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enslaved
Africans in the Americas, due to the wounds inflicted by slave masters. LaMonda Horton-Stallings describes Shori's memory loss at the beginning of Fledgling as invoking the erasure of physical and collective memory through Transatlantic slavery. At the beginning of the novel we do not know the race of the narrator, and she has forgotten about the social concept of race, which is first raised in the book when Wright asks Shori: "Ordinary sun exposure burns your skin even though you're black?" (37) Shori responds: "'I'm...' I stopped. I had been about to protest that I was brown, not black, but before I could speak, I understood what he meant." (37) This immediately triggers another memory, and Shori tells Wright, "I think I'm an experiment. I think I can withstand the sun better than... others of my kind." In this sequence the concept of human racial categories is connected with the theme of genetic experimentation and racial difference among the Ina.
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an entire Ina community from a series of attacks occurring during daylight. Culturally, her blackness symbolizes her closeness to humans, a trait that is portrayed as desirable for a proper Ina-human relationship. As Shari Evans explains, Shori's amnesia, which the Ina treat like a disability, in fact gives her an advantage. Her memory loss leads her to question her belief in the underlying arrangements forming Ina society that are normally left unchallenged. In addition, Shori must re-create her relationship to herself and her culture; this gives her an advantage, because she is able to decide what kind of Ina she will become with the support of her symbionts. Unburdened by cultural memory, Shori has the ability to choose what she wants to remember and how she wants to portray herself, using her own sense of morality.
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of her symbionts to kill
Theodora, Shori's symbiont. This attack succeeds. Thus, in addition to issuing a punishment upon the Silks, the Council must also punish Katharine Dahlman. The Silks' sons are taken from them to be adopted by other Ina families, ensuring that the Silk line will die out. Katharine Dahlman is sentenced to have her legs amputated. She refuses this punishment and attempts to kill Shori, who fights back and fatally wounds her. Katharine is killed by being decapitated and burned. After regaining consciousness, Shori decides to join the Brathwaite family and learn the ways of the Ina to create her own family.
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the
Council of Judgment ("murdering black mongrel bitch") negates the Ina's avowed difference from human prejudice and instead evoke white supremacy. These human-hating Ina, therefore, commit the equivalent of a hate-crime by destroying all of Shori's family, fueled by an ideology of racial purity and superiority that is not much different than that of Nazis or the Ku Klux Klan. As Ali Brox explains, Shori's hybridity becomes the focus of their hatred because it exposes the falsity of their claims to purity and reminds them of their past abject condition at the hands of humans.
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ending with Shori requires that he give up some of his agency. In addition, the agency of both the Ina and the humans is restricted by biological realities, as the addictive relationship created by chemicals in the Ina saliva when they bite their symbionts cannot be undone. For the Ina, this chemical bond means they need to be in constant physical contact with their symbionts. For the symbionts, it means that they are physically dependent on their Ina, as they could die if their Ina dies, and that they are bound to follow their Ina's commands.
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space of cultural uncertainty and instability" that forces Ina families such as the Silks, who suffer the delusion that there is a "pure" and "superior" Ina race, to admit they were once weak, oppressed, and killed by humans. These Ina are hostile towards Shori and interpret her hybridity as a sign of degeneracy. As Gates points out, because her body is a sign of Ina-human miscegenation "he is called at various times a dog, a dirty little nigger bitch, a murdering black mongrel bitch, and more".
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her assailants' identity. By the end of the story, Shori has conquered both her own ignorance and the speciesist discrimination that seeks to define her thanks to her personal strength and the help of her symbionts and Ina family and friends. She is ready to become a full-fledged member of Ina society. Shari Evans also notes that Shori's amnesia allows her to decide for herself, with the aid of her symbionts, what type of Ina she will become.
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her past. They eventually meet Iosif, Shori's father, who tells her the burned-out town was once her home where she had lived with her mother and sisters. They also learn that Wright and Shori's mutually beneficial relationship makes Wright Shori's symbiont. Further, Shori's dark skin is the result of a genetic modification: the Ina were experimenting to make their kind resistant to daylight. All other Ina are white-skinned.
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attractive to male Ina and also allows her to collect symbionts easily, making her kind more adaptable than the average Ina. In addition, Shori's hybridity also symbolizes an enhanced or "correct" type of mutualistic symbiosis, as she literally embodies human and Ina DNA working together. Thus, Butler connects hybridity to the survival of not just the Ina, but also of humanity. As
Pramrod Nayar contends, in
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throughout history. These Ina maintain that Ina and human must remain separate species with the Ina as the dominant partner. They consider Shori to be somehow biologically different to the rest of the Ina population, as not even belonging to the same species as them. They refuse to see the shared characteristics between Shori and the rest of the Ina; instead, they deride her because of her difference.
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symbionts. Also, symbionts often engage in same-sex and/or opposite-sex relationships with other symbionts. Further, the Ina mate in family-based groupsβa group of sisters mating with a group of brothers from a different family. An Ina household, therefore, blurs the boundaries between familial and erotic love by having its members involved with each other sexually.
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all of them, however, as symbionts become addicted to the venom of one particular Ina. The four flee to another house that Iosif owns. While at this new house during the day, they are attacked by several men with gasoline and guns. Because of the genetic enhancements made on Shori, she is awake and they are able to escape.
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mutualistic symbiosis serves to challenge the idea that the Ina are a superior species by making Ina and humans interdependent on each other. As Susana Morris explains, even though the Ina can satisfy their need for companionship, physical contact, and sexual pleasure with one another, they also must
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Additionally, Shori is portrayed as less intimidating than stereotypical vampires. As
Melissa Strong notes, Shori's diminutive size makes her seem non-threatening. Her treatment of symbionts is kind and understanding: instead of considering her symbionts as victims or pawns, Shori's relationship with
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Biological rather than supernatural, the Ina do not turn humans into vampires. They are not ruthless, threatening, predatory, intimidating, or generally antagonistic to humans. Instead, they create close-knit Ina-human communities where they cohabitate with selected humans in symbiotic relationships.
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The story opens as Shori awakens with no knowledge of who or where she is, in a cave and suffering from critical injuries. Although she is burned and has skull trauma, she kills and eats the first creature that approaches her. Eating this creature allows her to heal quickly enough to walk and explore
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Likewise, Pramrod Nayar believes that Shori's loss is what makes her the best of all possible Ina, and therefore a symbol of the future. Butler proposes that vampires should become less vampiric by attaining more human qualities such as emotional attachments and sense of community. Meanwhile, humans
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which continue to follow Shori and her growing family as they navigate their relationships and both human and Ina societies. New characters would have included additional human symbionts, the newest of whom, Darya, has a history of trauma and abuse. Possible conflicts may have included a return of
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is certainly not a perfect book. The pacing in the second half of the book is quite slow at times, and the dynamics of the Ina trial did not sustain my interest well." Reviewer Rachel Shimp claims that "Butler's sparse prose is meted out at times as painstakingly as it must feel for Shori each time
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In contrast, the symbiotic partnership between Ina and humans challenges traditional ways of thinking about agency, especially because the relationship is hierarchical, with the Ina as the masters of their symbionts. Wright, for example, begins the story as a free agent but his "happily ever after"
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is typical of Butler's work in that her protagonist's difference from the Ina norm marks her as an evolutionary step in the right direction, both in biological and in cultural terms. Biologically, her dark skin and ability to stay awake during the day allows her to save herself, her loved ones, and
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What rewrites these Ina's speciesism as racism, according to
Shaviro, is that the genes that make Shori "part human" are also the genes that make her black, as opposed to their "almost grotesquely albino" skin tone. In fact, as Shari Evans notes, the racial insult Russell Silk hurls at Shori during
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After failing to get a confession from the Silks, the Gordon family calls a
Council of Judgment on Shori's behalf. Thirteen Ina families and their symbionts come to the Gordon settlement to discuss the Silks' attack on Shori. During the council, the Silk representative, Katharine Dahlman, sends one
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Later, before Shori is able to move in with Iosif, his settlement is burned down as Shori's home was. Shori and Wright meet the only two human symbionts who survived, Celia and Brook. Shori adopts Celia and Brook as her own symbionts to save their lives. Their bonding is initially uncomfortable for
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praised Butler's ability to address controversial topics in a way that leaves the reader open to them: "he idea of an ordinary man picking up an apparent 10-year-old girl, taking her home and having sex with her is beyond the bounds of civilized behavior. Yet somehow, Butler, with her quiet, spare
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protagonist who begins with little agency and ends in charge of her life. As
Florian Bast argues, Butler's novel is a typical African American narrative where the victim of a racially motivated crime is in a quest for the truth about her former self, about the agony that she has endured, and about
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defines as "companion species" in "Encounters with
Companion Species: Entangling Dogs, Baboons, Philosophers, and Biologists". Joy Sanchez-Taylor and Shari Evans recognize it as a form of social commentary: human beings must move away from parasitic, hierarchical relationships and toward symbiosis
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is even more unusual, as she has been genetically enhanced. While the Ina are stereotypically white, as is traditional for vampires, Shori's genetic makeup includes human melanin, which renders her skin brown, a necessary trait for her kind to be able to survive exposure to the sun. Sanchez-Taylor
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Additionally, endowing Shori with a specific racial identity serves to deconstruct negative stereotypes of blackness. As a black protagonist, she becomes the vehicle through which Butler articulates the lack of Black in the vampire genre and challenges traditional notions of white males as heroes.
