SF Artist Also Part of Team Making Scientific Discovery

Artist and fan Autun Purser is part of the team to discover a vast icefish breeding colony in the Antarctic. Video abstract and more details below at Science Direct.

Autun, who lives in Bremen, is a regular at SF conventions and his artwork has adorned book covers and fanzine covers.

Together with Laura Hehemann, Mia Wege, Florian Koch, Jenna Balaguer and many morr researchers, they published their paper on the most extensive fish nesting colony thus far discovered on Earth, at 500m depth below the Weddell Sea.

Summary

A breeding colony of notothenioid icefish (Neopagetopsis ionah, Nybelin 1947) of globally unprecedented extent has been discovered in the southern Weddell Sea, Antarctica. The colony was estimated to cover at least ?240 km2 of the eastern flank of the Filchner Trough, comprised of fish nests at a density of 0.26 nests per square meter, representing an estimated total of ?60 million active nests and associated fish biomass of >60,000 tonnes. The majority of nests were each occupied by 1 adult fish guarding 1,735 eggs (±433 SD). Bottom water temperatures measured across the nesting colony were up to 2°C warmer than the surrounding bottom waters, indicating a spatial correlation between the modified Warm Deep Water (mWDW) upflow onto the Weddell Shelf and the active nesting area. Historical and concurrently collected seal movement data indicate that this concentrated fish biomass may be utilized by predators such as Weddell seals (Leptonychotes weddellii, Lesson 1826). Numerous degraded fish carcasses within and near the nesting colony suggest that, in death as well as life, these fish provide input for local food webs and influence local biogeochemical processing. To our knowledge, the area surveyed harbors the most spatially expansive continuous fish breeding colony discovered to date globally at any depth, as well as an exceptionally high Antarctic seafloor biomass. This discovery provides support for the establishment of a regional marine protected area in the Southern Ocean under the Convention on the Conservation of Antarctic Marine Living Resources (CCAMLR) umbrella.

Autun Purser says, “I called this site ‘metropole’ after the hotel in Roadside Picnic – I look at many of these sites like locations of real alien life… Lem knew what he was talking about with the difficulties in understanding unusual life!”

[Thanks to James Bacon for the story. Art used by permission.]

File 770 Questionnaire

By JJ:

I’ve seen this meme a lot in recent years, and it seems like a good subject for discussion:

If you were only allowed to listen to only one song for the rest of your life, what would it be?

Please feel free to post links to the YouTube videos of your choices.
I’m not gonna lie: this one makes me cry every time it pops up on my iPod.

Keep on, keepin’ on, as long as our dreams are true
When cities are dust, it’s heaven or bust, in the shape of me and you
Gotta have faith to goad us along
Faith and hope to carry us on
Give us strength We’ll never go wrong
With this song in our hearts

Gonna make love the bottom line
We’re gonna find peace in our time

RIP Edward Joseph Mahoney.

Clarion West’s New Scholarships to Encourage Black, Indigenous, and Writers of Color to Attend

Applications are open for the 2022 Clarion West Workshop for speculative fiction writers. Offered every summer in Seattle, Clarion West has over 600 graduates, including Russell L. Bates (winner of the Lifetime Achievement Award from the Miami International Science Fiction Film Festival), editor Sheree Renée Thomas (The Magazine of Fantasy & Science Fiction), Nisi Shawl (multiple award-winning writer and editor based in Seattle), and Cadwell Turnbull (winner of the 2020 Neukom Institute Literary Award). 

Clarion West, as part of its commitment to addressing the barriers that Black, Indigenous, and People of Color (BIPOC) face in the writing and publishing world, seeks to create a more inclusive, welcoming, and safe space for BIPOC writers in the community. Toward that end, Clarion West offers a number of scholarships to attendees of the Six-Week Summer Workshop. Among them are three offered to BIPOC writers, including a new scholarship offered in 2022 to Latinx/e writers.

