HERSTORY MONTH
Radical Utopias of the 20th century: Anti-authoritarian Perspectives in Feminist Science Fiction

Andriana Kossiva
MASTERS THESIS

Feminist science fiction as a literary sub-genre emerged in the 1960s, next to the development of radical feminism as a political theory, and was clearly influenced by it. At the same time, in an era when gender equality has been only ostensibly attained, and when social and political organization continue to be based upon patriarchal structures, feminism remains relevant. In the framework of the present, where patriarchy remains a fundamental basis for social and political organization, reinforced by capitalism (as an economic as well as a political system), the reconsideration and in-depth examination of works of feminist science fiction that not only criticize the patriarchal/ capitalist system, but also elaborate on alternative forms of organization (such as the novels discussed in this paper), continue to be meaningful.

This thesis explores the relationships between science fiction, radical feminism, and social transformation through an analysis of feminist science fiction novels by Marge Piercy, Monique Wittig and Ursula Le Guin – works that also draw connections to radical feminism. The particular novels were chosen because, as argued by this thesis, they embrace anti-authoritarian perspectives through utopian and dystopian tensions incorporating an understanding of utopia as both a literary mode and a form of social struggle, which involves gender liberation, class struggle and the abolition of hierarchical and capitalist structures. The tensions between the contemporary reality and the utopian vision involve the likelihood of a dystopian future; social transformations on a collective level so as to evade the possibility of a dystopian future; and the need to radically change intersubjective relations in order to attain a eutopian future.

The argument this thesis seeks to demonstrate is that feminist science fiction provides a meaningful context to both criticize the existing patriarchal/ capitalist system, but also to envision alternative forms of organization that are based on autonomy and collectivity. The rethinking of gender identities, the elimination of class divisions, and the complete rejection of discrimination play a vital role towards this direction. At the same time, works of feminist science fiction establish a dialectical relationship with the reader, engaging her/him not only in a critique of the contemporary structures of organization, but also in a critique of the utopian texts’ own structures, and demanding from her/him to take political decisions regarding her/his own position towards her/his contemporary social, political, and economic system. This argument is analyzed in the following manner:

Chapter One examines linguistic utopias in feminist science fiction, looking at works by Monique Wittig and Ursula Le Guin, as well as Marge Piercy’s Woman on the Edge of Time. What is argued in this chapter is that language is yet another system (a system of communication), which is based on patriarchal structures. Language has been developed in the patriarchal context of ‘Logos’ and thus, it contains and also promotes patriarchal believes, ideas, and stereotypes. Feminist science fiction exposes the inherently phallogocentric structures of language, but it also endeavors to reconstruct language as a tool towards gender liberation. Language as ‘écriture feminine’ engages repressed female voices, giving space to ‘otherness,’ to a multiplicity of othernesses, and thus undermining the idea that woman is merely ‘not man’ and rejecting all stereotypes imposed by patriarchal order. Écriture feminine has been long discussed with respect to canonical francophone literature, but rarely in relation to feminist science fiction, which is what this chapter attempts to do.

Chapter Two reflects on the potential of anarchist (e)utopias and the problematic of the capitalist state (as a dystopia) in feminist science fiction, particularly in Ursula Le Guin’s The Dispossessed and Marge Piercy’s Woman on the Edge of Time. In the term ‘anarchist (e)utopias’ ‘e’ is put in parentheses with the purpose of raising the question whether such depictions constitute eutopias (a Greek word translated as “good places”) or utopias (again a Greek word translated as “no places”). The argument this chapter seeks to make is that feminist science fiction depicts ‘utopias’ and ‘dystopias’ in situations of mutual tension, so as to produce a critique of the dystopic capitalist system, and so as to open the way towards envisioning alternative, non-hierarchical forms of social, and political organization. Moreover, this chapter seeks to demonstrate that feminist utopias are in essence critical utopias, in Moylan’s terms, since they constitute a better alternative to the contemporary society, but they are not devoid of difficulties.

Finally, Chapter Three considers the relationship between feminist science fiction and cyberpunk dystopias and its dynamics, and examines Marge Piercy’s He, She and It in an attempt to demonstrate that the adoption of cyberpunk dystopias by feminist science fiction has opened up the space for a political critique of capitalism through critical dystopias. Moreover, it reflects on the notion of the cyborg, endeavoring to reveal its radical (and) feminist dynamics.