Welcome to Paradoxa
Paradoxa publishes articles on genre literature: science fiction, horror, mysteries, children's literature, romance, comic studies, the fantastic, best sellers, the occult, westerns, oral literature, and more. Paradoxa invites submissions on all aspects of genre literature which make a significant and original contribution to the study of those genres.
Publisher’s note: We regret that the “first” edition of The Futures Industry inadvertently omitted an important article. A “second” edition is being prepared which will include this article. The corrected Table of Contents is available in the link below. The second edition will be mailed to all subscribers by the end of February, 2016.
“The contributors to this special issue of Paradoxa bring a rich range of views to the relationship between science fiction, capitalist realism and the political economy of future-building in our times. Resisting both naive optimism and default pessimism, the authors open up a terrain of critical futurism which offers a genuine alternative to the relentless co-optation of hope by capital.” –Arjun Appadurai, Paulette Goddard Professor Media, Culture, and Communication, New York University. Author of Banking on Words: The Failure of Language in the Age of Derivative Finance, (2015), The Future as Cultural Fact (2012), Modernity atLarge: Cultural Dimensions of Globalization (1966).
“Sf is perhaps our best set of apparatuses for tracking late capitalism into its lairs and provoking the roars and rattles that tell of its always innovative, abstractionist, still colonizing masculinities and its exuberant extinctionist corporealities masquerading as the latest digital nano-cyber-interfaced-something-or-other. The war-besotted,technocapitalist futures industry actually works that way. Other sorts of still possible times-yet-to-come—those that ethnographer Anna Tsing might describe as timepieces for learning to nurture multi species resurgence in capitalist ruins—are also the heart and soul of sf. A long, satisfying read among the very smart essays of The Futures Industry made me appreciate once again how essential sf is to appreciating the life-and-death struggles among present futures. I wanted to shout, again and again, “We are not posthuman, we are compost!” Read this book for essential nourishment for the timely struggle for an ethics of possibility.” –Donna Haraway, Distinguished Professor Emerita, History of Consciousness Department, UC Santa Cruz. Author of Staying with the Trouble: Making Kin in the Chthulucene (Duke University Press, Fall 2016), Manifestly Haraway (Minnesota University Press, Spring 2016), When Species Meet (Minnesota, 2008), and Modest_Witness@Second_Millennium (Rutledge, 1997).
“This may seem paradoxical, but after reading The Futures Industry, I have a clear, limpid conviction that the industry will die at the hands of the future.” —Bruce Sterling, author of The Difference Engine (1990), Zeitgeist (2000), Love is Strange (2012).
“The Futures Industry makes very interesting and provocative reading. If Science Fiction can only reflect the futurities implicit in our present day, a truism we owe to Wm Gibson and many others, it’s not surprising that this collection of essays and reviews is also often a tough read. But if we are doomed to live in a Dystopian Police State, rife with pollution and corruption, at least we can think clearly about our predicament, with a little help from the experts trained by our genre. Some of the futures anatomised here are, arguably, already slipping into the past. Always intriguing, often controversial; skillfully curated and introduced, this is a state-of-the-genre journal issue not to be missed.” —Gwyneth Jones, author of Life: The Fictional Biography of a Female Scientist of Genius (2004) and Imagination/Space: Talk and Essays of Fiction, Feminism, Technology and Politics (2011).
Issues in Preparation
Volume 28 Contemporary Voices From Senegal
Call for Papers (anticipated publication date December, 2016)
Paradoxa invites contributions for a special issue on contemporary Senegalese discourses. Because of its dynamic intellectual, literary and artistic production, Senegal is a leading light in African letters and arts, and has been home to many widely known figures, including Cheikh Anta Diop, Leopold Sédar Senghor, Cheikh Hamidou Kane, Sembene Ousmane, Mariama Bâ, and others. Alongside these pioneers, new generations of Senegalese writers and filmmakers continue to develop one of the most creative fields of cultural production on the continent. And yet the contemporary Senegalese corpus has yet to be the focus of a thematic study. In order to address this lacuna, Contemporary Voices from Senegal proposes to provide an overview of contemporary literature and cinema in Senegal. In addition to articles exploring the richness and diversity of contemporary Senegalese narratives, the Editor also seeks analyses of their tendencies towards ruptures with or continuations of an intellectual tradition. We welcome submissions on literary fiction, poetry and cinema, as well as other forms of writing prevalent in Senegal today (political essays, satirical pamphlets, etc).
