Full Gender Race and American Science Fiction Reflections On Fantastic Identities 1st Edition Jason Haslam Ebook All Chapters
Full Gender Race and American Science Fiction Reflections On Fantastic Identities 1st Edition Jason Haslam Ebook All Chapters
com
https://ebookmeta.com/product/gender-race-and-american-
science-fiction-reflections-on-fantastic-identities-1st-
edition-jason-haslam/
OR CLICK BUTTON
DOWNLOAD NOW
https://ebookmeta.com/product/science-gender-and-history-the-
fantastic-in-mary-shelley-and-margaret-atwood-1st-edition-suparna-
banerjee/
ebookmeta.com
https://ebookmeta.com/product/harlequin-historical-february-2023-box-
set-2-of-2-1st-edition-liz-tyner-lauri-robinson-jeanine-englert/
ebookmeta.com
Islam and Biomedical Research Ethics 1st Edition
Mehrunisha Suleman
https://ebookmeta.com/product/islam-and-biomedical-research-
ethics-1st-edition-mehrunisha-suleman/
ebookmeta.com
https://ebookmeta.com/product/castles-and-space-in-malory-s-morte-
darthur-1st-edition-molly-anne-martin/
ebookmeta.com
https://ebookmeta.com/product/the-crocodile-under-the-bed-1st-edition-
judith-kerr/
ebookmeta.com
The One Minute Workout Science Shows a Way to Get Fit That
s Smarter Faster Shorter 1st Edition Martin Gibala
Christopher Shulgan
https://ebookmeta.com/product/the-one-minute-workout-science-shows-a-
way-to-get-fit-that-s-smarter-faster-shorter-1st-edition-martin-
gibala-christopher-shulgan/
ebookmeta.com
Adams and Victor’s Principles of Neurology, Twelfth
Edition Allan H. Ropper
https://ebookmeta.com/product/adams-and-victors-principles-of-
neurology-twelfth-edition-allan-h-ropper/
ebookmeta.com
Gender, Race, and American
Science Fiction
This book focuses on the interplay of gender, race, and their representa-
tion in American science fiction, from the nineteenth century through to the
twenty-first century and across a number of forms including literature and
film. Haslam explores the reasons why science fiction (SF) provides such
a rich medium for both the preservation of and challenges to dominant
mythologies of gender and race. Defining SF linguistically and culturally,
the study argues that this mode is not only able to illuminate the cultural
and social histories of gender and race, but so too can it intervene in those
histories, and highlight the ruptures present within them. The volume moves
between material history and the linguistic nature of SF fantasies, from the
specifics of race and gender at different points in American history to larger
analyses of the sociocultural functions of such identity categories. SF has
already become central to discussions of humanity in the global capital-
ist age and is increasingly the focus of feminist and critical race studies;
in combining these earlier approaches, this book goes further, to demon-
strate why SF must become central to our discussions of identity writ large,
of the possibilities and failings of the human—past, present, and future.
Focusing on the interplay of whiteness and its various ‘others’ in relation to
competing gender constructs, the text chapters analyse works by Nathaniel
Hawthorne, Mary E. Bradley Lane, Edgar Rice Burroughs, Philip Francis
Nowlan, George S. Schuyler and the Wachowskis, Frank Herbert, William
Gibson, and Octavia Butler. Academics and students interested in the study
of science fiction, American literature and culture, and whiteness studies,
as well as those engaged in critical gender and race studies, will find this
volume invaluable.
Jason Haslam
First published 2015
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
The right of Jason Haslam to be identified as author of this work has been asserted by him in
accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.
Typeset in Sabon
by codeMantra
For Julia—for everything and beyond
This page intentionally left blank
Contents
Acknowledgments xi
Part I
Race/Gender/Science/Fiction
Part II
Virtual Whiteness
Part III
Muting Utopia
Index 231
Acknowledgments
In many ways, this book has been in process since I sat down with my first
SF novel or in front of my first SF film or television show, and so to try to
thank everyone who has had an impact on it would be an impossible task.
I owe more debts than can be repaid here, but certainly some groups and
individuals need to be mentioned. First, I need to thank my family, especially
my mother, sister, and brother, who encouraged my habits from the time
I was a child until now. There are also many colleagues who have offered sup-
port and generous comments on various aspects and stages of this project: Ste-
ven Bruhm, Karin Cope, Dennis Denisoff, Joel Faflak, Brian Greenspan, John
Cullen Gruesser, Glenn Hendler, De Witt Douglas Kilgore, Victoria Lamont,
Karen Macfarlane, and Peter Schwenger. I want especially to thank Janice
Bogstad, who was kind enough not only to discuss Octavia Butler’s work with
me, but also to send me a copy of the issue of her fanzine, Janus, which I quote
in Chapter 6 (the entire run of this wonderful, Hugo-nominated fanzine is now
available online). I also thank my colleagues, graduate students, and friends
at Dalhousie, all of whom have been unwavering in their support: in terms
of specific conversations about this project and SF in general. At the risk of
inadvertently leaving someone off, I need to thank John Barnstead, Brad
Congdon, Leonard Diepeveen, Anthony Enns, Lynne Evans, Christine Handley,
Kala Hirtle, Catherine Hynes, Johanne Jell, El Jones, Travis Mason, Geordie
Miller, Casey Stepaniuk, Anthony Stewart, Erin Wunker, and Christine Yao.