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is its unusual type of vampire, the result of Butler's fusion of vampire fiction with science fiction. While the Ina are simply another species coexisting with humanity, the traditional vampire's monstrosity and abnormality routinely symbolizes deviant sexuality and decadence, serves as a foil for
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While staying at Wright's uncle's cabin, Shori realizes she's in need of more blood, so she feeds on other inhabitants in the town and develops a relationship with an older woman named
Theodora. Shori and Wright return to the burned-out, abandoned village near where she woke up to learn more about
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The novel tells the story of Shori, a 53-year-old member of the Ina species, who appears to be a ten-year-old African-American girl. The Ina are nocturnal, long-lived, and derive sustenance by drinking human blood. Though they are physically superior to humans, both in strength and ability to heal
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challenges traditional expectations of sexual categorization and proposes alternative ways for individuals to relate to one another by having Ina sexual norms override human norms. Ina-human sexual relationships are polyamorous, with one Ina as the primary partner of several male and female human
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s symbiotic relationships to the Afrofuturistic feminist desire to portray liberation from current forms of hegemonic dominance. Thus, the "cooperation, interdependence, and complex understandings of power" that mutualistic symbiosis represents becomes Butler's "futurist social model, one that is
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When Shori awakes at the beginning of the novel she discovers that she is covered in scars: "My skin was scarred, badly scarred over every part of my body that I could see. The scars were broad, creased, shiny patches of mottled red-brown skin." This description recalls the scars on the bodies of
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than what is normal for the Ina as a metaphor for how the concept of race is created. Ali Brox, for example, points out that Shori is not just "made black" biologically, but also socially when Ina fixate on her difference. Thus, Shori's skin color forces her to defend herself from a hostile world
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Aside from their unusual relationships with humans, the Ina is quite ordinary. Steven Shaviro describes them as having "a culture, with laws and customs, kinship groups, a religion and ethics and a politics, and disputes and power struggles about all these thingsβjust as any group of human beings
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Likewise, humans crave intimacy with one particular Ina after they have been infected by her or his venomous bite, and may die when they lose their Ina. Butler devotes several moments in the novel to portray the discomfort this required loss of agency causes in the human symbionts. Nevertheless,
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Butler's narrative, however, shows that Shori's hybridity is, in fact, an evolutionary advantage. First, it allows her to be awake during the day, which permits her to survive multiple attacks on herself and her symbionts. Second, it makes her venom very powerful, which makes her scent extremely
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s protagonist is a genetically manipulated creature who combines Ina and human DNA. Her hybridity is perceived as a threat by Ina speciecists, who insist that the separation of Ina and human is essential to maintain the purity of the Ina species. As Ali Brox argues, Shori's existence "opens up a
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Several scholars have noted how Ina discrimination against Shori doubles as commentary on human racist practices. According to Steven Shaviro, racism is the major factor in the conflict between Shori and Ina speciesists such as the Silk family, who view humans as enemies who have annihilated Ina
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The group travels to the settlement of the Gordon family (old friends of Iosif), where they are welcomed and guarded by human symbionts during the day. The attackers also raid the settlement, but Shori and the human symbionts are able to fight back. They capture three attackers alive. The Gordon
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declared it his "book of the year", calling it " harrowing meditation on dominance, sex, addiction, miscegenation and race that completely devours the genre which gave rise to it". Butler scholar Sandra Y. Govan pronounced it "n extremely well-crafted science fiction story... engages us and is
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as a diversion after becoming overwhelmed by the grimness of her Parable series. To distract herself, she had read vampire fantasy novels, which tempted her to try writing one. As she explained in an interview with Allison Keyes, it took her a while to find the focus of the novel until a friend
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complicates normative notions of childhood as inherently innocent or devoid of sexual desire. Throughout the novel we learn that Shori is a 53 year old Ina that looks like 10 years old girl. Her petite stature is constantly articulated throughout the novel, potentially raising discomforts for
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Ultimately, Butler's inclusion of alternative sexualities serves to erode rigid hierarchies. Strong explains that the fusing of family and sexual relations destabilizes the traditional relationship between slave and master. Similarly, Susana Morris argues that, in the spirit of Afrofuturistic
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Ina bias against humans also serves as a comment on the history of human bigotry, specifically the prejudices of whites against blacks. As Sanchez-Taylor explains, "he displacement of the notion of race into a species conflict allows Butler to have a black protagonist and have a discussion of
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the Silk family, seeking revenge on Shori. Possible versions included "Asylum" or "Shadow Rise" (alternatively "Shadow Memory"). In a journal entry in December 2005, Butler wrote, "I don't want to spend the last years of my life writing Shori stories but a Shori story is what I have now."
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as a commentary on Enlightenment notions of childhood innocence and how such ideologies do not apply to Black children, and certainly not to Black girls. In other words, childhood is not a luxury Black children are bestowed. Ibrahim tells us, "The relegation of all slaves to the ranks of
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family interrogates the intruders and finds that they are the same attackers who killed Shori's parents and have been sent by the Silks, another Ina family. The Gordons suspect the attacks on Shori are motivated by disdain for the genetic experimentation that created her.
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from injury, the Ina depend on humans to survive. Their relationships are symbiotic: the Ina's venom provides a significant boost to their humans' immune systems and extends their lives up to 200 years. However, withdrawal from this venom will lead to the human's death.
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should also lose certain aspects of themselves as well, such as their vulnerability to disease and tendency to be sexually possessive. Only by losing their weak characteristics and gaining stronger ones, the human and vampire species are able to evolve and improve.
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quasi-childhood was part and parcel of the Enlightenment-era tendency to distinguish reasoning subjects from irrational beings" (320). Through this reading, Shori emerges as an exemplar of disrupting normative Enlightenment conceptualizations of 'the child'.
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suggested that what vampires wanted, besides human blood, was the ability to walk in the sun. She then decided to create vampires as a separate species and have them engineer the capacity to withstand sunlight by adding human melanin to their DNA.
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may be the least Gothic of Butler's fictions.... Butler makes unsettling demands of the reader, as always, and we must at the beginning accept as narrator and heroine a vampire whose first act is to kill and eat a man who is trying to help her."
