LGBT themes in speculative fiction
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Sex and sexuality in speculative fiction |
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LGBT themes in speculative fiction include
Science fiction and fantasy have traditionally been
History
Before the 1960s, explicit sexuality of any kind was rare in speculative fiction, as the editors who controlled what was published attempted to protect their perceived key market of adolescent male readers. As the readership broadened, it became possible to include characters who were undisguised homosexuals, though these tended to be villains, and lesbians remained almost entirely unrepresented. In the 1960s, science fiction and fantasy began to reflect the changes prompted by the civil rights movement and the emergence of a counterculture. New wave and feminist science fiction authors realised cultures in which homosexuality, bisexuality and a variety of gender models were the norm, and in which sympathetic depictions of alternative sexuality were commonplace.
From the 1980s onwards, homosexuality gained much wider mainstream acceptance and was often incorporated into otherwise conventional speculative fiction stories. Works emerged that went beyond simple representation of homosexuality to explorations of specific issues relevant to the LGBT community. This development was helped by the growing number of openly gay or lesbian authors and their early acceptance by speculative fiction fandom. Specialist gay publishing presses and a number of awards recognising LGBT achievements in the genre emerged, and by the twenty-first century, blatant homophobia was no longer considered acceptable by most readers of speculative fiction.
There was a concurrent increase in representation of homosexuality within non-literary forms of speculative fiction. The inclusion of LGBT themes in comic books, television and film continues to attract media attention and controversy, while the perceived lack of sufficient representation, along with unrealistic depictions, provokes criticism from LGBT sources.
Critical analysis
As genres of popular literature, science fiction (SF) and fantasy often seem more constrained than non-genre literature by their conventions of characterisation and the effects that these conventions have on depictions of sexuality and gender.[2] Science fiction in particular has traditionally been a puritanical genre oriented toward a male readership.[3] Sex is often linked to disgust in SF and horror,[3] and plots based on sexual relationships have mainly been avoided in genre fantasy narratives.[4] On the other hand, science fiction and fantasy can also provide more freedom than realistic literature to imagine alternatives to the default assumptions of heterosexuality and masculinity that permeate many cultures.[2] Homosexuality is now an accepted and common feature of science fiction and fantasy literature, its prevalence due to the influence of lesbian-feminist and gay liberation movements.[5]
In speculative fiction, extrapolation allows writers to focus not on the way things are (or were), as non-genre literature does, but on the way things could be different. It provides science fiction with a quality that science fiction critic
In spite of the freedom offered by the genres, gay characters often remain contrived and stereotypical,[8][9] and most SF stories take for granted the continuation of heteronormative institutions.[10] Alternative sexualities have usually been approached allegorically, or by including LGBT characters in such a way as to not contradict mainstream society's assumptions about gender roles.[11] Works that feature gay characters are more likely to be written by women writers, and to be viewed as being aimed at other women or girls; big-name male writers are less likely to explore gay themes.[12]
Speculative fiction has traditionally been "straight";[13] Samuel R. Delany has written that the science fiction community is predominantly made up of white male heterosexuals, but that the proportion of minorities, including gay people, is generally higher than found in a "literary" group.[14] The inclusion of homosexuality in SF has been described in Science Fiction Culture as "sometimes lagging behind the general population, sometimes surging ahead".[15] Nicola Griffith has written that LGBT readers tend to identify strongly with the outsider status of mutants, aliens, and characters who lead hidden or double lives in science fiction.[16] In comparison, Geoff Ryman has claimed that the gay and SF genre markets are incompatible, with his books being marketed as one or the other, but never both,[17] and David Seed said that SF purists have denied that SF that focuses on soft science fiction themes and marginalised groups (including "gay SF") is "real" science fiction.[18] Gay and lesbian science fiction have at times been grouped as distinct subgenres of SF,[19] and have some tradition of separate publishers and awards.
