Сексуальность в научной фантастике и фэнтези: от ограничений к исследованию.

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Sexual themes are frequently used in science fiction or related genres. Such elements may include depictions of realistic sexual interactions in a science fictional setting, a protagonist with an alternative sexuality, a sexual encounter between a human and a fictional extraterrestrial, or exploration of the varieties of sexual experience that deviate from the conventional. Science fiction and fantasy have sometimes been more constrained than non genre narrative forms in their depictions of sexuality and gender. However, speculative fiction (SF) and soft science fiction also offer the freedom to imagine alien or galactic societies different from real life cultures, making it a tool to examine sexual bias, heteronormativity, and gender bias and enabling the reader to reconsider their cultural assumptions. Prior to the 1960s, explicit sexuality of any kind was not characteristic of genre speculative fiction due to the relatively high number of minors in the target audience. In the 1960s, science fiction and fantasy began to reflect the changes prompted by the civil rights movement and the emergence of a counterculture. New Wave and feminist science fiction authors imagined cultures in which a variety of gender models and atypical sexual relationships are the norm, and depictions of sex acts and alternative sexualities became commonplace. There is also science fiction erotica, which explores more explicit sexuality and the presentation of themes aimed at inducing arousal.

As genres of popular literature, science fiction and fantasy often seem even more constrained than non genre literature by their conventions of characterization and the effects that these conventions have on depictions of sexuality and gender. and plots based on sexual relationships have mainly been avoided in genre fantasy narratives. On the other hand, science fiction and fantasy can also offer more freedom than do non genre literatures to imagine alternatives to the default assumptions of heterosexuality and masculine superiority that permeate some cultures. When the extrapolation involves sexuality or gender, it can force the reader to reconsider their heteronormative cultural assumptions; the freedom to imagine societies different from real life cultures makes science fiction an incisive tool to examine sexual bias. Science fiction has also depicted a plethora of alien methods of reproduction and sex.

True History, a Greek language tale by Assyrian writer Lucian (120 185 CE), has been called the first ever science fiction story. The narrator is suddenly enveloped by a typhoon and swept up to the Moon, which is inhabited by a society of men who are at war with the Sun. After the hero distinguishes himself in combat, the king gives him his son, the prince, in marriage. The all male society reproduces (male children only) by giving birth from the thigh or by growing a child from a plant produced by planting the left testicle in the Moon's soil. In other proto SF works, sex itself, of any type, was equated with base desires or "beastliness," as in Gulliver's Travels (1726), which contrasts the animalistic and overtly sexual Yahoos with the reserved and intelligent Houyhnhnms. The 1915 utopian novel Herland by Charlotte Perkins Gilman depicts the visit by three men to an all female society in which women reproduce by parthenogenesis.

During the pulp era, explicit sexuality of any kind was not characteristic of genre science fiction and fantasy. The frank treatment of sexual topics of earlier literature was abandoned. launched what developed into the Cthulhu Mythos, a shared fictional universe taken up by various other writers and considerably affecting the entire field of Fantasy. Bobby Derie's 2014 book Sex and The Cthulhu Mythos treats extensively the various sexual aspects of this Mythos:"H. P. Lovecraft was one of the most asexual beings in history at least by his own admission. Whether we accept this view of his own sexual instincts or not, there is no denying that sexuality normal and aberrant underlies a number of significant tales in the Lovecraft oeuvre. The impregnation of a human woman by Yog Sothoth in "The Dunwich Horror" and the mating of