just how integral these tresses are to being seen / read as female came home to me with a body blow when I got throat cancer, underwent intensive chemotherapy and my hair fell out.
I assumed that it would loosen its moorings overnight, in one go. But it left my body in a slow, piecemeal moulting which I found sufficiently distressing that I got a set of clippers and shaved my head. I chose to ‘go bald’ rather than wear the prescription wig. The wig felt all wrong, like I was trying to pass for human and ‘well’ when that was the last thing I felt like. I was not ashamed of having cancer. My hairlessness was part of the reality. Sod this, I thought. I shall not pretend, nor hide my cancer from the world, just to spare the healthy world’s collective delusion that no-one gets ill and no-one dies. As a signifier of our shared mortality, baldness is terrifying. People crossed the road so that I wouldn’t talk to them about ‘it’.
At this point I want to stress that this was my individual response to cancer. I am not suggesting it as a template. Others choose to engage with the illness differently, and each person’s response is as valid as the next.
To bolster a sense of self, I searched for positive images of bald women with shaved or bald heads. I repeat, positive. I was not interested in images of punishment, dehumanisation, imprisonment or torture. It was bloody hard work finding anything. I scraped together a meagre handful, and the first hits were from science fiction. Alice Krige as the Borg Queen in Star Trek First Contact, Persis Khambatta as Lieutenant Ilia in Star Trek The Motion Picture, Sigourney Weaver as Ripley in Alien 3. All of them created as attractive, intelligent, ass-kicking or all three.
All of the above informed the creation of Eve, the central character in my upcoming debut novel The Palace of Curiosities (HarperCollins, forthcoming March 2013). I took the concept of female hairiness to its logical (that word again) extreme. Eve has hypertrichosis, a condition where the entire body is covered in a thick mat of hair. The novel is set in 1850s London, and in it I explore how Eve makes her way in a world where she is the only one of her kind. Her ‘difference’ is overwhelmingly visible, yet she is determined to get by on her own terms. She does not shave herself to pass for human. She fends off exploitation, discovers fulfilment, self-expression and self-reliance.
I’ve been told that Eve’s hairiness can be seen as an interesting analogy for being queer in a heteronormative world. I’m happy if she makes one person think about what it means to be female and have body hair.
If you would like to whet your appetite for The Palace of Curiosities in anticipation of its release next year, you can find Rosie's story, 'Cut and Paste', in the Hic Dragones Wolf-Girls anthology.
Read the other posts in the Body Hair blog series:
On Making and Publishing The Last Taboo: Women and Body Hair, by Karín Lesnik-Oberstein
On Body Hair, by LJ Maher
Female Werewolves, Fur and Body Hair, by Carys Crossen
I am very pleased to welcome today's guest writer, Rosie Garland.
Born in London to a runaway teenager, Rosie Garland has always been a cuckoo in the nest. She has an eclectic writing and performance history, from singing in Goth band The March Violets, to twisted cabaret and electrifying poetry as Rosie Lugosi the Vampire Queen, to conference presentations in the UK and overseas. As well as four solo collections of poems, her short stories and articles have been widely anthologised. She has won the DaDa Award for Performance Artist of the Year, the Diva Award for Solo Performer, and a Poetry Award from the People’s Café, New York. She is also the winner of the 2011 inaugural Mslexia Novel Competition with The Palace of Curiosities, a picaresque literary novel inspired by the life of Victorian Hairy Woman Julia Pastrana.
I’ve had an interest in the fraught female relationship with body hair since I started growing it anywhere but on my head. Years before I discovered feminism or any broader questioning of why women should present hairlessness to be acceptable.
I was the class geek. There was always one, sitting at the edge of school photos sporting a done-at-home haircut and a bewildered expression at just how unpopular a girl could be. Surrounded by pretty classmates wearing the right length skirt, the right size knot in the school tie (small one term, huge the next). Along with my mother, they gave out messages about hair. Basically, if it wasn’t on my head, it was gross and should be removed. Especially leg and underarm sproutings.
I resisted the pronouncements. I didn’t want to do it. It was just one item on the long list of things that made me an outsider, part of the same mindset that made my classmates obsessed with perfume, body spray and ‘feminine’ deodorant (you know, the stuff that brings on toxic shock). From where I stood, it seemed to be about spending a fortune on products that promised to hide the fact you were female.
No, I didn’t see myself as a rebel, but it struck me as overwhelmingly illogical (yes, I identified with Mr. Spock in Star Trek). For a start, it was such a mess: applying smelly cream, waiting for it to melt the hair away (never as successful as the adverts with their hysterically cheerful actors). If you didn’t use cream, there were cuts from shaving. Ouch. It was also a waste of time – the damn stuff grew back immediately, stubbly and far more noticeable than the soft fronds that covered my legs if I left them alone.
Being of an enquiring mind, I asked my mum why I needed to get rid of something that was occurring quite naturally, like my second set of teeth or the beginnings of breasts (I wasn’t being asked to get rid of them). She replied that body hair wasn’t ‘ladylike’. This confused me further. I was a ‘lady’, or at least one in miniature. Therefore if I was growing hair, then it was of or pertaining to the state of being a lady. I asked if I needed to shave the new growth on my vulva and was told to stop being rude. I didn’t get why it was supposed to be such a no-no.
Sure, hair or no hair can be personal taste. If you live in a culture where there is a modicum of choice then yes, you can choose to wax yourself to a standstill and ‘still be a feminist’ (whatever ‘still’ means). I don’t have a direct association of feminist = unshaved woman, which is the stereotype. If I choose to be unshaved, which I do, it goes back far earlier. I’m not of the Reductio ad absurdum opinion that intelligence evaporates with the removal of hair, in a female version of Samson being stripped of his strength when Delilah shaved him.
However. What does that ‘choice’ really mean when faced with a familial / societal / media barrage of ‘eeew’? Day in, day out, from the onset of the first spindly hair till we die – the message that it (and by extension we) = unhygienic / unladylike / unfeminine / dirty / messy / taboo and god damn it, ugly.
And don’t get me started on patriarchal / male reaction to women’s body hair. I’d need a dozen blogs for that. Feminism or not, I can still not get past this simple bottom line: the only females who are naturally free of hair under their arms, on their legs and on their pubis are children. The only acceptable females in porn are hairless. I do not need to say a word about how fundamentally this creeps me out. Let alone how mentally and socially infantilising it is. Sexual fixation on hairlessness in adult females is creepy. Go bloody figure.
Deep breath. I watched with interest as I grew into a world where nice girls depilate. Except the stuff on our heads which is our ‘crowning glory’. Just how integral these tresses are to being seen / read as female came home to me with a body blow when I got throat cancer, underwent intensive chemotherapy and my hair fell out.
I assumed that it would loosen its moorings overnight, in one go. But it left my body in a slow, piecemeal moulting which I found sufficiently distressing that I got a set of clippers and shaved my head. I chose to ‘go bald’ rather than wear the prescription wig. The wig felt all wrong, like I was trying to pass for human and ‘well’ when that was the last thing I felt like. I was not ashamed of having cancer. My hairlessness was part of the reality. Sod this, I thought. I shall not pretend, nor hide my cancer from the world, just to spare the healthy world’s collective delusion that no-one gets ill and no-one dies. As a signifier of our shared mortality, baldness is terrifying. People crossed the road so that I wouldn’t talk to them about ‘it’.
At this point I want to stress that this was my individual response to cancer. I am not suggesting it as a template. Others choose to engage with the illness differently, and each person’s response is as valid as the next.
To bolster a sense of self, I searched for positive images of bald women with shaved or bald heads. I repeat, positive. I was not interested in images of punishment, dehumanisation, imprisonment or torture. It was bloody hard work finding anything. I scraped together a meagre handful, and the first hits were from science fiction. Alice Krige as the Borg Queen in Star Trek First Contact, Persis Khambatta as Lieutenant Ilia in Star Trek The Motion Picture, Sigourney Weaver as Ripley in Alien 3. All of them created as attractive, intelligent, ass-kicking or all three.
All of the above informed the creation of Eve, the central character in my upcoming debut novel The Palace of Curiosities (HarperCollins, forthcoming March 2013). I took the concept of female hairiness to its logical (that word again) extreme. Eve has hypertrichosis, a condition where the entire body is covered in a thick mat of hair. The novel is set in 1850s London, and in it I explore how Eve makes her way in a world where she is the only one of her kind. Her ‘difference’ is overwhelmingly visible, yet she is determined to get by on her own terms. She does not shave herself to pass for human. She fends off exploitation, discovers fulfilment, self-expression and self-reliance.
I’ve been told that Eve’s hairiness can be seen as an interesting analogy for being queer in a heteronormative world. I’m happy if she makes one person think about what it means to be female and have body hair.
If you would like to whet your appetite for The Palace of Curiosities in anticipation of its release next year, you can find Rosie's story, 'Cut and Paste', in the Hic Dragones Wolf-Girls anthology.
Read the other posts in the Body Hair blog series:
On Making and Publishing The Last Taboo: Women and Body Hair, by Karín Lesnik-Oberstein
On Body Hair, by LJ Maher
Female Werewolves, Fur and Body Hair, by Carys Crossen
Monday, 10 September 2012
GUEST POST: On Making and Publishing The Last Taboo: Women and Body Hair by Karín Lesnik-Oberstein
This is the first post in a series, so here's a little intro from me...
Working on, and reading about, female werewolves as much as I do, you become used to dealing on a daily basis with subject matter that most people find a little odd. Hyper-sexual creatures, brutal violence, animal transformation and the supernatural/occult all seem quite normal to me. Even conversations about anthropophagy and cannibalism are fairly routine for me, though these subjects tend to raise more eyebrows when I start talking about them at parties, and the subject of maternal cannibalism (the central theme of perhaps the most controversial of the stories in Wolf-Girls, an anthology I recently edited) is still something of a taboo.
However, there is one aspect of the female werewolf that is far less openly discussed. Female werewolves are hairy. They have body hair and they don't, on the whole, seek to remove it (apart from in Mattel's Monster High series, but that's another story...) And yet, we don't talk about this. This facet of the female werewolf is discreetly side-stepped or euphemized in (most, though not all) fiction. The silence, distaste and disgust surrounding female werewolves' body hair is not surprising, given that there is a silence, distaste and disgust surrounding all female body hair. It is something to be removed, reviled and certainly not spoken of in polite company. The hairy girl is, at best, an oddity, at worst, an aberration.
So, given my predilection for talking about subjects that are normally surrounded by silence, distaste and disgust, it gives me great pleasure to host guest posts from four female writers on the subject of female body hair. For the first post in the series, I welcome Karín Lesnik-Oberstein, editor of the only academic collection on female body hair, The Last Taboo.
Karín Lesnik-Oberstein is Professor of Critical Theory and Director of the ‘Graduate Centre for International Research in Childhood: Literature, Culture, Media (CIRCL)’ in the Department of English Literature at the University of Reading, in Reading, UK. Karín’s research interest is in transdisciplinary critical theory, and she has published monographs on Children’s Literature: Criticism and the Fictional Child (1994) and On Having an Own Child: Reproductive Technologies and the Cultural Construction of Childhood (2008), as well as several edited volumes on critical theory and identity, focussing on gender primarily in The Last Taboo: Women and Body Hair (2007, republished in paperback 2011).
I thought of my (edited) book The Last Taboo: Women and Body Hair in the early 1990s, very early on in my academic career, both because of my personal experiences with body hair and through discussing this as an issue with one of the very first students I taught (an American exchange student), in my first academic post as a Junior Research Fellow. I was discussing a personal decision I made in my early twenties no longer to remove my body hair with this student, and she told me in turn that she, like me, also had very dark and long body hair growth, according to her because of her Albanian ancestry. This student also told me she was training to be a contemporary ballet dancer (and, in fact, she became a very successful dancer), and that although contemporary ballet prided itself on breaking all kinds of taboos, for instance having dances danced in the nude, she was required to remove all the hair from her body. That was not up for question!
