Feminist science fiction is a subgenre of science fiction abbreviated "SF" focused on theories that include feminist themes including but not limited to gender inequality , sexuality , race , economics , and reproduction. 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. Science fiction and fantasy serve as important vehicles for feminist thought, particularly as bridges between theory and practice. No other genres so actively invite representations of the ultimate goals of feminism: worlds free of sexism, worlds in which women's contributions to science are recognized and valued, worlds that explore the diversity of women's desire and sexuality, and worlds that move beyond gender.
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Iconoclastic and irreverent, the postmodern novel is by definition a radical experiment that emerges when a writer feels the customary tropes of fiction have been exhausted. For the postmodernist , the well-worn genre of the novel is insufficient and no longer capable of conveying the imagination of the writer or the magnitude of historical events. Several critics agree that postmodern fiction is a product of the post-World War II period. Other writers, including William Faulkner and Ernest Hemingway , had ceased publishing innovative and experimental work. Critics also tend to concur that postmodernism is an extension of rather than a decisive break or deviation from modernism, the defining literary movement of the twentieth century. Many different authors have been labeled postmodernist. Like the modern novel, the postmodern novel is subversive; that is, it counters traditional notions of plot, narrative, chronology, and character development.
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Image by Brian McGowan. This article was originally submitted for consideration by a forthcoming encyclopedia. As a short survey as opposed to a substantive history, it is impossible to deny that there are gaps, including the absence of personages that might scandalize some readers. I can only respond with my deepest apologies for such offenses and suggest consultation with The Cambridge History of Science Fiction , a far more substantial and thorough accounting. A word of deep thanks and appreciation to Paul Buhle, a pen-pal whose wisdom, memories, and openness models how the word comrade might truly be defined.
Are you looking for a royal-commoner romance? A fake marriage? Over the years, these tales of queer happily ever afters have brought me much joy and comfort. Note: Books marked with an asterisk are ownvoices, which, in this case, means that the author is a queer man. Many of the other novels on this list are ownvoices for different reasons.