Det råder ingen brist på kvinnliga SF- och fantasyförfattare. Förr var det annorlunda och tidiga kvinnliga sciencefictionförfattare skrev ofta under mansnamn. Ett typexempel är Alice Sheldon (1915-87) som skrev under namnet James Tiptree Jr. Denna praxis förekommer till och med än idag:
”It sometimes makes sense for a female author to use a pseudonym, particularly when the main characters are male, or when it’s a genre with a strong appeal to men, like military science fiction, certain types of fantasy or gritty thrillers,” says Penguin editor Anne Sowards, whose fantasy authors K.A. Stewart, Rob Thurman and K.J. Taylor are women. …
”For a new author, we want to avoid anything that might cause a reader to put a book down and decide, ’not for me,’ ” Ms. Sowards says. ”When we think a book will appeal to male readers, we want everything about the book to say that-the cover, the copy and, yes, the author’s name.”
Antalet kvinnliga SF-författare är mycket stort och det finns en lång rad listor, bland annat en på Sci-Fi Fan Letter som är uppdelad på olika genrer. Några författare som nämns där, ihop med böcker de skrivit, är:
Nancy Kress – Probability Moon
Glynn Latner – Hurricane Moon
M. J. Locke – Up Against It
Syne Mitchell – Changeling Plague
Joan Slonczweski – Brain Plague
Ann Aguirre – Grimspace
C. L. Anderson – Bitter Angels
Margaret Ball – Disappearing Act
Elizabeth Bear – Dust
Lauren Beukes – Zoo City
Leigh Brackett – The Secret of Sinharat
M. M. Buckner – Watermind
C. J. Cherryh – Foreigner
Sara Creasy – Song of Scarabaeus
Julie Czerneda – A Thousand Words for Stranger
Marienne de Pierres – Dark Space
Diane Duane – Omnitopia Dawn
Jaine Fenn – Principles of Angels
J. M. Frey – Triptych
Nicola Griffith – Ammonite
Jane Jensen – Dante’s Equation
Kay Kenyon – The Braided World
Sharon Lee & Steve Miller – Fledgling
Ursula K. Le Guin – The Word for World is Forest
Doris Lessing – Re: Colonised Planet 5, Shikasta
Karin Lowachee – Warchild
Anne McCaffrey – The Ship Who Sang
Maureen McHugh – China Mountain Zhang
Chris Moriarty – Spin State
Sheryl Nantus – Blaze of Glory
Andre Norton – Prison Ship
Diana Palmer – Morcai Batallion
Kit Reed – Thinner Than Thou
Justina Robson – Mappa Mundi
Joanna Russ – The Female Man
Melissa Scott – Trouble and Her Friends
Suzan Shwartz – Hostile Takeover
Kristine Smith – Code of Conduct
Wen Spencer – Tinker
Sheri Tepper – Grass
Karen Traviss – City of Pearl
Joan Vinge – Psion
Lynda Williams – The Courtesan Prince
Liz Williams – Banner of Souls
Phoebe Wray – Jemma 7729
Lois McMaster Bujold – Cordelia’s Honor
Tanya Huff – Valor’s Choice
Jean Johnson – A Soldier’s Duty
Anne McCaffrey & Elizabeth Moon – Sassinak
Sandra McDonald – The Outback Stars
Elizabeth Moon – Hunting Party
Gini Koch – Touched by an Alien
Stephenie Meyer – The Host
Sharon Shinn – Jenna Starborn
Lisa Paitz Spindler – The Spiral Path
Kage Baker – In the Garden of Iden
Linda Evans & Robert Asprin – Time Scout
Kay Kenyon – Seeds of Time
Audrey Niffenegger – Time Traveler’s Wife
Andre Norton – Echoes in Time
Marge Piercy – Woman on the Edge of Time
Connie Willis – Doomsday Book
Virginia DeMarce – 1635: The Tangled Web
Debbra Doyle – Land of Mist and Snow
Bernardine Evaristo – Blonde Roots
Sophia McDougall – Romanitas
Naomi Novik – His Majesty’s Dragon
Ekaterina Sedia – Heart of Iron
Jo Walton – Farthing
Connie Willis – Blackout
Steampunk (part 1 and part 2)
Gail Carriger – Soulless
Phil & Kaja Foglio – Agatha H and the Airship City
Dru Pagliassotti – Clockwork Heart
Cherie Priest – Boneshaker
Ekaterina Sedia – The Alchemy Stone
Apocalyptic & Post-Apocalyptic