It was during this discussion that I decided to write a book on this whole topic, especially when I then discovered during subsequent research that nobody had done so already. There were a very few articles on the topic, psychological in orientation, examining ideas of femininity, gender and the body, but I discovered even feminist writers and academics had very little to say about why women remove their body hair; primarily, they discuss women’s body shape and weight. They either did (and do) not mention body hair at all, or, if they did, they only briefly advocated not practicing hair removal in order to return to a ‘natural’ body, or they celebrated hair removal as part of an idea of an enjoyment of beautification. In my book I did not want either to advocate hair-removal or to defend it, but try to understand more why it was done: what it meant.
This is also why I ended up not writing the whole book myself, but having different chapters written by different experts, although they all follow the theoretical framework I worked out in relation to body hair in my own introductory chapter, which is to see body hair and the body more widely (any kind of body, not just ‘female’ or ‘human’) as culturally constructed, not as ‘biologically’ determined. In terms of this approach, I was following (as I continue to do in all my work) my interest in critical and cultural theory, inspired by specific interpretations of the implications of psychoanalysis based on the work of, for instance, Jacqueline Rose, Shoshana Felman and Judith Butler. Having a range of different expertise also allows the book to illuminate the meanings of hair-removal across a range of fields and practices: literature, film, art, psychology, advertising, anthropology, and so on.
In the end it took me twenty years to get the book published. I wrote to over forty publishers during those years, but most of them either said the subject was too trivial to write about at such length and in an academic book, or they said that society was no longer interested in what they called ‘extreme feminism’. Interestingly, these responses in and of themselves completely supported the argument of the book and were predictable from what my contributors and I examine in the book, which is that body hair is an instance of how issues can be defined as socially, culturally or historically too silly and trivial to be discussed, on the one hand, whilst on the other they are simultaneously seen as too dangerous, mad and monstrous to be considered, and we argue throughout the book that this is in fact how social and cultural power acts itself out. This can be compared, for instance, to what literary critics Sandra Gilbert and Susan Gubar classically called the ‘madwoman in the attic’ in terms of the marginalisation and vilification of women as writers in nineteenth-century English literature and culture.
It was remarkable to see the kinds of comments publishers (from the UK and USA, as this is where I contacted academic publishers) made, even in the case of initially enthusiastic and supportive commissioning editors: one editor from a self-defined ‘radical’ academic press told me her sales team would not accept the book as they saw it as ‘too feminist’ to be able to sell. On the other hand, self-defined feminist presses such as Virago and The Women’s Press had no interest in the book at all and rejected it out of hand. Another publisher who initially did want to publish the book finally rejected it when a review-reader said they thought it should primarily be about men and body hair, not women (although, in fact, the book argues these are not separate issues). In another case, a publisher wanted me to change the title because they said that The Last Taboo ‘made it sound like it was about sex’; apparently they thought body hair had nothing to do with sexuality! Yet another publisher told me the book should not be theoretical, as there was nothing important theoretically about women and body hair, but that it should be written as a ‘sociological’ study.
My contributors and I were thrilled when the book was finally published by Manchester University Press in 2007. I worked on this book longer than on any other in my academic career, and making it not only was part of my own stubborn belief that this issue mattered, whatever many of the other publishers thought, but also confirmed to me that much of academia (and academic publishing), no matter how much it claims to be about original thinking, is often just as much in thrall to ideas of the acceptable and the valuing of ‘fashion’.
For more information about The Last Taboo, visit the Manchester University Press website, or Amazon.
The Body Hair blog series continues:
Damned if you do and damned if you don't, by Rosie Garland
On Body Hair, by LJ Maher
Female Werewolves, Fur and Body Hair, by Carys Crossen
Working on, and reading about, female werewolves as much as I do, you become used to dealing on a daily basis with subject matter that most people find a little odd. Hyper-sexual creatures, brutal violence, animal transformation and the supernatural/occult all seem quite normal to me. Even conversations about anthropophagy and cannibalism are fairly routine for me, though these subjects tend to raise more eyebrows when I start talking about them at parties, and the subject of maternal cannibalism (the central theme of perhaps the most controversial of the stories in Wolf-Girls, an anthology I recently edited) is still something of a taboo.
However, there is one aspect of the female werewolf that is far less openly discussed. Female werewolves are hairy. They have body hair and they don't, on the whole, seek to remove it (apart from in Mattel's Monster High series, but that's another story...) And yet, we don't talk about this. This facet of the female werewolf is discreetly side-stepped or euphemized in (most, though not all) fiction. The silence, distaste and disgust surrounding female werewolves' body hair is not surprising, given that there is a silence, distaste and disgust surrounding all female body hair. It is something to be removed, reviled and certainly not spoken of in polite company. The hairy girl is, at best, an oddity, at worst, an aberration.
So, given my predilection for talking about subjects that are normally surrounded by silence, distaste and disgust, it gives me great pleasure to host guest posts from four female writers on the subject of female body hair. For the first post in the series, I welcome Karín Lesnik-Oberstein, editor of the only academic collection on female body hair, The Last Taboo.
Karín Lesnik-Oberstein is Professor of Critical Theory and Director of the ‘Graduate Centre for International Research in Childhood: Literature, Culture, Media (CIRCL)’ in the Department of English Literature at the University of Reading, in Reading, UK. Karín’s research interest is in transdisciplinary critical theory, and she has published monographs on Children’s Literature: Criticism and the Fictional Child (1994) and On Having an Own Child: Reproductive Technologies and the Cultural Construction of Childhood (2008), as well as several edited volumes on critical theory and identity, focussing on gender primarily in The Last Taboo: Women and Body Hair (2007, republished in paperback 2011).
I thought of my (edited) book The Last Taboo: Women and Body Hair in the early 1990s, very early on in my academic career, both because of my personal experiences with body hair and through discussing this as an issue with one of the very first students I taught (an American exchange student), in my first academic post as a Junior Research Fellow. I was discussing a personal decision I made in my early twenties no longer to remove my body hair with this student, and she told me in turn that she, like me, also had very dark and long body hair growth, according to her because of her Albanian ancestry. This student also told me she was training to be a contemporary ballet dancer (and, in fact, she became a very successful dancer), and that although contemporary ballet prided itself on breaking all kinds of taboos, for instance having dances danced in the nude, she was required to remove all the hair from her body. That was not up for question!
It was during this discussion that I decided to write a book on this whole topic, especially when I then discovered during subsequent research that nobody had done so already. There were a very few articles on the topic, psychological in orientation, examining ideas of femininity, gender and the body, but I discovered even feminist writers and academics had very little to say about why women remove their body hair; primarily, they discuss women’s body shape and weight. They either did (and do) not mention body hair at all, or, if they did, they only briefly advocated not practicing hair removal in order to return to a ‘natural’ body, or they celebrated hair removal as part of an idea of an enjoyment of beautification. In my book I did not want either to advocate hair-removal or to defend it, but try to understand more why it was done: what it meant.
This is also why I ended up not writing the whole book myself, but having different chapters written by different experts, although they all follow the theoretical framework I worked out in relation to body hair in my own introductory chapter, which is to see body hair and the body more widely (any kind of body, not just ‘female’ or ‘human’) as culturally constructed, not as ‘biologically’ determined. In terms of this approach, I was following (as I continue to do in all my work) my interest in critical and cultural theory, inspired by specific interpretations of the implications of psychoanalysis based on the work of, for instance, Jacqueline Rose, Shoshana Felman and Judith Butler. Having a range of different expertise also allows the book to illuminate the meanings of hair-removal across a range of fields and practices: literature, film, art, psychology, advertising, anthropology, and so on.
In the end it took me twenty years to get the book published. I wrote to over forty publishers during those years, but most of them either said the subject was too trivial to write about at such length and in an academic book, or they said that society was no longer interested in what they called ‘extreme feminism’. Interestingly, these responses in and of themselves completely supported the argument of the book and were predictable from what my contributors and I examine in the book, which is that body hair is an instance of how issues can be defined as socially, culturally or historically too silly and trivial to be discussed, on the one hand, whilst on the other they are simultaneously seen as too dangerous, mad and monstrous to be considered, and we argue throughout the book that this is in fact how social and cultural power acts itself out. This can be compared, for instance, to what literary critics Sandra Gilbert and Susan Gubar classically called the ‘madwoman in the attic’ in terms of the marginalisation and vilification of women as writers in nineteenth-century English literature and culture.
It was remarkable to see the kinds of comments publishers (from the UK and USA, as this is where I contacted academic publishers) made, even in the case of initially enthusiastic and supportive commissioning editors: one editor from a self-defined ‘radical’ academic press told me her sales team would not accept the book as they saw it as ‘too feminist’ to be able to sell. On the other hand, self-defined feminist presses such as Virago and The Women’s Press had no interest in the book at all and rejected it out of hand. Another publisher who initially did want to publish the book finally rejected it when a review-reader said they thought it should primarily be about men and body hair, not women (although, in fact, the book argues these are not separate issues). In another case, a publisher wanted me to change the title because they said that The Last Taboo ‘made it sound like it was about sex’; apparently they thought body hair had nothing to do with sexuality! Yet another publisher told me the book should not be theoretical, as there was nothing important theoretically about women and body hair, but that it should be written as a ‘sociological’ study.
My contributors and I were thrilled when the book was finally published by Manchester University Press in 2007. I worked on this book longer than on any other in my academic career, and making it not only was part of my own stubborn belief that this issue mattered, whatever many of the other publishers thought, but also confirmed to me that much of academia (and academic publishing), no matter how much it claims to be about original thinking, is often just as much in thrall to ideas of the acceptable and the valuing of ‘fashion’.
For more information about The Last Taboo, visit the Manchester University Press website, or Amazon.
The Body Hair blog series continues:
Damned if you do and damned if you don't, by Rosie Garland
On Body Hair, by LJ Maher
Female Werewolves, Fur and Body Hair, by Carys Crossen
Wednesday, 5 September 2012
CFP: 4th Global Conference: Storytelling
Tuesday 21st May – Friday 24th May 2013
Prague, Czech Republic
Call for Presentations
Human life is conducted through story, which comes naturally to us. Sharing stories is arguably the most important way we have of communicating with others about who we are and what we believe; about what we are doing and have done; about our hopes and fears; about what we value and what we don’t. We learn about and make sense of our lives by telling the stories that we live; and we learn about other lives by listening to the stories told by others. Sometimes, under the influence of the culture in which we are immersed, we live our lives in ways that try to create the stories we want to be able to tell about them.
Members of many professions, including medicine, nursing, teaching, the law, psychotherapy and counseling, spend a great deal of their time listening to and communicating through stories. Story is a powerful tool for teachers, because it is a good way of enabling students and other learners to integrate what they are learning with what they already know, and of placing what is learned in a context that makes it easy to recall. Story plays an important role in academic disciplines like philosophy, theology, anthropology, archaeology, history as well as literature Narrative methods for the collection of data are increasingly used in research in the social sciences and humanities, where the value of getting to know people in a more intimate and less distant way – almost as if we are getting to know them from the inside, begins to be viewed as having some value. Some academics have begun to realise the value of storytelling as a model for academic writing.
Most of us have lots of experience of relating to other lives through narrative forms, including the nursery stories we encounter as children; the books we read and the movies we watch. When we are moved by a play or a film or by a novel, we are moved because we begin imaginatively to live the lives of the characters that inhabit them. If we are lucky we will encounter as we grow up, fictional stories that stay with us like old friends, throughout our lives that we will revisit again and again as a way coming to terms with and responding to experiences in our own lives.
Storytelling: global reflections on narrative, will provide a space in which stories about story can be told, and in which the use of stories in the widest possible range of aspects of human life, can be reported. Abstracts are invited for individual contributions and for symposia of three closely related papers. They may address any aspect of story or narrative, including, for example:
Story as a pedagogical tool in academic disciplines such as history; anthropology, psychology, theology, cultural theory, medicine, law, philosophy, education, and archaeology.
Narrative and the gathering of stories of lived experience, as a research approach in any area of academic, professional and public life.
The place of story and storytelling in the practice of journalism; PR advertising; conflict resolution; architecture; religion; tourism, politics and the law, and in clinical contexts such as medicine, psychotherapy, nursing and counseling.
Finally abstracts may feature storytelling in any aspect of culture, including music (from opera to heavy metal, folk and sacred music); fine art; theatre; literature; cinema and digital storytelling.
Alongside traditional conference papers, participants are invited to propose presentations of other kinds including, for example, theatrical performance or song, or workshops aimed at engaging participants in active learning about story and its possibilities.
