Slipstream is literature that has fantastic elements that nevertheless can't be characterized as science fiction, fantasy or horror. It is the literature of the fantastic that's left after you remove the defining characteristics of those three genres. The negative space.
Synopsis from ArmadilloCon program book. A plethora of new markets for what we used to call slipstream has blossomed over the past two years, with all sorts of new monikers like "The New Fabulists," "Interstitial Arts," and "Ambient Fiction" -- Conjunctions 39, Sweeney's Mammoth Treasury of Thrilling Tales (with a new volume appearing in the fall), Polyphony, Album Zutique, Lady Churchill's Rosebud Wristlet, and so on. What distinguishes the work appearing in these journals from more conventional SF, fantasy, and mainstream fiction? Has slipstream finally arrived as a genre in its own right?
Two of Sharon's closest friends, authors Kay Kenyon and Louise Marley, ask her about her life and her work. How does she manage to find time for writing while having a full time job? How many "trunk books" she wrote until she got published? Why are mothers so terrible in her books? And many other questions.
Following the ArmadilloCon tradition, toastmaster K. D. Wentworth gave a humorous speech. She addressed the audience as a fourth grade schoolteacher, which she actually was for the most of her working life. She chastised SF fandom for forgetting their geeky, eccentric roots and becoming too mainstream. Then she and several other guests performed "The Fan Eye for a Mundane Guy" makeover (modeled after a then-popular television show "Queer Eye for a Straight Guy" on a guy they picked from the audience.
Note: My transcription of this speech is not completely accurate since I had to work off of a poor quality tape recording.
Pictures from ArmadilloCon 2004 can be found in my photo gallery.
Synopsis from ArmadilloCon program book: Why have the cyberpunks abandoned the future? Do William Gibson's "Pattern Recognition" and Bruce Sterling's "The Zenith Angle" evidence a trend? (And don't forget the pre-2001 "Cryptonomicon" of Neal Stephenson and "Zeitgeist" of Sterling) Are they science fiction? What makes them different from more mainstream techno-thrillers? What does it mean for the future of SF?
Synopsis, according to the ArmadilloCon program: You need a religious society for your work, but you have no idea where to begin and how complex you should make it. Should you have a couple of pages written down? Or should you make another book that describes the entire pantheon and religious rites?
Pictures from Armadillocon 2004 are available in my photo gallery.
Synopsis, according to the ArmadilloCon program: Myths as springboard for worlds and plot ideas in fantasy and science fiction. Mythic elements in science fiction. The Hero's Journey reconsidered. This panel explores myth as inspiration and diagnostic.
My summary: How do the writers on the panel use myth in their own work? If a story is inspired by myth, is it necessarily predictable? Is that a bad thing, or is predictability exactly what SF readers want?... Do the limitations in our understanding of how the modern world works give rise to new myths? For example, does average person's erroneous understanding of how the Internet works morphs into a myth? Or does science leave no room for myth? What would it take for a myth to arise in our "rational" times?
There was one other panelist that wasn't listed in the program. I think it may have been Mikal Trimm.