-Alicia Yanez Cossio’s “The IWM 1000” from the 1970s
-The big book of science fiction
-Amazing stories
– Age of Wonders: Exploring the World of Science Fiction (1984), David Hartwell
– Rokheya Shekhawat Hossain’s “Sultana’s Dream” (1905) is a potent feminist utopian vision.
-W. E. B. Du Bois’s “The Comet” (1920) isn’t just a story about an impending science-fictional catastrophe but also the start of a conversation about race relations and a proto-Afrofuturist tale.
– Yefim Zozulya’s “The Doom of Principal City”(1918)
– A. Merritt’s “The Last Poet and the Robots” (1935)
– Frederik Pohl’s “Day Million” (1966)
– Karel Capek- 1920s robot plays and his gonzo novel War with the Newts from the 1930s
– Katherine MacLean
-Margaret St. Clair
-Carol Emshwiller
– Ursula K. Le Guin – essay “American SF and the Other” (1975)
– Joanna Russ – essay “The Image of Women in Science Fiction” (1970)
– James Tiptree Jr. (Alice Sheldon), Russ, Josephine Saxton, Le Guin.
– The Ultimate Cyberpunk (2002), which contextualized cyberpunk within earlier influences (not always successfully) and also showcased post-cyberpunk works.
– Angelica Gorodischer was publishing such incendiary feminist material as “The Unmistakable Smell of Wood Violets” (1985)
– Misha Nogha, whose Arthur C. Clarke Award finalist Red Spider White Web (1990
– Zipes, Jack. Speaking Out : Storytelling and Creative Drama for Children, Taylor & Francis Group, 2004. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/ed/detail.action?docID=199667.
Created from ed on 2023-11-08 19:27:53.
-‘Narrative fiction creates possible worlds— but they are worlds extrapolated from the world we know, however much they may soar beyond it. The art of the possible is a perilous art. It must take heed of life as we know it, yet alienate us from it sufficiently to tempt us into thinking of alternatives beyond it. It challenges as it comforts. In the end, it has the power to change our habits of conceiving what is real, what is canonical. It can even undermine the law’s dictates about what constitutes a canonical reality.’ —Jerome Braner, Making Stories
– ‘It would be misleading to argue that every story told is utopian or to assert that there is an “essential” utopian nature to storytelling. There is, however, a utopian tendency of telling that helps explain why it is we feel so compelled to create and disseminate tales and why we are enthralled by particular stories. In his monumental three-volume work The Principle of Hope, the philosopher Ernst Bloch argued that real-life experiences are at the basis of our utopian longings and notions. Because our daily lives are not exactly what we want them to be, we daydream with a certain intentionality and glimpse another world that urges us on and stimulates our creative drives to reach a more ideal state of being. It is our realization of what is missing in our lives that impels us to create works of art that not only reveal insights into our struggles but also shed light on alternatives and possibilities to restructure our mode of living and social relations. It is through art that utopia, designated as no place that we have ever seen or truly experienced, is to be realized as a place truly inhabitable for humans, a real humane place different from the brutal artificial places we inhabit and the earth that we are in the process of destroying with dubious notions of progress. All art, according to Bloch, contains images of hope illuminating ways to create a utopian society that offset our destructive drives.’
– Murray, Janet Horowitz. Hamlet on the Holodeck : the Future of Narrative in Cyberspace / JanetH. Murray. Cambridge, Mass: MIT Press, 1998. Print.
-The John Hopkins Guide to Digital Media, Marie-Laure Ryan, Lori Emerson, and Benjamin J. Robertson.
– Contemporary Science Fiction course – resource list
– Rob Lathan – Science Fiction Criticism – Anthology
– Autonomous by Annalee Newitz