  • The Octavia E. Butler Memorial Scholarship: managed by the Carl Brandon Society, the Octavia E. Butler Memorial Award is a full-tuition award given to one student who identifies as Black, Indigenous, or a Person of Color.
  • The Blue Corn Creations Scholarship: donated by Blue Corn Creations, this scholarship is a full-tuition award given to writers who identify as Native American/Indigenous writers from the Americas. 
  • The Flores Scholarship *new*: two full-tuition scholarship awards given to students who identify as Latinx/e.

Clarion West offers full and partial tuition scholarships for all writers in need. A full list of Clarion West scholarships is here. For more information about the workshop and to apply, read here.

Workshop Culture and Accessibility. As part of Clarion West’s commitment to an inclusive workshop environment, in 2020 they began updating their critiquing practices. A few of the updates are:

  • Providing a trained facilitator in every class session who is present to advocate for all participants and help each new instructor get to know their class and their critique goals better;
  • Providing a variety of critique options for the group to decide what will work best for their unique needs. Every group is different, and we want to recognize this by providing the time and space for each group to develop their own rules; 
  • Allowing greater agency for authors to determine their critique goals and to set their own limits; 
  • Encouraging the use of an author’s letter or introduction to each story, allowing the author’s needs to frame the response; and
  • Providing time during a critique for authors to respond to comments or pose additional questions of their own.

A New Location. In addition, Clarion West is committed to hosting in-person events in accessible spaces. In 2022, the Six-Week Workshop will move to Highline College in Des Moines, Washington.

This new location features accessible accommodations, with a short walk to the classroom and other coworking and social spaces. Clarion West participants will have access to the student center and cafe. The college is about a 20-minute drive from downtown Seattle and downtown Tacoma.

[Based on a press release.]

California Appeals Court Rejects Cochran’s Effort To Overturn Judgment Favoring Beagle

A California Appeals Court has dismissed as moot Connor Cochran’s last-ditch attempt to overturn a lower court award of damages to Peter S. Beagle because there is no longer any obligation for Cochran to pay it – his debts were discharged in his personal bankruptcy proceeding.

Cochran had been trying to appeal the 2019 judgment by arguing that although the monetary award cannot be enforced, the judgment can still be used to besmirch his name by “appearing to find [him] liable for misconduct parallel to criminal fraud.”

In 2019 a California court awarded Peter S. Beagle $332,000 in damages for his claims against Cochran involving financial elder abuse, fraud, breach of fiduciary duty, and defamation. Beagle originally sued Cochran in 2015 for $52 million in damages, disgorgement of illegal gains and restitution, and dissolution of two corporations he co-owned with Cochran, Avicenna Development Corporation, and Conlan Press, Inc. The claims against the corporate entities were not part of the state trial, being subject to the automatic stay of litigation that went into effect when Cochran and his companies filed federal Chapter 11 bankruptcy on January 4, 2018 (the day before the state trial was originally scheduled to begin.) Only after the U.S. Bankruptcy Court partially lifted the automatic stay could Beagle’s suit against Cochran as an individual be tried.

Since then, Cochran, Avicenna, and Conlan Press have all gone through Chapter 7 liquidating bankruptcy proceedings, and in February 2021 Beagle and a new ownership group regained control of his work following a court-approved sale.

Even though the judgment against Cochran could no longer be collected, he pursued his appeal of the award as a means of disputing Beagle’s claims of financial elder abuse, fraud, breach of fiduciary duty, and defamation. The panel of judges reviewed a lot of testimony about those issues, which they recapped in their opinion. However, they didn’t rule on any of those issues, ultimately deciding the action was moot “because Cochran obtained an order of discharge from the bankruptcy court that rendered the judgment void and unenforceable.”

(A downloadable copy of the decision is below.)