The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme.
What to Send:
300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013 Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.
E-mails should be entitled: STORY4 Abstract Submission.
Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Gavin J Fairbairn
Rob Fisher
The conference is part of the Persons series of ongoing research and publications projects conferences, run within the Probing the Boundaries domain which aims to bring together people from different areas and interests to share ideas and explore innovative and challenging routes of intellectual and academic exploration.
All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume. All publications from the conference will require editors, to be chosen from interested delegates from the conference.
For further details of the conference, please click here.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
Prague, Czech Republic
Call for Presentations
Human life is conducted through story, which comes naturally to us. Sharing stories is arguably the most important way we have of communicating with others about who we are and what we believe; about what we are doing and have done; about our hopes and fears; about what we value and what we don’t. We learn about and make sense of our lives by telling the stories that we live; and we learn about other lives by listening to the stories told by others. Sometimes, under the influence of the culture in which we are immersed, we live our lives in ways that try to create the stories we want to be able to tell about them.
Members of many professions, including medicine, nursing, teaching, the law, psychotherapy and counseling, spend a great deal of their time listening to and communicating through stories. Story is a powerful tool for teachers, because it is a good way of enabling students and other learners to integrate what they are learning with what they already know, and of placing what is learned in a context that makes it easy to recall. Story plays an important role in academic disciplines like philosophy, theology, anthropology, archaeology, history as well as literature Narrative methods for the collection of data are increasingly used in research in the social sciences and humanities, where the value of getting to know people in a more intimate and less distant way – almost as if we are getting to know them from the inside, begins to be viewed as having some value. Some academics have begun to realise the value of storytelling as a model for academic writing.
Most of us have lots of experience of relating to other lives through narrative forms, including the nursery stories we encounter as children; the books we read and the movies we watch. When we are moved by a play or a film or by a novel, we are moved because we begin imaginatively to live the lives of the characters that inhabit them. If we are lucky we will encounter as we grow up, fictional stories that stay with us like old friends, throughout our lives that we will revisit again and again as a way coming to terms with and responding to experiences in our own lives.
Storytelling: global reflections on narrative, will provide a space in which stories about story can be told, and in which the use of stories in the widest possible range of aspects of human life, can be reported. Abstracts are invited for individual contributions and for symposia of three closely related papers. They may address any aspect of story or narrative, including, for example:
Story as a pedagogical tool in academic disciplines such as history; anthropology, psychology, theology, cultural theory, medicine, law, philosophy, education, and archaeology.
Narrative and the gathering of stories of lived experience, as a research approach in any area of academic, professional and public life.
The place of story and storytelling in the practice of journalism; PR advertising; conflict resolution; architecture; religion; tourism, politics and the law, and in clinical contexts such as medicine, psychotherapy, nursing and counseling.
Finally abstracts may feature storytelling in any aspect of culture, including music (from opera to heavy metal, folk and sacred music); fine art; theatre; literature; cinema and digital storytelling.
Alongside traditional conference papers, participants are invited to propose presentations of other kinds including, for example, theatrical performance or song, or workshops aimed at engaging participants in active learning about story and its possibilities.
The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme.
What to Send:
300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013 Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.
E-mails should be entitled: STORY4 Abstract Submission.
Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Gavin J Fairbairn
Rob Fisher
The conference is part of the Persons series of ongoing research and publications projects conferences, run within the Probing the Boundaries domain which aims to bring together people from different areas and interests to share ideas and explore innovative and challenging routes of intellectual and academic exploration.
All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume. All publications from the conference will require editors, to be chosen from interested delegates from the conference.
For further details of the conference, please click here.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
CFP: 3rd Global Conference: Responsible Living: Ethical Issues in Everyday Life
Saturday 18th May – Monday 20th May 2013
Prague, Czech Republic
Call for Presentations
Taking their professional responsibilities seriously, practitioners of a wide variety of professions, including medicine, psychology and social work; journalism, tourism and the arts; architecture, civil engineering and the law, engage in reflection about ethical issues as part of their daily practice. Most professions have an ethical code with which its members are expected to comply. But ethical issues are not to be found only in the workplace. Whether we are aware of it or not, we all face ethical decisions every day. Or at any rate, each day we make decisions that have ethical significance – about, for example, what we eat; how we behave towards others, including strangers as well as family and friends; about the extent to which we are willing to share what we have with others who have less; about the energy we use in travelling and in heating our homes, and about where we should shop for food, clothes and the other essentials of modern life.
Probably the most talked about problems about the intention to live responsibly arise in relation to human induced climate change, which has provoked heated debate at every level, and global summits aimed at forging agreements about how to tackle the problems of global warming. As well as local and international regulation, reflection about the problems of climate change have led also to mountains of advice about what we can to do to limit our impact on the planet – from changes in the ways we produce and package goods, to how we build, heat and insulate our homes; and from the advantages of using locally produced food and other necessities, to those of recycling almost everything. Of course, global warming is not the only area of life in which ethical living has become a major focus for many people. For example, they are concerned also, about a wide range of other issues including:
The ethical realities that surround food production, such as the use of chemicals in farming and the introduction of genetically modified crops.
Corruption in public life.
The power of multi-national companies and of the media in changing the ways we think and live.
Ways of keeping children safe and allowing them to grow to their full potential, wherever they live.
Poverty in both developing and developed countries.
Whether to buy their clothes from cut price shops that source them from manufacturers that pay their workers such low wages that they are barely better off than slaves, or from swankier shops that they hope are more ethical.
The destruction of the rainforests and the depletion of the earth’s resources.
Living Responsibly: reflecting on the ethical issues of everyday life will facilitate dialogue about living more responsibly. It will be of interest to everyone who cares about living in ways that are respectful of others and respectful of the planet, whether they are lay people or, for example, ethicists, sociologists, theologians, anthropologists or psychologists who are interested in what it means to behave ethically, and in what motivates ethical behaviour.
Abstracts are invited about any aspect of ethical issues in everyday life, of which the following suggested topics and questions are merely exemplars:
FOOD
~What should we eat and where should we buy our food?
~Should concerns about animal welfare turn us into vegetarians, or persuade us only to eat meat from animals that have been reared humanely?
~Is it really morally better to eat organic, locally produced food?
~What’s more important – the air miles it takes to bring my mange tout here from Kenya, or the fact that the Kenyan farmer who grows them gets at least some money?
~Do organically fed, free range chickens really enjoy their lives more than factory made ones?
~Is eating organically grown beef really more ethical?
CLIMATE CHANGE and GLOBAL WARMING
~What should we do about the problem of global warming?
~Will it really make any difference if we recycle; consume less energy and take fewer foreign holidays?
~Should I pay the optional carbon offsetting charge every time I fly?
~What will we do when the oil runs out?
~Wind farms, nuclear power and the overuse of energy.
RELATING TO AND CARING FOR OTHERS
~What ethical demands do personal relationships with family or friends place on us?
~Does the role of ‘parent’ or ‘spouse’ create particular ethical responsibilities?
~How responsible are we for those who are less well off than we are?
~Should we give money to beggars in the street, even if we suspect they will use it for drugs and alcohol?
~Do we also have ethical obligations to strangers, whether they are from our society or more distant ones, that conflict with our obligations to friends and lovers?
~Must we donate to every global disaster fund, even if we believe that our money may not reach those who need our help?
~Should I feel guilty about the plight of folk in developing countries that are squandering their GDP on warfare?
~What special ethical considerations do sexual relationships involve?
BUSINESS
~What does it take for a business to be ethically sound?
~Should multinationals rule the world?
~What’s fair about ‘fairtrade’?
~Isn’t ‘Responsible and sustainable tourism’ just another way of capturing a share of the market from cyncial business people?
~Should we buy newspapers published by companies that have a track record of unethical behaviour?
Papers will be considered on any related theme. The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme.
What to Send:
300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.
E-mails should be entitled: RL3 Abstract Submission.
Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Gavin J Fairbairn
Rob Fisher
The conference is part of the Persons series of ongoing research and publications projects conferences, run within the Probing the Boundaries domain which aims to bring together people from different areas and interests to share ideas and explore innovative and challenging routes of intellectual and academic exploration.
All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume. All publications from the conference will require editors, to be chosen from interested delegates from the conference.
For further details of the conference, please click here.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
Prague, Czech Republic
Call for Presentations
Taking their professional responsibilities seriously, practitioners of a wide variety of professions, including medicine, psychology and social work; journalism, tourism and the arts; architecture, civil engineering and the law, engage in reflection about ethical issues as part of their daily practice. Most professions have an ethical code with which its members are expected to comply. But ethical issues are not to be found only in the workplace. Whether we are aware of it or not, we all face ethical decisions every day. Or at any rate, each day we make decisions that have ethical significance – about, for example, what we eat; how we behave towards others, including strangers as well as family and friends; about the extent to which we are willing to share what we have with others who have less; about the energy we use in travelling and in heating our homes, and about where we should shop for food, clothes and the other essentials of modern life.
Probably the most talked about problems about the intention to live responsibly arise in relation to human induced climate change, which has provoked heated debate at every level, and global summits aimed at forging agreements about how to tackle the problems of global warming. As well as local and international regulation, reflection about the problems of climate change have led also to mountains of advice about what we can to do to limit our impact on the planet – from changes in the ways we produce and package goods, to how we build, heat and insulate our homes; and from the advantages of using locally produced food and other necessities, to those of recycling almost everything. Of course, global warming is not the only area of life in which ethical living has become a major focus for many people. For example, they are concerned also, about a wide range of other issues including:
The ethical realities that surround food production, such as the use of chemicals in farming and the introduction of genetically modified crops.
Corruption in public life.
The power of multi-national companies and of the media in changing the ways we think and live.
Ways of keeping children safe and allowing them to grow to their full potential, wherever they live.
Poverty in both developing and developed countries.
Whether to buy their clothes from cut price shops that source them from manufacturers that pay their workers such low wages that they are barely better off than slaves, or from swankier shops that they hope are more ethical.
The destruction of the rainforests and the depletion of the earth’s resources.
Living Responsibly: reflecting on the ethical issues of everyday life will facilitate dialogue about living more responsibly. It will be of interest to everyone who cares about living in ways that are respectful of others and respectful of the planet, whether they are lay people or, for example, ethicists, sociologists, theologians, anthropologists or psychologists who are interested in what it means to behave ethically, and in what motivates ethical behaviour.
Abstracts are invited about any aspect of ethical issues in everyday life, of which the following suggested topics and questions are merely exemplars:
FOOD
~What should we eat and where should we buy our food?
~Should concerns about animal welfare turn us into vegetarians, or persuade us only to eat meat from animals that have been reared humanely?
~Is it really morally better to eat organic, locally produced food?
~What’s more important – the air miles it takes to bring my mange tout here from Kenya, or the fact that the Kenyan farmer who grows them gets at least some money?
~Do organically fed, free range chickens really enjoy their lives more than factory made ones?
~Is eating organically grown beef really more ethical?
CLIMATE CHANGE and GLOBAL WARMING
~What should we do about the problem of global warming?
~Will it really make any difference if we recycle; consume less energy and take fewer foreign holidays?
~Should I pay the optional carbon offsetting charge every time I fly?
~What will we do when the oil runs out?
~Wind farms, nuclear power and the overuse of energy.
RELATING TO AND CARING FOR OTHERS
~What ethical demands do personal relationships with family or friends place on us?
~Does the role of ‘parent’ or ‘spouse’ create particular ethical responsibilities?
~How responsible are we for those who are less well off than we are?
~Should we give money to beggars in the street, even if we suspect they will use it for drugs and alcohol?
~Do we also have ethical obligations to strangers, whether they are from our society or more distant ones, that conflict with our obligations to friends and lovers?
~Must we donate to every global disaster fund, even if we believe that our money may not reach those who need our help?
~Should I feel guilty about the plight of folk in developing countries that are squandering their GDP on warfare?
~What special ethical considerations do sexual relationships involve?
BUSINESS
~What does it take for a business to be ethically sound?
~Should multinationals rule the world?
~What’s fair about ‘fairtrade’?
~Isn’t ‘Responsible and sustainable tourism’ just another way of capturing a share of the market from cyncial business people?
