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Swastika Night
In a "feudal Europe seven centuries into post-Hitlerian society, Burdekin's novel explores the connection between gender and political power and anticipates modern feminist science fiction."--Cover.
The End of this Day's Business
A A A Written in 1935 but never published until now, this novel depicts a world ruled by women some 4,000 years into the future. Men live alone and rear boys in a cheerful atmosphere of sports, physical labor, and healthy sexuality, but without the consciousness of anxiety or knowledge of history claimed by women. The plot of the novel described by Choice as "a forgotten masterpiece", turns on the desire of one woman to teach her son about the past. Risking their lives, she tells the story of the rise of fascism and the subsequent world transformation as life-loving women took over from death-lovign men. "Burdekin's novel is one of the few serious role-reversal utopias we have. I read it in one sitting." - Joanna Russ , author of The Female Man
The End of This Day's Business
Set more than four thousand years in the future, The End of This Day's Business depicts a truly utopian way of life, a global society in which distinct national cultures are preserved but coexist without competitive nationalism, violence, or war. Women, characterised as the reasonable sex in this society, care for the earth and all it's creatures. Only one price must be paid for this harmony. It is the subjection of men, who, stripped of their history and deprived of any knowledge of women's sacred rights, complacently accept their 'natural' inferiority. The plot turns on the desire of one woman, Grania, an artist and leader, to teacher her son what is forbidden for men to know. Risking both their lives, she tells the story of when men dominated, especially of the twentieth-century rise of fascism, and the subsequent world transformation as life-loving women took over from death-loving men.
Proud Man
Originally published in England in 1934, this searing, still timely novel offers and incisive critique of the sexual politics and militarism of England, and the West as a whole. Proud Man is told from the perspective of a "Genuine Person" who has been thrown back in time thousands of years from a peaceful future society. The Genuine Person comes from a people that are androgynous, self-fertilizing, and vegetarian; they live without a national government and artificial social divisions of gender and class. Taking on first female, then male form, the "Genuine Person" confronts the deeply troubled reality of England in the 1930s, still battered after one World War and on the road to another.
Proud Man
   Originally published in England in 1934, this searing, timely novel offers and incisive critique of the sexual politics and militarism of England, and the West as a whole, in the post-World War I years. The novel is told from the perspective of a "Genuine Person" who has been hurtled thousands of years back in time from a future society whose citizens are peaceful, androgynous, self-fertilizing, vegetarian, and without national government and artificial social divisions of gender and class. Taking on first female, then male form, the Genuine Person confronts the reality of England in the 1930s: a society deeply troubled by fascism, the aftermath of war, gender and class divisions, r...
Desire and Empathy in Twentieth-Century Dystopian Fiction
This book assesses key works of twentieth-century dystopian fiction, including Katharine Burdekin’s Swastika Night, George Orwell’s Nineteen Eighty-Four, and Margaret Atwood’s The Handmaid’s Tale, to demonstrate that the major authors of this genre locate empathy and morality in eroticism. Taken together, these books delineate a subset of politically conscious speculative literature, which can be understood collectively as projected political fiction. While Thomas Horan addresses problematic aspects of this subgenre, particularly sexist and racist stereotypes, he also highlights how some of these texts locate social responsibility in queer and other non-heteronormative sexual relationships. In these novels, even when the illicit relationship itself is truncated, sexual desire fosters hope and community.
Virginia Woolf: Writing the World
Addresses such themes as the creation of worlds through literary writing, Woolf’s reception as a world writer, world wars and the centenary of the First World War, and natural worlds in Woolf’s writings.
Modern Dystopian Fiction and Political Thought
Over the past few years, ‘dystopia’ has become a word with increasing cultural currency. This volume argues that we live in dystopian times, and more specifically that a genre of fiction called "dystopia" has, above others, achieved symbolic cultural value in representing fears and anxieties about the future. As such, dystopian fictions do not merely mirror what is happening in the world: in becoming such a ready referent for discussions about such varied topics as governance, popular culture, security, structural discrimination, environmental disasters and beyond, the narrative conventions and generic tropes of dystopian fiction affect the ways in which we grapple with contemporary poli...
Where No Man Has Gone Before
How do women writers use science fiction to challenge assumptions about the genre and its representations of women? To what extent is the increasing number of women writing science fiction reformulating the expectations of readers and critics? From Mary Shelley onwards, women writers have played a central role in the shaping and reshaping of this genre, irrespective of its undeniably patriarchal image. Essays on the work of writers such as Doris Lessing and Ursula Le Guin, Katherine Burdekin, C. L. Moor, Suzette Elgin, Gwyneth Jones, Maureen Duffy and Josephine Saxton demonstrate that science fiction remains as particularly well-suited to the exploration of woman as 'alien' or 'other' in our culture today, as it was with the publication of Frankenstein in 1818.
