Diverse Futures: Science Fiction and Authors of Color: New Suns: Race, Gender, and Sexuality
Autor Joy Sanchez-Tayloren Limba Engleză Paperback – 2 aug 2021 – vârsta ani
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Specificații
ISBN-13: 9780814257975
ISBN-10: 0814257976
Pagini: 188
Dimensiuni: 152 x 229 x 8 mm
Greutate: 0.29 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria New Suns: Race, Gender, and Sexuality
ISBN-10: 0814257976
Pagini: 188
Dimensiuni: 152 x 229 x 8 mm
Greutate: 0.29 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria New Suns: Race, Gender, and Sexuality
Recenzii
"Joy Sanchez-Taylor’s contribution, Diverse Futures: Science Fiction and Authors of Color, is particularly important. It is wide-ranging in its coverage, dealing with works by Black, Latinx, Indigenous, and Asian Americans, and doing so in clear, jargon-free prose, always careful to define terms. It would be a suitable companion to a wide range of audiences: fans, scholars, undergraduates, graduate students, and stodgy old professors." —Joan Gordon, Science Fiction Studies
“[Diverse Futures] does impressive work to lay out its materials, introducing so many SF authors and critics (some of whom have never been written about in this way) and letting the texts speak for themselves along the way. It is an important index for SF scholars interested in thinking deeply about BIPOC SF authors, SF publishing, and SF criticism.” —Brent Ryan Bellamy, Fafnir – Nordic Journal of Science Fiction and Fantasy Research
“By probing works of science fiction by authors of color, Joy Sanchez-Taylor’s Diverse Futures addresses an incredibly necessary missing facet of science fiction literature and criticism. … It should also be on the recommended reading list for any science fiction module, as it serves as a fantastic primer for any scholar of science fiction who wishes to approach the genre with postcolonial conscientiousness.” —Charul Palmer-Patel, SFRA Review
“Joy Sanchez-Taylor’s Diverse Futures: Science Fiction and Authors of Color hits a sought-after middle point between a work long overdue and a study that could not be more relevant to our current cultural moment. … Every bit of it needs to be heard and heard again … A love letter to what has been done, a literary study of what might be, and a survey of American race and [science fiction] in the twenty-first century.” —Alexandria Nunn, Fantastika Journal
“Sanchez-Taylor’s Diverse Futures is a love song to contemporary science fiction writers of color, exploring how their varied and multitudinous redeployments of such familiar tropes as alien invasion, mutation and genetic engineering, and apocalypse can help us take the future back from white supremacy.” —Gerry Canavan, Marquette University
“Sanchez-Taylor provides a delectable sampling of alternative futures created by authors of color while examining the roots of race and ethnicity in science fiction. Real food for thought.” —Isiah Lavender III, author of Afrofuturism Rising: The Literary Prehistory of a Movement
“[Diverse Futures] does impressive work to lay out its materials, introducing so many SF authors and critics (some of whom have never been written about in this way) and letting the texts speak for themselves along the way. It is an important index for SF scholars interested in thinking deeply about BIPOC SF authors, SF publishing, and SF criticism.” —Brent Ryan Bellamy, Fafnir – Nordic Journal of Science Fiction and Fantasy Research
“By probing works of science fiction by authors of color, Joy Sanchez-Taylor’s Diverse Futures addresses an incredibly necessary missing facet of science fiction literature and criticism. … It should also be on the recommended reading list for any science fiction module, as it serves as a fantastic primer for any scholar of science fiction who wishes to approach the genre with postcolonial conscientiousness.” —Charul Palmer-Patel, SFRA Review
“Joy Sanchez-Taylor’s Diverse Futures: Science Fiction and Authors of Color hits a sought-after middle point between a work long overdue and a study that could not be more relevant to our current cultural moment. … Every bit of it needs to be heard and heard again … A love letter to what has been done, a literary study of what might be, and a survey of American race and [science fiction] in the twenty-first century.” —Alexandria Nunn, Fantastika Journal
“Sanchez-Taylor’s Diverse Futures is a love song to contemporary science fiction writers of color, exploring how their varied and multitudinous redeployments of such familiar tropes as alien invasion, mutation and genetic engineering, and apocalypse can help us take the future back from white supremacy.” —Gerry Canavan, Marquette University
“Sanchez-Taylor provides a delectable sampling of alternative futures created by authors of color while examining the roots of race and ethnicity in science fiction. Real food for thought.” —Isiah Lavender III, author of Afrofuturism Rising: The Literary Prehistory of a Movement
Notă biografică
Joy Sanchez-Taylor is Associate Professor of English at LaGuardia Community College.
