Samuel Delany uses the term heterotopia as a subtitle of a novel which grapples with identity, sex, and gender. It focuses on how things and concepts such as gender can become impossible to name. […]
Anarres is a utopian model. The environment is so harsh it brings out the best in people. There people own virtually nothing but have really important relationships with each other and with their work. […]
In “The Left Hand of Darkness”, Genly is intrigued by the Gethenians, and sees the advantages of their gender system. […]
Le Guin, like other feminist science fiction writers, is clearly using sci-fi and utopia to explore gender issues. […]
“1985” explores the question of how utopian or dystopian societies deal with those at the margins, whether they’re constructed as criminal or not. […]
Kubrick’s film version of “A Clockwork Orange” is strangely beautiful. The violence is clearly portrayed, but it’s also stylized in a way that makes it manageable. […]
In Burgess’s novel, the violent protagonist Alex is reconditioned by the State, and he compares himself to a clockwork orange, a mechanized being. […]
In “Nineteen Eighty-Four”, there is a commitment to showing the potential of a totalitarian government to deliberately challenge the notion of the real. Maybe that’s why the book remains completely relevant even today. […]
‘The Chrysalids’, by John Wyndham, revealed that in a dystopian society, deviation was not acceptable. That’s why mutants were treated terribly. […]
There are four different dark narratives in science fiction literature that shows a society after, before, and within an apocalypse. The narrative of ‘The Chrysalids’ describes a society after an apocalypse that happened some 1000 years earlier. […]
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