Margaret Atwood – Oryx & Crake
Octavia Butler – Parable of the Sower
Suzanne Collins – Hunger Games
Nalo Hopkinson – Brown Girl in the Ring
P. D. James – Children of Men
Nnedi Okorafor – Who Fears Death
K. M. Ruiz – Mind Storm
Mary Shelley – The Last Man
Karen Traviss – Star Wars: Legacy of the Force: Sacrifice, Halo: Grasslands, Gears of War: Anvil Gate
Diana Carey – Aliens: Cauldron, Star Trek TNG: Ship of the Line
Diana Dru Botsford – Stargate SG1: Four Dragons
Olivia Woods – Star Trek DS9: The Soul Key
Kristen Beyer – Star Trek Voyager: Children of the Storm
Christie Golden – Star Craft: The Dark Templar Saga
Detta är bara ett inledande litet inlägg om kvinnliga SF- och fantasyförfattare. Fler kommer på samma sätt som jag skrivit flera inlägg om SF-författaresom ärvänster.
Alicia began her career at the ripe age of 10 when her grandmother gave her an old re-conditioned typewriter. The moment she touched the keys she felt like a literary genius. It took thirty years for Alicia to accept her calling as a writer of "unusual stories."
Hailing from Dayton Ohio, Dion Lack is a writer making major waves in the entertainment industry. After years of working as a sketch and screenwriter, Dion has added author to his resume. "The Voyage of Truth" is the debut novel that introduces the readers to Dion's vivid imagination in science fiction. This forever evolving renaissance man now resides in Los Angeles with his wife and children.
Brandon Easton, Writer: Thundercats and Shadowlaw. Born and raised in Baltimore, MD, Brandon is an only child who spent many years going to movie theaters and other shows alone. By the time Brandon reached college, he realized that he had writing talent. Cultivating that talent first at Ithaca College and then at Boston University's prestigious Film & TV Screenwriting program.
Carole McDonnell writes Christian, speculative fiction, and multicultural stories. Her first novel is Wind Follower. Her short fiction has appeared in many anthologies and have been collected in an ebook, Spirit Fruit: Collected Speculative Fiction. http://writersofcolorblogtour.blogspot.com/
D. K. Gaston writes in several genres that include speculative fiction, thrillers, and mysteries. He has written Taurus Moon: Relic Hunter, PANTHEON: Escape, Juju Man, and other novels. He's currently working on his next project. He works in the Information Technology field.
As a screenwriter, Thorne has worked with Kickstart Entertainment to develop two of their properties, Of Bitter Souls and Sword of Dracula, for television. He was a writer for season 9 of the USA network's Law & Order: Criminal Intent, season 2 of Ben 10: Ultimate Alien, seasons 3,4 and 5 of TNT's , and is the co-writer of an in-development audio drama from Pendant Productions.
His works include the feature films , , Three Kings, and Undercover Brother ; novels The Drift, Those Who Walk in Darkness , A Conversation with the Mann, Love is a Racket, Everybody Smokes in Hell, and Stray Dogs; and the graphic novel The American Way .
I'm a full time chemist and a part time writer. I'm finally fulfilling my dream of writing by self publishing my novels and stories. Check here for my ramblings on self publishing, cool books, cool writers and a bunch of other stuff. RSS feed for comments on this post.
Octavia Estelle Butler (June 22, 1947 - February 24, 2006) was an American science fiction writer. A recipient of both the Hugo and Nebula awards, Butler was one of the best-known African-American women in the field. In 1995, she became the first science fiction writer to receive the MacArthur Foundation Genius Grant.