Extras
Diverse Futures examines the contributions of late twentieth- and twenty-first-century US and Canadian science fiction authors of color to the genre. By examining intersections between science fiction authors of multiple races and ethnicities, this text seeks to explain how science fiction authors of color are juxtaposing tropes of science fiction with specific cultural references to comment on issues of inclusiveness in Eurowestern cultures. Fortunately, there are too many science fiction or science fiction–related texts written by authors of color to include them all; therefore, this project will focus on science fiction texts that go beyond including characters of color in the narrative and, instead, make people of color and their cultural experiences an integral part of their narratives, a distinction that Isiah Lavender III defines as an “ethnoscape,” or racialized science fiction environment that both highlights and reconceives depictions of race to unpack the assumptions about race and ethnicity often made in science fiction writing (“Ethnoscapes” 189). While some of the authors or texts included in this work may not be currently classified as science fiction, all the texts can be considered ethnoscapes, and each text includes an element or trope that is associated with the science fiction genre.
The definition of science fiction is constantly in flux as authors and critics shape and reshape its boundaries. I am less interested in arguing for a strict definition of science fiction than I am in showing how the authors I examine are working to challenge the genre’s Eurocentricity. Many of the authors in this study juxtapose descriptions of technology and myth, blurring genre distinctions in favor of creating texts that avoid the binary of primitive versus advanced cultures. Kinitra D. Brooks notes that women of color who blur genre distinctions between science fiction, fantasy, and horroroften have their works overlooked or oversimplified by literary critics (56).
...
I am also specifically choosing the phrase “science fiction” over the broader descriptor “speculative fiction” because while speculative fiction is quickly gaining traction in scholarly texts, the majority of publishers and science fiction fans do not use this term. P. L. Thomas notes that many authors who resisted the label of “science fiction” in favor of “speculative fiction,” such as Kurt Vonnegut and Margaret Atwood, mainly did so because of the scholarly association of science fiction as not literary and, therefore, not worthy of serious study (1–2). Brooks also notes, “In its contemporary iteration, speculative fiction has developed into a lackadaisical umbrella term for any fiction remotely related to genre literature” (65). I argue that this extremely broad genre term creates confusion among publishers and fans, which leads to many science fiction authors of color not being recognized and supported by the science fiction community. In Diverse Futures, I am taking my study back to the original term “science fiction” to acknowledge the place of authors of color in this genre and the presence of people of color in alternate and future worlds. Many of the authors discussed in this collection are also recipients of some of science fiction’s most prestigious awards such as the Hugo and Nebula awards. It is my hope that discussing the authors in these works as science fiction authors, rather than speculative authors, will help readers interested in science fiction discover texts and authors that do not always make it to the science fiction sections of bookstores and book-reviewing websites. I am not speculating that there will be people of color in the future; I am stating an important fact.
The definition of science fiction is constantly in flux as authors and critics shape and reshape its boundaries. I am less interested in arguing for a strict definition of science fiction than I am in showing how the authors I examine are working to challenge the genre’s Eurocentricity. Many of the authors in this study juxtapose descriptions of technology and myth, blurring genre distinctions in favor of creating texts that avoid the binary of primitive versus advanced cultures. Kinitra D. Brooks notes that women of color who blur genre distinctions between science fiction, fantasy, and horroroften have their works overlooked or oversimplified by literary critics (56).
...
I am also specifically choosing the phrase “science fiction” over the broader descriptor “speculative fiction” because while speculative fiction is quickly gaining traction in scholarly texts, the majority of publishers and science fiction fans do not use this term. P. L. Thomas notes that many authors who resisted the label of “science fiction” in favor of “speculative fiction,” such as Kurt Vonnegut and Margaret Atwood, mainly did so because of the scholarly association of science fiction as not literary and, therefore, not worthy of serious study (1–2). Brooks also notes, “In its contemporary iteration, speculative fiction has developed into a lackadaisical umbrella term for any fiction remotely related to genre literature” (65). I argue that this extremely broad genre term creates confusion among publishers and fans, which leads to many science fiction authors of color not being recognized and supported by the science fiction community. In Diverse Futures, I am taking my study back to the original term “science fiction” to acknowledge the place of authors of color in this genre and the presence of people of color in alternate and future worlds. Many of the authors discussed in this collection are also recipients of some of science fiction’s most prestigious awards such as the Hugo and Nebula awards. It is my hope that discussing the authors in these works as science fiction authors, rather than speculative authors, will help readers interested in science fiction discover texts and authors that do not always make it to the science fiction sections of bookstores and book-reviewing websites. I am not speculating that there will be people of color in the future; I am stating an important fact.
Cuprins
Introduction “An Image of Tomorrow”
Chapter 1 Space Travel and First Contact Narratives
Chapter 2 Race, Genetics, and Science Fiction
Chapter 3 The Apocalypse Has Already Come: Post-Apocalyptic Landscapes
Chapter 4 “Our Knowledge Is Not Primitive”: Indigenous and Eurowestern Science
Conclusion “How Long ’Til Black Future Month?”
Bibliography
Index
Chapter 1 Space Travel and First Contact Narratives
Chapter 2 Race, Genetics, and Science Fiction
Chapter 3 The Apocalypse Has Already Come: Post-Apocalyptic Landscapes
Chapter 4 “Our Knowledge Is Not Primitive”: Indigenous and Eurowestern Science
Conclusion “How Long ’Til Black Future Month?”
Bibliography
Index
Descriere
Examines how authors of color juxtapose science fiction tropes with specific cultural references to comment on issues of inclusiveness in Eurowestern cultures.