Феминистская научная фантастика: темы и история развития

Subgenre of science fiction

Feminist science fiction is a subgenre of science fiction (abbreviated "SF") focused on such feminist themes as: gender inequality, sexuality, race, economics, reproduction, and environment. Feminist SF is political because of its tendency to critique the dominant culture. Some of the most notable feminist science fiction works have illustrated these themes using utopias to explore a society in which gender differences or gender power imbalances do not exist, or dystopias to explore worlds in which gender inequalities are intensified, thus asserting a need for feminist work to continue.

Feminist science fiction (SF) distinguishes between female SF authors and feminist SF authors. Both female and feminist SF authors are historically significant to the feminist SF subgenre, as female writers have increased women's visibility and perspectives in SF literary traditions, while the feminist writers have foregrounded political themes and tropes in their works. Another early female writer of science fiction was Mary Shelley. Her novel Frankenstein (1818) dealt with the asexual creation of new life, and has been considered by some a reimagining of the Adam and Eve story.

Women writers involved in the utopian literature movement of the late nineteenth and early twentieth centuries could be considered the first feminist SF authors. Their texts, emerging during the first wave feminist movement, often addressed issues of sexism through imagining different worlds that challenged gender expectations. In 1881, Mizora: A Prophecy described a women only world with technological innovations such as parthenogenesis, videophones, and artificial meat. Unveiling a Parallel (1893) features a male protagonist who takes an "aeroplane" to Mars, visiting two different "Marsian" societies; in both, there is equality between men and women. In one, Paleveria, women have adopted the negative characteristics of men; in Caskia, the other, gender equality "has made both sexes kind, loving, and generous." Two American Populists, A. O. Grigsby and Mary P. Lowe, published NEQUA or The Problem of the Ages (1900), which explores issues of gender norms and posited structural inequality. This recently rediscovered novel displays familiar feminist SF conventions: a heroine narrator who masquerades as a man, the exploration of sexist mores, and the description of a future hollow earth society (like Mizora) where women are equal. The Sultana's Dream (1905), by Bengali Muslim feminist Rokeya Sakhawat Hussain, engages with the limited role of women in colonial India. Through depicting a gender reversed purdah in an alternate technologically futuristic world, Hussain's book has been described as illustrating the potential for cultural insights through role reversals early on in the subgenre's formation. In the utopian novel Beatrice the Sixteenth (1909), transgender writer Irene Clyde creates a world where gender is no longer recognized and the story itself is told without the use of gendered nouns. Along these same lines, Charlotte Perkins Gilman explores and critiques the expectations of women and men by creating a single sex world in Herland (1915), possibly the most well known of the early feminist SF and utopian novels. Among the francophones, Renée Gouraud d'Ablancourt [fr] published in 1909 Vega la magicienne, depicting L'Oiselle, a winged superheroine and the first of the francophone superhero series.

During the 1920s and 1930s, many popular pulp science fiction magazines exaggerated views of masculinity and featured portrayals of women that were perceived as sexist. These views would be subtly satirized by Stella Gibbons in Cold Comfort Farm (1932) and much later by Margaret Atwood in The Blind Assassin (2000). As early as 1920, however, women writers of this time, such as Clare Winger Harris ("The Runaway World," 1926) and Gertrude Barrows Bennett (Claimed, 1920), published science fiction stories written from female perspectives and occasionally dealt with gender and sexuality based topics. John Wyndham, writing under his early pen name of John Beynon Harris, was a rare pulp writer to include female leads in stories such as The Venus Adventure (Wonder Stories, 1932), in which a mixed crew travel to Venus. The story opens in a future in which women are no longer enslaved by pregnancy and childbirth thanks to artificial incubators, which are opposed by a religious minority. Women have used this freedom to enter professions including chemistry. Wyndham's outlook was so rare that in a serialisation of his novel Stowaway to Mars, one magazine editor "corrected" the name of the central character Joan to John. Wyndham then had to write them a new final instalment to replace the conclusion in which Joan fell in love and became pregnant.