464:: "offering the greatest possible benefit while doing the least possible harm". While in the Parable novels the purpose of partnership is to ameliorate the negative effects of beings or processes that cannot be resisted or avoided, in
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pointed out that "he vampire premise is perfectly suited to themes that Butler has been exploring since her earliest novels: interdependence, freedom and unfreedom, and the cost of human survival". Susan Salter Reynolds of the
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exciting because it invokes and riffs upon vampire myth and legend while wearing a number of masksβmurder mystery, crime novel, coming-of-age, innocence-to-experience, initiation, quest tale, and outsider/survivor novel".
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on her own. She runs into the ruins where a construction worker named Wright picks her up on the side of the road; Shori bites Wright because she finds his scent irresistible, and they begin their relationship.
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FEMSPEC: An Interdisciplinary Feminist Journal Dedicated to Critical and Creative Work in the Realms of Science Fiction, Fantasy, Magical Realism, Surrealism, Myth, Folklore, and Other Supernatural Genres
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is "openly asking whether the highest degree of agency is automatically the most desirable state of being or whether there is a higher potential for happiness in choosing a specific kind of dependence".
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doesn't just resurrect the pale trappings of vampire lore, it completely transforms them in a startlingly original story about race, family and free will." While reviewing the novel for the journal
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film series, based on a Marvel Comics character, introduced a black human-vampire superhero who can tolerate sunlight. In addition, according to scholars Joy Sanchez-Taylor and Susana M. Morris,
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she's flooded with a new memory. The slow pace of the book works with her character-in-progress, but it builds to a climax you see coming midway through. It's the only disappointing thing about
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Butler highlights the strangeness of the Ina sexual arrangements through the reactions of Shori's first symbiont, Wright. According to Melissa Strong, Wright responds to Shori's sexuality with
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explores the complexities of self-determination through its protagonist's struggle to regain control of her life and through the dependence created by Ina-human symbiosis. Shori is a typical
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Shori's memory loss becomes a metaphor for the experience of New World black subjects whose physical and cultural memory of affection and relationships have been erased or colonized.
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attentive readers as pedophilia might come to mind---particularly when she has sexual encounters with her adult human symbionts. Scholars such as Habiba Ibrahim have turned to
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In fact, as Pramrod Nayar notes, Butler creates an alternate history where humans and Ina have always coexisted in "non-hierarchic, interdependent and unified ecosystems".
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Moreover, because her blackness was conceived as an evolutionary advantage, it inverts racist notions of blackness as a biological contaminant that leads to degeneracy.
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is the first time that Butler illustrates a co-dependent relationship from the point of view of the dominating partner, unlike in previous works such as her novel
436:"I wanted thatβa home in which my symbionts enjoyed being with me and enjoyed one another and raised their children as I raised mine. That felt right, felt good."
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If we found the people who had murdered both my male and female families, I wanted to kill them, had to kill them. How else could I keep my new family safe?"
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1501:"Sonya Winton-Odamtten & Jonathan I. Kidd Score HBO Pilot Order For Series Adaptation Of Octavia Butler's 'Fledgling'; Issa Rae & J. J. Abrams To EP"
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s queer sexualities "uncouple dominance from power", so that the patriarchal hold over those marginalized is replaced by "coalition and power sharing".
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523:"That is the most unromantic declaration of love I've ever heard. Or is that what you're saying? Do you love me, Shori, or do I just taste good?"
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Milo Silk, to Shori at the Council of Judgment: "You're not Ina! ...You're not! And you have no more business at this Council than a clever dog!"
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is unique on its take on what motivates vampires, it is not the first story to have a black vampire as its protagonist. In the 1970s, the films
284:"We Ina don't handle loss as well as most humans do. It's a much rarer thing with us, and when it happens, the grief is ... almost unbearable."
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s mutualistic symbiosis to various theoretical positions. Pramrod Nayar sees it as a fictional depiction of the relationship that professor
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s plot skillfully rendered and gripping, a few reviewers described the novel as slow-paced and not very engaging. Rob Gates argues that "
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Wright, to Shori, when she commands him to seek safety for himself and the rest of her symbionts even if it means leaving her in danger:
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does". Butler even renders the Ina less than perfect in that they are prone to the intolerance and bigotry usually reserved for humans.
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novels. Such characters traditionally symbolize white masculinity; instead, Butler replaces them with a black, female main character.
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hybridity means to take on the qualities of the other race and thus becomes a "companionate species" of others in order to survive.
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creates a progressive plan by converting Ina and human into a companionate species through the adoption of qualities of the Other.
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Shaviro, Steven. "Exceeding the Human: Power and Vulnerability in Octavia Butler's Fiction." In Rebecca J. Holden and Nisi Shawl.
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745:"a captivating novel that tests the limits of 'otherness' and questions what it means to be truly human." Susanna Sturgis from
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Evans, Shari. "From 'Hierarchical Behavior' to Strategic Amnesia: Structures of Memory and Forgetting in Octavia Butler's
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Hampton, Gregory J. "Vampires and Utopia: Reading Racial and Gender Politics in the Fiction of Octavia Butler.
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Mickle, Mildred R. "The Politics of Addiction and Adaptation: Dis/ease Transmission in Octavia E. Butler's
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Many critics also praised Butler's exploration of innovative and transgressive topics and themes. The
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humanity, or is a projection of repressed sexual desire or fear of sexual or racial contamination.
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Ferreira, Maria Aline. "Symbiotic Bodies and Evolutionary Tropes in the Work of Octavia Butler."
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belongs to a flourishing tradition of Afrofuturistic black vampire fiction, as represented by
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Strange Matings: Science Fiction, Feminism, African American Voices, and Octavia E. Butler
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Strange Matings: Science Fiction, Feminism, African American Voices, and Octavia E. Butler
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idea of defying the predominantly white vampire stereotype, such as those represented in
240:, published in 2005. It was the author's final book published before her death in 2006.
1601:---. "Lost Memories: Memory as A Process of Identity in the Fiction of Octavia Butler."
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She's such a geek! : women write about science, technology & other nerdy stuff
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Reviewers also commented favorably on Butler's reinvention of the vampire figure, with
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Brox, Ali. "Every age has the vampire it needs": Octavia Butler's Vampiric Vision in
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language, helps us overcome this and many other cross-cultural hurdles in the book."
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Pickens, Theri. "'You're Supposed To Be A Tall, Handsome, Fully Grown White Man'".
352:
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Some critics view Butler's decision to endow her protagonist with a larger dose of
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1533:. Ed. Lisa A. NevΓ‘rez and Sam George. Jefferson, NC: McFarland, 2014. 56β66.
1681:
Encyclopedia of the Vampire: The Living Dead in Myth, Legend, and Popular Culture
684:
depicted a black vampire as the nemesis of white supremacists. In the 1990s, the
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Shori reflecting on the pluralistic communities created by Ina/human symbiosis:
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5313:
Never Say You Can't Survive: How to Get Through Hard Times By Making Up Stories
1545:"Constitutional Amnesia and Future Memory Science Fiction's Posthuman Vampire."
1025:"Black Girls Are From The Future: Afrofuturist Feminism In Octavia E. Butler's
4905:
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Changing Bodies in the Fiction of Octavia Butler: Slaves, Aliens, and Vampires
1353:. Ed. Conseula Francis. Jackson: University Press of Mississippi, 2010. Print.
1330:"Science Fiction Writer Octavia Butler on Race, Global Warming and Religion."
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Dissertation. University of South Florida. Tampa: USF Scholar Commons, 2014.
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intolerance without the need to partake in the history of human racism". In
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have a deep emotional connection with their symbionts in order to survive.