Thanks as well belong to Lyn Bennett, Trevor Ross, Marjorie Stone, and Andy
Wainwright. I also need to thank my many colleagues at the Association for
Canadian College and University Teachers of English, the Canadian Associa-
tion for American Studies, the International Gothic Association, the Northeast
MLA, the Science Fiction Research Association, and the Society for Utopian
Studies: all of the chapters here went through the rigorous questioning at those
and other conferences, and came out better for it.
I also need to thank all of my students at Dalhousie, especially those who
have taken my various SF classes: your enthusiasm kept this project alive.
Another special thank-you needs to go to Darko Suvin: I was one of his last
marking assistants for a science fiction course at McGill, which introduced me
to the academic study of the field and gave me the foundation for this study.
Acknowledgements are also due to those publishers who have given per-
mission to print some of the material included here. An early version of
xii Acknowledgments
Chapter 3 appeared as “‘The open sesame of a pork-colored skin’: White-
ness and Privilege in Black No More,” in Modern Language Studies 32,
no.1 (2002): 15–31; and an early version of Chapter 4 appeared as “Coded
Discourse: Romancing the (Electronic) Shadow in The Matrix” in College
Literature 32, no.3 (2005): 92–115; both journals kindly granted permis-
sion to reprint here.
Permissions for quotations were also provided as follows. Quotations
from “Don’t Dream It, Be It (aka Fanfare/Don’t Dream),” by Richard O’Brien
(© 1974 Druidcrest Music [BMI] admin. By Wixen Music P ublishing Inc. All
Rights Reserved. Used by Permission). Thanks to Syracuse University Press
for permission to quote from their edition of the nineteenth-century work,
Mizora: A Prophecy (ed. Jean Pfaelzer, Syracuse, NY: 2000. © Syracuse
University Press. Reproduced with permission from the publisher). For per-
mission to quote from Octavia E. Butler’s Mind of My Mind (© Octavia E.
Butler 1994), I thank her Estate (and WritersHouse.com for their work).
Quotations from SANTAROGA BARRIER © 2002 by Frank Herbert
(Reprinted by permission of Tor Books. All Rights Reserved). Extracts from
“Howl” and “America” by Allen Ginsberg (Copyright © Allen Ginsberg,
used by permission of The Wylie Agency [UK] Limited); additionally, the
excerpts from “America” [19 l.], “Howl” [8 l.] from COLLECTED POEMS
1947–1997 by ALLEN GINSBERG (Copyright © 2006 by the Allen
Ginsberg Trust. Reprinted by permission of HarperCollins Publishers).
Finally, to Julia M. Wright, to whom this book is dedicated: this and so
much more would have been lost in time and lost in space without you. One
day I expect you’ll even be able to explain to me the scientific nature of the
whammy.
Introduction
“Kindred Mysteries”: The Fantastic
Identities of SF
John Crichton: But I am not Kirk, Spock, Luke, Buck, Flash, or Arthur frel-
ling Dent. I am Dorothy Gale from Kansas.
Farscape, “Unrealized Reality” (Written by David Kemper)
Whatever happened to Fay Wray?
That delicate satin-draped frame;
as it clung to her thigh,
how I started to cry,
‘cause I wanted to be dressed just the same …
Don’t dream it, be it.
Frank-N-Furter, in The Rocky Horror Picture Show
(Written by Richard O’Brien)
The two epigraphs to this book address the ways in which fiction models
reality, or, more precisely, the ways in which fictional characters can figure
possibilities for personal identity in what is so easily referred to as “the
real world.” John Crichton and Frank-N-Furter both turn to science fiction
television, cinema, and literature not only to model their behaviour, but also
to identify themselves to themselves. Science fiction—and for the most part
American science fiction, even as these are, in some ways, works that look
toward America from elsewhere1—becomes a mirror for them, in which
they see themselves reflected, and through which they come to understand
the fantastic shapes of their own identities.
I write “fantastic” because this is a funhouse mirror more than it is
M. H. Abrams’ mimetic literary surface. If these quotations all suggest
the modeling power of popular SF, they also enact its playfulness. These
passages portray fictional characters who adopt and reject other fictional
characters as personal models for behaviour, even as they, on the one hand,
debate the appropriateness of having any model—especially a fictional
one—for one’s identity, and, on the other, perform and discuss a drag show
within a drag show that takes as its subject matter popular SF itself. In
another episode of Farscape, Crichton makes this playfulness explicit:
Of New York.
RECOMMENDATIONS.
Gainesville, Ga.
II.
III.
IV.
V.
VI.
VII.
VIII.
See! See! the walls of the Capital rise
Away to the right, a vision of power—
They are flashing a signal—our loved one’s replies—
They are lost had the guns been delayed but an hour.
Like a cyclone they open and thunder their doom
And the flame from their mouths is the light in our gloom!
IX.
X.
XI.
XII.
Leavenworth, Kansas.