Literature
Early speculative fiction
In other fantastical works, sex itself, of any type, was equated with base desires or "beastliness", as in Gulliver's Travels, which contrasts the animalistic and overtly sexual Yahoos with the reserved and intelligent Houyhnhnms.[3] The frank treatment of sexual topics of pre-nineteenth century literature was abandoned in most speculative fiction,[3] although Wendy Pearson has written that issues of gender and sexuality have been central to SF since its inception but were ignored by readers and critics until the late twentieth century.[24] Early works that contained LGBT themes and showed the gay characters to be morally impure include the first lesbian vampire story Carmilla (1872) by Sheridan Le Fanu[b][25] and The Picture of Dorian Gray (1890) by Oscar Wilde, which shocked contemporary readers with its sensuality and overtly homosexual characters.[26]
An Anglo-American Alliance, a 1906 novel by Gregory Casparian, was the first speculative novel to openly portray a lesbian romantic relationship.[27]
Pulp era (1920–30s)
During the pulp era,[28] explicit sexuality of any kind was rare in genre science fiction and fantasy.[3] For many years, the editors who controlled what was published felt that they had to protect the adolescent male readership that they identified as their principal market.[3] Although the covers of some 1930s pulp magazines showed scantily clad women menaced by tentacled aliens, the covers were often more lurid than the magazines' contents.[3] In such a context, writers like Edgar Pangborn, who featured passionate male friendships in his work, were exceptional; almost until the end of their careers, including so much as a kiss would have been too much. Implied or disguised sexuality was as important as that which was openly revealed.[3] As such, genre SF reflected the social mores of the day, paralleling common prejudices;[3] this was particularly true of pulp fiction, more so than literary works of the time.[3]
As the demographics of the readership broadened, it became possible to include characters who were more or less undisguised homosexuals, but these, in accordance with the attitudes of the times, tended to be villains: evil, demented, or effeminate stereotypes. The most popular role for the homosexual was as a 'decadent slaveholding lordling' whose corrupt tyranny was doomed to be overthrown by the young male heterosexual hero.[23] During this period, lesbians were almost entirely unrepresented as either heroes or villains.[23]
One of the earliest examples of genre science fiction that involves a challenging amount of unconventional sexual activity is the early novel
Golden Age (1940–50s)
In the
Sturgeon wrote many stories during the Golden Age of Science Fiction that emphasised the importance of love, regardless of the current social norms. In his short story "The World Well Lost" (1953),[c] first published in Universe magazine, homosexual alien fugitives and unrequited (and taboo) human homosexual love are portrayed. The tagline for the Universe cover was "[His] most daring story";[31] its sensitive treatment of homosexuality was unusual for science fiction published at that time, and it is now regarded as a milestone in science fiction's portrayal of homosexuality.[32] According to an anecdote related by Samuel R. Delany, when Sturgeon first submitted the story, the editor (Haywood Braun) not only rejected it but phoned every other editor he knew and urged them to reject it as well.[33][34] Sturgeon would later write Affair with a Green Monkey, which examined social stereotyping of homosexuals, and in 1960 published Venus Plus X, in which a single-gender society is depicted and the protagonist's homophobia portrayed unfavourably.[23]
Images of homosexual male societies remained strongly negative in the eyes of most SF authors. For example, when overpopulation drives the world away from heterosexuality in Charles Beaumont's short story "The Crooked Man" (1955), first published in Playboy, inhumane homosexuals begin to oppress the heterosexual minority. In Anthony Burgess's The Wanting Seed (1962) homosexuality is required for official employment; Burgess treats this as one aspect of an unnatural state of affairs which includes violent warfare and the failing of the natural world.[23]
Although not usually identified as a genre writer, William S. Burroughs produced works with a surreal narrative that estranged the action from the ordinary world as science fiction and fantasy do. In 1959 he published Naked Lunch, the first of many works such as The Nova Trilogy and The Wild Boys in which he linked drug use and homosexuality as anti-authoritarian activities.[2]
New Wave era (1960–70s)
In a little more than a decade, from the late 1960s to 1980, the number of works which contained homosexuality in science fiction and fantasy more than doubled all that had come previously.