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5297:
Dark Matter: A Century of Speculative Fiction from the African Diaspora
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gave production a pilot order to a television adaptation of the novel.
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1550:. Ed. Bacon, Simon, and Bronk, Katarzyna. Oxford: Peter Lang AG, 2013.
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2007:
1560:
Fink, Marty. "AIDS Vampires: Reimagining Illness in Octavia Butler's
510:
fundamentally at odds with racism, sexism, and sectarian violence".
1529:
Boson, Crystal. "'Can You Blush?': Racing the Vampiric Body."
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1639:. Ed. Dana A. Williams. Columbus, OH: Ohio State UP, 2009. 62β81.
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Science Fiction/Fantasy and the Representation of Ethnic Futurity.
344:
suggests that Butler's choice in making Shori dark-skinned aligns
1709:
502:
with each other and other species. Critic Susana Morris connects
324:
before she has even learned about institutionalized hierarchies.
1660:"A New Biological Citizenship: Posthumanism In Octavia Butler's
1957:
1713:
1686:
Young, Hershini Bhana. "Performing the Abyss: Octavia Butler's
1531:
The Vampire Goes to College: Essays on Teaching with the Undead
1264:"'I won't always ask.' Complicating Agency in Octavia Butler's
968:
and Daniel Jose Older's "Phantom Overload": The Ethnic Undead."
824:
18:
186:
1608:
Lacey, Lauren J. "Octavia E. Butler On Coping With Power in
1637:
Contemporary African American Fiction: New Critical Essays
1168:
Funk the Erotic: Transaesthetics and Black Sexual Cultures
212:
5133:
The Memory Librarian: And Other Stories of Dirty Computer
1066:"The Limits of Newness: Hybridity in Octavia E. Butler's
876:
1536:
Dubey, Madhu. "Octavia Butler's Novels of Enslavement."
912:, by Octavia E. Butler. Strange Horizons. 6 March 2006.
929:
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These complications of agency, Bast argues, mean that
1674:
Journal of Literary & Cultural Disability Studies
1394:
6.2/7.1 (Fall/Winter 2005-Spring/Summer 2006): 40-43.
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Current Objectives of Postgraduate American Studies
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1170:. University of Illinois Press. pp. 131β132.
1683:. Ed. S T. Joshi. Santa Barbara: Greenwood, 2011.
958:
810:include multiple drafts for potential sequels of
4737:The Marriages Between Zones Three, Four and Five
1392:Obsidian III: Literature in the African Diaspora
1095:"Vampirism and Posthumanism in Octavia Butler's
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1285:"Any Other Age: Vampires and Oceanic Lifespans"
835:were to be executive producers of the project.
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4358:Voyage de Milord Céton dans les sept planètes
1969:
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1332:Interview by Juan Gonzalez and Amy Goodman.
729:received mostly positive feedback. Novelist
66:
454:, humans and Ina are bonded into a form of
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1202:. Seattle, WA : Aqueduct Press, 2013.
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1904:The Evening and the Morning and the Night
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4385:Man's Rights; Or, How Would You Like It?
1198:." In Rebecca J. Holden and Nisi Shawl.
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923:"Posthumous Sci-Fi: Octavia E. Butler's
664:, Butler explained that she had written
49:of all important aspects of the article.
4407:New Amazonia: A Foretaste of the Future
4377:Frankenstein; or, The Modern Prometheus
1476:10.5406/illinois/9780252040665.001.0001
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16:2005 vampire novel by Octavia E. Butler
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45:Please consider expanding the lead to
5104:When the Tiger Came Down the Mountain
367:them reflects mutuality and balance.
298:One of the most commented aspects of
7:
1130:. Seattle, WA: Aqueduct Press, 2013.
853:Charles, Ron. "Love at First Bite."
806:The Octavia E. Butler Papers at the
874:: subtle, thrilling vampire novel."
859:. Washingtonpost.com. 30 Oct. 2005.
375:Speciesism as an allegory of racism
5197:Battle of sexes in science fiction
4617:Ten Thousand Light-Years from Home
4593:The Kin of Ata Are Waiting for You
1440:Shimp, Rachel, and Laura Cassidy.
1345:Keyes, Allison. "Octavia Butler's
1166:Horton-Stallings, LaMonda (2015).
14:
5089:This Is How You Lose the Time War
1369:. 26 Nov. 2005. Web. 22 May 2015.
1351:Conversations with Octavia Butler
1336:! 11 Nov. 2005. Web. 22 May 2015.
5546:2005 LGBT-related literary works
4450:NEQUA or The Problem of the Ages
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2210:RenΓ©e Marie Gouraud d'Ablancourt
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1470:. University of Illinois Press.
1102:Notes on Contemporary Literature
23:
5531:LGBT speculative fiction novels
5496:American science fiction novels
5257:How to Suppress Women's Writing
5149:Promises Stronger Than Darkness
5097:The Empress of Salt and Fortune
1582:. Lanham, MD: Lexington, 2010.
1364:"Books of the Year (part Two)."
774:, Charles L. Crow noted that "
563:Difference as means of survival
37:may be too short to adequately
5526:LGBT-related horror literature
5111:The Future of Another Timeline
4887:Brown Girl in the Ring (novel)
4673:Houston, Houston, Do You Read?
4320:The Book of the City of Ladies
1499:White, Peter (July 28, 2021).
483:or her celebrated short story
47:provide an accessible overview
1:
5176:Gender in speculative fiction
5141:The Daughter of Doctor Moreau
5125:Dreams Bigger Than Heartbreak
4962:The Hundred Thousand Kingdoms
4839:Brightness Falls from the Air
4775:Brightness Falls from the Air
1464:Canavan, Gerry (2016-11-01).
167:352 (hardcover first edition)
5289:The Geek Feminist Revolution
5186:Women in speculative fiction
5118:Victories Greater Than Death
4863:Chroniques du pays des mères
4713:Star Songs of an Old Primate
4601:The Word for World is Forest
4288:
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1911:Bloodchild and Other Stories
1679:Pulliam, June. "Fledgling."
5516:Novels with bisexual themes
5476:2005 science fiction novels
5372:The Witch and the Chameleon
4815:The Gate to Women's Country
4759:Native Tongue (Elgin novel)
4641:The Girl Who Was Plugged In
4474:Moving the Mountain (novel)
4400:Das Maschinenalter entsteht
711:The Vampire Huntress Legend
700:, as well as by the series
339:The vampire protagonist of
5562:
4537:The Haunting of Hill House
2195:Elizabeth Burgoyne Corbett
1454:Seattle News, 9 Oct. 2006.
5241:The Language of the Night
4831:Her Smoke Rose Up Forever
4697:Up the Walls of the World
4665:Woman on the Edge of Time
4577:The Left Hand of Darkness
1944:(Mars rover landing site)
1942:Octavia E. Butler Landing
1538:Novel: A Forum on Fiction
1405:"Living the Undead Life."
1032:Women's Studies Quarterly
962:Sanchez-Taylor, Joy-Ann.
236:novel by American writer
180:(hardcover first edition)
71:
5511:Novels by Octavia Butler
5407:Our Opinions Are Correct
5393:Εoku: The Inner Chambers
5171:Feminist science fiction
5066:All the Birds in the Sky
4946:Le GoΓ»t de l'immortalitΓ©
2238:Charlotte Perkins Gilman
1985:Feminist science fiction
1575:.52.1 (Sep 2008): 74-91.
1411:, by Octavia E. Butler.
1390:, by Octavia E. Butler.
1283:Ibrahim, Habiba (2016).
997:, by Octavia E. Butler.
