Books

Eight Great Speculative Fiction Novels by Women

Sci-fi is a popular and well-read genre, but its critical importance as a genre for women and authors of color is often overlooked, these eight excellent examples included.

Since the very beginning of science fiction as a literary genre, when early scientists used voyages to the moon as metaphors to write about their controversial scientific discoveries, authors have used sci-fi as a rhetorical tool. This is done so as to explore radical ideas and theories inside a relatively safe and fantastic world of fiction that does not immediately alienate the audience the authors hope to persuade.

Scholar and literary critic Istvan Csicsery-Ronay asserts that speculative fiction “is concerned mainly with the role of science and technology in defining human -- i.e., cultural -- value” and adds that sci-fi "is not a genre of literary entertainment only, but a mode of awareness, a complex hesitation about the relationships between imaginary conceptions and historical reality unfolding into the future.” Like science fiction, speculative fiction, defined more broadly as any literary genre which includes elements of the supernatural, fantastic, or futuristic, as well as alternative histories and dreams, is a useful way for authors to explore the complexities of human values and cultures in a relatively safe place. In this context, the sci-fi genre is as much about considering the plausibility and ethical nature of a possible future and/or an alternative history as it is about fantastic world-building.

Sci-fi is a popular and well-read genre, but its critical importance as a genre for women and authors of color is often overlooked. Exploring both the plausibility and the ethics of possible pasts and futures is incredibly useful for writers working though critical topics and easily translates to issues of personhood and identity. For women and especially women of color, sci-fi is a useful tool for critical writing, since it creates a space (sometimes far into outer space) for authors to explore important issues of race, class, gender, and sexuality without alienating mainstream readers.

From the relative safety of alternate worlds and timelines, women and people of color are freer to explore their own marginalized identities and sensitive issues. What would it be like if there were no gender, or if there were only females, or if race were a disease? These are critical questions with which female authors of sci-fi have grappled. What follows here is a list of eight novels by well-known female authors who’ve written important sci-fi works with which you may not be familiar.

 

Photo of Ursula K. LeGuin: Press, Copyright © by Marian Wood Kolisch

Ursula K. LeGuin -- The Left Hand of Darkness (1969)

If you’ve spent any time in the science fiction/fantasy section of your local bookstore, you’ve probably come across the name Ursula K. LeGuin. Her six-book Earthsea series is not only one of the most loved fantasies from the post-Tolkien/pre-Star Wars years of the genre but was made into a BBC radio drama in 1996 narrated by Dame Judi Dench, and in 2004 it was adapted into a TV miniseries called Earthsea by the Sci-Fi (now SyFy) Channel. But it is her novel The Left Hand of Darkness and its exploration of androgyny that makes this list; although it is included as part of her “Hanish Cycle” of novels, this book can be read as a stand-alone.

Memorable not only for the strong sci-fi world development, The Left Hand of Darkness also explores the critical issue of what it means to have gender and how violating gender boundaries is a cultural crime. LeGuin's ideas have legs: Star Trek: The Next Generation later attempted to borrow this plot in an episode called “The Outcast,” though with limited success. She herself called this novel a “thought experiment”.

The novel touches on issues of culture and war as they connect to gender identity. This is must-read novel for anyone wanting to beef up their sci-fi résumé.

 

Photo of Joanna Russ: Public Domain

Joanna Russ -- The Female Man (1975)

Like LeGuin, Joanna Russ is interested in examining issues of gender from the safety of another world, and her novel’s title is a dead giveaway. In The Female Man, gender norms are challenged through people moving between parallel universes. Russ critiques varying notions of womanhood as the characters from different universes intersect and experience what life is like for the others. One of the universes, Whileaway, is also the setting for Russ’s short story “When it Changed” and examines what life would be like in a universe where men are extinct. The narrator opens with her wife’s driving on the day the men came back to their world.