humans with strange creatures from the sea in "The Shadow over Innsmouth" are only two such examples. "Sex and The Cthulhu Mythos examines the significant uses of love, gender, and sex in the work of H. P. Lovecraft, moving on to some of his leading disciples and noting that "The work of such significant writers of the Lovecraft tradition as Robert E. Howard, Clark Ashton Smith, Ramsey Campbell, W. H. Pugmire, and Caitlín R. Kiernan, features far more explicit sexuality than anything Lovecraft could have imagined". Finally, Derie goes on to study sexual themes in other venues, such as Lovecraftian occultism, Japanese manga and anime, and even Lovecraftian fan fiction. In Aldous Huxley's dystopian novel Brave New World (1932), natural reproduction has been abolished, with human embryos being raised artificially in "hatcheries and conditioning centres." Recreational sex is promoted, often as a group activity; what passes for a religious ceremony consists of six men and six women meeting once a week to hold an "orgy porgy". To prepare for this life, little boys and girls are made to play sexual games with each other as part of the official curriculum in what passes for kindergartens and elementary schools. On the other hand, marriage, pregnancy, natural birth, and parenthood are considered too vulgar to be mentioned in polite conversation. An important part of the plot concerns the Savage Reservation in New Mexico, where marriage, pregnancy and motherhood are still practiced by the local Native Americans. Linda, a woman from 'civilized' London who was marooned there and sticking to her accustomed sexual mores, is persecuted as "a whore" by the local women whose husbands she seduced. John, Linda's son who grew up on the Reservation but was always alienated from its society, comes to London and there falls deeply in love with a girl seeking a happy loving consummation with her and then violently assaulting her from jealousy when she behaves according to her society's sexual mores. One of the earliest examples of genre science fiction that involves a challenging amount of unconventional sexual activity is Odd John (1935) by Olaf Stapledon. John is a mutant with extraordinary mental abilities who will not allow himself to be bound by many of the rules imposed by the ordinary British society of his time. The novel strongly implies that he has consensual intercourse with his mother and that he seduces an older boy who becomes devoted to him but also suffers from the affront that the relationship creates to his own morals. John eventually concludes that any sexual interaction with "normal" humans is akin to bestiality. War with the Newts, a 1936 satirical science fiction novel by Czech author Karel Čapek, concerns the discovery in the Pacific of a sea dwelling race, an intelligent breed of newts – who are initially enslaved and exploited by humans and later rebel and go war against them. The book includes a detailed appendix entitled 'The Sex Life of the Newts', which examines the Newts' sexuality and reproductive processes in a pastiche of academese. This is one of the first attempts to speculate on what form sex might have among non human intelligent beings. C. L. Moore's 1934 story "Shambleau" begins in what seems a classical damsel in distress situation: the protagonist, space adventurer Northwest Smith, sees a "sweetly made girl" pursued by a lynch mob intent on killing her and intervenes to save her. But once he takes her to his room, she turns to be a disguised alien creature who spreads her inhuman long tendrils of hair, trapping Smith in a kind of psychic bondage and drawing out his life, and but for his partner arriving and killing her, it would have ended with his death. The story has little explicit sex, and no other physical contact than that of the hair of the "girl" with Smith's body; ye t the story clearly explores sexual themes in a way highly daring for its time. In C. S. Lewis's That Hideous Strength, a prominent place is given among the cast of villains to a monstrous lesbian – Miss Hardcastle, Security Chief of the satanic "Institute" which quite literally intends to take over the world. Hardcastle is presented as an inveterate sadist who takes pleasure in torturing "fluffy" young women and inflicting on them burns with a lighted cigarette.

