By Kameron Hurley
A robust number of essays on feminism, geek tradition, and a writer’s trip, from the most vital new voices in style.
The Geek Feminist Revolution is a suite of essays via double Hugo Award-winning essayist and technology fiction and delusion novelist Kameron Hurley.
The booklet collects dozens of Hurley’s essays on feminism, geek tradition, and her stories and insights as a style author, together with “We Have constantly Fought,” which gained the 2014 Hugo for most sensible similar paintings. The Geek Feminist Revolution also will function numerous solely new essays written in particular for this quantity.
Unapologetically outspoken, Hurley has contributed essays to The Atlantic, Locus, Tor.com, and in other places at the upward thrust of ladies in style, her ardour for SF/F, and the diversification of publishing.
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Extra resources for The Geek Feminist Revolution
Sample text
I understand that my work—and every other writer’s work—isn’t read in a vacuum. We have to interrogate what we’re doing and understand how it’ll be read in the wider context of things. And as much of a gut punch as it was for me to be reminded that seeing yet another gay male character thrown under the bus in service to someone else’s story hurt people, it doesn’t hurt me as much as the person who actually read it for the third, fourth, fifth time and threw it across the room because, goddammit, why the fuck does the gay guy always die?
I know women who wrote hard SF or epic fantasy who threw in the towel, or went to genres like urban fantasy or romance that were far more welcoming to women authors. I know women who shrugged and just went through buckets of male and gender-neutral pseudonyms, and then snickered at everyone behind their hands. So I’m not going to tell you to stay in this game. Instead, I’m going to tell you I know it’s hard. And I’m going to tell you why, despite that bullshit, I’m still here. * * * I was at WisCon, a big feminist SF convention, in May 2006 when Joanna Russ did what I believe was her last public interview.
As opportunities for women in geek spaces have risen, so too has the backlash. Anita Sarkeesian’s popular Tropes vs. Women in Video Games video education series about problematic depictions of women in video games raised nearly $160,000 on Kickstarter and simultaneously made her one of the largest targets of abuse on the internet—no small feat considering how vast the rage of the online beast can be. A single forum post by a spurned ex-boyfriend triggered an internet deluge of threats against game creator Zoe Quinn, which rapidly organized itself under the Gamergate hashtag, an online mob ostensibly about “ethics in gaming journalism” that primarily targeted women for harassment.