Contemporary Voices from Senegal is interested in essays that address …
Authors and intellectuals: Ken Bugul, Moussa Touré, Boubacar Boris Diop, Fatou Diome, Sokhna Benga, Safi Faye, Khady Sylla, Nafissatou Dia Diouf, Alain Gomis, Felwine Sarr, Oumar Sankharé, Rama Salla Dieng, Ramatou Seck Samb, Tidiane Ndiaye, Ousmane Sow, Joseph Gaye Ramaka, Moussa Sène Absa, Souleymane Bachir Diagne, Abibatou Traoré Kemgné, Laurence Gavron, Cheikh Alioune Ndao, Mansour Sora Wade, Djibril Diop Mambety, Louis Camara, Dyana Gueye, Samba Felix Ndiaye, Ben Diogaye, Sylvie Kandé, Abasse Ndione.
Themes: Postcolonial writers and filmmakers ; society and political discourses; contemporary Senegalese thought ; contemporary women’s writing; regional writing; post-Senghorian Senegalese poetry; the new Senegalese diaspora; literature and society; Sufi poetry; national languages and creative works; the problematics of translation.
Prospective contributors may contact the guest editor with questions about a particular topic’s appropriateness. Double-spaced submissions should be between 6,000 and 10,000 words in length, not including “Works Cited,” and prepared in accordance with MLA style. Please forward manuscripts as MS Word attachments. Within the email itself include name, affiliation, 250-word abstract, and any other relevant information. Submissions should be directed to Paradoxa’s guest editor, El Hadji Malick Ndiaye at firstname.lastname@example.org by February 15, 2015. For more information about Paradoxa see www.paradoxa.com
Les voix contemporaines du Sénégal
Les éditions Paradoxa recherchent des contributions pour un ouvrage collectif sur les discours sénégalais contemporains. Le Sénégal est un pays phare en Afrique pour son dynamisme intellectuel, littéraire et artistique, avec des figures universellement reconnues—Cheikh Anta Diop, Senghor, Cheikh Hamidou Kane, Sembene Ousmane, Mariama Bâ. A côté de ces pionniers. de jeunes écrivains et cinéastes sénégalais continuent de développer un des champs de production les plus créatrices du continent. Paradoxalement, le corpus sénégalais contemporain n’a pas encore fait l’objet d’une étude thématique. Ce projet propose de faire un état des lieux de la littérature et du cinéma au Sénégal à travers une série d’articles et d’entretiens. L’objet étant de réunir enfin dans un ouvrage académique les auteurs et cinéastes qui représentent la nouvelle création sénégalaise. Il s’agit d’explorer la richesse et la diversité des voix sénégalaises d’aujourd’hui mais aussi d’analyser leurs tendances comme rupture ou perpétuation d’une tradition intellectuelle. Nous encourageons des propositions relatives à la fiction littéraire et au cinéma sans oublier d’autres pratiques d’écriture en vigueur dans l’espace sénégalais (essais politiques, pamphlets satiriques, etc). Sans être exclusif, nous proposons quelques pistes à explorer.
Auteurs et intellectuels: Ken Bugul, Moussa Touré, Boubacar Boris Diop, Fatou Diome, Sokhna Benga, Safi Faye, Khady Sylla, Nafissatou Dia Diouf, Alain Gomis, Felwine Sarr, Oumar Sankharé, Rama Salla Dieng, Ramatou Seck Samb, Tidiane Ndiaye, Ousmane Sow, Joseph Gaye Ramaka, Moussa Sène Absa, Souleymane Bachir Diagne, Abibatou Traoré Kemgné, Laurence Gavron, Cheikh Alioune Ndao, Mansour Sora Wade, Djibril Diop Mambety, Louis Camara, Dyana Gueye, Samba Felix Ndiaye, Ben Diogaye, Sylvie Kandé, Abasse Ndione.
