Nancy Armstrong, Fiction in the Age of Photography
Walter Benjamin, Illuminations
Dana Buntrock, Materials and Meaning in Contemporary Japanese Architecture
Italo Calvino, Invisible Cities (reread)
Paul Cohen, Discovering History in China
Judith Farquhar, Appetites
Han Fei Tzu
Ian Christopher Fletcher et al., eds., Women's Suffrage in the British Empire
Martin Heidegger, Being and Time
James Hevia, Cherishing Men from Afar
Rebecca Karl, Mao Zedong and China in the Twentieth-Century World
Thomas Keirstead, The Geography of Power in Medieval Japan
Kenko, Essays in Idleness
Der Ling, Two Years in the Forbidden City
Lydia Liu, Translingual Practice
André Malraux, Man's Fate
John Stuart Mill, On Liberty (reread)
Anchee Min, Pearl of China
Tessa Morris-Suzuki, A History of Japanese Economic Thought
Herman Ooms, Tokugawa Ideology
Carole Pateman, The Sexual Contract
Procopius, The Secret History
The Rig Veda
Kim Stanley Robinson, The Years of Rice and Salt
Edward Said, The Culture of Imperialism
Victor Segalen, Rene Liys
Adam Smith, The Wealth of Nations
Edgar Snow, Red Star Over China
Frederick Teggart, Rome and China
E. P. Thompson, The Making of the English Working Class
Joanna Waley-Cohen, The Sextants of Beijing
J.Y. Wong, Deadly Dreams
Karl Wittfogel, Oriental Despotism
Bernardo Bertolucci, The Last Emperor
My article "Record of Dying Days: The Alternate History of Ôoku" was published in Mechademia 10 in November, and the BCNM very kindly put out a short blurb about it. You can see a photo of yours truly with one of my author copies. On the topic of Mechademia, the tenth volume is the last of the original series, and the fifth one that I worked on as the editorial assistant/general citations dogsbody. I want to take the time now to publicly thank Frenchy Lunning, Wendy Goldberg, Christopher Bolton, and Tom Lamarre for their giving me the job, their advice and support, and their general friendship and camaraderie. I had the time of my life, and it was a true privilege.
Speaking of Mechademia, I'll be traveling to Tokyo next month to give a talk drawing on materials from the third chapter of my in-progress manuscript at the Mechademia Conference next month, "Women and Comics: Reconsidering the ‘Origins’ of Shojo Manga in the Postwar.” From there I'll go immediately to Seattle to give the same talk to a different crowd at the Popular Culture Association annual meeting, in the comics arts track. I had a wonderful time when I last presented at the PCA in 2009, and I'm very much looking forward to both conferences. See you there, I hope!
It's been a privilege to serve on the Board for the past three years, and I wish the 2016 Board and the OTW all the best for their future success.
In the meantime, you can follow along with the conference events on the OpenCon livestream (subject to country by country copyright restrictions).
The theme of this drive is tropes, and I wrote a post about the alternate universe in which the OTW never existed: it's a pretty dark timeline. With your support, we can prevent it from ever coming true and continue to bring you great projects like Fanlore, Open Doors, the AO3, and many more.
We really appreciated the opportunity to work on Wiscon, and we wish the convention all the best.
PCA is one of the most enjoyable academic conferences I've been to, and after a seven-year absence I'm looking forward to going back. Even better, my paper is part of panels on manga organized by my colleague James Welker and staffed with some pretty awesome people including Patrick Galbraith and Sharalyn Orbaugh. I hope to see you there!
Rae Carson, Kate Elliott, Andrea J. Horbinski, Jennifer Michaels, s.e. smith, Jennifer Udden
In the midst of “strong female characters” going it on their own, what happens to cooperative fellowship, shared labor, and the femme side of being revolutionary? How do female villains play a role in revolutionary narratives? The revolution often begins at home, and the lone heroine approach devalues many female experiences and forms of labor. Hermione, Katniss, Maleficent, and Sansa all have their place—let’s talk about what real heroines and villains look like and why only some are celebrated.
I'll also be hosting a Books & Breakfast discussion on Laurie J. Marks' novel Fire Logic, which I read and loved earlier this year. You can still register to join us in Denver!
And in the meantime, I have a booklist up on the Sirens blog, Five Fantasies of the Roaring Twenties from the New Gilded Age. (See, I did pay attention when I was a reader for American history!)
We don’t feel like non-profits need to exist forever. The Ada Initiative did a lot of great work, and we are happy about it.