Fourth Annual Psychedelic Film and Music Festival Screenings Announced

The Psychedelic Film and Music Festival has announced the program for its fourth annual event, with a lineup of music videos and science fiction, horror, and fantasy films. Featuring 88 official selections, virtual screenings will be held from December 9-10, with in-person events at the Producers Club Theaters in Midtown Manhattan from December 11-12. Passes are available here.

The mission of the festival is to raise awareness about the psychedelic experience through media and meditative practices, with an emphasis on exploring the mechanisms of creativity and self-expression.

“The festival uses the impact of film and music to help attendees understand that we live in an interconnected ecosystem,” said Daniel Abella, the founder and director of the festival. “Through a large-scale look at how psychedelic culture improves people’s lives, everyone can work towards better relations with themselves, others, the planet, and their creator.” The event will showcase films that cinematically explore psychedelic experiences through abstract imagery, saturated colors, hyperreal dialogue and surrealistic landscapes.

This year’s event consists of 10 features, 78 shorts, and spans 27 countries. “We have a very diverse lineup, and some of our most excellent official selections are based in sci-fi, horror, and fantasy,” said Abella. 

The schedule follows the jump.

Continue reading

AAI Announces the Ad Astra Center for Science Fiction and the Speculative Imagination

The Achievement & Assessment Institute (AAI) at the University of Kansas today announced its newest center, the Ad Astra Center for Science Fiction and Speculative Imagination.

Led by Director Chris McKitterick, the Ad Astra Center for Science Fiction and the Speculative Imagination brings writers, readers, scholars, educators, and fans of speculative fiction together to study and create work that changes the world.

“Science fiction is a bridge between STEM and the arts,” said McKitterick. “There’s a powerful feedback relationship between the two areas—science and tech inspiring writers and artists, and SF inspiring engineers and scientists.”

In McKitterick’s view—one shared by many scholars and practitioners of the genre—science fiction offers a path to engage with interesting, inspiring, and difficult questions about humanity.

“Science fiction is a mode of inquiry. In much the way a scientist or researcher tests a hypothesis, at its core, science fiction imagines changed conditions and other variables, then lets the experiment play out in an engaging narrative,” McKitterick said.

The Center initially plans to focus on interdisciplinary workshops, masterclasses, courses, seminars, and other opportunities, using speculative fiction as a powerful tool to enrich artistic and scientific creativity—bringing STEAM to STEM while deepening SF creators’ understanding of diverse disciplines. The Center aims to serve as an inspirational nexus for creatives, fans, scholars, engineers, and scientists as they chart their journey into the future.

In leading the Center, McKitterick draws on considerable experience as an award-winning author and scholar of speculative fiction. He’s also a popular speaker who has for decades taught SF and writing at the University of Kansas and beyond.

For AAI Director and University Distinguished Professor Dr. Neal Kingston, the Ad Astra Center builds on the mission of the Achievement & Assessment Institute while expanding its scope.

“AAI and its centers work in many different fields, some very technical. At the heart of all of our centers, however, is a commitment to equity and imagining different futures. Art and humanities—especially speculative fiction in this case—is a great complement to the research our other centers conduct.”

AAI was established in 2012 through the merger of the Center for Educational Testing and Evaluation and the Institute for Educational Research and Public Services. Both organizations set the Institute’s foundation to successfully build partnerships and programs that support the achievement of children adults, and publicly funded agencies. In 2013, AAI was recognized by KU’s Office of Research and Graduate Studies as a designated university institute.

Reflecting the Achievement & Assessment’s growth and evolution, the Ad Astra Center is the second new center to be announced in 2021. In January, AAI announced the creation of Center for Certification & Competency-Based Education (C3BE), which focuses on credentialing existing knowledge and shorter pathways for additional certification of skills for employers.

“With the addition of the Ad Astra Center, AAI continues to expand its vision. We are able to see—with a wider view—how our many areas of research interact and intersect,” said Kingston.

[Based on a press release.]