Themes: les écrivains et cinéastes postcoloniaux, les écrits sur la politique, la pensée sénégalaise contemporaine, l’écriture féminine contemporaine, l’écriture régionale, la poésie sénégalaise post-senghorienne, la nouvelle diaspora sénégalaise, littérature et société, la poésie soufie, langues nationales et création, les problématiques de traduction…
Nous sollicitons des articles en anglais (protocole MLA), sauf contribution exceptionnelle. Les articles devront faire entre 6000 et 10000 mots sans la notice bibliographique, en interligne double et Times New Roman. Merci d’envoyer votre proposition de 300 mots, une courte biographie et votre affiliation à El Hadji Malick Ndiaye, Seattle University avant le 15 février 2015: email@example.com. Pour toute information supplémentaire, envoyez vos questions aux coordonnateurs du volume ou visitez le site www.paradoxa.com
Volume 29 Small Screen Fiction
Call for Papers (anticipated publication date: December, 2017)
Editors: Astrid Ensslin (University of Alberta, Canada); Paweł Frelik (Maria Curie-Sklodowska University, Lublin, Poland); Lisa Swanstrom (Florida-Atlantic University, Boca Raton, Florida, USA)
In the last few decades, digital technologies have dramatically reconfigured not only the circumstances of media production and dissemination, but also many of their cultural forms and conventions, including the roles of users, producers, authors, audiences, and readers. Arguably the most spectacular of these digital transformations have affected the large screens of cinema multiplexes and the increasingly large screens of home televisions, but other narrative forms have emerged on a smaller screens as well.
Today, with growing frequency, narratives are experienced on the smaller screens of laptops, tablets, and even mobile phones. These narratives often involve direct reader/viewer/player interaction, enabling highly idiosyncratic, individualized and unique narrative experiences. Some of these fictions are merely digitized or wikified versions of texts previously available in the codex form—their digital conversion affects some of the ways in which readers engage with them, but the basic structures of these narratives remain unchanged. Some others, however, have been written and designed (these two words often blur) specifically for these small screens. Their functionalities and affordances are not replicable in any other medial form, nor do they demonstrate an allegiance to any single pre-existing art form.
Paradoxa seeks articles for a special issue devoted to “Small Screen Fictions.” Both in-depth analyses of individual texts and more general, theoretical discussions are invited. The genres and media of interest include but are not limited to:
• DVD novels, such as Steve Tomasula’s TOC (2009);
• literary-narrative video games and ludic, gamelike fictions whose principal interest is in offering innovative storytelling experiences, such as Dear Esther (2012) and Device6 (2013);
• twitter and blog texts, such as Jennifer Egan’s “Black Box” (2012);
• collectively written, locative online texts, particularly those breaking narrative linearity, such as Hundekopf (2007), The LA Flood Project (2013) and The Silent History (2013);
• interactive graphic novels, such as Nam Le’s The Boat (2014);
• genre-bending, dialogic hybrids, such as Blast Theory’s Karen (2015);
• neo-hypertextual fictions enabled by user-friendly authoring software such as Twine;
• physically distributed narratives that make use of small screen spaces, not merely to create and display fictions, but also to navigate, negotiate, and interact with real-world spaces through geo-caching or other means, such as Ingress (2013), Cartegram (2014), and Call of the Wild (2015).
Similarly, possible approaches to such screen texts include but are not limited to:
• the changing cultural patterns and expectations of engagement with narrative;
• the reality and illusions of linearity and non-linearity;
• the shifting nature of public and private spectatorship;
• the role of touch and tactility, as well as other human senses in experiencing narratives;
• the blurring of the verbal and the visual, of fact and fiction, of reading and writing, of natural and artificial;
• the economic, social, and political contexts of authorship and readership of such texts;
• the implications of such narrative experiences for the meaning(s) and perceptions of fiction, genre and literature.
Abstracts of 500 words should be submitted by 1 March 2016 to the editors: Astrid Ensslin < firstname.lastname@example.org>, Pawel Frelik < email@example.com> Lisa Swanstrom < firstname.lastname@example.org>. Authors of selected abstracts will be notified by 1 April 2016. Full drafts (6,000 to 8,000 words) will be due by 1 October 2016.
Volume 30 (Political) Prisoner Narratives
(anticipated publication date December, 2018)
The Call for Papers is in preparation