Sex and sexuality in speculative fiction

Sexual themes are frequently used in science fiction or related genres. Such elements may include depictions of realistic sexual interactions in a science fictional setting, a protagonist with an alternative sexuality, or exploration of the varieties of sexual experience that deviate from the conventional.

Science fiction and fantasy have sometimes been more constrained than non-genre narrative forms in their depictions of sexuality and gender. However, speculative fiction also offers the freedom to imagine societies different from real-life cultures, making it an incisive tool to examine sexual bias and forcing the reader to reconsider his or her cultural assumptions.

Prior to the 1960s, explicit sexuality of any kind was not characteristic of genre speculative fiction due to the relatively high number of minors in the target audience. 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 imagined cultures in which a variety of gender models and atypical sexual relationships are the norm, and depictions of sex acts and alternative sexualities became commonplace.

There also exists science fiction erotica, which explores sexuality and the presentation of themes aimed at inducing arousal.

Critical analysis

As genres of popular literature, science fiction and fantasy often seem even more constrained than non-genre literature by their conventions of characterization and the effects that these conventions have on depictions of sexuality and gender.[1] Sex is often linked to disgust in science fiction and horror,[2] and plots based on sexual relationships have mainly been avoided in genre fantasy narratives.[3] On the other hand, science fiction and fantasy can also offer more freedom than do non-genre literatures to imagine alternatives to the default assumptions of heterosexuality and masculine superiority that permeate some cultures.[1]

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 Darko Suvin has called "cognitive estrangement": the recognition that what we are reading is not the world as we know it, but a world whose difference forces us to reconsider our own world with an outsider's perspective.[4] When the extrapolation involves sexuality or gender, it can force the reader to reconsider their heteronormative cultural assumptions; the freedom to imagine societies different from real-life cultures makes science fiction an incisive tool to examine sexual bias.[2] In science fiction, such estranging features include technologies that significantly alter sex or reproduction. In fantasy, such features include figures (for example, mythological deities and heroic archetypes) who are not limited by preconceptions of human sexuality and gender, allowing them to be reinterpreted.[1] Science fiction has also depicted a plethora of alien methods of reproduction and sex.[2]

Uranian Worlds, by Eric Garber and Lyn Paleo, 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), providing a short review and commentary on each piece.[5]

Themes explored

Some of the themes explored in speculative fiction include:

SF literature

Proto SF

Illustration by D. H. Friston that accompanied the first publication of lesbian vampire novella Carmilla in The Dark Blue magazine in 1872

True History, a Greek-language tale by Assyrian writer Lucian (120-185 CE), has been called the first ever science fiction story.[9][10][11] The narrator is suddenly enveloped by a typhoon and swept up to the Moon, which is inhabited by a society of men who are at war with the Sun. After the hero distinguishes himself in combat, the king gives him his son, the prince, in marriage. The all-male society reproduces (male children only) by giving birth from the thigh or by growing a child from a plant produced by planting the left testicle in the Moon's soil.[12][13]

In other proto-SF works, sex itself, of any type, was equated with base desires or "beastliness," as in Gulliver's Travels (1726), which contrasts the animalistic and overtly sexual Yahoos with the reserved and intelligent Houyhnhnms.[2] Early works that showed sexually open characters to be morally impure include the first lesbian vampire story "Carmilla" (1872) by Sheridan Le Fanu (collected in In a Glass Darkly).[14]

The 1915 utopian novel Herland by Charlotte Perkins Gilman depicts the visit by three men to an all-female society in which women reproduce by parthenogenesis.[15]

The pulp era (1920–30s)

During the pulp era, explicit sexuality of any kind was not characteristic of genre science fiction and fantasy. The frank treatment of sexual topics of earlier literature was abandoned.[2] For many years, the editors who controlled what was published, such as Kay Tarrant, assistant editor of Astounding Science Fiction, felt that they had to protect the adolescent male readership that they identified as their principal market.[2] 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.[2] Implied or disguised sexuality was as important as that which was openly revealed.[2] In this sense, genre science fiction reflected the social mores of the day, paralleling common prejudices.[2] This was particularly true of pulp fiction, more so than literary works of the time.[2]

In Aldous Huxley's dystopian novel Brave New World (1932), natural reproduction has been abolished, with human embryos being raised artificially in "hatcheries and conditioning centres." Recreational sex is promoted, often as a group activity, and marriage, pregnancy, natural birth, and parenthood are considered too vulgar to be mentioned in polite conversation.

One of the earliest examples of genre science fiction that involves a challenging amount of unconventional sexual activity is Odd John (1935) by Olaf Stapledon. John is a mutant with extraordinary mental abilities who will not allow himself to be bound by many of the rules imposed by the ordinary British society of his time. The novel strongly implies that he has consensual intercourse with his mother and that he seduces an older boy who becomes devoted to him but also suffers from the affront that the relationship creates to his own morals. John eventually concludes that any sexual interaction with "normal" humans is akin to bestiality.

War with the Newts, a 1936 satirical science fiction novel by Czech author Karel Čapek, concerns the discovery in the Pacific of a sea-dwelling race, an intelligent breed of newts - who are initially enslaved and exploited by humans and later rebel and go war against them. The book includes a detailed appendix entitled 'The Sex Life of the Newts', which examines the Newts' sexuality and reproductive processes in a pastiche of academese. This is one of the first attempts to speculate on what form sex might have among non-human intelligent beings.

The Golden Age (1940–50s)

As the readership for science fiction and fantasy began to age in the 1950s, writers were able to introduce more explicit sexuality into their work.