SFWA Asks New Grand Master Mercedes Lackey to Clarify Past Statement on Writing Trans Characters

The Science Fiction and Fantasy Writers of America Board has responded to members about an issue raised after they named Mercedes Lackey the 38th Damon Knight Grand Master earlier this month:

After we announced Mercedes Lackey as SFWA’s next Grand Master on 11/4, stances that Ms. Lackey had taken on writing trans characters resurfaced online. One was from a reader Q&A conducted in 2003, and another was from a 2017 Quora response on her feelings towards using chosen pronouns at the time. 

We recognize that these comments have caused harm to the trans community. Last year, we said, “We have a responsibility to admit our failings and to continually commit to dismantling [..] oppressive and harmful systems, both within this organization and ourselves.” 

SFWA cannot apologize on Ms. Lackey’s behalf, but we can acknowledge our contribution to this hurtful situation and stand with those in the trans and nonbinary communities. With that in mind, we asked Ms. Lackey if she would make clear her current feelings on these issues. 

Here are links to her statement, released today on her social media channels:

Mercedes Lackey on Facebook:

Before all else: trans women are women, and trans men are men. This is something I fiercely believe, and will always support.

I have made awkward statements that have caused pain or distress. My desire is, and has always been, to support the trans community and be the best ally I can. I regret that I communicated poorly and fell short of the mark.

I’m affirming here that I do, and always will, support trans rights and trans people. An individual’s pronouns are every bit as valid—and far more important—than the dictates of copy-editors in the commercial publishing industry. I wish I’d listened to you and fought for those pronouns when copy editors changed them.

I have never felt that I had the ability to write trans point-of-view characters well, and I expressed that badly in the past. Trans characters in fiction are more than just their gender, and their stories should show the richness of their whole lives in full. I am grateful for the many authors who are doing that well today. They are inspiring.

I will do everything in my power to continue to grow and learn, as I feel we all should. I have learned a lot from patient friends and fans. I apologize for hurting people.

Lackey also tweeted the statement as a thread on Twitter that starts here.

SFWA’s release ends: “The current and past presidents of SFWA named Ms. Lackey as our next Grand Master because they believe the body of her work has contributed greatly to the science fiction and fantasy genres. We invite you to reach out to us with your feedback on how we can improve the award to be more inclusive of all communities we serve.”

SFWA Alert: Authors Must Opt-Out of Book Digitization by December 1

SFWA’s Legal Affairs Committee has issued an alert informing members that the government of New Zealand has decided to ship more than 400,000 books they are de-listing from their Overseas Published Collections catalogs to the Internet Archive for digitization and inclusion in its Open Library. These are for the most part older books, but many are still in copyright. New Zealand is allowing authors who do not wish their books to be digitized to opt out, but time is running short: the deadline for doing so is December 1.  

For a spreadsheet of affected books, instructions on how to opt out, and more information, see the New Zealand Overseas Published Collections page here: https://natlib.govt.nz/about-us/strategy-and-policy/collections-policy/overseas-published-collection-management

SFWA recommends downloading and searching the spreadsheet rather than relying on the alphabetical listing, which may not show all entries.  

This alert is also a reminder that although the Internet Archive is currently being sued by four major publishers, it is still accumulating copyrighted books from various other sources and making them available on their website. Even if an author has already asked to have their books removed, there is no guarantee that they haven’t been added again. The SFWA Legal Affairs Committee issued two previous infringement alerts concerning the Internet Archive’s massive digitization project, which affects many more authors. The first, sent in 2018 about the Open Library is here. The second sent in 2020 about the now-discontinued National Emergency Library is here

It is still possible for authors to directly contact the Internet Archive to have them remove their books from their website; both of prior alerts include instructions on how to do that. Books that are included in the New Zealand donation are no exception, if an author misses the December 1 deadline.

[Based on a news release.]