Eric Garber, Lyn Paleo, "Preface" in Uranian worlds.[35]
By the late 1960s, science fiction and fantasy began to reflect the changes prompted by the civil rights movement and the emergence of a counterculture.[36] Within the genres, these changes were incorporated into a movement called "the New Wave,"[28] a movement more sceptical of technology, more liberated socially, and more interested in stylistic experimentation.[36] New Wave writers were more likely to claim an interest in "inner space" instead of outer space. They were less shy about explicit sexuality and more sympathetic to reconsiderations of gender roles and the social status of sexual minorities. Under the influence of New Wave editors and authors such as Michael Moorcock (editor of the influential New Worlds), sympathetic depictions of alternative sexuality and gender multiplied in science fiction and fantasy, becoming commonplace.[3][36][37] The introduction of gay imagery has also been attributed to the influence of lesbian-feminist and gay liberation movements in the 1960s.[38] In the 1970s, lesbians and gay men became a more visible presence in the SF community and as writers; notable gay authors included Joanna Russ, Thomas M. Disch and Samuel R. Delany.[39]
Other feminist utopias do not include lesbianism: Ursula K. Le Guin's The Left Hand of Darkness (1969) depicts trans-species sexuality, in which individuals are neither "male" nor "female" but can have both male and female sexual organs and reproductive abilities, making them in some senses bisexual.[3] In The Language of the Night, a collection of Le Guin's criticism, she admits to having "quite unnecessarily locked the Gethenians into heterosexuality ... the omission [of the homosexual option] implies that sexuality is heterosexuality. I regret this very much."[44] Le Guin often explores alternative sexuality in her works,[45] and has subsequently written many stories that examine the possibilities SF allows for non-traditional homosexuality,[46] such as the bisexual bonding between clones in "Nine Lives".[e][37][47] Sexual themes and fluid genders also figure in the works of John Varley, who came to prominence in the 1970s.[3] Many of his stories contain mentions of same-sex love and gay and lesbian characters.[48] In his "Eight Worlds" suite of stories and novels, humanity has achieved the ability to change sex on a whim. Homophobia is shown to initially inhibit uptake of this technology, as in his story "Options", as it engenders drastic changes in relationships, with bisexuality eventually becoming the norm for society.[49] His Gaea trilogy features lesbian protagonists, and almost all the characters are to some degree bisexual.[50]
Samuel R. Delany was one of the first openly gay science fiction authors;[13][51] in his earliest stories the gay sexual aspect appears as a "sensibility", rather than in overt sexual references. In some stories, such as Babel-17 (1966), same-sex love and same-sex intercourse are clearly implied but are given a kind of protective colouration because the protagonist is a woman who is involved in a three-person marriage with two men. The affection all three characters share for each other is in the forefront, and sexual activity between or among them is not directly described. In Dhalgren (1975), his most famous science fiction novel, Delany peoples his large canvas with characters of a wide variety of sexualities.[52] Once again, sexual activity is not the focus of the novel although there are some of the first explicitly described scenes of gay sex in SF and Delany depicts characters with a wide variety of motivations and behaviours.[53]
Delany's
Reading over any large body of science fiction referring to gay men and women, one can't avoid seeing it as a system of stereotypes with a few more or less effective tries at a kind of fashionable liberalism
Samuel Delany, "Introduction" in Uranian worlds.[8]
Other big name SF authors approached LGBT themes in individual works: In
Michael Moorcock was one of the first scifi authors to depict positive portrayals of homosexual, lesbian and bisexual relationships and sex in his novels. For example, in his 1965 novel, The Final Programme, most of the leading characters, including the central 'hero' Jerry Cornelius, engage in same sex relationships on multiple occasions and same sex relationships are depicted as entirely normal and without any moralising, negative consequences or gratuitous titillation, this is the case in the whole Jerry Cornelius series and in Moorcock's fiction generally (particularly in the Dancers at the End of Time series) sexuality is seen as polymorphic and fluid rather than based in fixed identities and gender roles.
Modern science fiction
Lesbians and gay men have become less alien in the world of SF in the last little while; we have, indeed, experienced a minor boom in the publishing of stories of 'alternative sexuality'. Despite this, we remain aliens within that world in many of the same ways that our characters are aliens within those stories.