Philip José Farmer wrote The Lovers (1952), arguably the first science fiction story to feature sex as a major theme, and Strange Relations (1960), a collection of five stories about human/alien sexual relations. In his novel Flesh (1960), a hypermasculine antlered man ritually impregnates legions of virgins in order to counter declining male fertility.

Theodore Sturgeon wrote many stories that emphasised the importance of love regardless of the current social norms, such as "The World Well Lost" (1953), a classic tale involving alien homosexuality, and the novel Venus Plus X (1960), in which a contemporary man awakens in a futuristic place where the people are hermaphrodites.

Robert A. Heinlein's time-travel short story "All You Zombies" (1959) chronicles a young man (later revealed to be intersex) taken back in time and tricked into impregnating his younger, female self before he underwent a sex change. He then turns out to be the offspring of that union, with the paradoxical result that he is both his own mother and father.

When Heinlein's "The Puppet Masters" was originally published, it was censored by the publisher to remove various references to sex. The opening scene, where the protagonist is called urgently to HQ on an early morning hour, was re-written to remove all mention of his being in bed with a girl he had casually picked up. The published version did mention that the book's alien invaders cause human beings whose bodies they take over to lose sexual feeling - but removed a later section mentioning that after some time on Earth the invaders "discovered sex" and started engaging in wild orgies and even broadcasting them on TV in areas under their control. Thirty years later, with changing mores, Heinlein published the book's full, unexpurgated text.

In "Time Enough for Love" (1973), Heinlein's recurring protagonist Lazarus Long - who never grows old and has an extremely long and eventful life - travels backward in time to the period of his own childhood. As an unintentional result, he falls in love with his own mother. He has no guilt feeling about pursuing and eventually consummating that relationship - considering her simply as an extremely attractive young woman named Maureen who just happens to have given birth to him thousands of years ago (as far as his personal timeline is concerned). The sequel,"To Sail Beyond the Sunset" takes place after Maureen had discovered the true identity of her lover - and shows that for her part, she was more amused than shocked or angry.

Poul Anderson's 1958 novel "War of the Wing-Men", centers on a species of winged intelligent creatures and sexual differencws are central to its plot. Of the two mutually-hostile societies featured in the book, one practices monogamous marriage, while in the other there are every spring several days of a wild indiscriminate orgy - and a complete celibacy for the rest of the year. Ironically, both societies alike consider themselves chaste and the other depraved: "We keep faithful to our mates while they fuck around indiscriminately - disgusting!" ; "We keep sex where it belongs, to one week per year where you are not really yourself. They do it all over the year- disgusting!". Humans who land on the planet intervene in the centuries-long war, by showing members of the two societies that they are not all that different from each other.

Another Poul Anderson novel of the same period, Virgin Planet (1959), deals in a straightforward manner with homosexuality and polyamory on an exclusively female world. The plot twist is that the protagonist is the only male on a world of women, and though quite a few of them are interested in sex with him, it is never consummated during his sojourn on the planet.

A mirror image was presented by A. Bertram Chandler in Spartan Planet (1969), featuring an exclusively male world, where by definition homosexual relations are the normal (and only) sexual relations. The plot revolves around the explosive social upheaval resulting when the planet is discovered by a spaceship from the wider galaxy, whose crew includes both men and women.

Until the late 1960s, few other writers depicted alternative sexuality or revised gender roles, nor openly investigated sexual questions.[2]

More conventionally, A. Bertram Chandler's books include numerous episodes of free fall sex, his characters (male and female alike) strongly prone to extramarital relations and tending to while away the boring months-long Deep Space voyages by forming complicated love triangles.

The New Wave era (1960–70s)

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. Within the genres, these changes were incorporated into a movement called "the New Wave," a movement more skeptical of technology, more liberated socially, and more interested in stylistic experimentation. 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. Notable authors who often wrote on sexual themes included Joanna Russ, Thomas M. Disch, John Varley, James Tiptree, Jr., and Samuel R. Delany. Under the influence of New Wave editors and authors such as Michael Moorcock (editor of the influential New Worlds magazine) and Ursula K. Le Guin, sympathetic depictions of alternative sexuality and gender multiplied in science fiction and fantasy, becoming commonplace.[2]

Robert A. Heinlein's Stranger in a Strange Land (1961) and The Moon Is a Harsh Mistress (1966) both depict heterosexual group marriages and public nudity as desirable social norms, while in Heinlein's Time Enough for Love (1973), the main character argues strongly for the future liberty of homosexual sex.[2] Heinlein's character Lazarus Long, travelling back in time to the period of his own childhood, discovers, to his surprise and (initial) shame, a sexual desire of his own mother - but overcoming this initial shame, he comes to think of her simply as "Maureen", an attractive young woman who is far from indifferent to him.

Samuel R. Delany's Nebula Award-winning short story "Aye, and Gomorrah" (1967) posits the development of neutered human astronauts, and then depicts the people who become sexually oriented toward them. By imagining a new gender and resultant sexual orientation, the story allows readers to reflect on the real world while maintaining an estranging distance. In his 1975 science fiction novel entitled Dhalgren, Delany colors his large canvas with characters of a wide variety of sexualities.[16] Once again, sex is not the focus of the novel, although it does contain some of the first explicitly described scenes of gay sex in science fiction. Delany depicts, mostly with affection, characters with a wide variety of motivations and behaviours, with the effect of revealing to the reader the fact that these kinds of people exist in the real world. In later works, Delany blurs the line between science fiction and gay pornography. Delany faced resistance from book distribution companies for his treatment of these topics.[2]

In 1968, Anne McCaffrey's Dragonflight launched the Dragonriders of Pern series, depicting the lives of humans living in close partneship with dragons. In a key scene the young golden Dragon Queen takes off on her mating flight, pursued by the male dragons - until finally one of them cathes up with her and they engage in passionate mating high up in the air, their necks and wings curled around each other. On the ground the woman and man who are these dragons' riders share their passion telepatically - and inevitably wildly emabrace and kiss, emabraking on a parallel human mating.