The Post WWII and Cold War eras were a pivotal and often overlooked period in feminist SF history. increased economic mobility of an emerging middle class, and an emphasis on consumptive practices, carved out a new technological domestic sphere where women were circumscribed to a new job description – the professional housewife. Published feminist SF stories were told from the perspectives of women (characters and authors) who often identified within traditional roles of housewives or homemakers, a subversive act in many ways given the traditionally male centered nature of the SF genre and society during that time. Three notable texts of this period are Ursula K. Le Guin's The Left Hand of Darkness (1969), Marge Piercy's Woman on the Edge of Time (1976) and Joanna Russ's The Female Man (1970). Each highlights what the authors believe to be the socially constructed aspects of gender roles by creating worlds with genderless societies. Two of these authors were pioneers in feminist criticism of science fiction during the 1960s and 1970s through essays collected in The Language of the Night (Le Guin, 1979) and How To Suppress Women's Writing (Russ, 1983). Also of note, Madeleine L'Engle's A Wrinkle in Time (1962), written for children and teens, features a 13 year old girl protagonist, Meg Murry, whose mother, Mrs. Murry, is a scientist with degrees in biology and bacteriology. L'Engle's novel is decidedly science fiction, feminist, and deeply Christian, and the first of her series, The Time Quintet. Meg's adventures to other planets, galaxies, and dimensions are aided in Wrinkle by three ancient beings, Mrs What, Mrs Which, and Mrs Who who "tesser" to travel vast distances. A Wrinkle in Time was awarded the Newbery Medal in 1963 and has never been out of print. Men also contributed literature to feminist science fiction. Prominently, Samuel R. Delany's short story, "Time Considered as a Helix of Semi Precious Stones" (1968), which won the Hugo Award for Best Short Story in 1970, follows the life of a gay man that includes themes involving sadomasochism, gender, significance of language, and when high and low society encounter one another, while his novel Babel 17 has an autistic woman of colour as its primary hero and protagonist. Octavia Butler's Kindred (1979) tells the story of an African American woman living in the United States in 1979 who uncontrollably time travels to the antebellum South. The novel poses complicated questions about the nature of sexuality, gender, and race when the present faces the past. Tepper has written under several pseudonyms, including A. J. Orde, E. E. Horlak, and B. J. Oliphant. Carol Emshwiller is another feminist SF author whose best known works are Carmen Dog (1988), The Mount (2002), and Mister Boots (2005). Emshwiller had also been writing SF for The Magazine of Fantasy and Science Fiction since 1974. She won the World Fantasy Award for Life Achievement in 2005 for her novel The Mount (2002). Another author of the 1980s, Pamela Sargent has written the "Seed Series", which included Earthseed, Farseed, and Seed Seeker (1983–2010), the "Venus Series" about the terraforming of Venus, which includes Venus of Dreams, Venus of Shadows, and Child of Venus (1986–2001), and The Shore of Women (1986). Sargent is also the 2012 winner of the Pilgrim Award for lifetime contributions to SF/F studies. Lois McMaster Bujold has won both the Hugo Award and the Nebula Award for her novella The Mountains of Mourning, which is part of her series the "Vorkosigan Saga" (1986–2012). This saga includes points of view from a number of minority characters, and is also highly concerned with medical ethics, identity, and sexual reproduction. More recent science fiction authors illuminate what they contend are injustices that are still prevalent. At the time of the LA Riots, Japanese American writer Cynthia Kadohata's work In the Heart of the Valley of Love (1992) was published. Her story, set in the year 2052, examines tensions between two groups as defined as the "haves" and the "have nots" and is written as seen through the eyes of a nineteen year old girl who is of Asian and African descent. Nalo Hopkinson's Falling in Love With Hominids (2015) is a collection of her short stories whose subjects range from an historical fantasy involving colonialism in the Caribbean, to age manipulation, to ethnic diversity in the land of Faerie, among others. In the early 1990s, a new award opportunity for feminist SF authors was created. The James Tiptree, Jr. Award is an annual literary prize for works of science fiction or fantasy that expand or explore one's understanding of gender (Alice Sheldon was a female writer who published science fiction under the Tiptree pen name). Science fiction authors Pat Murphy and Karen Joy Fowler initiated this subsequent discussion at WisCon in February 1991. The authors' publishing in feminist SF after 1991 were now eligible for an award named after one of the genre's beloved authors. Karen Joy Fowler herself is considered a feminist SF writer for her short stories, such as "What I Didn't See", for which she received the Nebula Award in 2004. This story is an homage to Sheldon, and describes a gorilla hunting expedition in Africa. Pat Murphy won a number of awards for her feminist SF novels as well, including her second novel The Falling Woman (1986), a tale of personal conflict and visionary experiences set during an archaeological field study for which she won the Nebula Award in 1988. She won another Nebula Award in the same year for her story "Rachel in Love". Her short story collection, Points of Departure (1990) won the Philip K. Dick Award, and her 1990 novella "Bones" won the 1991 World Fantasy Award. Other winners of the James Tiptree, Jr. Award include "The Sparrow" by Mary Doria Russell (1996), "Black Wine" by Candas Jane Dorsey (1997), Redwood and Wildfire by Andrea Hairston (2011), "The Carhullan Army" by Sarah Hall (2007), Ammonite by Nicola Griffith (1993), and "The Conqueror's Child" by Suzy McKee Charnas (1999). All of these authors have had an important impact on the SF world by adding a feminist perspective to the traditionally male genre. Eileen Gunn's science fiction short story "Coming to Terms" received the Nebula Award (2004) in the United States and the Sense of Gender Award (2007) in Japan, and has been nominated twice each for the Hugo Award, Philip K. Dick Award and World Fantasy Award, and short listed for the James Tiptree, Jr. Award. Her most popular anthology of short stories is Questionable Practices, which includes stories "Up the Fire Road" and "Chop Wood, Carry Water". She also edited "The WisCon Chronicles 2: Provocative Essays on Feminism, Race, Revolution, and the Future" with L. Timmel Duchamp. Duchamp has been known in the feminist SF community for her first novel Alanya to Alanya (2005), the first of a series of five titled "The Marq'ssan Cycle". Alanya to Alanya is set on a near future earth controlled by a male dominated ruling class patterned loosely after the corporate world of today. Duchamp has also published a number of short stories, and is an editor for Aqueduct Press. Lisa Goldstein is another well respected feminist sf author. The novelette Dark Rooms (2007) is one of her better known works, and another one of her novels, The Uncertain Places, won the Mythopoeic Award for Best Adult Novel in 2012.