Wendy Pearson, Science Fiction Studies.[65]
After the pushing back of boundaries in the 1960s and 1970s, homosexuality gained much wider tolerance, and was often incorporated into otherwise conventional SF stories with little comment. This was helped by the growing number of openly gay or lesbian authors,[37] such as David Gerrold, Geoff Ryman,[17] Nicola Griffith and Melissa Scott,[66] and transgender writers such as Jessica Amanda Salmonson,[67] an author who chronicled the progress of her gender change in the pages of The Literary Magazine of Fantasy and Terror.[68] In the 1980s, blatant homophobia was no longer considered acceptable to most readers.[37] However, depictions of unrealistic lesbians continue to propagate for the titillation of straight men in genre works.[69] In the 1990s, stories depicting alternative sexualities experienced a resurgence.[65]
Uranian Worlds, by Eric Garber and Lyn Paleo, was compiled in 1983 and is an authoritative guide to science fiction literature featuring gay, lesbian, transgender, and related themes. The book covers science fiction literature published before 1990 (2nd edition, 1990), providing a short review and commentary on each piece.[70][71]
In Lois McMaster Bujold's Ethan of Athos (1986), the titular "unlikely hero" is gay obstetrician Dr. Ethan Urquhart of the single-gender world Athos, whose dangerous adventure alongside the first woman he has ever met presents both a future society where homosexuality is the norm and the lingering sexism and homophobia of our own world.[72][73][74]
A number of
Gay characters became common enough that
David Gerrold is an openly gay science fiction writer with a number of LGBT-themed works. The Man Who Folded Himself (1973) examines the narcissistic love of a time traveler who has gay orgies with alternate versions of himself, including female and lesbian versions.[82] Gerrold's multi-award-winning Jumping Off the Planet (2000) is the first book in a young adult series, in which a father kidnaps his three sons and goes to the moon; one son is gay, and rejected from college as he is ineligible for a scholarship available to straight people who agree to have their sexual orientation changed to prevent overpopulation. Gerrold received a Nebula Award for a semi-autobiographical short story "The Martian Child" (1994), in which a gay man adopts a child. The story was later expanded to book length, and a feature film was produced in which the protagonist was straight, causing criticism.[83][84][85]
In 1990, if you had asked me which was the worst thing to be labeled as, gay or an SF writer, I'd have said gay: kills you stone-dead in the market. Then Was came out.... They had it in the gay section of bookstores and they had stuff in gay magazines, but they didn't say SF — at which point I realized that being a science fiction writer is worse than being gay.
21st century
The beginning of the 21st century saw a continual growth of speculative LGBT fiction. Some examples are given below.
Larissa Lai's novel Salt Fish Girl (2002) depicts lesbian relationships in the context of a dystopian corporate future. The novel features Asian-Canadian characters in these lesbian relationships, incorporating racial and ethnic identity into a queer understanding of speculative fiction. Salt Fish Girl engages queer ideas in regards to procreation and bodies, as characters are able to give birth without sperm by eating the durian fruit. It was shortlisted for the James Tiptree Jr. Award in 2002.[87]
Elizabeth Bear's Carnival (2006) revisits the trope of the single-gender world, as a pair of gay male ambassador-spies attempt to infiltrate and subvert the predominately lesbian civilization of New Amazonia, whose matriarchal rulers have all but enslaved their men.[88][89] Sarah Hall's dystopian novel The Carhullan Army (2007), published in the US under the title Daughters of the North, matter-of-factly features lesbians as primary characters. The novel won the 2007 John Llewellyn Rhys Prize[90] and James Tiptree, Jr. Award,[91] and was shortlisted for the 2008 Arthur C. Clarke Award.[92] It is perhaps telling of the evolution of public perception of same-sex relationships that the relationships are unmentioned or only peripherally noted in reviews.[93][94][95][96][97][98][99]
Rafael Grugman's dystopian novel Nontraditional Love (2008) describes an inverted world in which mixed-sex marriages are forbidden and conception occurs in test tubes. In lesbian families, one of the women carries the child while gay male couples turn to surrogate mothers to bring their children to term. The Netherlands is the only country where mixed-sex marriages are permitted. In this world intimacy between the opposite sexes is rejected, world history and the classics of world literature have been falsified in order to support the ideology of the homosexual world. The author paints a grotesque situation, but underlying this story is the idea that society should be tolerant and accepting and respect the right of every person to be themselves.[100]
Reviewing the field of lesbian romance speculative fiction in 2012, Liz Bourke concluded that it remained a niche subgenre of uneven quality, but mentioned
Within the realm of
Comics and manga
For much of the 20th century, gay relationships were discouraged from being shown in comics which were seen mainly as directed towards children. Until 1989, the
The CCA came into being in response to Fredric Wertham's Seduction of the Innocent, in which comic book creators were accused of attempting to negatively influence children with images of violence and sexuality, including subliminal homosexuality. Wertham claimed Wonder Woman's strength and independence made her a lesbian,[112] and stated that "The Batman type of story may stimulate children to homosexual fantasies."[113]
In recent years the number of LGBT characters has increased greatly in mainstream superhero comics; however, LGBT characters continue to be relegated to supporting roles, and generate criticism for the treatment gay characters receive.[114]
Marvel
In 2002,
Marvel's policy had stated that all series emphasizing solo gay characters must carry an "Adults only" label, in response to conservative protests. But in 2006, Marvel editor-in-chief Joe Quesada claimed that this policy was no longer in force,[120] and Marvel received GLAAD's 2005 Best Comic Book Award for its superhero comic book Young Avengers, which included gay characters but was published as a mainstream book with no warning label.[120][121] In 2012, despite protests, Marvel published an issue of Astonishing X-Men in which Northstar married his partner, Kyle.