5541:Fiction about polyamory
5506:English-language novels
5501:American vampire novels
5491:African-American novels
5233:Aurora: Beyond Equality
4751:Memoirs of a Spacewoman
4649:The Holdfast Chronicles
4625:The Women Men Don't See
4553:Memoirs of a Spacewoman
2251:Rokeya Sakhawat Hussain
1566:Science Fiction Studies
1555:Science Fiction Studies
1413:Women's Review of Books
1349:Turns Twenty-five." In
1289:African American Review
1034:40.3/4 (2012): 146-166.
1001:. (Nov. 2006): 142-143.
782:Even though many found
747:Women's Review of Books
514:Alternative sexualities
5442:Events and conventions
5423:Sense of Gender Awards
5001:Six Months, Three Days
4879:The Fifth Sacred Thing
4466:Beatrice the Sixteenth
2437:Elisabeth Mann-Borgese
2111:Jane Wells Webb Loudon
1992:Writers by time period
1854:Parable of the Talents
1667:Modern Fiction Studies
1614:Parable Of The Talents
1543:Elber-Aviram, Hadas.
1212:Donna Haraway (2006).
591:
525:
461:Parable of the Talents
438:
383:
286:
5433:Lambda Literary Award
5367:Forerunner (magazine)
5281:We Have Always Fought
5273:To Write Like a Woman
4847:Beauty (Tepper novel)
4305:Notable works by date
4264:Benjanun Sriduangkaew
3964:Catherynne M. Valente
2597:Sally Miller Gearhart
1669:58.4 (2012): 796β817.
1624:49.4 (2008): 379β394.
1605:55.3 (2012): 262β278.
1568:37.3 (2010): 416-432.
1557:37.3 (2010): 401β415.
1540:46.3 (2013): 345β363.
1301:10.1353/afa.2016.0049
1156:19.3 (2008): 391-409.
819:Television adaptation
682:Scream Blacula Scream
649:In an interview with
631:Shori's depiction in
490:Scholars have linked
456:mutualistic symbiosis
427:Mutualistic symbiosis
351:s narrative with the
5536:American LGBT novels
5486:2005 American novels
5249:More Women of Wonder
5074:The Stars Are Legion
4986:The Alchemy of Stone
4922:Parable of the Sower
4871:The Matter of Seggri
4729:The Vampire Tapestry
4705:The Eye of the Heron
4506:Angel Island (novel)
4423:Unveiling a Parallel
3597:Justine Larbalestier
2905:Lois McMaster Bujold
2763:Chelsea Quinn Yarbro
2545:AngΓ©lica Gorodischer
2476:Françoise d'Eaubonne
2223:Mary E. Bradley Lane
1847:Parable of the Sower
1692:Studies in the Novel
1610:Parable Of The Sower
1442:"This Week's Reads."
1403:Sturgis, Susanna J.
716:Leslie Esdaile Banks
218:PS3552.U827 F47 2005
5481:2000s horror novels
5181:Single-gender world
5164:Genres and concepts
4914:Tales from Earthsea
4791:Golden Days (novel)
4767:The Handmaid's Tale
4561:When I Was Miss Dow
3764:Kelly Sue DeConnick
3697:Charlie Jane Anders
3277:Nicoletta Vallorani
2411:Alice Eleanor Jones
2279:Miriam Allen DeFord
2126:Annie Denton Cridge
1075:11.1 (2011): 27-43.
1064:Strong, Melissa J.
899:by Octavia Butler."
856:The Washington Post
764:The Washington Post
128:Seven Stories Press
78:Paperback cover of
68:
5521:2000s LGBTQ novels
5265:A Cyborg Manifesto
4994:The Method (novel)
4689:Egalia's Daughters
4529:Life, Incorporated
4498:That Only a Mother
3884:Kiini Ibura Salaam
2717:Suzy McKee Charnas
2154:Bertha von Suttner
2037:Margaret Cavendish
2013:Christine de Pizan
1919:Unexpected Stories
1694:47.2 (2015): 210+.
1676:8.1 (2014): 33β48.
1506:Deadline Hollywood
1447:2015-05-30 at the
1426:"Sweet Surrender."
1230:10.1353/con.0.0002
1023:Morris, Susana M.
999:Gothic Studies 8.2
964:"Octavia Butler's
904:2011-11-09 at the
879:. 17 January 2006.
870:"Octavia Butler's
808:Huntington Library
5463:
5462:
5217:critiques by year
5159:
5158:
5007:Ancillary Justice
4783:A Door into Ocean
4569:Aye, and Gomorrah
4545:A Wrinkle in Time
4339:The Blazing World
4300:
4299:
3297:Maureen F. McHugh
2979:L. Timmel Duchamp
2886:JoΓ«lle Wintrebert
2873:Octavia E. Butler
2855:Elizabeth A. Lynn
2571:Ursula K. Le Guin
2450:Madeleine L'Engle
2398:James Tiptree Jr.
2061:Marie-Anne Robert
1999:14thβ15th century
1951:
1950:
1864:Standalone novels
1658:Nayar, Pramod K.
1485:978-0-252-04066-5
1467:Octavia E. Butler
1429:Los Angeles Times
1424:Reynolds, Susan.
1415:January 2006: 11.
1378:Govan, Sandra Y.
1093:Nayar, Pramod K.
985:Crow, Charles L.
932:23 February 2007.
752:Los Angeles Times
702:African Immortals
698:The Gilda Stories
238:Octavia E. Butler
222:
221:
144:Publication place
97:Cover artist
91:Octavia E. Butler
64:
63:
5553:
5205:
5082:
5046:The Obelisk Gate
5030:The Fifth Season
4633:The Dispossessed
4522:
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3844:Sheree R. Thomas
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3737:Barbara Kirchner
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3537:Catherine Dufour
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3505:
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3417:Gabriela Bustelo
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3130:Joan Slonczewski
3128:
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2999:Charlotte Kerner
2997:
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2967:
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2959:Karen Joy Fowler
2957:
2956:
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2928:
2923:Dubravka UgreΕ‘iΔ
2921:
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2891:
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2809:
2803:Samuel R. Delany
2801:
2800:
2791:
2789:
2781:
2780:
2771:
2769:
2761:
2760:
2751:
2749:
2743:Gerd Brantenberg
2741:
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2728:
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2525:
2513:
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2500:
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2489:Carol Emshwiller
2487:
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2463:Marlen Haushofer
2461:
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2448:
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2322:L. Taylor Hansen
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2011:
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868:Doctorow, Cory.
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139:8 September 2005
135:Publication date
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5459:
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5428:Otherwise Award
5411:
5359:
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5355:
5353:
5347:
5319:
5225:Women of Wonder
5216:
5214:
5208:
5199:
5155:
5076:
4970:Who Fears Death
4893:
4609:When It Changed
4516:
4458:Sultana's Dream
4437:
4364:
4345:
4326:
4296:
4287:
4276:
4267:
4256:
4247:
4236:
4231:Floriane Soulas
4223:
4214:
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4204:Nadia Chonville
4196:
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3669:
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3629:
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3609:
3600:
3589:
3580:
3577:Virginia Bergin
3569:
3560:
3549:
3540:
3529:
3520:
3509:
3500:
3497:Heidrun JΓ€nchen
3489:
3480:
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3449:
3440:
3429:
3420:
3409:
3400:
3397:Nicola Griffith
3389:
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3340:
3329:
3320:
3309:
3300:
3289:
3280:
3269:
3260:
3249:
3240:
3237:Ninni Holmqvist
3229:
3220:
3209:
3200:
3192:
3190:Luce Basseterre
3182:
3173:
3162:
3153:
3142:
3133:
3122:
3109:
3100:
3089:
3080:
3069:
3060:
3057:Marleen S. Barr
3049:
3040:
3037:StΓ©phanie Nicot
3029:
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3001:
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2795:
2786:
2783:Eleanor Arnason
2775:
2766:
2755:
2746:
2735:
2722:
2709:
2700:
2697:Margaret Atwood
2689:
2676:
2668:
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2649:
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2623:
2615:
2602:
2589:
2584:Sheri S. Tepper
2576:
2563:
2550:
2537:
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2507:
2494:
2481:
2468:
2455:
2442:
2429:
2424:Shirley Jackson
2416:
2403:
2390:
2377:
2372:Leslie F. Stone
2364:
2351:
2338:
2327:
2314:
2299:
2294:Aurora Bertrana
2286:
2271:
2258:
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2230:
2215:
2202:
2187:
2174:
2159:
2146:
2139:Rhoda Broughton
2131:
2118:
2103:
2090:
2079:
2066:
2053:
2042:
2029:
2018:
2005:
1987:
1982:
1952:
1947:
1925:
1884:
1859:
1831:
1822:Adulthood Rites
1801:
1796:Seed to Harvest
1768:Mind of My Mind
1743:
1738:
1701:
1526:
1524:Further reading
1521:
1511:
1509:
1498:
1497:
1493:
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1462:
1458:
1452:Seattle Weekly.