Ursula K. Le Guin explores radically alternative forms of sexuality in The Left Hand of Darkness (1969) and again in "Coming of Age in Karhide" (1995), which imagine the sexuality of an alien "human" species in which individuals are neither "male" nor "female," but undergo a monthly sexual cycle in which they randomly experience the activation of either male or female sexual organs and reproductive abilities; this makes them in a sense bisexual, and in other senses androgynous or hermaphroditic. It is common for an individual of that species to undergo at some moment of life pregnancy and birth-giving. while at another time having the male role and impregnating somebody else.[2] Le Guin has written considerations of her own work in two essays, "Is Gender Necessary?" (1976) and "Is Gender Necessary? Redux" (1986), which respond to feminist and other criticism of The Left Hand of Darkness. In these essays, she makes it clear that the novel's assumption that Gethenians would automatically find a mate of the gender opposite to the gender they were becoming produced an unintended heteronormativity. Le Guin has subsequently written many stories that examine the possibilities science fiction allows for non-traditional sexuality, such as the sexual bonding between clones in "Nine Lives" (1968)[13] and the four-way marriages in "Mountain Ways" (1996).

In his 1972 novel The Gods Themselves, Isaac Asimov describes an alien race with three genders, all of them necessary for sexual reproduction. One gender produces a form of sperm, another gender provides the energy needed for reproduction, and members of the third gender bear and raise the offspring. All three genders are included in sexual and social norms of expected and acceptable behavior. In this same novel, the hazards and problems of sex in microgravity are described, and while people born on the Moon are proficient at it, people from Earth are not.[17]

Similarly, Poul Anderson's Three Worlds to Conquer depicts centaur-like beings living on Jupiter who have three genders: female, male and "demi-male". In order to conceive, a female must have sex with both a male and a demi-male within a short time of each other. In the society of the protagonist, there are stable, harmonious three-way families, in effect a formalized Menage a Trois, with the three partners on equal terms with each other. An individual in that society feels a strong attachment to all three parents - mother, father and demi-father - who all take part in bringing up the young. Conversely, among the harsh invaders who threaten to destroy the protagonist's homeland and culture, males are totally dominant over both females and demi-males; the latter are either killed at birth or preserved in subjugation for reproduction - which the protagonist regards as a barbaric aberration.

Feminist science fiction authors imagined cultures in which homo- and bisexuality and a variety of gender models are the norm.[2] Joanna Russ's award-winning short story "When It Changed" (1972), portraying a female-only lesbian society that flourished without men, and her novel The Female Man (1975), were enormously influential.[18] Russ was largely responsible for introducing radical lesbian feminism into science fiction.[19]

The bisexual female writer Alice Bradley Sheldon, who used James Tiptree, Jr. as her pen name, explored the sexual impulse as her main theme.[2] Some stories by Tiptree portray humans becoming sexually obsessed with aliens, such as "And I Awoke and Found Me Here on the Cold Hill's Side" (1972), or aliens being sexually abused. The Girl Who Was Plugged In (1973) is an early precursor of cyberpunk that depicts a relationship via a cybernetically controlled body. In her award-winning novella Houston, Houston, Do You Read? (1976), Tiptree presents a female-only society after the extinction of men from disease. The society lacks stereotypically "male" problems such as war, but is stagnant. The women reproduce via cloning, and consider men to be comical.

In Robert Silverberg's novelette The Way to Spook City the protagonist meets and has an affair with a woman named Jill, who seems completely human - and convincingly, passionately female human. Increasingly in love with her, he still has a nagging suspicion that she is in fact a disguised member of the mysterious extraterrestrial species known as "Spooks", who had invaded and taken over a large part of the United States. Until the end, he repeatedly grapples with two questions: Is she human or a Spook? And if she is a Spook, could the two of them nevertheless build a life together?

Elizabeth A. Lynn's science fiction novel A Different Light (1978) features a same-sex relationship between two men, and inspired the name of the LGBT bookstore chain A Different Light.[20][21] Lynn's The Chronicles of Tornor (1979–80) series of novels, the first of which won the World Fantasy Award, were among the first fantasy novels to include gay relationships as an unremarkable part of the cultural background. Lynn also wrote novels depicting sadomasochism.

John Varley, who also came to prominence in the 1970s, is another writer who examined sexual themes in his work.[2] In his "Eight Worlds" suite of stories and novels, humanity has achieved the ability to change sex quickly, easily and completely reversibly - leading to a casual attitude with people changing their sex back and forth as the sudden whim takes them. Homophobia is shown as initially inhibiting the uptake of this technology, as it engenders drastic changes in relationships, with bisexuality becoming the default mode for society. Varley's Gaea trilogy (1979-1984) features lesbian protagonists.

Female characters in science fiction films, such as Barbarella (1968), continued to be often portrayed as simple sex kittens.[22]

Modern SF (post-New Wave)

After the pushing back of boundaries in the 1960s and 70s, sex in genre science fiction gained wider acceptance, and was often incorporated into otherwise conventional science fiction stories with little comment.