DC
DC often still draws criticism for its use of stereotypes for LGBT characters.
In addition to true LGBT characters, there has been controversy over various homosexual interpretations of the most famous superhero comic book characters.
Some continue to play off the homosexual interpretations of Batman. One notable example occurred in 2000, when DC Comics refused to allow permission for the reprinting of four panels (from Batman #79, 92, 105 and 139) to illustrate Christopher York's paper All in the Family: Homophobia and Batman Comics in the 1950s.[132] Another happened in the summer of 2005, when painter Mark Chamberlain displayed a number of watercolors depicting both Batman and Robin in suggestive and sexually explicit poses.[133] DC threatened both artist and the Kathleen Cullen Fine Arts gallery with legal action if they did not cease selling the works and demanded all remaining art, as well as any profits derived from them.[134]
Many of DC's gay characters, such as Obsidian and Renee Montoya, were changed or essentially erased in The New 52 reboot of 2011. Meanwhile, others, such as Kate Kane, were given far less attention than before the reboot. In 2012 DC announced that an "iconic" character would now be gay in the new DC universe. It was then revealed that Alan Scott, the original Green Lantern, was that character. This led to fan outcry because his status as "iconic" is debatable, and he does not actually exist in the mainstream DC universe. This also effectively meant that the already gay character, Obsidian, could not exist as he was Alan Scott's child.
Manga
Yaoi has been criticised for stereotypical and homophobic portrayals of its characters,[141][142][143][144] and failing to address gay issues.[142][145] Homophobia, when it is presented as an issue at all,[146] is used as a plot device to "heighten the drama",[147] or to show the purity of the leads' love.[142] Rachel Thorn has suggested that as BL is a romance narrative, having strong political themes may be a "turn off" to the readers.[148] Critics state that the genre challenges heteronormativity via the "queer" bishōnen.[149][150]
There is also a style of manga called Bara, which is typically written by gay men for a gay male adult audience. Bara often has more realistic themes than yaoi and is more likely to acknowledge homophobia and the taboo nature of homosexuality in Japan. While western commentators sometimes group bara and yaoi together, writers and fans consider them separate genres.[151]
Film and television
In general, speculative fiction on television and film has lagged behind literature in its portrayals of homosexuality.[152] Sexual relationships in major speculative fiction franchises have generally been depicted as heterosexual in nature. Inter-species and inter-ethnic relationships have been commonly depicted, while homosexual relationships and transgender characters are more rare.
Film
LGBT characters in films began to appear more regularly only in the 1980s.
The less stringent rules of the post-Hayes film industry allowed sexuality to be more open, and cinema as a whole became more sexually explicit from the 1980s in particular,[3] but aimed to purely to entertain rather than exploring underlying sexual dynamics. Much of the sex in speculative fiction film is merely intended to titillate;[3] a review of fantasy films identified 10–15% as softcore pornography.[164] but it remained rare to see gay characters in speculative fiction films. Horror films, that had sex as one of their major preoccupations, continued to be more leniently censored, due to the perception of being unserious and lightweight. Vampires in particular have been described as obvious erotic metaphors and as a result, numerous vampire films since the 1970s strongly imply or explicitly show lesbianism, following the inspiration of lesbian vampire story Carmilla.[165] The prototypical Hollywood vampire, Dracula, was shown to be openly gay in the spoof film Does Dracula Suck? in 1969.[165]
Gay genre films remain rare,[166] and science fiction films' inclusion of gay characters continues to relegate them to supporting roles, such as the "stereotypical, limp-wristed, frantic homosexual" minor character played by Harvey Fierstein in the 1996 blockbuster Independence Day,[167] a film whose main theme has been described as being the anxiety surrounding male friendships and homosexual panic.[168] It is also interesting to note that the film's director, Roland Emmerich, is openly gay. Still there are some curious cases like Cthulhu (2007) a horror/thriller film based on the works of H. P. Lovecraft, in which the main character is gay but his homosexuality is not the main aspect of the character, although it is important in the development of the character's psychology. The film is plagued with monsters and disturbing happenings. Also, in V for Vendetta there are two secondary characters – one gay, one lesbian – shown as victims of the totalitarian dystopia. 2012 saw the light of the Wachowskis + Tom Tykwer blockbuster, Cloud Atlas, featuring in one of the six stories a couple of gay characters.