~Should we buy newspapers published by companies that have a track record of unethical behaviour?
Papers will be considered on any related theme. The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme.
What to Send:
300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.
E-mails should be entitled: RL3 Abstract Submission.
Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Gavin J Fairbairn
Rob Fisher
The conference is part of the Persons series of ongoing research and publications projects conferences, run within the Probing the Boundaries domain which aims to bring together people from different areas and interests to share ideas and explore innovative and challenging routes of intellectual and academic exploration.
All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume. All publications from the conference will require editors, to be chosen from interested delegates from the conference.
For further details of the conference, please click here.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
CFP: Sensing the Sacred: Religion and the Senses, 1300-1800
The University of York
21-22 June 2013
Confirmed keynote addresses from:
Nicky Hallett (University of Sheffield)
Matthew Milner (McGill University)
& Chris Woolgar (University of Southampton)
Religion has always been characterised as much by embodied experience as by abstract theological dispute. From the sounds of the adhān (the Islamic call to prayer), to the smell of incense in the Hindu Pūjā (a ritual offering to the deities), the visual emblem of the cross in the Christian tradition, and the ascetic practices of Theravada Buddhism, sensation is integral to a range of devotional practices. At the same time, the history of many faiths is characterised by an intense suspicion of the senses and the pleasures they offer.
This international, interdisciplinary conference, to be held at the University of York from 21 to 22 June 2013, will bring together scholars working on the role played by the senses in the experience and expression of religion and faith in the pre-modern world. The burgeoning field of sensory history offers a fertile ground for reconsideration of religious studies across disciplinary boundaries. We welcome papers from anthropologists, archaeologists, art historians, historians, literary scholars, musicologists, philosophers, theologians, and any other interested parties. Possible topics might include, but are by no means limited to:
- Synaesthesia: how do religious rituals blur sensory boundaries, and challenge sensory hierarchies?
- Iconography and iconoclasm: how might we conceive the ‘rites of violence’ in sensory terms? How does iconography engage the non-visual senses?
- The senses and conversion: how are the senses used to elicit conversion?
- Material cultures of religion: what role do the senses play in mediating between bodies and sacred objects?
- The senses and gender: are sensing practices gender specific?
- The inner (spiritual) senses: how do they relate to the external (bodily) senses?
- Sensory environments: to what extent do environments shape devotional practices and beliefs, and vice versa? How do we use our senses to orient ourselves in space?
- Affect: what role do the senses play in the inculcation of religious affect?
Proposals (max. 300 words) for papers of 20 minutes are welcomed both from established scholars, and from postgraduate students. Applications from panels of three speakers are encouraged, as well as individual proposals.
They should be sent to conference organisers Robin Macdonald, Emilie Murphy, and Elizabeth Swann by 6pm on 5 November 2012.
21-22 June 2013
Confirmed keynote addresses from:
Nicky Hallett (University of Sheffield)
Matthew Milner (McGill University)
& Chris Woolgar (University of Southampton)
Religion has always been characterised as much by embodied experience as by abstract theological dispute. From the sounds of the adhān (the Islamic call to prayer), to the smell of incense in the Hindu Pūjā (a ritual offering to the deities), the visual emblem of the cross in the Christian tradition, and the ascetic practices of Theravada Buddhism, sensation is integral to a range of devotional practices. At the same time, the history of many faiths is characterised by an intense suspicion of the senses and the pleasures they offer.
This international, interdisciplinary conference, to be held at the University of York from 21 to 22 June 2013, will bring together scholars working on the role played by the senses in the experience and expression of religion and faith in the pre-modern world. The burgeoning field of sensory history offers a fertile ground for reconsideration of religious studies across disciplinary boundaries. We welcome papers from anthropologists, archaeologists, art historians, historians, literary scholars, musicologists, philosophers, theologians, and any other interested parties. Possible topics might include, but are by no means limited to:
- Synaesthesia: how do religious rituals blur sensory boundaries, and challenge sensory hierarchies?
- Iconography and iconoclasm: how might we conceive the ‘rites of violence’ in sensory terms? How does iconography engage the non-visual senses?
- The senses and conversion: how are the senses used to elicit conversion?
- Material cultures of religion: what role do the senses play in mediating between bodies and sacred objects?
- The senses and gender: are sensing practices gender specific?
- The inner (spiritual) senses: how do they relate to the external (bodily) senses?
- Sensory environments: to what extent do environments shape devotional practices and beliefs, and vice versa? How do we use our senses to orient ourselves in space?
- Affect: what role do the senses play in the inculcation of religious affect?
Proposals (max. 300 words) for papers of 20 minutes are welcomed both from established scholars, and from postgraduate students. Applications from panels of three speakers are encouraged, as well as individual proposals.
They should be sent to conference organisers Robin Macdonald, Emilie Murphy, and Elizabeth Swann by 6pm on 5 November 2012.
CFP: 2nd Global Conference: Monstrous Geographies
Wednesday 15th May – Friday 17th May 2013
Prague, Czech Republic
Call for Presentations:
What is the relationship between the monstrous and the geographic? From ‘Aristotelian’ spaces – as containers of monsters and the monstrous – to ‘Leibnizian’ spaces, where the monstrous emerges from the topological relation between events and localities, monstrous geographies have always haunted the human cultural imagination. From the Necropolis to the Killing Fields and from the Amityville Horror to the island of Dr. Moreau, geographical locations may act as the repository or emanation of human evil, made monstrous by the rituals and behaviours enacted within them, or by their peculiarities of atmosphere or configuration. Whether actual or imagined, these places of wonder, fear and horror speak of the symbiotic relation between humanity and location that sees morality, ideology and emotions given physical form in the house, the forest, the island, the nation and even far away worlds in both space and time. They may engage notions of self and otherness, inclusion and exclusion, normal and aberrant, defence and contagion; may act as magnets for destructive and evil forces, such as the island of Manhattan; they are the source of malevolent energies and forces, such as Transylvania, Area 51 and Ringu; and they are the fulcrum for chaotic, warping energies, such as the Bermuda Triangle, Atlantis and Pandemonium. Alongside this, there exist the monstrous geographies created by scientific experimentation, human waste and environmental accidents, creating sites of potential and actual disaster such as the Chernobyl nuclear plant, the Gulf of Mexico in the wake of the BP oil disaster, and the devastated coastline of Tohuku, Japan. These places raise diverse post-human quandaries regarding necessities in the present leading to real or imagined futures of humanity and habitation.
Encompassing the factual and the fictional, the literal and the literary, this project investigates the very particular relationships and interactions between humanity and place, the natural and the unnatural, the familiar and the unfamiliar, and sees a multitude of configurations of human monstrosity and evil projected, inflicted, or immanent to place. Such monstrous geographies can be seen to emerge from the disparity between past and present, memory and modernity, urban and rural and can be expressed through categories of class, gender and racial difference as well as generational, political and religious tensions.
Presentations, papers, reports, performances, work-in-progress, workshops and pre-formed panels are invited on issues related to any of the following themes:
Monstrous Cartographies
~Terra incognita
~Real and Mythic lost lands: eg., Atlantis, D’yss, and Shangri-La
~Utopias/Dystopias, future cities in time and space
~Malevolent regions: eg., Lemuria, Bermuda Triangle, Transylvania
~Sublime landscapes
~Bodies as maps and maps as bodies, eg. Prison Break
Monstrous Islands
~As sites of experimentation. Dr. Moreau, Jurassic Park etc As a beacon for evil: eg., Manhattan in Godzilla and Cloverfield
~As site of ritual evil and incest: eg., Wicker Man, Pitkin Islands, Isle of the Dead
~Imperialist intent and construction: eg., Prospero’s Island, Hong Kong, Hashima
Monstrous Cosmographies
~Evil planets and dimensions
~Comets, meteorites and beings from unknown worlds
~Worlds as dark reflections/twins of Earth
~Planets and alien landscapes that consume and mutate earthly travelers
Monstrous Environmental Geographies
~Polluted lakes and landscapes
~Landfills, oil spills and mining sites
~Melting icecaps and landforms at risk from global warming
~Land impacted by GM crops and associated experimentation
~Sites of starvation, disaster and pestilence
~De-militarized zones and no-man’s lands
Monstrous Religious Sites & Ritualistic Monstrosity
~Armageddon, Apocalypse and final battlegrounds
~Hell, the Underworld and Valhalla
~Eden, Purgatory, Paradise, El Dorado, Shangri La
~Sites of religious ritual, sacrifice and burial
~Houses and haunts of murderers and serial killers
Monstrous Landscapes of Conflict
~The land of the enemy and the other
~Sites of attack and retaliation
~Sites of revolution and protest
~Concentration camps, prisons and other sites of incarceration
~Sites of genocide, battlefields and military graveyards
~Border crossings
~Ghettos, shanty towns and relocation sites
~Urban and rural, cities, towns and villages and regional and national prejudice
~Minefields and sites of damage, destruction and ruin
~Arsenals, bunkers and military experimentation
Uncanny Geographical Temporalities
~Old buildings in new surroundings
~Buildings with too much, and those without, memory
~Soulless Architecture
~Ideological architecture, palaces, museums etc
~Places held in time, UNESCO sites and historical and listed buildings
~Old towns and New towns, rich and poor
~Appearing and disappearing towns/regions, eg., Brigadoon, Silent Hill
Monsters on the Move
~Contagion, scouring and infectious landscapes
~Monsters and mobile technologies: phone, video, cars, planes, computers etc
~Fluid identities, fluid places
~Touring Monstrosities, dreamscapes and infernal topologies
Architectural Monstrosity
~Mazes and labyrinths (with or without the Minotaur)
~Unsettling/revolting geometries (E.A. Abbot’s Flatland, H.P. Lovecraft’s City of R’lyeh)
~Monstrous/abject building materials (bones, concrete, excrements, the corpse in the wall)
~The architecture of death (hospices, death row, funeral homes, slaughterhouses)
What to Send:
300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f0 up to 10 keywords
E-mails should be entitled: Monstrous Geographies 2 Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Jessica Rapson
Rob Fisher
The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.
For further details of the conference, please click here.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
Prague, Czech Republic
Call for Presentations:
What is the relationship between the monstrous and the geographic? From ‘Aristotelian’ spaces – as containers of monsters and the monstrous – to ‘Leibnizian’ spaces, where the monstrous emerges from the topological relation between events and localities, monstrous geographies have always haunted the human cultural imagination. From the Necropolis to the Killing Fields and from the Amityville Horror to the island of Dr. Moreau, geographical locations may act as the repository or emanation of human evil, made monstrous by the rituals and behaviours enacted within them, or by their peculiarities of atmosphere or configuration. Whether actual or imagined, these places of wonder, fear and horror speak of the symbiotic relation between humanity and location that sees morality, ideology and emotions given physical form in the house, the forest, the island, the nation and even far away worlds in both space and time. They may engage notions of self and otherness, inclusion and exclusion, normal and aberrant, defence and contagion; may act as magnets for destructive and evil forces, such as the island of Manhattan; they are the source of malevolent energies and forces, such as Transylvania, Area 51 and Ringu; and they are the fulcrum for chaotic, warping energies, such as the Bermuda Triangle, Atlantis and Pandemonium. Alongside this, there exist the monstrous geographies created by scientific experimentation, human waste and environmental accidents, creating sites of potential and actual disaster such as the Chernobyl nuclear plant, the Gulf of Mexico in the wake of the BP oil disaster, and the devastated coastline of Tohuku, Japan. These places raise diverse post-human quandaries regarding necessities in the present leading to real or imagined futures of humanity and habitation.
Encompassing the factual and the fictional, the literal and the literary, this project investigates the very particular relationships and interactions between humanity and place, the natural and the unnatural, the familiar and the unfamiliar, and sees a multitude of configurations of human monstrosity and evil projected, inflicted, or immanent to place. Such monstrous geographies can be seen to emerge from the disparity between past and present, memory and modernity, urban and rural and can be expressed through categories of class, gender and racial difference as well as generational, political and religious tensions.