Works of feminist science fiction are often similar in the goals they work towards as well as the subjects and plotlines they focus on in order to achieve those goals. Feminist science fiction is science fiction that carries across feminist ideals and the promotion of societal values such as gender equality, and the elimination of patriarchal oppression. Feminist science fiction works often present tropes that are recurrent across science fiction with an emphasis on gender relations and gender roles. Many elements of science fiction, such as cyborgs and implants, as well as utopias and dystopias, are given context in a gendered environment, providing a real contrast with present day gender relations while remaining a work of science fiction.

Representations of utopian and dystopian societies in feminist science fiction place an increased emphasis on gender roles while countering the anti utopian philosophies of the 20th century. Male philosophers such as John Rawls, Isaiah Berlin, and Michael Oakeshott often criticize the idea of utopia, theorizing that it would be impossible to establish a utopia without violence and hegemony. Many male authored works of science fiction as well as threads of philosophical utopian thought dismiss utopias as something unattainable, whereas in feminist science fiction, utopian society is often presented as something both achievable and desirable. Anti utopian philosophies and feminist science fiction come to odds in the possibility of achieving utopia. In "Rehabilitating Utopia: Feminist Science Fiction and Finding the Ideal", an article published in Contemporary Justice Review, philosophers against the dream of utopia argue that "First is the expectation that utopia justifies violence, second is the expectation that utopia collapses individual desires into one communal norm, and third is the expectation that utopia mandates a robotic focus on problem solving." In feminist science fiction, utopias are often realized through a communal want for an ideal society. One such novel is summarized in the aforementioned article, Charlotte Perkins Gilman's novel Herland, in which "Gilman perfectly captures the utopian impulse that all problems are solvable. She establishes a society where every consideration about a question aims for the rational answer." In literary works female utopias are portrayed as free of conflict, and intentionally free of men. The single gendered utopias of female science fiction are free of the conflicts that feminism aims to eliminate, such as patriarchal oppression and the gender inequality inherent in patriarchal society. In a statement about these single gendered utopias, Joanna Russ, author of The Female Man , theorized that male only societies were not written because in patriarchal society, male oppression is not as pressing an issue as is female oppression. Utopia as an ideal to strive for is not a concept wholly limited to feminist science fiction, however many non feminist science fiction works often dismiss utopia as an unachievable goal, and as such, believe that pursuits for utopia should be considered dangerous and barren. Anti utopian theory focuses on the 'how' in the transition from present society to a utopian future. In feminist science fiction, the achievement of a utopian future depends on the ability to recognize the need for improvement and the perseverance to overcome the obstacles present in creating a utopian society. The women's movement has made most of us conscious of the fact that Science Fiction has totally ignored women. This "lack of appreciation" is the main reason that women are rebelling and actively fighting to be noticed in the field anyway. Virginia Wolf relates to this aspect of feminist science fiction in the article "Feminist Criticism and Science Fiction for Children". As she discusses the scarcity of women in the field, she states, "During the first period, that of the nineteenth century, apparently only two women wrote Science Fiction, Mary Shelley and Rhoda Broughton," and continues, "In the early twentieth century, a few women were successful Science Fiction writers". But, "The times changed. Repression gave way to questioning and outright rebellion, and in the Science Fiction of the 1960s stylistic innovations and new concerns emerged 'Many of their stories, instead of dealing with the traditional hardware of science fiction, concentrated on the effects that different societies or perceptions would have on individual characters'". Andre Norton, a semi well known analyst of Science fiction argues along these lines as well. As Norton explored one or more novels she came across, she realized that the creation of characters and how they are shown is a clear connection to the real world situation. From here, she goes in depth of characters in these feminist novels and relates them to the real world. She concludes here article along these lines. She wanted to get the idea out that feminists have a way to get their voice out there. Now, all their works are famous/ popular enough for their ideas to be let out. Virginia Wolf can attest to this fact. She introduced the idea that women were not represented well in the field till the early 1900s and added to the fact by stating, "Women are not represented well in Science Fiction". By the 1970s and 1980s, true female heroes started to emerge on the pages of comics. This was helped by the emergence of self identified feminist writers including Ann Nocenti, Linda Fite, and Barbara Kesel. As female visibility in comics increased, the "fainting heroine" type began to fade into the past. However, some female comic book writers, such as Gail Simone, believe that female characters are still relegated to plot devices (see Women in Refrigerators). Feminism in science fiction shōjo manga has been a theme in the works of Moto Hagio among others, for whom the writings of Ursula K. Le Guin have been a major influence.