Television
LGBT characters began appearing on television with increasing frequency only in the 1990s.
The
The inclusion of significant LGBT characters in modern speculative fiction television series has not been universal. For example, the Star Trek franchise's lack of same-sex relationships has long been a sore spot with LGBT fandom,[7][184] some of whom have organised boycotts against the franchise to protest its failure to include LGBT characters. They also point out that Gene Roddenberry had made statements in later life favourable to acceptance of homosexuality and the portrayal of same-sex relationships in Star Trek, but that the franchise's coverage has remained meagre.[184]
Within the Star Trek canon, there had been little LGBT representation until Star Trek: Discovery in 2017. The International Review of Science Fiction ran a feature entitled "Prisoners of Dogma and Prejudice: Why There Are no G/L/B/T Characters in Star Trek: Deep Space 9".[185] However, gender identity has occasionally been treated as an "issue" within the new Star Trek series, to be dealt with as a theme in individual episodes, such as the 1995 Star Trek: Deep Space Nine episode "Rejoined", which was the first episode of the show to feature a same-sex relationship and romantic same-sex kiss between women. Subsequently, the Star Trek franchise has portrayed a few same-sex kisses, but always in the context of either the evil "mirror universe" ("The Emperor's New Cloak") or body possession ("Warlord" and others). In a 2000 Fandom interview, Star Trek screenwriter Ronald D. Moore suggested that the reason why no gay characters existed in the television franchise was because someone wanted it that way, and no amount of support from fans, cast or crew was going to make any difference.[186] In recent years, a few of the Star Trek novels and comics, which are officially licensed but not considered canon, have featured serious direct same-sex relationships, including portraying a minor canon character as gay.[187]
In 2005 the television series . The series spotlighted a fictional town in Oregon that consisted almost entirely of geniuses. This included the town's café owner Vincent, who also happened to be gay.
HBO brought then new series True Blood to the forefront of gay genre television, introducing a variety of omnisexual characters to the small screen in 2008 including: Lafayette Reynolds (played by Nelsan Ellis), Jesus Velasquez (played by Kevin Alejandro), Tara Thornton (played by Rutina Wesley), Pam Swynford De Beaufort (played by Kristin Bauer van Straten), Eddie Gauthier (played by Stephen Root), Russell Edgington (played by Denis O'Hare), and Rev. Steve Newlin (played by Michael McMillian).
In 2009 the series Warehouse 13 premiered on the Syfy cable network. The series later introduced a character named Steve Jinks, played by actor Aaron Ashmore, a gay government agent assigned to assist in the containment of bizarre artifacts.
In 2010 a cable series prequel to
In 2011 the cable station Syfy premiered the series Being Human, an Americanized version of the previously released British series of the same name. A lesbian character named Emily Levison, played by actress Alison Louder, was introduced as the sister to one of the main characters. That same year the FX cable series American Horror Story highlighted gay ghost couple Chad Warwick and Patrick, played by Zachary Quinto and Teddy Sears. The HBO cable station premiered Game of Thrones, based on the book series of the same name. The series included gay couple Renly Baratheon and Loras Tyrell, played by actors Gethin Anthony and Finn Jones. MTV also premiered the cable series Teen Wolf that same year. One of the characters depicted is an out gay high school lacrosse player named Danny Mahealani, played by Keahu Kahuanui.