Presentations, papers, reports, performances, work-in-progress, workshops and pre-formed panels are invited on issues related to any of the following themes:
Monstrous Cartographies
~Terra incognita
~Real and Mythic lost lands: eg., Atlantis, D’yss, and Shangri-La
~Utopias/Dystopias, future cities in time and space
~Malevolent regions: eg., Lemuria, Bermuda Triangle, Transylvania
~Sublime landscapes
~Bodies as maps and maps as bodies, eg. Prison Break
Monstrous Islands
~As sites of experimentation. Dr. Moreau, Jurassic Park etc As a beacon for evil: eg., Manhattan in Godzilla and Cloverfield
~As site of ritual evil and incest: eg., Wicker Man, Pitkin Islands, Isle of the Dead
~Imperialist intent and construction: eg., Prospero’s Island, Hong Kong, Hashima
Monstrous Cosmographies
~Evil planets and dimensions
~Comets, meteorites and beings from unknown worlds
~Worlds as dark reflections/twins of Earth
~Planets and alien landscapes that consume and mutate earthly travelers
Monstrous Environmental Geographies
~Polluted lakes and landscapes
~Landfills, oil spills and mining sites
~Melting icecaps and landforms at risk from global warming
~Land impacted by GM crops and associated experimentation
~Sites of starvation, disaster and pestilence
~De-militarized zones and no-man’s lands
Monstrous Religious Sites & Ritualistic Monstrosity
~Armageddon, Apocalypse and final battlegrounds
~Hell, the Underworld and Valhalla
~Eden, Purgatory, Paradise, El Dorado, Shangri La
~Sites of religious ritual, sacrifice and burial
~Houses and haunts of murderers and serial killers
Monstrous Landscapes of Conflict
~The land of the enemy and the other
~Sites of attack and retaliation
~Sites of revolution and protest
~Concentration camps, prisons and other sites of incarceration
~Sites of genocide, battlefields and military graveyards
~Border crossings
~Ghettos, shanty towns and relocation sites
~Urban and rural, cities, towns and villages and regional and national prejudice
~Minefields and sites of damage, destruction and ruin
~Arsenals, bunkers and military experimentation
Uncanny Geographical Temporalities
~Old buildings in new surroundings
~Buildings with too much, and those without, memory
~Soulless Architecture
~Ideological architecture, palaces, museums etc
~Places held in time, UNESCO sites and historical and listed buildings
~Old towns and New towns, rich and poor
~Appearing and disappearing towns/regions, eg., Brigadoon, Silent Hill
Monsters on the Move
~Contagion, scouring and infectious landscapes
~Monsters and mobile technologies: phone, video, cars, planes, computers etc
~Fluid identities, fluid places
~Touring Monstrosities, dreamscapes and infernal topologies
Architectural Monstrosity
~Mazes and labyrinths (with or without the Minotaur)
~Unsettling/revolting geometries (E.A. Abbot’s Flatland, H.P. Lovecraft’s City of R’lyeh)
~Monstrous/abject building materials (bones, concrete, excrements, the corpse in the wall)
~The architecture of death (hospices, death row, funeral homes, slaughterhouses)
What to Send:
300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f0 up to 10 keywords
E-mails should be entitled: Monstrous Geographies 2 Abstract Submission
Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs
Jessica Rapson
Rob Fisher
The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.
For further details of the conference, please click here.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
CFP: 5th Global Conference: Evil, Women and the Feminine
Saturday 18th May – Monday 20th May 2013
Prague, Czech Republic
Call for Presentations:
"A wanton woman is the figure of imperfection; in nature an ape, in quality a wagtail, in countenance a witch, and in condition a kind of devil."
(Nicholas Breton, 1615)
Despite the attempts of feminists the conjunction between evil and the feminine seems unbroken. Established as secondary, derivative and hence inferior, women have been long suspected of being the source of human (though more often masculine) miseries, always in cahoots with the forces of evil and destruction. Paradoxically, at the same time, some have also been put on the pedestal and lauded as ideals of purity and dedication, yet these paragons only proved the rule that, on average, the feminine/woman equals imperfect and transgressive. Mischievous, beguiling, seductive, lascivious, unruly, carping, vengeful and manipulative – these are only a few of the epithets present in cultures and literatures across the world. In grappling with our understanding of what it is to be and do ‘evil’, the project aims to explore the possible sources of the fear and hatred of women and the feminine as well as their manifestations and pervasiveness across times, cultures and media.
This interdisciplinary project invites scholars, artists, writers, theologians, sociologists, psychologists, historians, etc. to present papers, reports, work-in-progress, art pieces and workshops on issues related but definitely not limited to the following themes:
~ Evil Women and Feminine Evil: Vices and Sins of Women
~ Representing and Misrepresenting the Female; Evil Women 'Talking Back'
~ Motherhood; Monstrous Motherhood; Infertility and its Meaning across Cultures
~ Monstrous Births and Infanticide
~ Matriarchy/Matricide/Spouse Murder
~ Devious Sexuality and Feminine Perversions
~ Women and/as the Abject; Unnatural Women/Femininity
~ Menstruation, Castration
~ Fears and Myths: Feminine Blood, Witchcraft, Vamp(ires)s, Sirens, Harpies, Lamias, etc.
~ Anthropological and Historical Perspectives on Evil Feminine and Femaleness
~ The Evil Woman in Literature, Religion, Medicine, Law across Times and Cultures
~ Psychoanalytic Perspectives: 'Vagina Dentata,' 'the Wandering Womb,' 'Poisonous Look' etc.
~ Sexualizing the Female or Evil Objectification
~ Trans-Cultural Conceptualisations of Femme Fatale vs the Perfect Woman
~ Women and (Misuse of) Power
~ Evil Beauty; the Meaning of Hair and Make-up
~ Evil, Feminine in Fantasy, Fairy Tales, Horror, Thriller
~ Evil, Feminine in Mythologies and Religions across the world
~ Case Studies: Evil Women on the Agenda
The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme.
What to Send:
300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday15th February 2013. 300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.
E-mails should be entitled: EWF5 Abstract Submission.
Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs:
Natalia Kaloh Vid
Rob Fisher
The conference is part of the At the Interface programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s). All publications from the conference will require editors, to be chosen from interested delegates from the conference.
For further details of the conference, please click here.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
Prague, Czech Republic
Call for Presentations:
"A wanton woman is the figure of imperfection; in nature an ape, in quality a wagtail, in countenance a witch, and in condition a kind of devil."
(Nicholas Breton, 1615)
Despite the attempts of feminists the conjunction between evil and the feminine seems unbroken. Established as secondary, derivative and hence inferior, women have been long suspected of being the source of human (though more often masculine) miseries, always in cahoots with the forces of evil and destruction. Paradoxically, at the same time, some have also been put on the pedestal and lauded as ideals of purity and dedication, yet these paragons only proved the rule that, on average, the feminine/woman equals imperfect and transgressive. Mischievous, beguiling, seductive, lascivious, unruly, carping, vengeful and manipulative – these are only a few of the epithets present in cultures and literatures across the world. In grappling with our understanding of what it is to be and do ‘evil’, the project aims to explore the possible sources of the fear and hatred of women and the feminine as well as their manifestations and pervasiveness across times, cultures and media.
This interdisciplinary project invites scholars, artists, writers, theologians, sociologists, psychologists, historians, etc. to present papers, reports, work-in-progress, art pieces and workshops on issues related but definitely not limited to the following themes:
~ Evil Women and Feminine Evil: Vices and Sins of Women
~ Representing and Misrepresenting the Female; Evil Women 'Talking Back'
~ Motherhood; Monstrous Motherhood; Infertility and its Meaning across Cultures
~ Monstrous Births and Infanticide
~ Matriarchy/Matricide/Spouse Murder
~ Devious Sexuality and Feminine Perversions
~ Women and/as the Abject; Unnatural Women/Femininity
~ Menstruation, Castration
~ Fears and Myths: Feminine Blood, Witchcraft, Vamp(ires)s, Sirens, Harpies, Lamias, etc.
~ Anthropological and Historical Perspectives on Evil Feminine and Femaleness
~ The Evil Woman in Literature, Religion, Medicine, Law across Times and Cultures
~ Psychoanalytic Perspectives: 'Vagina Dentata,' 'the Wandering Womb,' 'Poisonous Look' etc.
~ Sexualizing the Female or Evil Objectification
~ Trans-Cultural Conceptualisations of Femme Fatale vs the Perfect Woman
~ Women and (Misuse of) Power
~ Evil Beauty; the Meaning of Hair and Make-up
~ Evil, Feminine in Fantasy, Fairy Tales, Horror, Thriller
~ Evil, Feminine in Mythologies and Religions across the world
~ Case Studies: Evil Women on the Agenda
The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme.
What to Send:
300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday15th February 2013. 300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.
E-mails should be entitled: EWF5 Abstract Submission.
Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs:
Natalia Kaloh Vid
Rob Fisher
The conference is part of the At the Interface programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s). All publications from the conference will require editors, to be chosen from interested delegates from the conference.
For further details of the conference, please click here.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
Call for Submissions: Monsters and the Monstrous Journal
Volume 3, Number 1, Themed Issue on Monstrous Spaces/Spaces of Monstrosity
This issue is concentrating on spaces that are considered monstrous or are themselves capable of producing monstrosity. these spaces can be actual or authored, real or imaginary. Spaces of violence and murder, social taboo, ideological excess and human depravity from the past, present or future. Equally spaces natural or supernatural, earth found or star bound that produce, spawn or inevitably return to monstrosity in all its many human, cultural and temporal forms.
The Editors welcome contributions to the journal in the form of articles, reviews, reports, art and/or visual pieces and other forms of submission on the following or related themes:
● Monstrous Landscapes of Conflict: Genocide, battle zones, imprisonment, execution, torture
● Monstrous Environments: Biological experimentation, nuclear fallout, GM crops
● Monstrous Temporalities: Other dimensions, spirit worlds, mythical places
● Monstrous Cosmographies: Outer Space, Alien worlds, Terra Incognita, space craft, parallel universes
● Monstrous Religious Spaces: Hell, Hades, Purgatory, Heaven, Nirvana, Valhalla, Samsara, Paradise
● Monstrous Ideological Spaces: Society, Politics, Difference, Gender, Colonial, Post Colonial, Disabilities
Submissions for this Issue are required by Friday 8th March 2013 at the latest.
Contributions to the journal should be original and not under consideration for other publications at the same time as they are under consideration for this publication. Submissions are to be made electronically wherever possible using either Microsoft® Word or .rtf format.
For Further Information, please visit the journal's website.
Contributions are also invited for future issues of the journal which will include: “Monstrous Beauty/The Beauty of Monstrosity.”
We also invite submission to our special features on Non-English Language Book Reviews. Please mark entries for these topics with their respective headings.
All accepted articles, artworks and prose pieces will receive a free electronic version of the journal.
Length Requirements:
Articles – 5,000 – 7,000 words.
Reflections, reports and responses – 1,000 – 3,000 words.
Book reviews – 500 – 4,000 words.
Other forms of contributions such as artworks, photographs, poetry, prose and short stories are welcome.
In the case of visual work and images we ask that all copyrights to publication are either obtained or owned by the author/artist.
Send submissions via e-mail using the following Subject Line:
'Journal: Contribution Type (article/review/…): Author Surname'
Submissions E-Mail Address
Submissions will be acknowledged within 48 hours of receipt.
This issue is concentrating on spaces that are considered monstrous or are themselves capable of producing monstrosity. these spaces can be actual or authored, real or imaginary. Spaces of violence and murder, social taboo, ideological excess and human depravity from the past, present or future. Equally spaces natural or supernatural, earth found or star bound that produce, spawn or inevitably return to monstrosity in all its many human, cultural and temporal forms.
The Editors welcome contributions to the journal in the form of articles, reviews, reports, art and/or visual pieces and other forms of submission on the following or related themes:
● Monstrous Landscapes of Conflict: Genocide, battle zones, imprisonment, execution, torture
● Monstrous Environments: Biological experimentation, nuclear fallout, GM crops
● Monstrous Temporalities: Other dimensions, spirit worlds, mythical places
● Monstrous Cosmographies: Outer Space, Alien worlds, Terra Incognita, space craft, parallel universes
● Monstrous Religious Spaces: Hell, Hades, Purgatory, Heaven, Nirvana, Valhalla, Samsara, Paradise
● Monstrous Ideological Spaces: Society, Politics, Difference, Gender, Colonial, Post Colonial, Disabilities
Submissions for this Issue are required by Friday 8th March 2013 at the latest.