Jack L. Chalker's Well World series, launched in 1977, depicts a world - designed by the super science of a vanished extraterrestrial race, the Markovians - which is divided into numerous "hexes", each inhabited by different sentient race. Anyone entering one of these hexes is transformed into a member of the local race. This plot device gives a wide scope for exploring the divergent biology and cultures of the various species - including their sex life. For example, a human entering a hex inhabited by an insectoid intelligent race is transformed into a female of that species, feels sexual desire for a male and mates with him. Too late does she discover that in this species, pregnancy is fatal - the mother being devoured from the inside by her larvae. In a later part, a very macho villain gains control of a supercomputer whose power includes the ability to "redesign" people's bodies to almost any specification. He uses the computer to give himself a "super-virile" body, capable of a virtually unlimited number of erections and ejaculations - and then proceeds to transform his male enemies into beautiful women and induce in them a strong sexual desire towards himself. However, a computer breakdown restores to these captives their normal minds. Though they are still in women's bodies, these bodies were designed with great strength and stamina, so as to enable them to undergo repeated sexual encounters. Thus, they are well-equipped to chase, catch and suitably punish their abuser.

In Frederik Pohl's Jem, humans exploring the eponymous planet Jem discover by experience that local beings emit a milt which has a strong aphrodisiac effect on humans. Characters who were hitherto not at all drawn to each other find themselves suddenly involved in wild, uncontrollable sex. At the ironic ending, their descendants who colonize the planet and build up a distinctive society and culture develop the custom of celebrating Christmas by deliberately stimulating the local beings into emitting the milt, and then taking off their clothes and engaging in a wild indiscriminate orgy - their copulations accompanied by a chorus of the planet's enslaved indigenous beings who were taught to sing "Good King Wenceslas", with the song's Christian significance long forgotten.

Also set on an alien planet, Octavia E. Butler's acclaimed short story "Bloodchild" (1984) depicts the complex relationship between human refugees and the insect-like aliens who keep them in a preserve to protect them, but also to use them as hosts for breeding their young. Sometimes called Butler's "pregnant man story," "Bloodchild" won the Nebula Award, Hugo Award, and Locus Award.[23] Other of Butler's works explore miscegenation, non-consensual sex, and hybridity.[24]

In Robert Silverberg's 1982 novella Homefaring, the protagonist enters the mind of an intelligent lobster of the very far future and experiences all aspects of lobster life, including sex: "He approached a female, knowing precisely which one was the appropriate one, and sang to her, and she acknowledged his song with a song of her own, and raised her third pair of legs for him, and let him plant his gametes beside her oviducts. There was no apparent pleasure in it, as he remembered pleasure from his time as a human. Yet it brought him a subtle but unmistakable sense of fulfillment, of the completion of biological destiny, that had a kind of orgasmic finality about it, and left him calm and anchored at the absolute dead center of his soul". When finally returning to his human body and his human lover, he keeps longing for the lobster life, to "his mate and her millions of larvae".

Quentin and Alice, the extremely shy and insecure protagonists of Lev Grossman's fantasy novel The Magicians, spend years as fellow students at a School of Magic without admitting to being deeply in love with each other. Only the experience of being magically turned into foxes enables them at last to break through their reserve: "Increasingly, Quentin noticed one scent more than the others. It was a sharp, acrid, skunky musk that probably would have smelled like cat piss to a human being, but to a fox it was like a drug. He tackled the source of the smell, buried his snuffling muzzle in her fur, because he had known all along, with what was left of his consciousness, that what he was smelling was Alice. Vulpine hormones and instincts were powering up, taking over, manhandling what was left of his rational human mind. He locked his teeth in the thick fur of her neck. It didn't seem to hurt her any, or at least not in a way that was easily distinguishable from pleasure. He caught a glimpse of Alice's wild, dark fox eyes rolling with terror and then half shutting with pleasure. Their tiny quick breathes puffed white in the air and mingled and disappeared. Her white fox fur was coarse and smooth at the same time, and she made little yipping sounds every time he pushed himself deeper inside her. He never wanted to stop"[25]. When resuming their human bodies, Quentin and Alice are initially even more shy and awkward with each other, and only after going through some harrowing magical experiences are they finally able to have human sex.

Lois McMaster Bujold explores many areas of sexuality in the multiple award-winning novels and stories of her Vorkosigan Saga (1986-ongoing), which are set in a fictional universe influenced by the availability of uterine replicators and significant genetic engineering. These areas include an all-male society, promiscuity, monastic celibacy, hermaphroditism, and bisexuality.

In the Mythopoeic Award-winning novel Unicorn Mountain (1988), Michael Bishop includes a gay male AIDS patient among the carefully drawn central characters who must respond to an irruption of dying unicorns at their Colorado ranch. The death of the hedonistic gay culture, and the safe sex campaign resulting from the AIDS epidemic, are explored, both literally and metaphorically.[26]

Sex has a major role in Harry Turtledove's 1990 novel A World of Difference, taking place on the planet Minerva (a more habitable analogue of Mars). Minervan animals (including the sentient Minervans) are hexameristically radially symmetrical. This means that they have six eyes spaced equally all around, see in all directions and have no "back" where somebody could sneak on them unnoticed. Females (referred to as "mates" by the Minervans) give birth to litters that consist of one male and five females, and the "mates" always die after reproducing because of torrential bleeding from the places where the six fetuses were attached; this gives a population multiplication of 5 per generation if all females live to adolescence and reproduce. Females reach puberty while still hardly out of childhood, and typically experience sex only once in the lifetime - leading to pregnancy and death at birth-giving. Thus, in Minervan society male dominance seems truly determined by a biological imperative - though it takes different forms in various Minervan societies: in some females are considered expendable and traded as property, in other they are cherished and their tragic fate mourned - but still their dependent status is taken for granted. The American women arriving on Minerva and discovering this situation consider it intolerable; a major plot element is their efforts, using the resources of Earth medical science, to find a way of saving the Minervan females and let them survive birth-giving. At the end, they do manage to save a particularly sympathetic Minervan female - potentially opening the way for a complete upheaval in Minervan society.