Feminism has driven the creation of a considerable body of action oriented science fiction with female protagonists: Wonder Woman (originally created in 1941) and The Bionic Woman during the time of the organized women's movement in the 1970s; Terminator 2: Judgment Day and the Alien tetralogy in the 1980s; and Xena, Warrior Princess, comic book character Red Sonja, and Buffy the Vampire Slayer. 2001 science fiction TV series Dark Angel featured a powerful female protagonist, with gender roles between her and the main male character generally reversed. However, feminists have also created science fiction that directly engages with feminism beyond the creation of female action heroes. Television and film have offered opportunities for expressing new ideas about social structures and the ways feminists influence science. Feminist science fiction provides a means to challenge the norms of society and suggest new standards for how societies view gender. A contemporary example of feminist science fiction television can be found in Orphan Black, which deals with issues of reproductive justice, science, gender, and sexuality.

By the 1970s, the science fiction community was confronting questions of feminism and sexism within science fiction culture itself. Multiple Hugo winning fan writer and professor of literature Susan Wood and others organized the "feminist panel" at the 1976 World Science Fiction Convention against considerable resistance. Reactions to the appearance of feminists among fannish ranks led indirectly to the creation of A Women's APA and WisCon. Feminist science fiction is sometimes taught at the university level to explore the role of social constructs in understanding gender.

In the 1970s, the first feminist science fiction publications were created. The most well known are fanzines The Witch and the Chameleon (1974–1976) and Janus (1975–1980), which later became Aurora SF (Aurora Speculative Feminism) (1981–1987). Windhaven, A Journal of Feminist Science Fiction was published from 1977 to 1979 by Jessica Amanda Salmonson in Seattle. Special issues of magazines linked to science fiction meetings were also published at that moment, like the Khatru symposium's fanzine Women in Science Fiction in 1975.

Femspec is a feminist academic journal specializing in works that challenge gender through speculative genres, including science fiction, fantasy, magical realism, mythic explorations in poetry and post modern fiction, and horror. There is a conscious multicultural focus of the journal, both in content and in the diverse makeup of its editorial group. The first issue came out in 1999 under the editorial direction of founder Batya Weinbaum, who is still the Editor in Chief. Femspec is still publishing as of lc=yes and has brought over 1000 authors, critics and artists into print. Having lost their academic home in May 2003, they increasingly cross genres and print write ups of all books and media received, as well as of events that feature creative works that imaginatively challenge gender such as intentional communities, performance events, and film festivals.