Contributions to the journal should be original and not under consideration for other publications at the same time as they are under consideration for this publication. Submissions are to be made electronically wherever possible using either Microsoft® Word or .rtf format.
For Further Information, please visit the journal's website.
Contributions are also invited for future issues of the journal which will include: “Monstrous Beauty/The Beauty of Monstrosity.”
We also invite submission to our special features on Non-English Language Book Reviews. Please mark entries for these topics with their respective headings.
All accepted articles, artworks and prose pieces will receive a free electronic version of the journal.
Length Requirements:
Articles – 5,000 – 7,000 words.
Reflections, reports and responses – 1,000 – 3,000 words.
Book reviews – 500 – 4,000 words.
Other forms of contributions such as artworks, photographs, poetry, prose and short stories are welcome.
In the case of visual work and images we ask that all copyrights to publication are either obtained or owned by the author/artist.
Send submissions via e-mail using the following Subject Line:
'Journal: Contribution Type (article/review/…): Author Surname'
Submissions E-Mail Address
Submissions will be acknowledged within 48 hours of receipt.
Tuesday, 4 September 2012
Review: L.L. Raand, The Midnight Hunt (Bold Strokes Books, 2010)
This is the fourth of four reviews of recent female werewolf fiction. You can read the others here:
Part 1: Catherine Lundoff, Silver Moon
Part 2: S.J. Bell, Bonds of Fenris
Part 3: Allison Moon, Lunatic Fringe
Nearly a year ago, I ran a poll on this site for readers to vote for their favourite female werewolves. One werewolf – L.L. Raand’s Sylvan Mir – got far and away more votes than any other contender. I’ll repeat what I said at the time, this was not the result of spamming or any other dodgy practice, but rather an outpouring of support from Raand (aka Radclyffe)’s very loyal fans. With an endorsement like that, I had to read the books.
I’ll be honest, I wasn’t sure what to expect from The Midnight Hunt (the first book in Raand’s Midnight Hunters series). I was a little trepidatious. The book has been described as both erotica and erotic romance – two genres that I’m not hugely enamoured with. In the comments left by Raand’s fans, her alpha werewolf Sylvan was most often described as “hot”, and I was worried that this meant sexy, but one-dimensional. Still, I began the book with an open mind, keen to see why it was so popular…
… and I’m really glad I did. I was very pleasantly surprised, and now understand why I recently heard Radclyffe described as “the rock star of lesbian romance”.
The Midnight Hunt is set in a world in which “Weres”, vampires and other “Praetern” races live uneasily alongside human beings. Though the human and supernatural creatures have long co-existed, the latter have recently come out into the open, leading to a troubled cohabitation that is, at the start of The Midnight Hunt, very much a work-in-progress.
Sylvan Mir is the alpha “Were”, attempting to protect her species in the face of human antagonism and uneasy alliance with the other Praeterns. In addition to this, young female werewolves are being attacked, and a disease called “Were fever” is infected both humans and werewolves. When one of Sylvan’s wolves is infected, she is thrown into the path of human doctor Drake McKennan, who risks her own life to treat a werewolf.
To complicate matters further, a (human) investigative reporter named Becca Land is determined to get to the bottom of recent events, which means her working with, or at least trying to work with, Jody Gates, a vampire detective. I’m guessing I don’t need to note, here, that all four of these women are very sexy and each pair feel a powerful (and dangerous) attraction to each other… it is an erotic romance after all.
So, what was it that made The Midnight Hunt stand out from the crowd? What was it that surprised me? The first thing was the quality of writing. The book is very readable, and very well-paced. The sex scenes – notoriously difficult to get right – are sexy. A good balance is drawn between detail and euphemism, which I thought was a real strong point of Raand’s writing style.
But the main reason why I enjoyed this book was the characterization, especially that of Sylvan Mir. As I said above, I was half-expecting Sylvan to be nothing more than a ‘hot’ female werewolf, and I’ve read enough of those. But Sylvan, though definitely sexy, has a depth and plausibility to her character that was very engaging. Attempting to balance being a leader with her own emotional needs, trying to work with the other Praeterns and exist with the humans, Sylvan was conflicted, isolated and, sometimes, brutal. And I make no secret of the fact that this is how I like my she-wolves. This also meant that her developing relationship with Drake was more believable – as well as allowing for the requisite obstacles for the romance storyline.
There is also more to the plot of The Midnight Hunt than just romance and sex – though, don’t get me wrong, there is a lot of sex. I liked the world that Raand had sketched out, and think that her decision to set the book shortly after the “Exodus” of the Praetern races, rather than during it, was a good one. It was an interesting angle to take on the humans/supernaturals living alongside one another, and, if anything, I would have liked to have seen more of this world. I hope it will be developed further in the subsequent books.
If I have a criticism of the world-building, it would be that Raand’s “Weres” are much more compelling than her vampires. Not that vampires need to be the central creatures in a fantasy world (and I hope the focus of my blog shows that I don’t think that!), but rather that the vampires in The Midnight Hunt are a little underdeveloped beyond their hypnotic, polymorphous sexuality. This was a little frustrating, as Raand’s vampires do have some unusual aspects that differentiate them from the current mass of vampires – I wanted more of these.
I suppose this is a good point to talk about the sex. As I’ve said, the sex scenes are well-written and strike a good balance of the erotic and the romantic. I am not a huge erotica fan, so occasionally found myself waiting a little impatiently for the sex to finish so Sylvan could go out and hunt again, or get back to investigating what has been happening to her pack. Raand’s werewolves and vampires are hypersexual by their very natures, but, to her credit, she does give some good discussions of the consequences and implications of this – as well as some pretty steamy set-pieces. I felt the ending of the book also focused more on the resolution of the sex/romance plot than the investigation of “Were fever”, though this is to be expected given the genre. It’s also worth noting that this is the first book in a series, so some loose ends are necessary to carry through to the next instalment.
In conclusion, The Midnight Hunt is a great start to a series. Its ‘alpha’ female is a really creation, and I was fully invested in Sylvan and her development through the book. It is an erotic romance, which might not appeal to everyone. The sex outweighs the violence and horror by a wide margin, and I know this may not be to everyone’s tastes. However, there is much more to this book than sex, and I think it has a wider appeal than simply its genre.
If you are a fan of paranormal erotic romance, then The Midnight Hunt is a must-read. But, like I’ve said, I’m not normally a fan of the genre, but still enjoyed the book immensely and am looking forward to reading the rest of the Midnight Hunters series. If you like your female werewolves hot and sexy – but also fierce and protective, conflicted and spiky – then you will like Sylvan Mir. Now you can take my word for it, as well as the legion of Raand fans who voted in my poll.
For more information about the Midnight Hunters series, see the publisher’s website.
Part 1: Catherine Lundoff, Silver Moon
Part 2: S.J. Bell, Bonds of Fenris
Part 3: Allison Moon, Lunatic Fringe
Part 1: Catherine Lundoff, Silver Moon
Part 2: S.J. Bell, Bonds of Fenris
Part 3: Allison Moon, Lunatic Fringe
Nearly a year ago, I ran a poll on this site for readers to vote for their favourite female werewolves. One werewolf – L.L. Raand’s Sylvan Mir – got far and away more votes than any other contender. I’ll repeat what I said at the time, this was not the result of spamming or any other dodgy practice, but rather an outpouring of support from Raand (aka Radclyffe)’s very loyal fans. With an endorsement like that, I had to read the books.
I’ll be honest, I wasn’t sure what to expect from The Midnight Hunt (the first book in Raand’s Midnight Hunters series). I was a little trepidatious. The book has been described as both erotica and erotic romance – two genres that I’m not hugely enamoured with. In the comments left by Raand’s fans, her alpha werewolf Sylvan was most often described as “hot”, and I was worried that this meant sexy, but one-dimensional. Still, I began the book with an open mind, keen to see why it was so popular…
… and I’m really glad I did. I was very pleasantly surprised, and now understand why I recently heard Radclyffe described as “the rock star of lesbian romance”.
The Midnight Hunt is set in a world in which “Weres”, vampires and other “Praetern” races live uneasily alongside human beings. Though the human and supernatural creatures have long co-existed, the latter have recently come out into the open, leading to a troubled cohabitation that is, at the start of The Midnight Hunt, very much a work-in-progress.
Sylvan Mir is the alpha “Were”, attempting to protect her species in the face of human antagonism and uneasy alliance with the other Praeterns. In addition to this, young female werewolves are being attacked, and a disease called “Were fever” is infected both humans and werewolves. When one of Sylvan’s wolves is infected, she is thrown into the path of human doctor Drake McKennan, who risks her own life to treat a werewolf.
To complicate matters further, a (human) investigative reporter named Becca Land is determined to get to the bottom of recent events, which means her working with, or at least trying to work with, Jody Gates, a vampire detective. I’m guessing I don’t need to note, here, that all four of these women are very sexy and each pair feel a powerful (and dangerous) attraction to each other… it is an erotic romance after all.
So, what was it that made The Midnight Hunt stand out from the crowd? What was it that surprised me? The first thing was the quality of writing. The book is very readable, and very well-paced. The sex scenes – notoriously difficult to get right – are sexy. A good balance is drawn between detail and euphemism, which I thought was a real strong point of Raand’s writing style.
But the main reason why I enjoyed this book was the characterization, especially that of Sylvan Mir. As I said above, I was half-expecting Sylvan to be nothing more than a ‘hot’ female werewolf, and I’ve read enough of those. But Sylvan, though definitely sexy, has a depth and plausibility to her character that was very engaging. Attempting to balance being a leader with her own emotional needs, trying to work with the other Praeterns and exist with the humans, Sylvan was conflicted, isolated and, sometimes, brutal. And I make no secret of the fact that this is how I like my she-wolves. This also meant that her developing relationship with Drake was more believable – as well as allowing for the requisite obstacles for the romance storyline.
There is also more to the plot of The Midnight Hunt than just romance and sex – though, don’t get me wrong, there is a lot of sex. I liked the world that Raand had sketched out, and think that her decision to set the book shortly after the “Exodus” of the Praetern races, rather than during it, was a good one. It was an interesting angle to take on the humans/supernaturals living alongside one another, and, if anything, I would have liked to have seen more of this world. I hope it will be developed further in the subsequent books.
If I have a criticism of the world-building, it would be that Raand’s “Weres” are much more compelling than her vampires. Not that vampires need to be the central creatures in a fantasy world (and I hope the focus of my blog shows that I don’t think that!), but rather that the vampires in The Midnight Hunt are a little underdeveloped beyond their hypnotic, polymorphous sexuality. This was a little frustrating, as Raand’s vampires do have some unusual aspects that differentiate them from the current mass of vampires – I wanted more of these.
I suppose this is a good point to talk about the sex. As I’ve said, the sex scenes are well-written and strike a good balance of the erotic and the romantic. I am not a huge erotica fan, so occasionally found myself waiting a little impatiently for the sex to finish so Sylvan could go out and hunt again, or get back to investigating what has been happening to her pack. Raand’s werewolves and vampires are hypersexual by their very natures, but, to her credit, she does give some good discussions of the consequences and implications of this – as well as some pretty steamy set-pieces. I felt the ending of the book also focused more on the resolution of the sex/romance plot than the investigation of “Were fever”, though this is to be expected given the genre. It’s also worth noting that this is the first book in a series, so some loose ends are necessary to carry through to the next instalment.
In conclusion, The Midnight Hunt is a great start to a series. Its ‘alpha’ female is a really creation, and I was fully invested in Sylvan and her development through the book. It is an erotic romance, which might not appeal to everyone. The sex outweighs the violence and horror by a wide margin, and I know this may not be to everyone’s tastes. However, there is much more to this book than sex, and I think it has a wider appeal than simply its genre.
If you are a fan of paranormal erotic romance, then The Midnight Hunt is a must-read. But, like I’ve said, I’m not normally a fan of the genre, but still enjoyed the book immensely and am looking forward to reading the rest of the Midnight Hunters series. If you like your female werewolves hot and sexy – but also fierce and protective, conflicted and spiky – then you will like Sylvan Mir. Now you can take my word for it, as well as the legion of Raand fans who voted in my poll.