Last Dangerous Visions Progress Report

J. Michael Straczynski has partially pulled back the curtain on the The Last Dangerous Visions contributors’ list, and responded to critics of its gender balance. He has also announced the agents who will be taking not just LDV but all three Dangerous Visions anthologies to publishers as a package. (The Twitter thread starts here.)

Big News: The Last Dangerous Visions is now going to publishers via the Janklow & Nesbit Agency (Emma Parry, NY, domestic; Nathaniel Alcaraz-Stapleton, London, foreign), with Dangerous Visions and Again Dangerous Visions included in the purchase price to create a unified edition.

Contributors to The Last Dangerous Visions include Edward Bryant, Stephen Robinette, Max Brooks, DM Rowles, Dan Simmons, Cecil Castelluci, Cory Doctorow, Stephen Dedman, Patton Oswalt, Jonathan Fast, Howard Fast, Robert Sheckley, Adrian Tchaikovsky and James S.A. Corey.

It is very much the living document Harlan had always intended for it to be, bringing together new and established voices to address the profoundly human issues that can only be addressed through speculative stories that take us over the horizon and back.

The wonder has been seeing firsthand the many ways in which the themes, concerns of all these stories are profoundly relevant and important across the span of their creation. The first two Dangerous Visions books changed the genre; I have hopes this will continue that tradition.

So to any publishers out there who would like to get in on this process, see the names appended at the top of this thread. (Janklow & Nesbit is one of the largest and most prestigious agencies in the world, and their belief in and support of this book has been most rewarding.)

The plan is the three books would be released individually as well as together and at standard book prices.

Some immediate responses focused criticism on the contributors list —

Straczynski replied, “The lion’s share of the writers in TLDV were and had to be the ones Harlan selected, from the 70s-90s, or it’s not his vision anymore, with a very few slots set aside for current writers who wanted to show support for the book.”

He also tweeted specifically about two stories by women that had been held back by the author or her estate, and his efforts to increase representation:

On Facebook, he phrased his response to a similar concern this way:

It should also be remembered that the book had to be in line with the stories Harlan bought from the 70s-90s, or it wouldn’t be his vision or his book anymore. I could play at the edges, but that’s all. And had the Willis and McIntyre stories not been withdrawn, along with a couple of others that fell away in the intervening years, the current version would have a much stronger female presence from those original stories.

Also, Stracyznski had a further exchange on Facebook with someone about a story that did not make the cut.

Harlan had over a hundred stories slated for TLDV, which would never ever be sold in a modern market, and likely could not have been done then either, which was part of the problem. Since I had no direct connection to any of the writers other than to be in awe of their work was to pare down to the best of the best, the stories that were the most relevant and timeless and powerful. No, as I think I conveyed to you previously, James [Sutherland’s] story did not make the cut, but his estate is free to sell it elsewhere, as with any and all of the other stories.

[Thanks to Chris Barkley for the story.]

Oh, The Place We Boldly Stop.

[ComicMix VP Glenn Hauman today provided closure for those who have followed the Dr. Seuss Enterprises vs. ComicMix et al. case since it began in 2016.  His article is reblogged here from ComicMix with his permission.]

By Glenn Hauman: The Dr. Seuss Enterprises lawsuit against us is finally over.

In August 2016, we put up a Kickstarter for Oh, The Places You’ll Boldly Go!, a mash-up of Star Trek and Dr. Seuss to be written by David Gerrold, drawn by Ty Templeton, edited by Glenn Hauman, and published by ComicMix LLC later that year. DSE sent us a cease and desist letter on September 27, 2016. (Yes, the legal wrangling lasted longer than the Enterprise’s original five-year mission.) DSE filed a DMCA motion to take down the Kickstarter campaign on October 7, and filed suit against us on November 10, 2016, alleging copyright infringement, trademark infringement, and unfair competition.

We put up a good fight. We defeated the trademark infringement and unfair competition claims, and that win was affirmed on appeal. We also won summary judgment on the claim of copyright infringement, though that was reversed on appeal. The court set a pretrial schedule in September 2021 and we were well positioned to have a jury resolve whether or not you could see this book.