Feb 29, 2012 - firstcauseproject.wordpress.com - 383
Paul West was born and raised in New York City; he currently resides in Harlem, where he has lived for much of his life. After graduating from NYU with a B.A. in History, he worked in the education and nonprofit world for many years before switching lanes and working in advertising and then fashion.
Ronald Jones grew up in Chicago. He is the author of two science fiction novels and a number of short stories. He's a huge science fiction fan, an avid reader of the genre enjoys a host of scifi movies and tv shows. His book Warrior of the Four Worlds can be found at Mocha Memoirs Press. http://mochamemoirspress.com/warriors-of-the-four-worlds/
His science fiction novels include , The Einstein Intersection (winners of the Nebula Award for 1966 and 1967 respectively), , , and the Return to Nevèrÿon series. After winning four Nebula awards and two Hugo awards over the course of his career, Delany was inducted into the Science Fiction Hall of Fame in 2002.
He has written several episodes of The Outer Limits and . He has also written the episode "Brief Candle" for Stargate SG-1 and the episode "The Sum of Its Parts". Barnes's first published piece of fiction, the 1979 novelette "The Locusts", was written with Larry Niven, and was a Hugo Award nominee.
Valjeanne Jeffers is an editor and the author of the SF/fantasy novels: Immortal, Immortal II: The Time of Legend and Immortal III: Stealer of Souls. Her fourth and fifth novels: Immortal IV: Collision of Worlds and The Switch: Clockwork will be released this spring.
Winston Blakely is a Fine Arts/Comic Book artist, having a career spanning 20 years, whose achievements have included working for Valiant Comics and Rich Buckler’s Visage Studios.
He is also the creator of Little Miss Strange, the world’s first black alien sorceress and the all- genre anthology entitled – Immortal Fantasy. Both graphic albums are available at Amazon, Barnes and Nobles and other online book store outlets. Visit him at http://blakelyworkstudio.weebly.com/
Många människor får ibland för sig att författare som Robert Heinlein är vänster. Det är naturligtvis ett helt vansinnigt ställningstagande. Från 1950-talet fram till 1970-talet var en majoritet av science-fictionförfattarna inte vänster på något sätt. Det gäller också många som uppges ha varit vänster som unga, exempelvis Isaac Asimov. Michael Moorcock, en SF-författare som är frihetlig anarkist skrev 1977 en text, Starship Stormtroopers, som totalt sågade en stor del av den SF som fram tills dess skrivits:
John W. Campbell, who in the late thirties took over Astounding Science Fiction Stories and created what many believe to be a major revolution in the development of sf, was the chief creator of the school known to buffs as ’Golden Age’ sf and written by the likes of Heinlein, Asimov and A.E. Van Vogt wild-eyed paternalists to a man, fierce anti-socialists, whose work reflected the deep-seated conservatism of the majority of their readers, who saw a Bolshevik menace in every union meeting. They believed, in common with authoritarians everywhere, that radicals wanted to take over old-fashioned political power, turn the world into a uniform mass of ’workers’ with themselves (the radicals) as commissars. They offered us such visions, when they attempted any overt discussion of politics at all. They were about as left-wing as The National Enquirer or The Saturday Evening Post (where their stories occasionally were to appear). They were xenophobic, smug and confident that the capitalist system would flourish throughout the universe, though they were, of course, against dictators and the worst sort of exploiters (no longer Jews but often still ’aliens’). Rugged individualism was the most sophisticated political concept they could manage — in the pulp tradition, the Code of the West became the Code of the Space Frontier, and a spaceship captain had to do what a spaceship captain had to do…
By the early fifties Astounding had turned by almost anyone’s standard into a crypto-fascist deeply philistine magazine pretending to intellectualism and offering idealistic kids an ’alternative’ that was, of course, no alternative at all. Through the fifties Campbell used his whole magazine as propaganda for the ideas he promoted in his editorials. His writers, by and large, were enthusiastic. Those who were not fell away from him, disturbed by his increasingly messianic disposition (Alfred Bester gives a good account of this). Over the years Campbell promoted the mystical, quasi-scientific Scientology (first proposed by one of his regular writers L. Ron Hubbard and aired for the first time in Astounding as ’Dianetics: The New Science of the Mind’), a perpetual motion machine known as the ’Dean Drive’, a series of plans to ensure that the highways weren’t ’abused’, and dozens of other half-baked notions, all in the context of cold-war thinking. He also, when faced with the Watts riots of the mid-sixties, seriously proposed and went on to proposing that there were ’natural’ slaves who were unhappy if freed. I sat on a panel with him in 1965, as he pointed out that the worker bee when unable to work dies of misery, that the moujiks when freed went to their masters and begged to be enslaved again, that the ideals of the anti-slavers who fought in the Civil War were merely expressions of self-interest and that the blacks were ’against’ emancipation, which was fundamentally why they were indulging in ’leaderless’ riots in the suburbs of Los Angeles! I was speechless (actually I said four words in all — ’science-fiction’ — ’psychology’ — Jesus Christ!’- before I collapsed), leaving John Brunner to perform a cool demolition of Campbell’s arguments, which left the editor calling on God in support of his views — an experience rather more intense for me than watching Doctor Strangelove at the cinema.