As a winner of multiple sci-fi writing awards, including the Hugo and the Nebula, Russ demonstrates that she’s no stranger to good sci-fi, and her ability to place critical feminist issues within that fantastic framework lands her solidly on this list.

 

Photo of Jane Smiley: Peter Dasilva

Jane Smiley -- The Greenlanders (1988)

Readers perhaps remember Jane Smiley best as the author of the novel A Thousand Acres, the Pulitzer Prize-winning (and somewhat sentimental) retelling of Shakespeare’s King Lear. The accomplished author likes to challenge herself, however, and before she attempted Shakespeare, she penned a fictional history set in the dark ages titled The Greenlanders.

Readers looking for more stories of dysfunctional Midwestern farm families will be disappointed (or confused) but for fans of epic historical fiction, this is a fascinating read with rich, well-researched details. The book departs significantly from the traditional novel structure, of which Smiley herself is an expert, resembling something more akin to a secular Biblical family history: think Game of Thrones with fewer dragons and more yogurt, but about the same number of main character deaths. Seriously: don’t get too attached to any main characters in this lengthy and dense piece of prose.

True to its historical setting -- 14th century Greenland -- characters starve to death in winter, freeze to death on the tundra ice, are executed for adultery, and frequently die of “natural causes” at the ripe old age of 30-something. While this work of fiction is difficult to read at times, especially because of the length and multi-generational storytelling, it does pay off. The detailed recounting of Inuit seal-hunting alone makes it worth the effort. Smiley did her homework.

 

Photo of Margaret Atwood: Jean Malek

Margaret Atwood -- The Penelopiad (2005)

Fans of critical speculative and science fiction are no strangers to Margaret Atwood. The dystopian futures she explores in novels like The Handmaid’s Tale and Oryx and Crake are deserving of all the praise I can offer. But it’s the less well-known retelling of Homer’s The Odyssey that lands her on this list.

Atwood’s The Penelopiad takes up the mantel of novels like The Mists of Avalon and Wide Sargasso Sea in its retelling of a popular and well-known classic from the perspective of a minor female character. Literary critic Karen Lawrence notes in her preface to the travel narrative critique Penelope Voyages that “it is a Western cultural truism that Penelope waits while Odysseus voyages” and she wonders “what happens when Penelope voyages?” Atwood answers that rhetorical question in this tale, which gives Penelope a voice in retelling what actually happened after the end of the Trojan War. Let’s put it this way: she says Odysseus is a liar.

 

Screen capture from "Alice Walker - Pursuing Civil Rights" (Biography)

Alice Walker -- The Temple of My Familiar (1989)

The unforgettable tale of the women Celie and Shug in The Color Purple is what readers remember best about author Alice Walker, and for good reason -- despite Steven Spielberg’s cowardly treatment of the lesbian subject matter in the film version. However, Walker not only penned a pseudo-sequel to that novel called Possessing the Secret of Joy, but she also wrote an sci-fi tale of romance and time travel titled The Temple of My Familiar.

Walker isn’t skittish about difficult topics, to which the issues of incest in The Color Purple and female genital mutilation in Possessing the Secret of Joy can attest, so it’s no surprise that she has some critical lessons in this text as well. Instead of a meek protagonist moving through her real life, however, Walker gives the reader a reincarnated ancient goddess travelling back and forth through time, sometimes as a woman, sometimes as a man, once even as a lion, to unpack contemporary issues of oppression faced by black women including sexism and racism. Sadly, not much has changed for women of color since Walker penned this novel a quarter century ago, and the commentary she offered then is well worth another look now.

 

Photo of Anne McCaffrey: Edmund Ross

Anne McCaffrey -- Freedom’s Landing (1995)

The first book in a series of four known as "the Freedom series", Freedom’s Landing begins the story of humans who become enslaved by humanoid aliens called the Catteni. While McCaffrey is certainly known in sci-fi circles for the Dragonriders of Pern series and the thinking spaceships in the “Brains and Brawn” series, beginning with the very popular The Ship Who Sang, it is her Freedom series that makes this list, in part because she attempted to explore issues of dominance, slavery, and rebellion, and in part because it’s one of the very prolific McCaffrey’s later works.