Glory Season (1993) by David Brin is set on the planet Stratos, inhabited by a strain of human beings designed to conceive clones in winter, and normal children in summer. All clones are female, because males cannot reproduce themselves individually. Further, males and females have opposed seasons of sexual receptivity; women are sexually receptive in winter, and men in summer. (This unusual heterogamous reproductive cycle is known to be evolutionarily advantageous for some species of aphids.) The novel treats themes of separatist feminism and biological determinism.

Elizabeth Bear's novel 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.[27][28]

The plot of The Tamír Triad by Lynn Flewelling has a major Transsexual element. To begin with the protagonist, Prince Tobin, is to all appearances a male - both in his own perception and in that of others. Boys who swim naked together with Tobin have no reason to doubt his male anatomy. Yet, due to the magical reasons which are an important part of the plot, in the underlying, essential identity Tobin had always been a disguised girl. In the series' cataclysmic scene of magical change this becomes an evident physical fact, and Prince Tobin becomes Queen Tamír, shedding the male body and gaining a fully functioning female one. Yet, it takes Tamír a considerable time and effort to come to terms with her female sexuality.

Lateral Magazine, The freedom of a genre: Sexuality in speculative fiction: 'In another twist of today’s society, Nontraditional Love by Rafael Grugman (2008) puts together an upside-down society where heterosexuality is outlawed, and homosexuality is the norm. A ‘traditional’ family unit consists of two dads with a surrogate mother. Alternatively, two mothers, one of whom bares a child. In a nod to the always-progressive Netherlands, this country is the only country progressive enough to allow opposite sex marriage. This is perhaps the most obvious example of cognitive estrangement. It puts the reader in the shoes of the oppressed by modelling an entire world of opposites around a fairly “normal” everyday heterosexual protagonist. A heterosexual reader would not only be able to identify with the main character, but be immersed in a world as oppressive and bigoted as the real world has been for homosexuals and the queer community throughout history.[29]

See also


  1. ^ a b c glbtq >> literature >> Science Fiction and Fantasy Archived 2015-05-28 at the Wayback Machine.
  2. ^ a b c d e f g h i j k l m n o p q r John Clute, David Langford, Peter Nicholls (August 20, 2012). "Themes: Sex". Science Fiction Encyclopedia (SFE).CS1 maint: Uses authors parameter (link)
  3. ^ Clute, John & Grant, John,The Encyclopedia of Fantasy, "Sex" p. 854, 1st Ed., (1997), Orbit, Great Britain, ISBN 1-85723-897-4
  4. ^ Darko Suvin. Metamorphoses of Science Fiction, Yale Univ Pr: 1979 ISBN 978-0-300-02375-6
  5. ^ Eric Garber, Lyn Paleo Uranian Worlds: A Guide to Alternative Sexuality in Science Fiction, Fantasy, and Horror, 2nd Edition, G K Hall: 1990 ISBN 978-0-8161-1832-8
  6. ^ Amy Cuomo, "The Scientific Appropriation of Female Reproductive Power in Junior", Extrapolation, v.39, n.4, pp. 352-363 (Winter 1988).
  7. ^ Robert J. Sawyer, Male Pregnancy
  8. ^ "Within fan fiction, a number of subgenres are well recognized....mpreg, where a man gets pregnant."Hellekson, Karen; Kristina Busse (2006). Fan Fiction and Fan Communities in the Age of the Internet: New Essays. McFarland. p. 11. ISBN 978-0-7864-2640-9.
  9. ^ Fredericks, S.C.: “Lucian's True History as SF”, Science Fiction Studies, Vol. 3, No. 1 (March 1976), pp. 49-60
  10. ^ Georgiadou, Aristoula & Larmour, David H.J in their introduction: "...Lucian's Verae Historiae ("True Histories"), a fantastic journey narrative considered the earliest surviving example of Science Fiction in the Western tradition."
  11. ^ Gunn, James E. denotes True History as "Proto-Science Fiction", p.249
  12. ^ Wayne R. Dynes, Warren Johansson, William A. Percy, Stephen Donaldson Encyclopedia of Homosexuality, Pg. 752, Garland Publishing Inc: 1990 ISBN 978-0-8240-6544-7
  13. ^ a b "Encyclopedia of Homosexuality - William A. Percy". Archived from the original on 2008-01-08.
  14. ^ Garber & Paleo, "Carmilla" p. 76
  15. ^ Lane, Ann (1997). To Herland and beyond: the life and work of Charlotte Perkins Gilman. University of Virginia Press. ISBN 0-8139-1742-5.
  16. ^ David Soyko, "Dhalgren", on-line review (2002) SFSite
  17. ^ Asimov, Isaac (1990). The Gods Themselves (reprinted ed.). Bantam Books. ISBN 9780553288100.
  18. ^ Eric Garber, Lyn Paleo Uranian Worlds: A Guide to Alternative Sexuality in Science Fiction, Fantasy, and Horror, "Preface" p. x G K Hall: 1983 ISBN 0-8161-8573-5
  19. ^ Eric Garber, Lyn Paleo Uranian Worlds: A Guide to Alternative Sexuality in Science Fiction, Fantasy, and Horror, "Joanna Russ", p 118, G K Hall: 1983 ISBN 978-0-8161-1832-8
  20. ^ "Elizabeth A Lynn". Fantastic Fiction. Retrieved 30 November 2016.
  21. ^ "Locus: Elizabeth A. Lynn: A New Spring". Locus Magazine. 1977. Retrieved 30 November 2016.
  22. ^ Inness, Sherrie A. (1998). Tough girls: women warriors and wonder women in popular culture. Published by University of Pennsylvania Press. p. 102. ISBN 978-0-8122-3466-4.
  23. ^ Holden, Rebecca J, and Nisi Shawl. Strange Matings: Science Fiction, Feminism, African American Voices, and Octavia E. Butler. Seattle, WA : Aqueduct Press, 2013.
  24. ^ Ferreira, Maria Aline. "Symbiotic Bodies and Evolutionary Tropes in the Work of Octavia Butler." Science Fiction Studies 37. 3 (November 2010): 401-415.
  25. ^ "The Magicians", Book One, Chapter "Marie Byrd Land"
  26. ^ Clute, John. "SF Novels of the Year." The Orbit Science Fiction Yearbook Two. Ed. David S. Garnett. London: Futura Books, 1989. 310.
  27. ^ Newitz, Annalee (May 6, 2008). "Environmental Fascists Fight Gun-Loving Lesbians for Alien Technology". io9. Retrieved January 19, 2016.
  28. ^ Kincaid, Paul (2007). "Carnival by Elizabeth Bear". SF Site. Retrieved January 19, 2016.
  29. ^ The freedom of a genre: Sexuality in speculative fiction, Lateral Magazine, March 2016, Issue 8