Slash fiction
The platonic close male relationships in television and film science fiction have been reinterpreted by fans as
Femslash is a subgenre of slash fiction which focuses on romantic and/or sexual relationships between female fictional characters,[201] Typically, characters featured in femslash are heterosexual in the canon universe; however, similar fan fiction about lesbian characters are commonly labeled as femslash for convenience.[202] There is less femslash than there is slash based on male couples – it has been suggested that heterosexual female slash authors generally do not write femslash,[203] and that it is rare to find a fandom with two sufficiently engaging female characters.[201] Janeway/Seven is the main Star Trek femslash pairing, as only they have "an on-screen relationship fraught with deep emotional connection and conflict".[204] There is debate about whether fanfiction about canon lesbians such as Willow and Tara of Buffy the Vampire Slayer counts as "slash", their relationship storylines are more coy than heterosexual ones, which entices Willow/Tara femslash authors to fill in the gaps in the known relationship storyline.[201] It is "relatively recently" that male writers have begun writing femslash.[205]
Reaction of the speculative fiction community
There has been a long history of tolerance of LGBT people in SF fandom. The presence of gay members was noted by attendees of early conventions, but generally not discussed — the idea that gay or lesbian members would seek recognition within the SF community was "unthinkable," and an accusation in the 1940s by a fanzine editor that the Los Angeles Science Fiction Association was "full of gay members" caused a scandal in fan circles.
As the number of works featuring LGBT characters increased, so did the visibility of LGBT fans. At least as early as the 1980
Networking between gay fans continued, finally coalescing at the 1986 Worldcon into a plan of action. This led to the first
Other SF authors, such as Orson Scott Card, have been criticised by the LGBT community for their works or opinions, which have been described as homophobic.[212]
Some lesbian science fiction is targeted specifically to a lesbian audience, rather than science fiction fans, and published by small feminist or
LGBT speculative fiction awards
A number of awards exist that recognise works at the intersection of LGBT and speculative fiction:[222]
- The Hall of Fame.[223]
- The awards for science fiction, fantasy and horror. The awards were first presented in 1989, with separate categories for speculative fiction for lesbians and gay men. In 1993 these categories were merged and the combined award has undergone several name changes since then. Although the awards are given based on the quality of the writing and the LGBT themes, the author's sexual orientation is also a factor.[224]
- The Otherwise Award (formerly the James Tiptree, Jr. Award) honours works of science fiction or fantasy that expand or explore one's understanding of gender.[225] Thus, it often goes to works which deal directly or tangentially with gay, lesbian, bisexual or transgender issues.[226]
- Golden Crown Literary Society Awards (or "Goldies") are given to works containing lesbian themes or depictions of lesbian characters. Awards are given in numerous categories, including speculative fiction (or "SciFi/Fantasy/Horror") and paranormal romance.[227][228]
See also
- Sex and sexuality in speculative fiction
- Gender in speculative fiction
- LGBT literature
- List of LGBT-themed speculative fiction
- List of LGBT figures in mythology
- Single-gender worlds
Footnotes
a SF is used throughout as an abbreviation for speculative fiction, for convenience. Science fiction and slash fiction are written in full when referred to specifically.
b Collected in In a Glass Darkly.
c Collected in A Saucer of Loneliness.
d Collected in Her Smoke Rose Up Forever.
e Collected in The Wind's Twelve Quarters.
References
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- ^ Clute & Grant, "Sex" p. 354
- ^ Garber & Paleo, p. x "Preface"
- ISBN 978-0-300-02375-6.
- ^ a b Pearson, Wendy. "Alien Cryptographies: The View from Queer". Science Fiction Studies (#77, Volume 26, Part 1, March 1999). Retrieved October 7, 2008.
- ^ a b Garber & Lyn Paleo, p. xix "Introduction" by Samuel R. Delany
- ^ Garber & Lyn Paleo, p. xi "Preface"
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- ^ a b c d e Dynes, Johansson, Percy & Donaldson, Pg. 752, "Science Fiction"
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- ^ Garber & Paleo, "Carmilla" p. 76
- ^ Garber & Paleo, "The Picture of Dorian Gray" p. 148
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- ^ ISBN 0-333-97022-5.
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External links
- The Outer Alliance, LGBT advocacy in speculative fiction and literature
- GLBT Science Fiction and Fantasy Literature — A Web Directory
- Queer Science Fiction issue of speculative magazine The Future Fire
- The Gaylactic Network, LGBT fandom organization