After the pushing back of boundaries in the 1960s and 70s, sex in genre science fiction gained wider acceptance and was often incorporated into otherwise conventional science fiction stories with little comment. In 1968 Jack Vance introduced the Planet of Adventure, inhabited by four different alien races, each with its own distinct society and culture. One of these – the predatory, part feline, part bird like Dirdir – is described as having a very complex sexuality, with many different genders that leads to many different combinations of gender compatibility when it comes to sex and breeding, though each breeding still seems to involve only two individuals. Jack L. Chalker's Well World series, launched in 1977, depicts a world – designed by the super science of a vanished extraterrestrial race, the Markovians – which is divided into numerous "hexes", each inhabited by different sentient race. Anyone entering one of these hexes is transformed into a member of the local race. This plot device gives a wide scope for exploring the divergent biology and cultures of the various species – including their sex life. For example, a human entering a hex inhabited by an insectoid intelligent race is transformed into a female of that species, feels sexual desire for a male and mates with him. Too late does she discover that in this species, pregnancy is fatal – the mother being devoured from the inside by her larvae. In a later part, a very macho villain gains control of a supercomputer whose power includes the ability to "redesign" people's bodies to almost any specification. He uses the computer to give himself a "super virile" body, capable of a virtually unlimited number of erections and ejaculations – and then proceeds to transform his male enemies into beautiful women and induce in them a strong sexual desire towards himself. However, a computer breakdown restores to these captives their normal minds. Though they are still in women's bodies, these bodies were designed with great strength and stamina, so as to enable them to undergo repeated sexual encounters. Thus, they are well equipped to chase, catch and suitably punish their abuser. In Frederik Pohl's Jem, humans exploring the eponymous planet Jem discover by experience that local beings emit a milt which has a strong aphrodisiac effect on humans. Characters who were hitherto not at all drawn to each other find themselves suddenly involved in wild, uncontrollable sex. At the ironic ending, their descendants who colonize the planet and build up a distinctive society and culture develop the custom of celebrating Christmas by deliberately stimulating the local beings into emitting the milt, and then taking off their clothes and engaging in a wild indiscriminate orgy – their copulations accompanied by a chorus of the planet's enslaved indigenous beings who were taught to sing "Good King Wenceslas", with the song's Christian significance long forgotten. Also set on an alien planet, Octavia E. Butler's acclaimed short story "Bloodchild" (1984) depicts the complex relationship between human refugees and the insect like aliens who keep them in a preserve to protect them, but also to use them as hosts for breeding their young. Sometimes called Butler's "pregnant man story," "Bloodchild" won the Nebula Award, Hugo Award, and Locus Award. Other of Butler's works explore miscegenation, non consensual sex, and hybridity. In Robert Silverberg's 1982 novella Homefaring, the protagonist enters the mind of an intelligent lobster of the very far future and experiences all aspects of lobster life, including sex: "He approached a female, knowing precisely which one was the appropriate one, and sang to her, and she acknowledged his song with a song of her own, and raised her third pair of legs for him, and let him plant his gametes beside her oviducts. There was no apparent pleasure in it, as he remembered pleasure from his time as a human. Yet it brought him a subtle but unmistakable sense of fulfillment, of the completion of biological destiny, that had a kind of orgasmic finality about it, and left him calm and anchored at the absolute dead center of his soul". When finally returning to his human body and his human lover, he keeps longing for the lobster life, to "his mate and her millions of larvae". Quentin and Alice, the extremely shy and insecure protagonists of Lev Grossman's fantasy novel The Magicians, spend years as fellow students at a School of Magic without admitting to being deeply in love with each other. Only the experience of being magically turned into foxes enables them at last to break through their reserve: "Increasingly, Quentin noticed one scent more than the others. It was a sharp, acrid, skunky musk that probably would have smelled like cat piss to a human being, but to a fox it was like a drug. He tackled the source of the smell, buried his snuffling muzzle in her fur, because he had known all along, with what was left of his consciousness, that what he was smelling was Alice. Vulpine hormones and instincts were powering up, taking over, manhandling what was left of his rational human mind." The next sequence depicts animal sex: "He locked his teeth in the thick fur of her neck. It didn't seem to hurt her any, or at least not in a way that was easily distinguishable from pleasure. He caught a glimpse of Alice's wild, dark fox eyes rolling with terror and then half shutting with pleasure. Their tiny quick breathes puffed white in the air and mingled and disappeared. Her white fox fur was coarse and smooth at the same time, and she made little yipping