1449:Wayback Machine
1439:
1435:
1431:. 27 Nov. 2005.
1423:
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1377:
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1328:
1324:
1282:
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1277:
1262:Bast, Florian.
1261:
1252:
1242:
1240:
1224:(1β2): 97β114.
1211:
1210:
1206:
1193:
1178:
1165:
1164:
1160:
1154:Utopian Studies
1147:
1134:
1125:
1108:
1092:
1079:
1063:
1038:
1022:
1005:
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906:Wayback Machine
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231:science fiction
203:
152:Media type
136:
117:Science fiction
82:
60:
54:
51:
44:
32:This article's
28:
17:
12:
11:
5:
5559:
5557:
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5548:
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5528:
5523:
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5483:
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5468:
5467:
5461:
5460:
5458:
5457:
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5443:
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5430:
5425:
5419:
5417:
5413:
5412:
5410:
5409:
5404:
5396:
5389:
5384:
5379:
5377:Aqueduct Press
5374:
5369:
5363:
5361:
5349:
5348:
5346:
5345:
5342:Jirel of Joiry
5339:
5334:
5327:
5325:
5321:
5320:
5318:
5317:
5309:
5301:
5293:
5285:
5277:
5269:
5261:
5253:
5245:
5237:
5229:
5220:
5218:
5210:
5209:
5207:
5206:
5194:
5188:
5183:
5178:
5173:
5167:
5165:
5161:
5160:
5157:
5156:
5154:
5153:
5145:
5137:
5129:
5121:
5115:
5107:
5101:
5093:
5085:
5070:
5062:
5056:
5050:
5042:
5034:
5026:
5022:The Automation
5018:
5010:
5004:
4998:
4990:
4982:
4974:
4966:
4958:
4950:
4942:
4934:
4930:Bu Bu Jing Xin
4926:
4918:
4910:
4901:
4899:
4895:
4894:
4892:
4891:
4883:
4875:
4867:
4859:
4855:He, She and It
4851:
4843:
4835:
4827:
4819:
4811:
4807:Rachel in Love
4803:
4799:Lilith's Brood
4795:
4787:
4779:
4771:
4763:
4755:
4747:
4741:
4733:
4725:
4717:
4709:
4701:
4693:
4685:
4681:The Female Man
4677:
4669:
4661:
4657:The Female Man
4653:
4645:
4637:
4629:
4621:
4613:
4605:
4597:
4589:
4585:And Chaos Died
4581:
4573:
4565:
4557:
4549:
4541:
4533:
4525:
4510:
4502:
4494:
4486:
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4462:
4454:
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4403:
4397:
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4363:
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4347:
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4334:
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4327:
4325:
4324:
4315:
4313:
4306:
4302:
4301:
4298:
4297:
4295:
4294:
4274:
4254:
4244:Xiran Jay Zhao
4234:
4221:
4194:
4174:
4154:
4134:
4124:Becky Chambers
4114:
4104:Theresa Hannig
4094:
4074:
4064:Amal El-Mohtar
4054:
4034:
4014:
4004:Judith C. Vogt
3994:
3984:Kameron Hurley
3974:
3954:
3944:Nnedi Okorafor
3934:
3914:
3894:
3874:
3854:
3834:
3814:
3804:Fumi Yoshinaga
3794:
3774:
3754:
3727:
3707:
3687:
3677:Annalee Newitz
3667:
3647:
3627:
3607:
3587:
3567:
3547:
3527:
3517:Tananarive Due
3507:
3487:
3467:
3447:
3427:
3407:
3387:
3377:Nalo Hopkinson
3367:
3347:
3327:
3307:
3287:
3267:
3247:
3227:
3217:Rieko Matsuura
3207:
3180:
3170:Laura J. Mixon
3160:
3140:
3120:
3117:Montse Watkins
3107:
3087:
3067:
3047:
3027:
3007:
2989:
2969:
2949:
2931:
2913:
2895:
2876:
2863:
2845:
2842:Rachel Pollack
2832:
2813:
2793:
2773:
2753:
2733:
2730:Jutta Heinrich
2720:
2707:
2687:
2674:
2656:
2629:
2613:
2600:
2587:
2574:
2561:
2548:
2535:
2518:
2505:
2492:
2479:
2466:
2453:
2440:
2427:
2414:
2401:
2388:
2375:
2362:
2359:Stella Gibbons
2349:
2335:
2333:
2329:
2328:
2326:
2325:
2311:
2310:
2297:
2283:
2282:
2269:
2255:
2254:
2241:
2227:
2226:
2213:
2199:
2198:
2185:
2171:
2170:
2167:Auguste Groner
2157:
2143:
2142:
2129:
2115:
2114:
2101:
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2019:
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2016:
2002:
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1993:
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1850:
1842:
1840:
1833:
1832:
1830:
1829:
1824:
1819:
1813:
1811:
1808:Lilith's Brood
1803:
1802:
1800:
1799:
1792:
1785:
1778:
1771:
1764:
1756:
1754:
1745:
1744:
1741:Octavia Butler
1739:
1737:
1736:
1729:
1722:
1714:
1708:
1707:
1700:
1699:External links
1697:
1696:
1695:
1690:and the Law."
1684:
1677:
1670:
1656:
1653:978-0814205761
1625:
1606:
1599:
1596:978-0739137871
1576:
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1519:
1491:
1484:
1456:
1433:
1417:
1396:
1371:
1355:
1338:
1322:
1295:(4): 313β327.
1275:
1250:
1218:Configurations
1204:
1176:
1158:
1132:
1106:
1077:
1036:
1003:
975:
934:
921:Cheuse, Alan.
914:
881:
861:
842:
840:
837:
823:In July 2021,
820:
817:
803:
800:
772:Gothic Studies
766:arguing that "
739:New York Times
723:
720:
706:Tananarive Due
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278:Vampire figure
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41:the key points
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4744:Souls (story)
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4514:Survival Ship
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4284:Vandana Singh
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4184:Akwaeke Emezi
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3904:Sabrina Calvo
3900:
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3824:N. K. Jemisin
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3637:Yumiko Shirai
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3357:Melissa Scott
3353:
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3098:
3097:Ellen Kushner
3093:
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3078:
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3053:
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3028:
3018:
3017:Leigh Kennedy
3013:
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2823:Donna Haraway
2819:
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2516:
2515:Judith Merril
2511:
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2502:Virginia Kidd
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2116:
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2107:
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2074:Mary Griffith
2070:
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2057:
2052:
2051:
2049:
2045:
2038:
2033:
2028:
2027:
2025:
2021:
2014:
2009:
2004:
2003:
2001:
1997:
1994:
1990:
1986:
1979:
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1972:
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1934:
1932:
1928:
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1916:
1913:
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1908:
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1897:Speech Sounds
1894:
1893:
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1889:Short stories
1887:
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1761:Patternmaster
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1397:
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1383:
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1362:Diaz, Junot.