External links

Broad Universe

Broad Universe is a United States-based, all volunteer organization with the primary goal of promoting science fiction, fantasy, and horror written by women. Writers, editors, publishers, reviewers, artists, and fans are invited to join them. "Broad-minded" men are welcome to participate. The organization originated in a panel discussion at WisCon, the feminist science fiction convention in Madison, Wisconsin, in 2000.

Broad Universe created the Rapid Fire Reading with a small group of member authors who each read an excerpt from their work no more than 5 minutes long. This has been very popular at conventions. It gives more authors an opportunity to read and it gives the audience a taste of fantastic fiction from several authors instead of just one.

Broad Universe buys dealer's tables at various conventions (genre related or publishers, librarians and other conventions of use to the members.) One member benefit is the sale of their books at 0% commission by Broad Universe volunteers at conventions.

Bug Jack Barron

Bug Jack Barron is a 1969 science fiction novel by American writer Norman Spinrad. It was nominated for the 1970 Hugo awards.The book was serialised in the British New Wave science fiction magazine New Worlds during Michael Moorcock's editorship. Its explicit language and cynical attitude toward politicians, as well as the fact that the magazine was partially funded by the British Arts Council, angered British Members of Parliament. Jennie Lee, Baroness Lee of Asheridge, then head of the Arts Council, successfully defended the book. Later, it was banned by W. H. Smith, a major British chain of bookstores. Feminist typesetters at New Worlds rejected the story as sexist.

Cecilia Tan

Cecilia Tan (born April 8, 1967) is a writer, editor, sexuality activist, and founder of Circlet Press, the first press devoted primarily to erotic science fiction and fantasy. She lives in Cambridge, Massachusetts. She also writes about baseball, but is not to be confused with a writer of the same name who specializes in Asian cookbooks.

Commitment Hour

Commitment Hour is a science fiction novel by James Alan Gardner, published in 1998. The novel is set in Gardner's "League of Peoples's" futuristic universe, and plays out in the small, isolated village of Tober Cove. Set on post-apocalyptic Earth, Tober Cove most resembles a rural, seventeenth century fishing village, with one exception: every year, everyone below the age of 21 changes gender. At the age of twenty-one, the people of the village must "commit" to being male, female or both in the form of a Hermaphrodite (a 'Neut'), forever. Commitment Hour follows the day leading up to the main character's hour of commitment.

Tober Cove's society revolves around gender. Dualistic in structure, there is a matriarch and a patriarch, both of whom command equal - but different - power within the community. The patriarch is the head of the city council and the military, which also serves as the town's police force. The matriarch runs the town's health services, a vital role in a society without modern medicine. Tasks within the community are largely gender determined: men are warriors, fishermen, carpenters etc. and women are seamstresses, craft-makers, food preparers etc. Thus, in Tober Cove, choosing a gender is akin to choosing a life.

Throughout the book, the main character addresses some of the more obvious questions, and to him more silly questions people from outside the Cove ask. When asked 'which sex is better,' the main character explains that the answer varies from person to person. Of course, if being male was better, or vice versa, the population of Tober Cove would be overwhelmingly one sided. Since it wasn't, you could say that both sexes had equal advantages and disadvantages. Of course, making love to someone from Tober Cove was always better, since they knew what felt good for both sexes.

Tober Cove's religion also revolves around gender. The residents believe that the gods granted the people of their town the special privilege of choosing their sex, and that every year the gods come to collect their children and change their genders. The fact that the "gods" that descended into the town's harbor every year are stylized planes doesn't bother the residents. They simply believed that the gods used many devices as their instruments.