sounds every time he pushed himself deeper inside her. He never wanted to stop". When resuming their human bodies, Quentin and Alice are initially even more shy and awkward with each other, and only after going through some harrowing magical experiences are they finally able to have human sex. Lois McMaster Bujold explores many areas of sexuality in the multiple award winning novels and stories of her Vorkosigan Saga (1986 ongoing), which are set in a fictional universe influenced by the availability of uterine replicators and significant genetic engineering. These areas include an all male society, promiscuity, monastic celibacy, hermaphroditism, and bisexuality. In the Mythopoeic Award winning novel Unicorn Mountain (1988), Michael Bishop includes a gay male AIDS patient among the carefully drawn central characters who must respond to an irruption of dying unicorns at their Colorado ranch. The death of the hedonistic gay culture, and the safe sex campaign resulting from the AIDS epidemic, are explored, both literally and metaphorically. Sex has a major role in Harry Turtledove's 1990 novel A World of Difference, taking place on the planet Minerva (a more habitable analogue of Mars). Minervan animals (including the sentient Minervans) are hexameristically radially symmetrical. This means that they have six eyes spaced equally all around, see in all directions and have no "back" where somebody could sneak on them unnoticed. Females (referred to as "mates" by the Minervans) give birth to litters that consist of one male and five females, and the "mates" always die after reproducing because of torrential bleeding from the places where the six fetuses were attached; this gives a population multiplication of 5 per generation if all females live to adolescence and reproduce. Females reach puberty while still hardly out of childhood, and typically experience sex only once in the lifetime – leading to pregnancy and death at birth giving. Thus, in Minervan society male dominance seems truly determined by a biological imperative – though it takes different forms in various Minervan societies: in some females are considered expendable and traded as property, in other they are cherished and their tragic fate mourned – but still, their dependent status is taken for granted. The American women arriving on Minerva and discovering this situation consider it intolerable; a major plot element is their efforts, using the resources of Earth medical science, to find a way of saving the Minervan females and letting them survive birth giving. At the end, they do manage to save a particularly sympathetic Minervan female – potentially opening the way for a complete upheaval in Minervan society. Sex is also an important ingredient in another of Harry Turtledove's works, the Worldwar Series of Alternative History, based on the premise of reptile extraterrestrials, nicknamed "The Lizards", invading Earth in 1942, forcing humans to terminate the Second World War and unite against this common enemy. As depicted by Turtledove, the "Lizards" have no concept whatever that sex ought to be private, and they engage in it in public as in any other activity. This leads to human beings in areas occupied by them feeling shocked and outraged by the "immorality" of their new masters especially that the invaders, preferring hot climates, prioritize conquest of the Arab and Islamic countries. For their part, the invaders are genuinely puzzled by the Humans' insistence on having privacy for sex and their outrage when reptile warriors walk in on them when engaged in it. As gradually becomes clear, on their home planet, the "Lizards" have a clearly defined mating season, when normal activity ceases and they engage in a days long, indiscriminate orgy; as their young can fend for themselves from the moment of hatching from the egg, there is no of parental care and they have no marriages or families, and thus there is no reason to establish paternity. Outside the mating season, sex does not occur among them and does not concern them. However, when arriving on Earth they soon discover that ginger, an innocuous spice to humans, acts as a powerful narcotic on the invaders' physiology and that it causes their females to become sexually active and emit pheromones, out of the normal season. This causes an unaccustomed disruption of their daily activity, with females who had taken ginger suddenly becoming sexual, males and females then feeling compelled to immediately engage in mating before they could resume their daily work. This also arises the phenomenon of females deliberately taking ginger in return for payment prostitution having been completely unknown in their society before their arrival on Earth. In the far future human colony of Frederik Pohl's The World at the End of Time, the common way to produce new humans is for a geneticist to take DNA samples from two or more "parents" – regardless of their being male or female. The DNA is then combined in a laboratory, and the parents arrive to pick up the baby nine months later. The few couples who prefer to do it in the old fashioned way, a man sexually impregnating a woman, are considered strange but harmless eccentrics. Glory Season (1993) by David Brin is set on the planet Stratos, inhabited by a strain of human beings designed to conceive clones in winter, and normal children in summer. All clones are female, because males cannot reproduce themselves individually. Further, males and females have opposed seasons of sexual receptivity; women are sexually receptive in winter, and men in summer. (This unusual