1359:
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1348:
1342:
1339:
1335:
1334:Democracy Now
1331:
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826:
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769:
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748:
744:
740:
735:
732:
728:
721:
719:
717:
713:
712:
707:
703:
699:
695:
694:Jewelle Gomez
691:
687:
683:
679:
675:
670:
667:
663:
661:
660:Democracy Now
656:
652:
651:Juan Gonzalez
644:
642:
639:
634:
626:
624:
621:
616:
612:
609:
608:Bildungsroman
605:
600:
597:
590:
582:
580:
578:
572:
569:
562:
560:
555:
549:
547:
542:
539:
534:
531:
524:
521:
513:
511:
505:
500:
499:Donna Haraway
493:
488:
486:
482:
481:
476:
470:
467:
463:
462:
457:
453:
447:
444:
437:
434:
426:
424:
422:
416:
410:
403:
401:
397:
392:
389:
382:
374:
372:
368:
364:
362:
358:
357:Bram Stoker's
354:
347:
342:
337:
333:
331:
325:
322:
314:
312:
308:
304:
301:
295:
292:
285:
277:
272:
270:
266:
262:
258:
254:
250:
243:
241:
239:
235:
232:
228:
227:
217:
215:
213:LC Class
209:
205:
202:
201:Dewey Decimal
197:
194:
191:
189:
183:
179:
178:1-58322-690-7
176:
174:
170:
166:
162:
158:
154:
150:
147:United States
146:
142:
138:
132:
129:
126:
122:
118:
115:
111:
107:
103:
99:
95:
92:
89:
85:
81:
75:
70:
58:
55:February 2022
48:
42:
40:
35:
30:
26:
21:
20:
5398:
5391:
5387:Bitch Planet
5311:
5303:
5295:
5287:
5279:
5271:
5263:
5255:
5247:
5239:
5231:
5223:
5215:anthologies,
5147:
5139:
5131:
5123:
5109:
5095:
5087:
5072:
5064:
5058:
5052:
5044:
5036:
5028:
5020:
5014:Scale-Bright
5012:
4992:
4984:
4976:
4968:
4960:
4952:
4944:
4937:
4936:
4928:
4920:
4912:
4904:
4898:21st century
4885:
4877:
4869:
4861:
4853:
4845:
4837:
4829:
4821:
4813:
4805:
4797:
4789:
4781:
4773:
4765:
4757:
4749:
4735:
4727:
4719:
4711:
4703:
4695:
4687:
4679:
4671:
4663:
4655:
4647:
4639:
4631:
4623:
4615:
4607:
4599:
4591:
4583:
4575:
4567:
4559:
4551:
4543:
4535:
4527:
4512:
4504:
4496:
4488:
4480:
4472:
4464:
4456:
4448:
4442:20th century
4429:
4421:
4413:
4405:
4399:
4391:
4383:
4375:
4369:19th century
4356:
4350:18th century
4337:
4331:17th century
4318:
4312:15th century
4084:Hao Jingfang
3617:Kelly Robson
2666:Marge Piercy
2622:Nancy Bogen
2558:Kate Wilhelm
2532:Sonya Dorman
2530:(1928β2018)
2528:Kate Wilhelm
2332:20th century
2098:Mary Shelley
2084:19th century
2047:18th century
2023:17th century
1922:(collection)
1917:
1914:(collection)
1909:
1878:
1877:
1870:
1852:
1845:
1836:
1826:
1821:
1816:
1807:
1794:
1787:
1780:
1773:
1766:
1759:
1749:
1705:Google Books
1691:
1687:
1680:
1673:
1666:
1661:
1636:
1632:
1628:
1621:
1617:
1613:
1609:
1602:
1579:
1572:
1565:
1561:
1554:
1547:
1537:
1530:
1510:. Retrieved
1504:
1494:
1466:
1459:
1451:
1436:
1428:
1420:
1412:
1408:
1399:
1391:
1387:
1381:
1374:
1367:The Guardian
1366:
1358:
1350:
1346:
1341:
1333:
1325:
1292:
1288:
1278:
1270:
1265:
1241:. Retrieved
1221:
1217:
1207:
1199:
1195:
1171:
1167:
1161:
1153:
1149:
1127:
1104:41.2 (2011).
1101:
1096:
1072:
1067:
1031:
1026:
998:
994:
988:
970:
965:
924:
917:
909:
896:
893:Gates, Rob.
871:
864:
854:
822:
811:
805:
795:
790:
783:
781:
775:
771:
767:
763:
757:
751:
746:
742:
738:
736:
726:
725:
710:
701:
697:
689:
673:
671:
665:
658:
648:
637:
632:
630:
619:
617:
613:
603:
602:
595:
592:
588:
576:
573:
567:
566:
553:
550:
543:
537:
536:
529:
526:
522:
519:
503:
491:
489:
485:"Bloodchild"
479:
474:
471:
465:
459:
451:
449:
442:
439:
435:
432:
420:
417:
408:
407:
398:
394:
387:
384:
380:
369:
365:
353:Afrofuturist
345:
340:
338:
334:
329:
326:
318:
309:
305:
299:
297:
290:
287:
283:
267:
263:
259:
255:
251:
247:
225:
224:
223:
79:
52:
36:
34:lead section
5456:(2013β2017)
5454:Sad Puppies
5352:Publishers,
5200: [
5077: [
5059:Winterglass
5053:Toxoplasma
4517: [
4251: 1997
4218: 1989
4207: [
4191: 1987
4171: 1986
4164:Aline Valek
4151: 1985
4144:Tamsyn Muir
4131: 1985
4111: 1984
4091: 1984
4071: 1984
4051: 1983
4031: 1981
4011: 1981
3991: 1980
3971: 1979
3951: 1974
3931: 1974
3911: 1974
3891: 1973
3871: 1973
3864:Naomi Novik
3851: 1972
3831: 1972
3811: 1971
3791: 1970
3771: 1970
3751: 1970
3740: [
3724: 1969
3717:Lisa Yaszek
3704: 1969
3684: 1969
3664: 1968
3644: 1967
3624: 1967
3604: 1967
3584: 1966
3564: 1966
3544: 1966
3524: 1966
3504: 1964
3484: 1964
3464: 1963
3444: 1963
3437:Lola Robles
3424: 1962
3404: 1960
3384: 1960
3364: 1960
3344: 1960
3337:Neil Gaiman
3324: 1960
3317:Lucie Chenu
3304: 1959
3284: 1958
3264: 1958
3257:Mari Kotani
3244: 1958
3224: 1958
3204: 1957
3193: [
3177: 1957
3157: 1956
3150:Mary Gentle
3137: 1956
3119:(1955β2000)
3104: 1955
3084: 1955
3064: 1953
3044: 1952
3024: 1951
3005: 1950
2986: 1950
2966: 1950
2947: 1949
2941:Roz Kaveney
2929: 1949
2911: 1949
2892: 1949
2875:(1947β2006)
2861: 1946
2844:(1945β2023)
2830: 1944
2810: 1942
2790: 1942
2770: 1942
2750: 1941
2732:(1940-2021)
2719:(1939β2023)
2704: 1939
2686:(1937β2011)
2684:Joanna Russ
2672: 1936
2653: 1935
2646:Sophie Behr
2627: 1932
2612:(1931β2023)
2599:(1931β2021)
2586:(1929β2016)
2573:(1929β2018)
2547:(1928β2022)
2534:(1924β2005)
2517:(1923β1997)
2504:(1921β2003)
2491:(1921β2019)
2478:(1920β2005)
2465:(1920β1970)
2452:(1918β2007)
2439:(1918β2002)
2426:(1916β1965)
2413:(1916β1981)
2400:(1915β1987)
2387:(1911β1987)
2385:C. L. Moore
2374:(1905β1991)
2361:(1902β1989)
2348:(1900β1941)
2324:(1897β1976)
2309:(1895β1985)
2296:(1892β1974)
2281:(1888β1975)
2268:(1884β1978)
2253:(1880β1932)
2240:(1860β1935)
2225:(1844β1930)
2212:(1853β1941)
2197:(1846β1930)
2184:(1869β1954)
2182:Irene Clyde
2169:(1850β1929)
2156:(1843β1914)
2141:(1840β1920)
2128:(1825β1875)
2113:(1807β1858)
2100:(1797β1851)
2076:(1772β1846)
2063:(1705β1771)
2039:(1623β1673)
2015:(1364β1430)
1603:CLA Journal
1573:CLA Journal
833:J.J. Abrams
760:Ron Charles
655:Amy Goodman
645:Backgrounds
361:Anne Rice's
273:Main themes
100:Jon Gilbert
5470:Categories
5354:magazines,
4906:The Fresco
4415:Iola Leroy
3557:Ann Leckie
3457:Hiroe Suga
3077:Pat Murphy
2610:Fay Weldon
2560:(1928β018)
2346:Karin Boye
2307:Anna Banti
1789:Clay's Ark
1750:Patternist
1645:0814205763
1588:0739137875
1273:11 (2010).
