Search results for ""Author James Tiptree, Jr.""

For a decade Alice Sheldon produced an extraordinary body of work under the pseudonym James Tiptree Jr, until her identity was exposed in 1977. HER SMOKE ROSE UP FOREVER presents the finest of these stories and contains the NEBULA AWARD-winning LOVE IS THE PLAN THE PLAN IS DEATH; HUGO AWARD-winning novella THE GIRL WHO WAS PLUGGED IN; HOUSTON, HOUSTON, DO YOU READ? - winner of both the HUGO and NEBULA - and of course the story for which she is best known: THE WOMEN MEN DON'T SEE.This is a true masterwork - an overview of one of SF's true greats at the very height of her powers.

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'Unquestionably one of the brightest-burning talents in the constellation of science fiction' The New York TimesWritten under the pseudonym James Tiptree Jr., the pioneering and outlandish tales of Alice B. Sheldon are some of the greatest science fiction short stories of the twentieth century, telling of dystopian chases, alien sex and the loneliness of the universe.'What her work brought to the genre was a blend of lyricism and inventiveness, as if some poet had rewritten a number of clever SF standards and then passed them on to a psychoanalyst' Brian Aldiss'Feminist dystopian fiction owes just as much to this woman - who wrote as a man - as Margaret Atwood' Vox

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'Tiptree's narratives of alien worlds and alienation make up one of science fiction's most vivid and influential bodies of work' The New York TimesThis landmark collection of short stories shows the feminist pioneer James Tiptree Jr. at her most inventive and daring. Here a fake girl becomes a living advertisement, women choose alien invaders over the men of Earth, a creature discovers that love means death and a pandemic engulfs the planet.'Feminist dystopian fiction owes just as much to this woman - who wrote as a man - as Margaret Atwood' Vox

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In Lesbian Potentiality and Feminist Media in the 1970s, Jed Samer explores how 1970s feminists took up the figure of the lesbian in broad attempts to reimagine gender and sexuality. Samer turns to feminist film, video, and science fiction literature, offering a historiographical concept called “lesbian potentiality”—a way of thinking beyond what the lesbian was, in favor of how the lesbian signified what could have come to be. Samer shows how the labor of feminist media workers and fans put lesbian potentiality into movement. They see lesbian potentiality in feminist prison documentaries that theorize the prison industrial complex’s racialized and gendered violence and give image to Black feminist love politics and freedom dreaming. Lesbian potentiality also circulates through the alternative spaces created by feminist science fiction and fantasy fanzines like The Witch and the Chameleon and Janus. It was here that author James Tiptree, Jr./Alice B. Sheldon felt free to do gender differently and inspired many others to do so in turn. Throughout, Samer embraces the perpetual reimagination of “lesbian” and the lesbian’s former futures for the sake of continued, radical world-building.

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In Lesbian Potentiality and Feminist Media in the 1970s, Jed Samer explores how 1970s feminists took up the figure of the lesbian in broad attempts to reimagine gender and sexuality. Samer turns to feminist film, video, and science fiction literature, offering a historiographical concept called “lesbian potentiality”—a way of thinking beyond what the lesbian was, in favor of how the lesbian signified what could have come to be. Samer shows how the labor of feminist media workers and fans put lesbian potentiality into movement. They see lesbian potentiality in feminist prison documentaries that theorize the prison industrial complex’s racialized and gendered violence and give image to Black feminist love politics and freedom dreaming. Lesbian potentiality also circulates through the alternative spaces created by feminist science fiction and fantasy fanzines like The Witch and the Chameleon and Janus. It was here that author James Tiptree, Jr./Alice B. Sheldon felt free to do gender differently and inspired many others to do so in turn. Throughout, Samer embraces the perpetual reimagination of “lesbian” and the lesbian’s former futures for the sake of continued, radical world-building.

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