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Samuel R. Delany - Silent interviews: on language, race, sex, science fiction, and some comics : a collection of written interviews

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    Silent interviews: on language, race, sex, science fiction, and some comics : a collection of written interviews
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Samuel R. Delany, whose theoretically sophisticated science fiction and fantasy has won him a broad audience among academics and fans of postmodernist fiction, offers insights into and explorations of his own experience as writer, critic, theorist, and gay black man in his new collection of written interviews, a form he describes as a type of guided essay. Gathered from sources as diverse as Diacritics and Comics Journal, these interviews reveal the broad range of his thought and interests.

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title Silent Interviews On Language Race Sex Science Fiction and - photo 1

title:Silent Interviews : On Language, Race, Sex, Science Fiction, and Some Comics : a Collection of Written Interviews
author:Delany, Samuel R.
publisher:Wesleyan University Press
isbn10 | asin:0819562807
print isbn13:9780819562807
ebook isbn13:9780585371207
language:English
subjectDelany, Samuel R.--Interviews, Authors, American--20th century--Interviews, Science fiction--Authorship.
publication date:1994
lcc:PS3554.E437Z476 1994eb
ddc:813/.54
subject:Delany, Samuel R.--Interviews, Authors, American--20th century--Interviews, Science fiction--Authorship.
Page iii
Silent Interviews
On Language, Race, Sex, Science Fiction, and Some Comics
A Collection of Written Interviews
Samuel R. Delany
Page iv Wesleyan University Press Published by University Press of New - photo 2
Page iv
Wesleyan University Press
Published by University Press of New England, Hanover, NH 03755
1994 by Samuel R. Delany
All rights reserved
Printed in the United States of America 5 4 3 2 1
CIP data appear at the end of the book
Page v
CONTENTS
Introduction: Reading and the Written Interview
1
Part I
1
The Semiology of Silence: The Science Fiction Studies Interview
21
2
Toto, We're Back! The Cottonwood Review Interview
59
3
Refractions of Empire: The Comics Journal Interview
83
4
Sword & Sorcery, S / M, and the Economics of Inadequation: The Camera Obscura Interview
127
5
Some Real Mothers... : The SF Eye Interview
164
6
Science Fiction and Criticism: The Diacritics Interview
186
7
Sex, Race, and Science Fiction: The Callaloo Interview
216
Part II
1
The Kenneth James Interview
233
2
The Susan Grossman Interview
250
3
The K. Leslie Steiner Interview
269
Appendix
Anthony DavisA Conversation
289
Index
313

Page 1
INTRODUCTION:
READING AND THE WRITTEN INTERVIEW
Picture 3
For a week you were wholly given up to the soft drift of the text that surrounded you as secretly, densely, and unceasingly as snowflakes. You entered it with limitless trust. The peacefulness of the book, that enticed you further and further!... [To the child] the hero's adventure can still be read in a swirl of letters like figures and messages in the drifting snowflakes.... He is unspeakably touched by the deeds, the words that are exchanged, and, when he gets up, is blanched over and over by the snow of his reading.
Walter Benjamin, One-Way Street
The alley was cradled wall to wall with white, which, out on the street, three days' traffic had beat down to gray batting. Curb and cobbles were edged with ice, and a January rain battered the frozen scabs into an aluminum crush. On a pristine stretch, strewn futilely again that morning, rock salt had melted black collars around central crystals suggesting the embroidered knoblets across last summer's chenille, till they too became slush.
What a wonderful day to stay indoors and read!
Drenched with light and immobile at well over ninety, the air was as thick as oiled excelsior. Where a child in seersucker had dropped her popsicle bit on the pavement, over three minutes by the watch on a chafed, damp wrist, the grape ice melted, spread for thirty seconds, till the wet patch began contracting, in inverse pseudopods, back toward the stick, to leave, finally, the faintest, driest stainin the time it took to decide which of the doorways to duck into to block what hammered on the heated head, what, even with back to the sun, kept the eyelids low.
Surely it was time to go lounge with limeade and read!
But most of you who have come even this far into our text will know what it is to take pleasure from a book in a world too hot, or too cold, or
Page 2
too lonely, or too busytoo much with us, late and soon, one way or the other.
What is one to ask, then, of such readers"What is it, perhaps, to read?"?
The romantic reads so as relief from the old and release into the new. The classicist reads for instruction and delight. The poststructuralist reads for the delight falling out of rereading and the instruction accruing to misreading. Feminists and feminist sympathizers read alert to precisely the sort of gender skewing on which the nostalgia of our epigraph is grounded, ready to point out the split, gently here, powerfully there, in the classical world, in the unified subject, and the assumption of a transparent language on which any such self-satisfied vision of "man" (and the boy that fathers him, in our filiarchal society) must be grounded, always prepared for by (and constituted of) the shock that "You" are not "she" and (thus) "he" is not ''You." (That split is not very far from the strange double marking that separates our two orders of interrogationeach signed with the question mark earlier.) The postmodern reads for the wild and wacky that insinuates itself in the crevices and crannies of every textthat is, for elements similar to those the deconstructionist reads so as to display, with long face and secret smile, the text's self-subversions and thus the impossibility of our ever mastering it.
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