For more information about the Midnight Hunters series, see the publisher’s website.
Part 1: Catherine Lundoff, Silver Moon
Part 2: S.J. Bell, Bonds of Fenris
Part 3: Allison Moon, Lunatic Fringe
Review: Allison Moon, Lunatic Fringe (Allison Moon, 2011)
This is the third of four reviews of recent female werewolf fiction. You can read the others here:
Part 1: Catherine Lundoff, Silver Moon
Part 2: S.J. Bell, Bonds of Fenris
Part 4: L.L. Raand, The Midnight Hunt
Cover image Lunatic Fringe is a debut, self-published novel by Allison Moon. It tells the story of a young, naïve girl named Lexie Clarion, who leaves home to study at Milton College (in “rural Oregon”). As soon as she starts at university, she is confronted by an apparent werewolf threat, invited to join “The Pack” (a self-styled radical feminist group), and finds herself attracted to a mysterious woman named Archer. Lexie’s loyalties are divided when she realizes Archer and the Pack have a troubled history.
Archer’s supernatural status is signalled early on – the genre trope of oddly coloured eyes is deployed to this end – and there is no ambiguity about the type of supernatural creatures peopling Lunatic Fringe. So, it’s not difficult to work out that Archer is a werewolf. This is not a criticism, however, as I think we’ve all reached saturation point with the ‘guess what type of supernatural being the sexy stranger is’ plot. I liked knowing where I stood with Archer.
The werewolves in Lunatic Fringe are of a somewhat confused type. As is common in contemporary fiction, they are a mixture of European tradition and pseudo-shamanism. In a rather exposition-heavy passage, Archer explains the origin story of the werewolf. This origin had real potential, as it sought to weave together ideas of lycanthropy with gender construction. Unfortunately, this potential was not exploited fully, and the resultant explanation was rather implausible and very US-centric (i.e. there appears to have been no history and no werewolves until the colonization of the Americas, which jars a little if you are familiar with the history of werewolf literature and lore).
There’s always a danger of confusion when writers bring together too many different traditions in werewolf fiction – the same is true for vampire fiction. The disparate ‘types’ of shapeshifting don’t always gel particularly well together. Unfortunately, this is true of Lunatic Fringe. While some werewolves are ‘infected’ (and I will give a big thumbs up for the method of ‘infection’ – no spoilers, but it’s a piece of Northern European lore that is rarely used in twenty-first-century fiction), others are born werewolves, and yet others are the ‘original’ werewolves. These creatures are all so different that Moon has to insert numerous ‘lessons’ imparted to the heroine, and this becomes rather confused and almost incoherent in places. That one group of werewolves are called the “Morloc”, with the apparently unintentional resonances, added to the problem.
Sadly, ‘confused’ is probably the best adjective I can think of to describe Lunatic Fringe. Plot-wise, there is far too much going on. The story jumps between a coming-of-age tale, an erotic romance, a thriller, a horror story. Each of the threads would have made a good plot for a werewolf story, but they have become rather tangled together. The ending is very rushed, bringing the disparate storylines together in a hurried denouement that does not completely make sense and seems to contradict some things that have come before.
One of the problems with the ending, without giving too much away, is that, while I was invested in Moon’s Archer, I really did not like her heroine Lexie. I said above that Lexie is naïve, but I’m not sure she’s not just ignorant. I found her views on gender and sexuality to be a bit unappealing, if I’m honest, especially her insistence on calling every ‘butch’ woman she meets ‘he’. The first time this happens is in a flashback to Lexie’s childhood, in which she remembers “Wes” her father’s colleague in the forestry service. Wes wears flannel shirts and “rough work pants”, so Lexie calls her by male pronouns – even when corrected by Wes’s friends and colleagues. As a young student, Lexie encounters “the second of such women”, Mitch, and insists on calling this woman by male pronouns as well.
When Lexie enters in a sexual relationship with Archer, she assumes the role of the old-fashioned romance heroine, lying back and being ‘awakened’ by her lover. In the consummation of their relationship, the reader is given page after page of Archer doing things to Lexie (some of which is very graphic, which jars a little with the tone of the rest of the book), but we never get to see Archer’s perspective. We never see Archer having an orgasm (though Lexie reflects on Archer’s enjoyment and her own ability to give her partner orgasms later) and the lack of mutuality in their relationship makes Lexie’s final decision seem cruel to say the least.
Of the supporting cast, the male characters are underdeveloped and veer towards stereotypes; however, it is the “Pack” that are more frustrating. Referring to themselves as “feminists” and all, without exception, lesbian and promiscuous, this group of women are, in fact, caricatures of female sexuality. Their version of feminism is misandrist essentialism, and their version of lesbianism is more reminiscent of heterosexual porn than lesbian erotica. At the first “Pack” party that Lexie attends, for example, the young women discuss whether or not to play “Truth or Dare”. Renee doesn’t want to: “The whole point of Truth or Dare is to mack on the people at the party. I’ve already slept with all of you. Where’s the excitement in that?” (p. 62)
Nevertheless, I will say that the presentation of the “Pack” did redeem itself in Chapter 11. In this chapter, the women’s pretence at being a feminist group slips, and they carry out a brutal murder. I thoroughly enjoyed this chapter, and would have happily read a whole book with this version of the characters. I could not get behind the “Pack” as a group of spoilt and entitled rich kids claiming moral high ground, but I was very taken with them as a bunch of sadistic and sociopathic killers (yes, yes, I’m aware that reveals a lot about me and my tastes…)
Perhaps I would have enjoyed Lunatic Fringe more if I had liked the central character more. If I had found Lexie more sympathetic, the plot tangles would have been easier to engage with. I did, nevertheless, like the character of Archer. The presentation of this character hinted at much more complexity and, as a result, she elicited more sympathy from me. In a novel of this type, which is character-driven, it is very difficult to enjoy the plot when you dislike the heroine. The same story, told from Archer’s point of view, might have felt very different.
Much as I wish I could say differently, Lunatic Fringe is not the greatest werewolf novel I have read. It lacks the punch and coherence of many of its peers, and its central character left me cold. However, it is not the worst either. Fans of werewolf fiction might enjoy the version of lycanthropy presented, and there is plenty of sex and violence for those who require that in their fiction. It’s a fast read, with a twist ending, and – whether or not you like her – a genuine dilemma for the heroine.
For more information about Lunatic Fringe, please visit the author’s website.
Part 1: Catherine Lundoff, Silver Moon
Part 2: S.J. Bell, Bonds of Fenris
Part 4: L.L. Raand, The Midnight Hunt
Part 1: Catherine Lundoff, Silver Moon
Part 2: S.J. Bell, Bonds of Fenris
Part 4: L.L. Raand, The Midnight Hunt
Cover image Lunatic Fringe is a debut, self-published novel by Allison Moon. It tells the story of a young, naïve girl named Lexie Clarion, who leaves home to study at Milton College (in “rural Oregon”). As soon as she starts at university, she is confronted by an apparent werewolf threat, invited to join “The Pack” (a self-styled radical feminist group), and finds herself attracted to a mysterious woman named Archer. Lexie’s loyalties are divided when she realizes Archer and the Pack have a troubled history.
Archer’s supernatural status is signalled early on – the genre trope of oddly coloured eyes is deployed to this end – and there is no ambiguity about the type of supernatural creatures peopling Lunatic Fringe. So, it’s not difficult to work out that Archer is a werewolf. This is not a criticism, however, as I think we’ve all reached saturation point with the ‘guess what type of supernatural being the sexy stranger is’ plot. I liked knowing where I stood with Archer.
The werewolves in Lunatic Fringe are of a somewhat confused type. As is common in contemporary fiction, they are a mixture of European tradition and pseudo-shamanism. In a rather exposition-heavy passage, Archer explains the origin story of the werewolf. This origin had real potential, as it sought to weave together ideas of lycanthropy with gender construction. Unfortunately, this potential was not exploited fully, and the resultant explanation was rather implausible and very US-centric (i.e. there appears to have been no history and no werewolves until the colonization of the Americas, which jars a little if you are familiar with the history of werewolf literature and lore).
There’s always a danger of confusion when writers bring together too many different traditions in werewolf fiction – the same is true for vampire fiction. The disparate ‘types’ of shapeshifting don’t always gel particularly well together. Unfortunately, this is true of Lunatic Fringe. While some werewolves are ‘infected’ (and I will give a big thumbs up for the method of ‘infection’ – no spoilers, but it’s a piece of Northern European lore that is rarely used in twenty-first-century fiction), others are born werewolves, and yet others are the ‘original’ werewolves. These creatures are all so different that Moon has to insert numerous ‘lessons’ imparted to the heroine, and this becomes rather confused and almost incoherent in places. That one group of werewolves are called the “Morloc”, with the apparently unintentional resonances, added to the problem.
Sadly, ‘confused’ is probably the best adjective I can think of to describe Lunatic Fringe. Plot-wise, there is far too much going on. The story jumps between a coming-of-age tale, an erotic romance, a thriller, a horror story. Each of the threads would have made a good plot for a werewolf story, but they have become rather tangled together. The ending is very rushed, bringing the disparate storylines together in a hurried denouement that does not completely make sense and seems to contradict some things that have come before.
One of the problems with the ending, without giving too much away, is that, while I was invested in Moon’s Archer, I really did not like her heroine Lexie. I said above that Lexie is naïve, but I’m not sure she’s not just ignorant. I found her views on gender and sexuality to be a bit unappealing, if I’m honest, especially her insistence on calling every ‘butch’ woman she meets ‘he’. The first time this happens is in a flashback to Lexie’s childhood, in which she remembers “Wes” her father’s colleague in the forestry service. Wes wears flannel shirts and “rough work pants”, so Lexie calls her by male pronouns – even when corrected by Wes’s friends and colleagues. As a young student, Lexie encounters “the second of such women”, Mitch, and insists on calling this woman by male pronouns as well.
When Lexie enters in a sexual relationship with Archer, she assumes the role of the old-fashioned romance heroine, lying back and being ‘awakened’ by her lover. In the consummation of their relationship, the reader is given page after page of Archer doing things to Lexie (some of which is very graphic, which jars a little with the tone of the rest of the book), but we never get to see Archer’s perspective. We never see Archer having an orgasm (though Lexie reflects on Archer’s enjoyment and her own ability to give her partner orgasms later) and the lack of mutuality in their relationship makes Lexie’s final decision seem cruel to say the least.
Of the supporting cast, the male characters are underdeveloped and veer towards stereotypes; however, it is the “Pack” that are more frustrating. Referring to themselves as “feminists” and all, without exception, lesbian and promiscuous, this group of women are, in fact, caricatures of female sexuality. Their version of feminism is misandrist essentialism, and their version of lesbianism is more reminiscent of heterosexual porn than lesbian erotica. At the first “Pack” party that Lexie attends, for example, the young women discuss whether or not to play “Truth or Dare”. Renee doesn’t want to: “The whole point of Truth or Dare is to mack on the people at the party. I’ve already slept with all of you. Where’s the excitement in that?” (p. 62)
Nevertheless, I will say that the presentation of the “Pack” did redeem itself in Chapter 11. In this chapter, the women’s pretence at being a feminist group slips, and they carry out a brutal murder. I thoroughly enjoyed this chapter, and would have happily read a whole book with this version of the characters. I could not get behind the “Pack” as a group of spoilt and entitled rich kids claiming moral high ground, but I was very taken with them as a bunch of sadistic and sociopathic killers (yes, yes, I’m aware that reveals a lot about me and my tastes…)
Perhaps I would have enjoyed Lunatic Fringe more if I had liked the central character more. If I had found Lexie more sympathetic, the plot tangles would have been easier to engage with. I did, nevertheless, like the character of Archer. The presentation of this character hinted at much more complexity and, as a result, she elicited more sympathy from me. In a novel of this type, which is character-driven, it is very difficult to enjoy the plot when you dislike the heroine. The same story, told from Archer’s point of view, might have felt very different.
Much as I wish I could say differently, Lunatic Fringe is not the greatest werewolf novel I have read. It lacks the punch and coherence of many of its peers, and its central character left me cold. However, it is not the worst either. Fans of werewolf fiction might enjoy the version of lycanthropy presented, and there is plenty of sex and violence for those who require that in their fiction. It’s a fast read, with a twist ending, and – whether or not you like her – a genuine dilemma for the heroine.
