By Inez van der Spek
On the center of this stimulating and provocative learn is a technological know-how fiction tale by way of James Tiptree, Jr. (Alice Sheldon-Bradley, 1916–1987) a few brother and a sister (and fifty eight different humans) who come across an alien whereas on a starship touring to find a liveable planet. The publication contains an summary of Tiptree’s paintings and of her notable existence because the merely baby of jungle explorers, as a painter, an American agent in the course of and after international battle II, an experimental psychologist, and a feminine technology fiction author in male cover.
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Additional info for Alien Plots: Female Subjectivity and the Divine in the Light of James Tiptree's A Momentary Taste of Being' (Liverpool University Press - Liverpool Science Fiction Texts & Studies)
35 Here we are reminded of the interdisciplinary ‘gossip-status’ of both science fiction and (feminist) theology defended at the beginning of this chapter. The very fusion of insight and intuition, of knowledge and belief often produces further-reaching new views of reality than mere rational knowledge. 36 Transcendence points to transformation, to the power to cross over, make new connections; it indicates an imaginative movement from the existent to the possible. The transcending faculty of science fiction simultaneously refers to the rupture of fixed views and the vision of future—in the sense of as yet unimagined—possibilities.
Moreover, several of them started their publishing careers in the SF magazines. To female readers, Roberts argues, these images of powerful female aliens, as well as the stories inside the magazines, meant something different than to male readers. Primitive as these images may have been, even so they offered young women in the socially restricted post-World-War-II period some identification with strong and independent women. And some decades later women writers draw on the radical potential of these female aliens for creating feminist heroines.
They seem to agree on that a real challenge to the linguistic structures on which patriarchal society rests requires experimental narration. Lucie Armitt puts it, somewhat sternly I must say, like this: Without such writing we can only go halfway towards a new language, a new reality, and indeed a new future. At its best science fiction must shake us from our complacencies. 70 In my opinion, however, it would be a mistake to try to draw a too strict line of demarcation between ‘deconstructive’ and ‘conventional’ feminist science fiction.