897:Fledgling
877:BoingBoing
839:References
731:Junot Diaz
696:'s novel
620:Fledgling
604:Fledgling
552:feminism,
388:Fledgling,
206:813/.54 22
67:Fledgling
5331:L'Oiselle
4954:Choir Boy
4938:Fledgling
4490:Shambleau
3657:Sara Doke
3477:Jo Walton
2266:Rosa RosΓ
1937:Earthseed
1879:Fledgling
1782:Wild Seed
1688:Fledgling
1633:Fledgling
1618:Fledgling
1562:Fledgling
1409:Fledgling
1388:Fledgling
1382:Fledgling
1317:164371268
1309:1945-6182
1266:Fledgling
1238:144844182
1196:Fledgling
1150:Fledgling
1097:Fledgling
1068:Fledgling
1027:Fledgling
995:Fledgling
989:Fledgling
966:Fledgling
925:Fledgling
910:Fledgling
872:Fledgling
812:Fledgling
796:Fledgling
791:Fledgling
784:Fledgling
776:Fledgling
768:Fledgling
743:Fledgling
741:declared
727:Fledgling
722:Reception
690:Fledgling
674:Fledgling
666:Fledgling
638:Fledgling
633:Fledgling
627:Childhood
596:Fledgling
577:Fledgling
568:Fledgling
554:Fledgling
538:Fledgling
530:Fledgling
504:Fledgling
492:Fledgling
475:Fledgling
466:Fledgling
452:Fledgling
443:Fledgling
421:Fledgling
409:Fledgling
404:Hybridity
386:Butler,
346:Fledgling
341:Fledgling
330:Fledgling
300:Fledgling
291:Fledgling
226:Fledgling
124:Publisher
80:Fledgling
39:summarize
5360:podcasts
4721:Kindred
4291: ?
4271: ?
4044:Tang Fei
3924:Juli Zeh
1775:Survivor
1662:Fledging
1629:Survivor
1622:Critique
1512:July 28,
1445:Archived
1407:Rev. of
1386:Rev. of
993:Rev. of
908:Rev. of
902:Archived
829:Issa Rae
594:Butler,
546:biphobia
528:Butler,
441:Butler,
289:Butler,
193:58055361
157:Hardback
105:Language
5356:comics,
5213:Essays,
4978:Lavinia
4482:Herland
4233:(1989-)
4024:Nghi Vo
1930:Related
1872:Kindred
1837:Parable
1347:Kindred
1243:May 19,
802:Sequels
678:Blacula
672:Though
321:melanin
234:vampire
155:Print (
108:English
5449:Wiscon
5416:Prizes
5403:(2009)
5358:manga,
5344:(1934)
5337:Cyborg
5333:(1909)
5324:People
5316:(2021)
5308:(2006)
5300:(2000)
5292:(2016)
5284:(2013)
5276:(1995)
5268:(1984)
5260:(1983)
5252:(1979)
5244:(1979)
5236:(1976)
5228:(1975)
5193:(1982)
5191:LΓ‘adan
5152:(2023)
5144:(2022)
5136:(2022)
5128:(2022)
5120:(2021)
5114:(2021)
5106:(2020)
5100:(2020)
5092:(2019)
5084:(2018)
5069:(2018)
5061:(2017)
5055:(2017)
5049:(2016)
5041:(2015)
5033:(2015)
5025:(2014)
5017:(2014)
5009:(2013)
5003:(2011)
4997:(2009)
4989:(2008)
4981:(2008)
4973:(2010)
4965:(2010)
4957:(2005)
4949:(2005)
4941:(2005)
4933:(2005)
4925:(2003)
4917:(2001)
4909:(2000)
4890:(1998)
4882:(1993)
4874:(1993)
4866:(1992)
4858:(1991)
4850:(1991)
4842:(1990)
4834:(1990)
4826:(1989)
4818:(1988)
4810:(1987)
4802:(1987)
4794:(1987)
4786:(1986)
4778:(1985)
4770:(1985)
4762:(1984)
4754:(1983)
4746:(1982)
4740:(1980)
4732:(1980)
4724:(1979)
4716:(1978)
4708:(1978)
4700:(1978)
4692:(1977)
4684:(1977)
4676:(1976)
4668:(1976)
4660:(1975)
4652:(1974)
4644:(1974)
4636:(1974)
4628:(1973)
4620:(1973)
4612:(1972)
4604:(1972)
4596:(1971)
4588:(1970)
4580:(1969)
4572:(1967)
4564:(1966)
4556:(1962)
4548:(1962)
4540:(1959)
4532:(1955)
4524:(1951)
4509:(1949)
4501:(1948)
4493:(1933)
4485:(1915)
4477:(1911)
4469:(1909)
4461:(1905)
4453:(1900)
4434:(1899)
4431:Arqtiq
4426:(1893)
4418:(1892)
4410:(1889)
4402:(1889)
4396:(1880)
4393:Mizora
4388:(1870)
4380:(1818)
4361:(1765)
4342:(1666)
4323:(1405)
3784:Li-Cam
1839:series
1752:series
1651:
1647:(10).
1643:
1616:, and
1594:
1590:(10).
1586:
1482:
1315:
1307:
1236:
598:, 105.
583:Agency
445:, 127.
293:, 265.
87:Author
5400:Wombs
5382:Janus
5204:]
5081:]
5038:Binti
4521:]
4211:]
3744:]
3197:]
1827:Imago
1655:(13).
1598:(13).
1578:---.
1313:S2CID
1234:S2CID
787:'
686:Blade
557:'
532:, 139
507:'
495:'
412:'
349:'
229:is a
164:Pages
119:novel
113:Genre
4823:Γmes
1817:Dawn
1649:ISBN
1641:ISBN
1631:and
1592:ISBN
1584:ISBN
1514:2021
1480:ISBN
1305:ISSN
1245:2016
831:and
708:and
680:and
657:for
653:and
480:Dawn
390:238.
315:Race
244:Plot
187:OCLC
173:ISBN
1620:."
1472:doi
1297:doi
1226:doi
1152:."
930:NPR
825:HBO
762:of
714:by
704:by
450:In
359:or
5472::
5202:fr
5079:fr
4519:fr
4289:b.
4269:b.
4249:b.
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2964:b.
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2890:b.
2859:b.
2828:b.
2808:b.
2788:b.
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