For more information about Lunatic Fringe, please visit the author’s website.
Part 1: Catherine Lundoff, Silver Moon
Part 2: S.J. Bell, Bonds of Fenris
Part 4: L.L. Raand, The Midnight Hunt
Review: S.J. Bell, Bonds of Fenris (S.J. Bell, 2012)
This is the second of four reviews of recent female werewolf fiction. You can read the others here:
Part 1: Catherine Lundoff, Silver Moon
Part 3: Allison Moon, Lunatic Fringe
Part 4: L.L. Raand, The Midnight Hunt
Bonds of Fenris is a self-published novel by S.J. Bell. It tells the story of Talia Thornwood, a young woman who has recently been ‘infected’ with lycanthropy and is seeking a way of coming to terms with her new life. She lives with her ‘pack’ – Bo, Leroy, Pierce and Marlene, also young ‘infected’ werewolves – and meets Corwin, a werewolf who can apparently control his lycanthropic side. Talia, keen to be free of her ‘wolf’ and her uncontrollable, bestial transformation at each full moon, allows Corwin to mentor her and teach her more about what it means to be a werewolf.
The novel’s plot falls into two distinct halves – the first being Talia’s life with the ‘pack’ in their “rental on the edge of the woods” (p. 6). The young werewolves squabble amongst themselves, hunt on a monthly basis and try to hold down jobs and go to college. This section of the book was by far the stronger part and had real potential for development. However, tragedy strikes and (to coin a hackneyed phrase), life will never be the same for Talia and her friends.
It’s at this point that the narrator seeks assistance from the mysterious werewolf Corwin, who has apparently found a way to overcome the involuntary transformation occasioned by a full moon. He and Talia retreat to a cabin in the woods, so that he can teach her the important lessons of control that a werewolf must learn.
Sadly, the book loses its momentum at this point. As Corwin begins to mentor Talia, the narrative becomes very exposition-heavy, and the final revelation of what Talia must learn is pretty obvious from the start (if you have read much recent werewolf fiction), meaning that the ‘lessons’ feel overly-dramatic and onerous. I was left unsure as to why Corwin felt the need to put Talia through such an ordeal, and why she submitted so readily.
For fans of werewolf fiction, though, this book has a lot to recommend it. The werewolves are of a recognizable late twentieth-/early twenty-first-century type – infected by a bite from another werewolf, controlled by the full moon, subject to bone-popping, painful metamorphosis, and filled with angst and remorse at what their ‘wolf’ does. Like much recent werewolf fiction, there is a lot of discussion of control, balance and harmony, and lots of reference to two beings inhabiting one skin; however, though the title misleadingly suggests some connection with Northern European legend, the successful werewolf must actually embrace teachings more reminiscent of Eastern philosophy.
There are some interesting passages early in the novel, and some particularly poignant examples of the young ‘pack’ trying to integrate themselves into ‘human’ society – using peppermint soaked rags to disguise the smell of human flesh, for instance. Unfortunately, though, the book suffers from the (sadly) typical under-editing of a self-published novel, and never quite lives up to the potential of its idea.
Characterization, in particular, is a weakness. The protagonist, Talia, is not convincing. Her submission to the males around her was a source of frustration to me throughout the book. One early example sees her in an argument with Marlene, the other female member of the pack. This is interrupted by Leroy who says: “Girls, girls […] Chill out, okay?” Rather than react or respond to this patronizing tone, Talia (the first-person narrator) describes him as speaking “diplomatically” (p. 9). Elsewhere, Talia is the victim of physical assault by Pierce (who wants to have sex with her) and intense emotional blackmail by Bo (who also wants to have sex with her). Her reaction to both is to lock herself in her bedroom and decide that the men might have a point and muse on whether or not she should sleep with one of them. Not only is this an unusual reaction for a woman, it is almost completely unheard of for a female werewolf – the tradition of ‘she-wolves’ avenging sexual assault is a long one, but, seemingly, not one to which Talia belongs.
As a side note, I would also say that small, frustrating details seem to undermine Talia’s presentation. For instance, though she is apparently twenty-one, she uses a mobile phone that is a “beaten-up relic of the late 1990s” (p. 28) (i.e. she is still using the same phone that she had when she was seven). I don’t wish to come across as being pedantic or overly critical, but rather to offer an example of under-editing that had an impact on character. A robust critique prior to publication would have tidied up these minor inconsistencies.
Perhaps (and I always like to be self-aware in my reviews), this is also down to my own tastes. Talia was a little too submissive and hopeful for my liking. I like my female werewolves in the mould of Emson’s Laura Greenacre or Miller’s Kalix MacRinnalch. Hell – I think Leah Clearwater was Meyer’s finest creation, and was genuinely pleased when she ended the Twilight series still brooding, angry and isolated. As a result, I was much more drawn to Bell’s grumpy, intellectual Marlene than Talia, and would love to see this character developed further in future books. I think my favourite part of Bonds of Fenris was when Marlene explained just how stupid Corwin’s lessons were!
For a self-published, debut novel, Bonds of Fenris is a decent read. It is certainly head and shoulders above some self-published works.* There are few grammatical or spelling errors, and the paragraphing and chapter divisions are well done. This indicates to me that Bell is a proficient writer who is in the process of developing his craft – and I will look forward to seeing this development as he progresses. I wouldn’t normally bring what I know of authors personally to a review, but I have to admit that I know Bell is a huge werewolf fan, and I think this enthusiasm shows in his writing. Bonds of Fenris is a book about getting to know werewolves from the inside out, and Bell’s strong knowledge and passion for all things lycanthropic give him a good starting point for this.
In conclusion, then, Bonds of Fenris is a recommendation for werewolf fans. It is the work of a novelist at the start of his career, and there are some teething problems, but it will definitely appeal to fans of the lycanthropic, and I will certainly look forward to seeing where he goes in his next book.
For more information about Bonds of Fenris, please see S.J. Bell’s website.
Part 1: Catherine Lundoff, Silver Moon
Part 3: Allison Moon, Lunatic Fringe
Part 4: L.L. Raand, The Midnight Hunt
*Please don’t take this the wrong way – I really, really want to like self-published novels, and always approach them with optimism and an open mind. However, I am inundated with books for review that were published way before they were ready, and it’s weakening my resolve a little.
Part 1: Catherine Lundoff, Silver Moon
Part 3: Allison Moon, Lunatic Fringe
Part 4: L.L. Raand, The Midnight Hunt
Bonds of Fenris is a self-published novel by S.J. Bell. It tells the story of Talia Thornwood, a young woman who has recently been ‘infected’ with lycanthropy and is seeking a way of coming to terms with her new life. She lives with her ‘pack’ – Bo, Leroy, Pierce and Marlene, also young ‘infected’ werewolves – and meets Corwin, a werewolf who can apparently control his lycanthropic side. Talia, keen to be free of her ‘wolf’ and her uncontrollable, bestial transformation at each full moon, allows Corwin to mentor her and teach her more about what it means to be a werewolf.
The novel’s plot falls into two distinct halves – the first being Talia’s life with the ‘pack’ in their “rental on the edge of the woods” (p. 6). The young werewolves squabble amongst themselves, hunt on a monthly basis and try to hold down jobs and go to college. This section of the book was by far the stronger part and had real potential for development. However, tragedy strikes and (to coin a hackneyed phrase), life will never be the same for Talia and her friends.
It’s at this point that the narrator seeks assistance from the mysterious werewolf Corwin, who has apparently found a way to overcome the involuntary transformation occasioned by a full moon. He and Talia retreat to a cabin in the woods, so that he can teach her the important lessons of control that a werewolf must learn.
Sadly, the book loses its momentum at this point. As Corwin begins to mentor Talia, the narrative becomes very exposition-heavy, and the final revelation of what Talia must learn is pretty obvious from the start (if you have read much recent werewolf fiction), meaning that the ‘lessons’ feel overly-dramatic and onerous. I was left unsure as to why Corwin felt the need to put Talia through such an ordeal, and why she submitted so readily.
For fans of werewolf fiction, though, this book has a lot to recommend it. The werewolves are of a recognizable late twentieth-/early twenty-first-century type – infected by a bite from another werewolf, controlled by the full moon, subject to bone-popping, painful metamorphosis, and filled with angst and remorse at what their ‘wolf’ does. Like much recent werewolf fiction, there is a lot of discussion of control, balance and harmony, and lots of reference to two beings inhabiting one skin; however, though the title misleadingly suggests some connection with Northern European legend, the successful werewolf must actually embrace teachings more reminiscent of Eastern philosophy.
There are some interesting passages early in the novel, and some particularly poignant examples of the young ‘pack’ trying to integrate themselves into ‘human’ society – using peppermint soaked rags to disguise the smell of human flesh, for instance. Unfortunately, though, the book suffers from the (sadly) typical under-editing of a self-published novel, and never quite lives up to the potential of its idea.
Characterization, in particular, is a weakness. The protagonist, Talia, is not convincing. Her submission to the males around her was a source of frustration to me throughout the book. One early example sees her in an argument with Marlene, the other female member of the pack. This is interrupted by Leroy who says: “Girls, girls […] Chill out, okay?” Rather than react or respond to this patronizing tone, Talia (the first-person narrator) describes him as speaking “diplomatically” (p. 9). Elsewhere, Talia is the victim of physical assault by Pierce (who wants to have sex with her) and intense emotional blackmail by Bo (who also wants to have sex with her). Her reaction to both is to lock herself in her bedroom and decide that the men might have a point and muse on whether or not she should sleep with one of them. Not only is this an unusual reaction for a woman, it is almost completely unheard of for a female werewolf – the tradition of ‘she-wolves’ avenging sexual assault is a long one, but, seemingly, not one to which Talia belongs.
As a side note, I would also say that small, frustrating details seem to undermine Talia’s presentation. For instance, though she is apparently twenty-one, she uses a mobile phone that is a “beaten-up relic of the late 1990s” (p. 28) (i.e. she is still using the same phone that she had when she was seven). I don’t wish to come across as being pedantic or overly critical, but rather to offer an example of under-editing that had an impact on character. A robust critique prior to publication would have tidied up these minor inconsistencies.
Perhaps (and I always like to be self-aware in my reviews), this is also down to my own tastes. Talia was a little too submissive and hopeful for my liking. I like my female werewolves in the mould of Emson’s Laura Greenacre or Miller’s Kalix MacRinnalch. Hell – I think Leah Clearwater was Meyer’s finest creation, and was genuinely pleased when she ended the Twilight series still brooding, angry and isolated. As a result, I was much more drawn to Bell’s grumpy, intellectual Marlene than Talia, and would love to see this character developed further in future books. I think my favourite part of Bonds of Fenris was when Marlene explained just how stupid Corwin’s lessons were!
For a self-published, debut novel, Bonds of Fenris is a decent read. It is certainly head and shoulders above some self-published works.* There are few grammatical or spelling errors, and the paragraphing and chapter divisions are well done. This indicates to me that Bell is a proficient writer who is in the process of developing his craft – and I will look forward to seeing this development as he progresses. I wouldn’t normally bring what I know of authors personally to a review, but I have to admit that I know Bell is a huge werewolf fan, and I think this enthusiasm shows in his writing. Bonds of Fenris is a book about getting to know werewolves from the inside out, and Bell’s strong knowledge and passion for all things lycanthropic give him a good starting point for this.
In conclusion, then, Bonds of Fenris is a recommendation for werewolf fans. It is the work of a novelist at the start of his career, and there are some teething problems, but it will definitely appeal to fans of the lycanthropic, and I will certainly look forward to seeing where he goes in his next book.
For more information about Bonds of Fenris, please see S.J. Bell’s website.
Part 1: Catherine Lundoff, Silver Moon
Part 3: Allison Moon, Lunatic Fringe
Part 4: L.L. Raand, The Midnight Hunt
*Please don’t take this the wrong way – I really, really want to like self-published novels, and always approach them with optimism and an open mind. However, I am inundated with books for review that were published way before they were ready, and it’s weakening my resolve a little.
Subscribe to:
Posts (Atom)