The story is full of lush, detailed descriptions of the strange planet where the captured humans find themselves, and sci-fi purists who love the genre for its immersive world-building will love McCaffrey’s world. The story follows an alien noble who becomes a symbol for what the humans hate most, at the same time that he becomes an ally to them and a love interest for the main character, a female human slave. McCaffrey was the first woman ever to receive a Hugo and a Nebula award, and the Freedom series demonstrates why her accolades were no accident. (Am I the only one who imagined that the Catteni looked like the Cardassians from Star Trek? Read it and get back to me.)

 

Photo of Toni Morrison: Michael Lionstar

Toni Morrison -- Beloved (1987)

Okay, so anyone who has read Toni Morrison has probably read Beloved. I included it anyway because I wanted to make a point about sci-fi. When books become categorized -- that is to say, canonized -- in certain genres, something that frequently happens is that those books are ignored by readers of other genres, even when they share characteristics with those other genres. You may have read Morrison’s tale of escaped slaves in your African-American literature course as a junior in college, but it probably wasn’t on your list of great sci-fi novels, and it certainly isn’t shelved at Barnes and Noble in the horror section. But did you ever stop to consider how speculative the novel is?

The whole thing is a ghost story with a gruesome axe murder as its climax, and it’s doing come critical work with that horror. Imagine if the film adaptation would have been less Oprah Winfrey and more Blair Witch Project. Morrison’s opus embodies everything that women of color have employed sci-fi to do. Even if you’ve read it before, consider re-reading it with an eye for the sci-fi details and how those details are particularly useful for Morrison’s tale of slavery and freedom. (And, Hollywood, please, for the love of all that is good and just, do not remake Beloved as a shaky cam, "found footage" horror movie set in the Antebellum South.)

Photo of Octavia Butler: Unknown

Pretty Much Anything Octavia Butler Has Written

This list concludes with one of the greats of the sci-fi genre. If you’ve never heard of Butler or haven’t read her work, I pity you. Go out and get a copy of one of her novels; any one will do: The Parable of the Talents, Kindred, Imago... anything. Butler is always concerned with the intersections of race and gender -- especially the Hegelian other -- and with building worlds featuring dystopian pasts or futures populated with time travelers, vampires, aliens, and all things fantastic and wonderful.

In her short essay “The Monophobic Response”, included in the 2000 collection of short stories by authors of color titled Dark Matter: A Century of Speculative Fiction from the African Diaspora (which you might also want to read), Butler notes that we need aliens because they aren’t human. We can love them or hate them as the need arises removed from consequences. Since he/she/it is a fiction, the alien can be created or destroyed to meet the mercurial needs of the audience. Butler says:

In our ongoing eagerness to create aliens, we express our need for them, and we express our deep fear of being alone in a universe that cares no more for us than for suns or stones or any other fragments of itself. And yet we are unable to get along with those aliens that are closest to us, those aliens that are of course ourselves.

As Butler points out, our desire for the alien-other is twofold: we want someone to talk to and to care for us, but we also need someone to destroy who is not like us. The alien functions as an outlet for our own deepest desires, both to love and to hate ourselves and each other. The alien other can convert us, but it can also be cured or destroyed if needed. The alien is a “safe” other, allowing us to explore issues of difference without requiring us to name that difference.

Just as the alien-other represents individual difference, the alternate worlds of SF stand in for the real world. Being able to explore the world removed from the reality of life creates a space for exploration that might not otherwise be comfortable. Such alternatives are not only enjoyable to read, they get at the heart of critical awareness, and the authors noted here represent the best of the best in the sci-fi genre.

Here’s your summer reading list. Enjoy.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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