Starship Troopers (serialised in Astounding as was most of Heinlein’s fiction until the early sixties) was probably Heinlein’s last ’straight’ sf serial for Campbell before he began his ’serious’ books such as Farnham’s Freehold and Stranger in a Strange Land — taking the simplified characters of genre fiction and producing some of the most ludicrously unlikely people ever to appear in print. In Starship Troopers we find a slightly rebellious cadet gradually learning that wars are inevitable, that the army is always right, that his duty is to obey the rules and protect the human race against the alien menace. It is pure debased Ford out of Kipling and it set the pattern for Heinlein’s more ambitious paternalistic, xenophobic (but equally sentimental) stories which became for me steadily more hilarious until I realised with some surprise that people were taking them as seriously as they had taken, say, Atlas Shrugged a generation before — in hundreds of thousands! That middle-America could regard such stuff as ’radical’ was easy enough to understand. I kept finding that supporters of the Angry Brigade were enthusiastic about Heinlein, that people with whom I thought I shared libertarian principles were getting off on every paternalistic, bourgeois writer who had ever given me the creeps! I still can’t fully understand it. Certainly I can’t doubt the sincerity of their idealism. But how does it equate with their celebration of writers like Tolkein and Heinlein? The clue could be in the very vagueness of the prose, which allows for liberal interpretation; it could be that the ciphers they use instead of characters are capable of suggesting a wholly different meaning to certain readers. To me, their naive and emblematic reading of society is fundamentally misanthropic and therefore anti-libertarian. We are faced, once again, with quasi-religion, presented to us as radicalism. At best it is the philosophy of the Western applied to the complex social problems of the twentieth century — it is Reaganism, it is John Wayne in Big John Maclean and The Green Berets, it is George Wallace and Joe McCarthy — at its most refined it is William F. Buckley Jr., who, already a long way more sophisticated than Heinlein, is still pretty simple-minded.
Michael Moorcock är uppenbarligen mycket upprörd och har svårt att förstå varför annars bra, tänkande och reflekterande vänstermänniskor gillar reaktionär och/eller konservativ science-fiction. Han verkar inte förstå att man faktiskt kan gilla saker utan att köpa eller gilla själva budskapet i boken man läser eller just läst. Det är för övrigt väldigt lite SF-litteratur som faller Moorcock i smaken:
It was Alfred Bester who first attracted me to science fiction. I’d read some fantasy and Edgar Rice Burroughs before that, but I thought that if The Stars My Destination (also called Tiger! Tiger!) was sf, then this was the fiction for me. It took me some years to realise that Bester was one of the few exceptions. At the ending of The Stars My Destination the self-educated, working class, ’scum of the spaceways’, Gully Foyle, comes into possession of the substance known as PyrE, capable of detonating at a thought and probably destroying the solar system at very least. The plot has revolved around the attempts of various powerful people to get hold of the stuff. Foyle has it. Moral arguments or forceful persuasions are brought against him to make him give PyrE up to a ’responsible’ agency. In the end he scatters the stuff to ’the mob’ of the solar system. Here you are, he says, it’s yours. Its your destiny. Do with it how you see fit.