And yet, today we’re announcing that we and DSE submitted a proposed consent judgment for the suit, and that the Honorable Judge Janis L. Sammartino granted it on Friday, October 8, 2021 and closed the case.

Why? The simple truth is— we ran out of time.

This past year, Ty was diagnosed with Stage 3 colorectal cancer. This has required him to undergo months of chemotherapy and radiation treatment, just to prepare him for the needed surgery—which will then require weeks of recuperation until he recovers enough to go through six MORE months of chemo and radiation, and then MORE surgery after that. This has affected his ability to work, to draw, and to do any of the things an immunocompromised person shouldn’t do, especially in the middle of a global pandemic.

And the trial schedule would have been smack in the middle of all of that. After five years of sometimes ridiculous litigation and with the pre-trial deadlines looming, as Ty’s collaborators and friends, we refused to put him through any additional stress that could in any way impinge on his health and recovery. To the credit of the people at DSE, they didn’t want to put Ty through that either. So we joined in a motion to end the suit the day before Ty’s surgery, in order to alleviate the less serious pain in his ass so he can deal with the far more lethal and literal pain in his ass.

In the consent judgment, DSE concedes some of our defenses and we concede some of their claims. Unfortunately, the terms stipulate that even though the book is complete, we won’t be able to present Oh, The Places You’ll Boldly Go! to you for another forty years, when the Dr. Seuss copyrights are set to expire and his books enter the public domain. (We can start taking preorders in January 2062, so set your calendar reminders now.)

We still passionately believe in and stand for creators’ rights, including fair use, and we still maintain that Boldly is a fair use that could not have harmed DSE in any way, now, five years ago, or in forty years. Unfortunately, the Ninth Circuit Court of Appeals’s view of fair use makes it very difficult to overcome a well-heeled copyright holding corporation if it wants to stand in the way (anyone who thinks “corporations are people” has never seen a corporation in a cancer ward) and they decided that the book was over the line. We’re looking forward to the day when you can finally see the full book for yourself and make your own determination about it—until then, it’s like writing a book report by just looking at the cover, never seeing what’s inside.

It has been a long five-year mission filled with many absurdities. At one point, Universal Pictures asked us to help promote “The Grinch” DVD release, so DSE could make more money to bash over our heads. At another point, DSE paid an “expert witness” who got an artist to redraw our book in the most dreadful way imaginable, and then did a trademark survey asking shopping mall customers to compare Ty’s artful mix of Seuss and Trek with that hack job. We’re still wondering how our book referencing a single illustration from How The Grinch Stole Christmas could have taken “the heart of the work,” as the Ninth Circuit Court of Appeals thought, when the illustration in question shows neither the Grinch, Christmas, or anything being stolen. And less than thirty-six hours after the Ninth Circuit reversed the fair use ruling, we got to watch Saturday Night Live air a sketch about the Grinch in a Whoville three-way, with nary a peep from DSE.

We’re also grimly amused about how we had to fight a fair use case while DSE’s own publisher, Penguin Random House, put out their own unauthorized parody, Oh, The Meetings You’ll Go To! (Although there is some question as to whether or not Meetings is officially sanctioned by Dr. Seuss Enterprises, as the copyright page of Meetings makes no mention of a DSE license, yet this since deleted tweet from Eric Nelson on August 4th, 2020 says otherwise…)

But when we were sued two days after Election Day 2016, we knew that letting anyone with lots of money, name recognition, and power have the ability to shut down even the gentlest of parodies and mildest of commentaries about them unchallenged was an extremely bad precedent to set for the future—if for no other reason that we make up for one another’s biases by being able to criticize each other, whether we are children’s book authors or circuit court judges.

