By Inez van der Spek
On the middle of this stimulating and provocative learn is a technology 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 booklet contains an summary of Tiptree’s paintings and of her extraordinary existence because the purely baby of jungle explorers, as a painter, an American agent in the course of and after international warfare II, an experimental psychologist, and a feminine technology fiction author in male conceal.
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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)
Consequently, the Bible has no longer a privileged and unique status. In her book on the biblical Song of Songs as well as Adrienne Rich’s Twenty-One Love Poems as sources of theology, Jonneke Bekkenkamp argues that, [t]he value of a text … depends on the function we assign to it. It is possible to read the Bible ‘as literature’ and literature ‘as Bible’, that is to say, as a spiritual authority. 9 What function do I assign to ‘A Momentary Taste of Being’, what expectations do I project on the text?
44 At the same time, however, I think that highlighting Mary Shelley’s particular role in the development of the field displays a pertinent gender awareness. In the creation of Frankenstein’s monster, the increasingly complex web of science and technology, social and cultural power relations, and the meaning of sexual difference in modernity are foreshadowed. Shelley’s 38 ALIEN PLOTS novel is written in the style of the Gothic fantasy. 45 Notwithstanding its male protagonist, the obsessions with creation, reproduction and maternity justify an understanding of Frankenstein as—among many other things—a contribution to the female Gothic.
I will pay ample attention to various theoretical perspectives on the apocalyptic orientation of science fiction. These perspectives offer a framework for the assessment of the particular, feminist apocalypse of ‘A Momentary Taste of Being’. This implies consideration of possible revisions not only of imagery of the biblical Book of Revelation, but, equally important, also of the structure of apocalyptic imagination in Tiptree’s text. In close connection to this interpretation, I seek to envisage in what ways apocalyptic thinking might and might not be a valuable feminist resource.