heterogamous reproductive cycle is known to be evolutionarily advantageous for some species of aphids.) The novel treats themes of separatist feminism and biological determinism. Elizabeth Bear's novel Carnival (2006) revisits the trope of the single gender world, as a pair of gay male ambassador spies attempt to infiltrate and subvert the predominately lesbian civilization of New Amazonia, whose matriarchal rulers have all but enslaved their men. The fantasy world of Scott Lynch's 2007 Red Seas Under Red Skies offers a new variation on the long established genre of pirate literature – depicting a pirate ship which is run on the basis of complete gender equality. The pirate crew is composed of a roughly equal number of men and women, and crew members may freely engage in sex – homosexual or heterosexual, as they choose – when off duty. Since shipboard life offers little chance of privacy, the sound of people having a noisy orgasm is a normal part of night time routine on board the Poison Orchid. However, any attempt at a sexual act without the other person's sexual consent is punished immediately and severely. The formidable Captain Zamira Drakasha is raising her two children aboard, and is well able to combine being a deadly fighter and strict disciplinarian with her role as a loving and doting mother – but having children aboard is a privilege reserved to the Captain alone; other female pirates who get pregnant must leave their children on shore. The plot of The Tamír Triad by Lynn Flewelling has a major transsexual element. To begin with the protagonist, Prince Tobin, is to all appearances a male – both in his own perception and in that of others. Boys who swim naked together with Tobin have no reason to doubt his male anatomy. Yet, due to the magical reasons which are an important part of the plot, in the underlying, essential identity Tobin had always been a disguised girl. In the series' cataclysmic scene of magical change, this becomes an evident physical fact, and Prince Tobin becomes Queen Tamír, shedding the male body and gaining a fully functioning female one. Yet, it takes Tamír a considerable time and effort to come to terms with her female sexuality. In Lateral Magazine, The freedom of a genre: Sexuality in speculative fiction: 'In another twist of today's society, Nontraditional Love by Rafael Grugman (2008) puts together an upside down society where heterosexuality is outlawed, and homosexuality is the norm. A 'traditional' family unit consists of two dads with a surrogate mother. Alternatively, two mothers, one of whom bares a child. In a nod to the always progressive Netherlands, this country is the only country progressive enough to allow opposite sex marriage. This is perhaps the most obvious example of cognitive estrangement. It puts the reader in the shoes of the oppressed by modelling an entire world of opposites around a fairly "normal" everyday heterosexual protagonist. A heterosexual reader would not only be able to identify with the main character but be immersed in a world as oppressive and bigoted as the real world has been for homosexuals and the queer community throughout history. The 2018 Fantasy novel Stone Unturned, set in Lawrence Watt Evans' magical world of Ethshar, begins with the young wizard Morvash of the Shadows discovering that some of the statues in his uncle's house were real people turned to stone, and sets out to do the right thing. What Morvash considered the most disturbing of these statues "was hidden away in a sort of marble grotto in the garden behind the house, and depicted a young man and a young woman in what might politely be called an intimate embrace, or a compromising position. They were not in the sort of elegant pose that artists use for erotica, with graceful lines displaying the female's curves and the male's muscles. They were in an earthier position. The woman — a girl, really — was on her back, with her knees drawn up to her chest and her head raised as her blank stone eyes stared perpetually at the man's belly. Her mouth was open as if panting. Her partner was kneeling between her legs, leaning forward over her, one hand grabbing her shoulder, the other occupied elsewhere. His eyes were closed, but his mouth was also open; Morvash thought it was more of a moan than a pant. He could almost smell the sweat. Neither wore any clothing whatsoever, nor were there any artfully placed draperies or fig leaves to obscure the details. Had the wizard responsible for this petrifaction timed it deliberately, or had he caught them in this position by accident?" Eventually, it turns out that the couple were Prince Marek of Melitha and Darissa the Witch's Apprentice, who had fallen deeply in love with each other during a war that threatened their kingdom and who sought to celebrate victory with a bout of intensive love making in the privacy of the Prince's bedchamber – but were surprised and turned into stone by a wizard in the employ of the Prince's envious sister, who sought to seize the throne. Afterwards, the couple spent forty petrified years, dimly conscious, perpetually caught in their sexual act and forming a prized item in Lord Landessin's sculpture collection. When the wizard Morvash finally manages to bring them back to life, they find themselves lying on the floor in a big hall, surrounded by various other people who were also revived from petrifaction, and hasten to disengage and look for something to cover their nakedness. After various other adventures, they finally get married and fully clothed mount the throne of Melitha as King and Queen.