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Sto caricando le informazioni... Black and Brown Planets: The Politics of Race in Science Fiction (edizione 2016)di Isiah Lavender Iii (A cura di)
Informazioni sull'operaBlack and Brown Planets: The Politics of Race in Science Fiction di Isiah Lavender III (Editor)
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"Black and Brown Planets embarks on a timely exploration of the American obsession with color in its look at the sometimes contrary intersections of politics and race in science fiction. The contributors explore science fiction worlds of possibility , lifting blacks, Latin Americans, and indigenous peoples out from the background of this historically white genre. This collections considers the role of race and ethnicity in our visions of the future. The first section emphasizes the political elements of black identity portrayed in science fiction from black America to the vast reaches of interstellar space. In the next section, analysis of indigenous science fiction addresses the effects of colonization, helps discard the emotional and psychological baggage carried from its impact, and recovers ancestral traditions in order to adapt in a pot-Native-apocalyptic world. Likewise, this section explores the affinity between science fiction and subjectivity in Latin American cultures from the role of science and industrialization to the effects of being in and moving between two cultures. By infusing more color into this otherwise monochrome genre, Black and Brown Planets imagines alternate racial galaxies in which people of color determine human destiny"-- Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)813.08762093529Literature English (North America) American fiction By type Genre fiction Adventure fiction Speculative fiction Science fiction History of American science fiction Themes and subjects Humanity Types of person Geographers and historiansClassificazione LCVotoMedia:
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Isaiah Lavender III writes about Octavia Butler’s story “The Evening and the Morning and the Night,” which is ostensibly about an illness that makes people harm themselves (and sometimes others) but he argues also serves as a metaphor for race, for example by depicting the effects that segregation has on both the healthy and the ill (driven to self-destruction). I didn’t know that Butler resisted readings of “Bloodchild” as being about masters and slaves; as Lavender points out, it is obviously “at least” about masters and slaves, as well as other things—love, coming of age, or pregnant men.
Patrick B. Sharp’s piece on Leslie Marmon Silko’s Ceremony argues that it’s actually science fiction, set in the past. By setting her story on an Indian reservation with a nuclear waste dump, he contends, Silko challenges the conventional idea that the US has yet to experience a nuclear catastrophe. Matthew Goodwin reads several narratives about Mexico/the Mexican-American border, including the film Sleep Dealer, arguing that they challenge the coloniality of the “frontier” in sf. Traditional dystopian fiction involves a privileged protagonist who loses that privilege (e.g., Orwell’s 1984 or Bradbury’s Farhrenheit 451), but the protagonists in these narratives are already “maquiladora workers, minorities, and migrant laborers.” There’s also a reprint of an older piece by Edward James, as well as his subsequent reflections on that piece (where he points out, for example, that he talked about general assumptions of sf writers when he should have added in “white”). The older piece examines sf’s common implication that racial problems have been solved, somehow, by the disappearance of minority groups. Prejudice is for rural folk, not the city of the future; aliens sometimes operate as metaphors of race without the awkward intrusion of actual nonwhites, or if nonwhites do appear they instruct us that prejudice is over. Because of this desire to promote tolerance within an assimilationist framework, James suggests, much sf is only ambiguously “about” race even as it deals with the alien. In some sense, like the economist who assumes a can opener, white American sf has posed an easier problem for itself and then tried to solve that. ( )