Tober Cove exists in a post-apocalyptic Earth. Earth is post apocalyptic in the sense that, when the "League of Peoples" offered humanity technological advance in exchange for the promise never to kill other sentient creatures, most of the population of Earth accepted and left the planet. Those who remained were those who wouldn't, or couldn't accept the League's offer. As Earth's population departed, the planet descended into chaos. The book takes place about 400 years after this great exodus, and while some technology still exists, most has fallen in ruin. Tober Cove is a small, rural, technologically undeveloped town that is unique in the galaxy.

Spark Lords rule Earth with super-advanced technology. Clad in indestructible armor, with access to the galaxy's latest gadgetry, Spark Lords maintain absolute control over Earth. Charged by the League with maintaining law and order on Earth, they content themselves with preventing major conflicts. They generally stay out of local affairs, and, to the knowledge of Cove residents, no Spark Lord has ever visited Tober Cove. Much of the plot of the novel is driven by the arrival in Tober Cove of the Science Spark Lord to observe the gender-changing ceremony.

David H. Keller

David Henry Keller (December 23, 1880 – July 13, 1966) was an American writer who worked for pulp magazines in the mid-twentieth century, in the science fiction, fantasy and horror genres. He was the first psychiatrist to write for the genre, and was most often published as David H. Keller, MD, but also known by the pseudonyms Monk Smith, Matthew Smith, Amy Worth, Henry Cecil, Cecilia Henry, and Jacobus Hubelaire.

John Clute has written, "It is clear enough that Keller's conceptual inventiveness, and his cultural gloom, are worth more attention than they have received; it is also clear that he fatally scanted the actual craft of writing, and that therefore he is likely never to be fully appreciated."

Ethan of Athos

Ethan of Athos is a 1986 science fiction novel by American author Lois McMaster Bujold. The title character is Dr. Ethan Urquhart, Chief of Biology at the Severin District Reproduction Centre on the planet Athos, who is sent to find out what happened to a shipment of vital ovarian tissue cultures. Set in the fictional universe of Bujold's Vorkosigan Saga, the novel mentions but does not feature her usual protagonist Miles Vorkosigan. To date, Bujold has never revisited the settings of Athos or Kline Station in her many subsequent novels, but the events of Ethan of Athos are later referred to indirectly in the novels Borders of Infinity (1989) and Cetaganda (1995).Bujold had written her first novel Shards of Honor and its sequel The Warrior's Apprentice — both unpublished — when she wrote Ethan of Athos, a standalone work that was purposely short "because the current cargo-cult rumor amongst the wanna-be-published back then was that editors would be more likely to read a short manuscript." All three novels were subsequently sold, and published in 1986.

Bujold named Athos, a planet founded and maintained as an exclusively male-populated colony with a planetary religion and ideology supporting this single-sex structure, after the Greek Mount Athos, which has prohibited the entry of women for religious reasons since even before the ban was officially proclaimed by the Byzantine emperor Constantine Monomachos in 1046.Ethan of Athos has been reprinted several times, and appeared in the 2001 Bujold omnibus Miles, Mystery and Mayhem alongside Cetaganda and the novella "Labyrinth". The novel was released on audio cassette in September 1999 narrated by Michael Hanson and Carol Cowan, and as a digital audiobook in March 2009 narrated by Grover Gardner.

James Tiptree Jr. Award

The James Tiptree Jr. Award is an annual literary prize for works of science fiction or fantasy that expand or explore one's understanding of gender. It was initiated in February 1991 by science fiction authors Pat Murphy and Karen Joy Fowler, subsequent to a discussion at WisCon.

In addition to the award itself, the judges publish a "Tiptree Award Honor List" that they describe as "a strong part of the award's identity and (...) used by many readers as a recommended reading list."

List of LGBT-themed speculative fiction

Many science fiction and fantasy stories involve queer characters, or otherwise represent themes that are relevant to LGBT issues and the LGBT community. This is a list of notable stories, and/or stories from notable series or anthologies, and/or by notable authors; it is not intended to be all-inclusive.

List of Lambda Literary Awards winners and nominees for science fiction, fantasy and horror

Lambda Literary Awards (also known as the "Lammys") are awarded yearly by the United States-based Lambda Literary Foundation to published works that celebrate or explore LGBT (lesbian, gay, bisexual, transgender) themes. To qualify, a book must have been published in the United States in the year current to the official year of the award; the presentation ceremony is held a year later. The Lambda Literary Foundation states that its mission is "to celebrate LGBT literature and provide resources for writers, readers, booksellers, publishers, and librarians - the whole literary community."Since their inception in 1989, awards have been given in various categories in fiction and non-fiction. The category for speculative fiction works has changed several times; from science fiction and mystery, to science fiction and fantasy, and finally to LGBT Sci-Fi, fantasy and horror. This category is open to submissions in the form of novels, novellas, short stories, collections and anthologies. Initially the genre categories were also split into gay men's and lesbian categories, but were merged in 1993. This article lists all the award nominees and winners for all the variously titled science fiction categories.

Multi-time winners of the award include Nicola Griffith (four wins), Melissa Scott (four wins), Jim Grimsley (two wins), and Stephen Pagel (two wins). Samuel R. Delany has also won the lifetime achievement award twice. Nicola Griffith holds the record for most nominations, and Perry Brass has the most nominations without winning, having been a losing finalist four times.

List of science fiction television programs

This is an inclusive list of television programs with science fiction as principal theme, or which contain at least one significant element of science fiction, even if some cross over into other genres.For television programs with fantasy, horror, mystery, paranormal, supernatural and other related themes, please see the respective genres and listings.