This is one of the very, very few ’libertarian’ sf novels I have ever read. If I hadn’t read it, I very much doubt I should have read any more sf. It’s a wonderful adventure story. It has a hero developing from a completely stupefied, illiterate hand on a spaceship to a brilliant and mature individual taking his revenge first on those who have harmed him and then gradually developing what you might call a ’political conscience.’ I know of no other sf book which so thoroughly combines romance with an idealism almost wholly acceptable to me. It is probably significant that it enjoys a relatively small success compared to, say, Stranger in a Strange Land.
Leaving aside the very worthy but to my mind journalistic The Dispossessed by U.K. Le Guin, it is quite hard for me to find many other examples of sf books which, as it were, ’promote’ libertarian ideas. M. John Harrison is an anarchist. His books are full of anarchists — some of them very bizarre like the anarchist aesthetes of The Centauri Device. Typical of the New Worlds school he could be described as an existential anarchist. There is Brian Aldiss with his Barefoot in the Head vision of an LSD ’bombed’ Europe almost totally liberated and developing bizarre new customs. There are J. G. Ballard’s ’terminal ironies’ such as The Atrocity Exhibition and Crash and so on, which have brought criticisms of ’nihilism’ against him. There is Joanna Russ’s marvellous The Female Man. So little sf has fundamental humanitarian values, let alone libertarian ideals, one is hard put to find other examples. My own taste, I suppose, is sometimes at odds with my political views. I admire Barrington J. Bayley, whose stories are often extremely abstract. One of his most enjoyable books recently published is The Soul of the Robot which discusses the nature of individual identity. Charles L. Harness is another favourite of mine. The Rose, in particular, lacks the simplifications of most sf, and The Paradox Men with its sense of the nature of Time, its thief hero, its ironic references to America Imperial, is highly entertaining. I also have a soft spot for C. M. Kornbluth who to my mind had a rather stronger political conscience than he allowed himself, so that his stories are sometimes confused as he tried to mesh middle-American ideas with his own radicalism. One of my favourites (though structurally it is a bit weak) is The Syndic (about a society where a rather benign Mafia is paramount). Fritz Leiber is probably the best of the older American sf writers for his prose-style, his wit and his humanity, as well as his abiding contempt for authoritarianism. His Gather, Darkness is one of the best sf books to relate political power to religious power (this was also serialised in Astounding during the forties . John Brunner, author of the CND marching song ’H-Bomb’s Thunder’, often writes from a distinctly socialist point of view. Harlan Ellison, who for some time had associations with a New York street gang and who has identified himself for many years with radicalism in the US, writes many short stories whose heroes have no truck with authority of any sort, though the conventions of the genre sometimes get in the way of the essential messages of his stories. This has to be true of most genre fiction. Ellison’s best work is written outside the sf genre. Philip K. Dick, John Sladek, Thomas M.Disch, Joanna Russ…
Andra äldre författare som kanske främst är kända för annan typ av litteratur, men som skrivit science fiction är Jack London (Järnhälen, Iron Heel, är väl den mest kända) och Upton Sinclair med It Can’t Happen Here. Dessutom har jag hittat omnämnanden av följande författare som varande personer som hade kontakter med kommunistpartiet i USA eller anses ha varit kommunister under nån period av sitt liv och som har skrivit enstaka verka som kan anses vara science fiction; Granville Hicks, Howard Fast, Julius Fast, Tom McGrath, Rolfe Humphries, Ben Barzman, Ben Appell, Henry Myers, Francis Flagg (Weiss), Arthur H. Landis och Theodore Cogswell.
By the summer of 1971, I decided to leave the academic world. The reason, in a nutshell, was that after years of being politically active (mainly in the civil rights movement and the anti-Vietnam war movement) I had become a socialist. And the truth is that I didn’t have much use — still don’t — for academic socialists. It seemed to me then — still does — that a socialist political activist belongs on the shop floors of American industry and in its union halls, not in the ivory tower.