We can take satisfaction in many of the victories and precedents this case has set, including:

  • The Ninth Circuit made it explicit that mash-ups can be fair use. (Just not, apparently, ours.)
  • The District Court’s summary judgment ruling held that there are no exclusive trademark rights in an artistic style, or a distinctive font or typeface.
  • In fact, the trademark infringement and unfair competition claims wound up a total rout. They were dismissed based on nominative fair use in 2017. DSE renewed them, and we won judgment on the pleadings over its claims about the book’s title based on the Rogers/First Amendment test in 2018. We won the “that’s not even a thing” issue over the Seussian art style and typeface in 2019. And in 2020 the Ninth Circuit affirmed everything under Rogers and the First Amendment.

While we’re not entirely pleased with the case’s outcome, we remember the words of historian Richard Hofstadter, who observed that sometimes people must “endure error in the interest of social peace.” If we were ultimately unable to persuade the Ninth Circuit to reduce the amount of error involved in determining fair use for creators, we’ve done what we can to forge a path for future fair use activists.

There are many people we’d like to thank for helping us go boldly, as we believe that, as our book says, no one goes forward alone. First and foremost: our lead attorney Dan Booth of Dan Booth Law, who fought the good fight with the strength of a hundred lawyers against a firm with four thousand lawyers. We also give thanks to Michael Licari, now in-house counsel at Veteran Benefits Guide, Dan Halimi, now at Halimi Law Firm, T.C. Johnston at Internet Law, Joanna Ardalan of OneLLP, who appealed our case to the Supreme Court, and Ken White of Brown White & Osborn LLP, who sent up the Popehat signal that brought us much needed assistance in the first place. And we thank Dr. Joshua Gans, our expert witness, who generously donated his time and testimony and worked under ridiculous constraints.

We’d also like to thank the people who filed amici briefs taking our side:

Francesca Coppa, Stacey L. Dogan, Deborah R. Gerhardt, Leah Chan Grinvald, Michael Grynberg, Mark A. Lemley, Jessica Litman, Lydia Loren, David Mack, William McGeveran, Mark P. McKenna, Lisa P. Ramsey, Pamela Samuelson, Jessica Silbey, Rebecca Tushnet, Magdalene Visaggio, the Electronic Frontier Foundation, the Organization For Transformative Works, Public Knowledge, and their counsel Chris Bavitz, Mason Kortz, Phillip R. Malone, Meredith Rose, Eric Stallman, and Kit Walsh.

And we’d like to also thank Mike Gold, Martha Thomases, Brandy Hauman, Keiren Smith, Pam Hauman, Shann Dornhecker, Mark Treitel, Joshua Masur, Katherine Trendacosta, Heidi Tandy, Meredith Rose, Brian Jay Jones, Mike Godwin, Margot Atwell, Camilla Zhang, Oriana Leckert, Allison Adler, Michael C. Donaldson, Film Independent, the International Documentary Association, and Steve Saffel.

We’d very much like to thank United States District Judge Janis L. Sammartino, who presided over our case with patience, fairness, wisdom, and thoughtfulness, and all of the staff that supported her.

And finally, we’d like to thank all of the Kickstarter backers who wanted to make this book a reality, all the supporters who helped cover (the start of) our legal expenses, and all of the journalists and scholars who followed and reported on our case. We are grateful for your generosity and faith, and are very disappointed that we can’t show you what you’ve been waiting years to see. At least not yet.

For those interested, the case is Dr. Seuss Enterprises LP v. ComicMix LLC et al.,; case number 3:16-cv-02779 in the United States District Court for the Southern District of California, and case number 19-55348, in the United States Court of Appeals for the Ninth Circuit.


P.S.: There’s two more last minute “thank yous.” The proposed consent judgment was submitted this past Tuesday, October 5. On Wednesday, October 6, Ty had his surgery, which went well. And on Thursday, October 7, two guys joined David and Glenn in sending get-well notes to Ty—a Mr. Shatner and a Mr. Takei.

Thanks, captains.