Science fiction films, one-time presentations, original net animation (ONA), original video animation (OVA), short films (a.k.a. shorts), serial films (a.k.a. serials) and specials must have been created specifically for or broadcast first ("first showing") on television to qualify for the purpose of this list.Films that premiered ("first presentation") on the "big screen" (theatrical release) or have been distributed direct-to-video (tape/VHS, laser disc, DVD/HD-DVD/Blu-ray, etc.) or on the internet do not belong here, even if they aired ("second presentation", rerun) at some point on a TV channel. Please see the lists of science fiction films for more details.

Nudity in American television

Nudity in American television has always been a controversial topic. Aside from a few exceptions, nudity in the United States has traditionally not been shown on terrestrial television. On the other hand, cable television has been much less constrained as far as nudity is concerned.

Reproduction and pregnancy in speculative fiction

Because speculative genres explore variants of reproduction, as well as possible futures, SF writers have often explored the social, political, technological, and biological consequences of pregnancy and reproduction.

Riders of the Purple Wage

Riders of the Purple Wage is a science fiction novella by Philip José Farmer. It appeared in Dangerous Visions, the New Wave science fiction anthology compiled by Harlan Ellison, in 1967, and won the Hugo Award for best novella in 1968, jointly with Weyr Search by Anne McCaffrey.


In Larry Niven's Ringworld novels, rishathra is "sexual practice outside one's own species but within the intelligent hominoids". It is not generally considered a taboo and is often used by the myriad hominids of the Ringworld as a way of sealing agreements, such as trade contracts and peace treaties. Humans, though not native to the Ringworld, share a common descent with the hominids of the Ringworld and may participate freely in rishathra.

Rishathra is also used as a form of birth control. Because it is impossible to impregnate a member of another species, sexual intercourse with such an individual provides sexual release without the risk of pregnancy. The issue of sexually transmitted diseases is not explored in the Ringworld novels until the last book, Ringworld's Children in which it is briefly mentioned that Ringworld STDs cannot jump the species barrier.

The (non-sentient) "Vampire" species of hominid on Ringworld uses rishathra to obtain prey. A powerful pheromone is released that brings any compatible hominid into an extreme state of arousal. The victim immediately attempts to mate with the nearest compatible hominid, usually the vampire. During this mating, the vampire gains sustenance by draining the victim's blood.

The "Ghoul" species of hominid on Ringworld are generally not permitted to "rish" with members of another species. This is due to their place in the Ringworld ecosystem as carrion eaters, specifically the dead bodies of other hominid races, a practice that while accepted by other hominids prohibits such close relations.

The "Water People" species of hominid on Ringworld are not able to rish with most other hominids due to the requirement that such activities take place underwater. Air breathers are typically not able to hold their breath for sufficient time to allow the act of sexual intercourse to take place. (This does not seem to disappoint them, however.)

Science in science fiction

Science in science fiction is the study of how science is portrayed in works of science fiction. It covers a large range of topics, since science takes on many roles in science fiction. Hard science fiction is based on engineering or the "hard" sciences (for example, physics, astronomy, or chemistry), whereas soft science fiction is based on the "soft" sciences, and especially the social sciences (anthropology, sociology, psychology, political science, and so on).

Likewise, the accuracy of the science portrayed spans a wide range - sometimes it is an extrapolation of existing technology, sometimes it is a physically realistic portrayal of a far-out technology, and sometimes it is simply a plot device that looks scientific, but has no basis in science. Examples are:

Realistic case: In 1944, the science fiction story Deadline by Cleve Cartmill depicted the atomic bomb. This technology was real, unknown to the author.

Extrapolation: Arthur C. Clarke wrote about space elevators, basically a long cable extending from the Earth's surface to geosynchronous orbit. While we cannot build one today, it violates no physical principles.

Plot device: The classic example of an unsupported plot device is faster-than-light drive. It is unsupported by physics as we know it, but needed for galaxy-wide plots with human lifespans.

Single-gender world

A relatively common motif in speculative fiction is the existence of single-gender worlds or single-sex societies. These fictional societies have long been one of the primary ways to explore implications of gender and gender-differences in science fiction and fantasy. In the fictional setting, these societies often arise due to elimination of one sex through war or natural disasters and disease. The societies may be portrayed as utopian or dystopian, as seen in pulp tales of oppressive matriarchies.

The Second Trip

The Second Trip is a 1972 science fiction novel by American writer Robert Silverberg. Prior to its publication by Doubleday, it was published in serialized form in Amazing Stories from July to September 1971.

The Story to End All Stories for Harlan Ellison’s Anthology Dangerous Visions

"The Story to End All Stories for Harlan Ellison’s Anthology Dangerous Visions" (1968) is a 117-word short story by Philip K. Dick, written as an addendum, or spiritual sequel to "Faith of Our Fathers". It is a simply written account of a decadent, dystopian, post-apocalyptic society, characterised by inter-species sex, infanticide, and cannibalism (the story can be read in its entirety below). The story is symbolic and satirical, reflecting ideas of divinity and the consequences of war, themes which figure large in the author's writing.It was first published in the science fiction fanzine Niekas, before finding its way into Dick's own The Eye of the Sibyl. The latter portion of the story's title refers to the sci-fi anthology Dangerous Visions (1967), edited by Harlan Ellison, in which "Faith of Our Fathers" first appeared. Dangerous Visions has been credited as a milestone of sex and sexuality in speculative fiction; sex is a major motif in "Stories", especially the non-mainstream, bestial, and even depraved varieties. In this sense, the sex depicted is not erotic, but horrifying.

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