So I packed up my bags and went to work as a longshoreman and then a truck driver, working mainly out of union hiring halls. By 1974, needing more stable employment, I became a machinist’s apprentice and wound up spending most of the next quarter of a century working as a machinist. At various times, however, I also worked as a meatpacker, auto forge worker, glassblower — quite a few things. During most of those years I was a member of the Socialist Workers Party, and, as is generally true of members of that organization — whose traditions go back to the footloose Wobblies — I kicked around the country a lot. At various times I lived and worked and was politically active in California, Michigan, Ohio, Illinois, West Virginia and Alabama. (I ran for Birmingham City Council when I lived in Alabama back in 1979.) (No, I didn’t win the election.)
By 1992, to bring this little story back to its origins, I decided it was time to forgo my political activity and try my hand at writing. After more than 25 years as a political activist, I figured I’d paid my dues and I could in good conscience spend the rest of my life trying to see if I could succeed at what at been my original daydream as a young man — write science fiction and fantasy.
Andra som nämns på en del andra sajter är John Barnes, Terry Bisson, David Brin, Octavia Butler, Eugene Byrne, Kim Newman, Paul Di Filippo, Nicola Griffith, Nancy Kress, Simon Louvish, Marge Piercy, Joan Slonczewski, Norman Spinrad, Bruce Sterling, Michael Swanwick och Warren Wagar, Flertalet av de nämnda är inte på något sätt vad jag skulle kala vänster även om Octavia Butler nog kan sägas vara det, liksom sannolikt Simon Louvish. Kanske även en del andra, men det får jag kanske anledning att komma tillbaks till.
Många SF-författare är höger, libertarianer, nyliberaler, en del nästan fascister. Många av de som jag gillar rätt bra som författare har sådana uppfattningar, exempelvis Larry Niven (1938-), Jerry Pournelle (1933-) och S.M. Stirling (1953-). Många andra kan sägas vara politiskt indifferenta, i praktiken är de traditionellt borgerliga, dvs utifrån min synpunkt höger. Exempel på detta är kanske Isaac Asimov (1920-1992), Arthur C. Clarke (1917-2008), C.J. Cherryh (1942-) med flera.
Däremot är organsierade socialister rätt sällsynta bland SF-författarna. Den mest kände idag är nog China Miéville (1972-), medan Iain Banks (1954-) och Ken MacLeod (1954-) är kända, dock kanske inte så kända som socialister eller vänster på samma sätt som China Miéville. Båda de sistnämnda har dock varit organiserade i eller stött olika vänstergrupper och i deras böcker förekommer socialistiska och anarkistiska referenser flitigt. China Miéville var medlem i brittiska SWP fram till mars 2013 men han har lämnat organisationen med anledning av den senaste skandalen med våldtäktsanklagelser och liknande som ledningen döljt och försökt tysta ner. Idag är han medlem i US-amerikanska ISO och verksam i Chicago. I huvudsak är China Miéville en fantasyförfattare men en del av hans böcker är också SF. Steven Brust (1955-) är ytterligare en författare som är trotskist i likhet med China Miéville och Ken MacLeod.
Bland äldre SF-författare som har varit organiserade socialister märks H. G. Wells (1866-1946), Frederik Pohl (1919-) som var organiserad i Young Communist League på 1930-talet, Mack Reynolds (1917-83) som en stor del av sitt liv var medlem i US-amerikanska Socialist Labor Party och Bernard Wolfe (1915-1985) som en tid var livvakt åt Leo Trotskij (1874-1940) i Mexico. Bernard Wolfe har bara skrivit en enda SF-roman, Limbo (1952) och bara ett par noveller, en i Gal (1951), ”Self Portrait” och två i Harlan Ellisons antologi, Again, Dangerous Visions (1972), ”The Bisquit Position” och ”The Girl with Rapid Eye Movements”. Mack Reynolds har skrivit desto mer. Bernard Wolfe slutade skriva SF-texter då han fattade avsmak för genren och den tekniska vetenskapen som varande reaktionära. SF betraktade han som den högervridna vetenskapens tjänare. Han skrev dock andra romaner och noveller, många av de senare publicerades i Playboy Magazine. Limbo anses av en del höra till de 100 bästa SF-romaner som nånsin skrivits.