Books like Worlds apart by Carl Darryl Malmgren

Isaac Asimov’s "Gold" collects a final set of science‑fiction short stories, reflective essays on the genre, and insights into the craft of writing, offering a definitive look at his 50‑year career.

A work of science‑fiction literature that examines the concept of time travel, the fourth dimension, and related theoretical issues.

The best fiction has always been a little…dangerous. For centuries, authors have used the veil of fiction to cast a critical eye toward the larger society around them: think of Emile Zola, Victor Hugo, Issac Asimov, Margaret Atwood, Aldous Huxley, J.R.R. Tolkien, H.G. Wells, Mary Shelley, and beyond. And now, for the first time, some of the biggest names in contemporary fiction discuss the endless possibilities of the world of fiction with a specific focus on anarchist politics. In a series of interviews with SteamPunk Magazine founder Margaret Killjoy, Ursula K. Le Guin, Alan Moore, Lewis Shiner, Starhawk, Derrick Jensen, Cristy C. Road, Michael Moorcock, and a variety of other up-and-coming young writers reflect on the ways in which their personal politics have shaped their work. Plus, a fantastic introduction by best-selling sci-fi author Kim Stanley Robinson! (Source: [AK Press](https://web.archive.org/web/20120309081802/http://akpress.org/2009/items/mythmakersandlawbreakers))

The surprising and controversial thesis of Feminist Fabulation is unflinching: the postmodern canon has systematically excluded a wide range of important women's writing by dismissing it as genre fiction. Marleen Barr issues an urgent call for a corrective, for the recognition of a new meta- or supergenre of contemporary writing - feminist fabulation - which includes both acclaimed mainstream works and works which today's critics consistently denigrate or ignore. In its investigation of the relationship between women writers and postmodern fiction in terms of outer space and canonical space, Feminist Fabulation is a pioneer vehicle built to explore postmodernism in terms of female literary spaces which have something to do with real-world women. Branding the postmodern canon as a masculinist utopia and a nowhere for feminists, Barr offers the stunning argument that feminist science fiction is not science fiction at all but is really metafiction about patriarchal fiction. Barr's concern is directed every bit as much toward contemporary feminist critics as it is toward patriarchy. Rather than trying to reclaim lost feminist writers of the past, she suggests, feminist criticism should concentrate on reclaiming the present's lost fabulative feminist writers, writers steeped in nonpatriarchal definitions of reality who can guide us into another order of world altogether. Barr offers very specific plans for new structures that will benefit women, feminist theory, postmodern theory, and science fiction theory alike. Feminist fabulation calls for a new understanding which enables the canon to accommodate feminist difference and emphasizes that the literature called "feminist SF" is an important site of postmodern feminist difference. Barr forces the reader to rethink the whole country club of postmodernism, not just its membership list - and in so doing provides a discourse of this century worthy of a prominent reading by all scholars, feminists, writers, and literary theorists and critics.

Joanna Russ’s essays trace the intersections of science fiction, fantasy, and feminism, exploring gender, authorship, and popular culture from classic authors to contemporary critiques.