So what's next? As I said on Twitter, I'm looking forward to seeing what the people whose lives TAI has changed do next--and that includes me. For the time being, like Cincinnatus to his farm, I'm going back to my dissertation, and I'm excited to bring what I've learned with TAI to my future and ongoing projects. I'll be around at fandom and open source cons again at the end of this year and into next year; do say hi, and let me know if you want an Ada Initiative sticker--I still have stacks of them.
So thank you again, and again, you can donate now.
I was glad I did go back and read the whole book, because the second chapter in particular caused me to significantly revise my views on Kajii as a critic.( Kajii is not rational about Norakuro )
Shimizu Isao is probably the most famous "manga historian" in Japan, though this book (1999) isn't an academic text, much to my frustration: there are no citations beyond the dates and original publications of the images, and Shimizu displays the usual tics of Japanese scholarly writing that are deeply infuriating to someone trained in the more rigorous American style, especially his habit of making claims about what people thought with absolutely no evidence to back it up, and his habit of going on pointless tangents (such as his talking about his trip to Egypt by way of an introduction to how professional cartoonists portrayed women in the era of imperial democracy).
That said, Shimizu is a giant in the field, and a lot of what he says here (the influence of movies on manga in particular) agrees with things that I have already been thinking and conclusions I have previously drawn from my research. Of course, there's also plenty of things I disagree with him about, most notably in this book his addiction to the empty, outdated term "Taisho democracy" and his conviction that manga has important continuities with the "amusing pictures" of the Edo period. It would be difficult to overstate the degree to which I am opposed to this position, and in my opinion, Shimizu should know better, particularly since he is probably the single most knowledgeable person about prewar comics periodicals anywhere. Oh well.
For further remarks, see the dissertation.
The thing is, Borderlands was never just a science fiction fantasy bookstore. It is and was a community of readers and geeks who were interested in the same sorts of things, and it was extraordinarily welcoming to me. I moved to the Bay Area in August 2010, only a few months after attending my first science fiction fandom convention (WisCon 34, to be exact), and I suspect I first heard about Borderlands through a post on Seanan McGuire's LJ--can you believe that it was only 4.5 years ago that Seanan published her first novel? I sure as hell can't, but the release party for Rosemary and Rue in September 2010 sounded fun, so I hopped on BART and headed over. I think I wandered up and down Valencia for at least 20 minutes before I actually poked my head into the store (this was before they opened the wall between the bookstore and the cafe, IIRC). I remember feeling very awkward, but I had a good time eating mini cupcakes from a bakery I'd never heard of and hearing Seanan and her friends perform music I would have said I didn't like and listening to Seanan read from the book, and Seanan and everyone there was super friendly. She's only one of the awesome people who I've met through Borderlands, who I'm proud to say that I know, and who I know to expect (even more) great things from in the future.
I kept coming back, and though I never had as much time to go to events as I would have liked (blame graduate school) and I never had half as much money to spend on books there as I would have wanted (again, blame graduate school), Jude and Alan and everyone on the staff made Borderlands a place that I was always happy to return to. Part of a conversation I had with a friend there one afternoon made it onto their "overheard in the store" feature on Twitter. I'll never forget how, a year and more ago, I stood in Greenwich Village in Manhattan and searched "science fiction bookstore" on Google Maps on a lark, and the first result that came up was Borderlands. The store was a beacon, and partly because of that, it was able to attract a stellar roster of non-local authors as well as staunch stalwarts like Seanan. It was also partly because everyone there had impeccable taste. I'm even gladder now that the store has been immortalized in Seanan's seventh Toby Daye book, Chimes at Midnight, and I'm unspeakably sad that I won't be able to get back to the store to try to tell everyone there how much it meant to me in person before it closes.
There's no inspiring closing line that I can write for this post. This morning I ordered some books through the store's online service, and I also spent some time reading the WSFS Constitution Article 3, which covers the Hugo Awards.
ETA: I just had a very informative conversation on Twitter with pnh about the propriety of the idea of the Best Related Work nomination--apparently nominating platforms for BRW is looked upon dimly, although the language of the article is vague enough that it's legal and it keeps happening. (To me this suggests that some kind of explicit Hugos recognition for platforms would be beneficial; one of the things contemplating Borderlands' demise brought home to me was the very importance of platforms, online and off, for fostering the SFF fandom community--but that's another story.) That being the case, I would all the more heartily encourage the Sasquan awards committee to consider Borderlands for special recognition, which it very richly deserves. (I haven't actually looked at the nominations form yet; if there's a write-in or additional information box, I will put this in there.)
We'd love to see you there, but in the meantime, we're looking for your nominations for Guests of Honor, as well as general ideas and suggestions, before 5 January 2015.