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1

Butler, Octavia E. Conversations with Octavia Butler. Jackson: University Press of Mississippi, 2010.

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2

Wood, Sarah. The outsider within: Explorations of the science fiction of Octavia Estelle Butler. Birmingham: University of Central England in Birmingham, 2002.

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3

Thaler, Ingrid. Black Atlantic speculative fictions: Octavia E. Butler, Jewelle Gomez, and Nalo Hopkinson. New York: Routledge, 2009.

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4

Thaler, Ingrid. Black Atlantic speculative fictions: Octavia E. Butler, Jewelle Gomez, and Nalo Hopkinson. New York: Routledge, 2009.

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5

Thaler, Ingrid. Black Atlantic speculative fictions: Octavia E. Butler, Jewelle Gomez, and Nalo Hopkinson. New York: Routledge, 2010.

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6

Thaler, Ingrid. Black Atlantic speculative fictions: Octavia E. Butler, Jewelle Gomez, and Nalo Hopkinson. New York: Routledge, 2009.

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7

Black Atlantic speculative fictions: Octavia E. Butler, Jewelle Gomez, and Nalo Hopkinson. New York: Routledge, 2009.

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8

Japtok, Martin, and Jerry Rafiki Jenkins, eds. Human Contradictions in Octavia E. Butler's Work. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46625-1.

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9

Octavia Butler (Vgsf 10 Copy S. Orion Publishing Co, 1999.

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10

Luminescent Threads: Connections to Octavia E. Butler. Twelfth Planet Press, 2017.

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11

Changing Bodies in the Fiction of Octavia Butler. Lexington Books, 2010.

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12

Octavia E. Butler (Modern Masters of Science Fiction). University of Illinois Press, 2016.

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13

Decker, William Merrill. Geographies of Flight: Olaudah Equiano to Octavia Butler. Northwestern University Press, 2020.

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14

Decker, William Merrill. Geographies of Flight: Olaudah Equiano to Octavia Butler. Northwestern University Press, 2020.

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15

Octavia E. Butler (Modern Masters of Science Fiction). University of Illinois Press, 2016.

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16

Approaches to Teaching the Works of Octavia E. Butler. Modern Language Association of America, 2019.

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17

Stanley, Tarshia L. Approaches to Teaching the Works of Octavia E. Butler. Modern Language Association of America, 2019.

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18

Of Bodies, Communities, and Voices: Agency in Writings by Octavia Butler. Universitätsverlag Winter, 2015.

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19

Shawl, Nisi. Strange matings: Science fiction, feminism, African American voices, and Octavia E. Butler. 2013.

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20

Changing Bodies In The Fiction Of Octavia Butler Slaves Aliens And Vampires. Lexington Books, 2014.

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21

American Literature in the World: An Anthology from Anne Bradstreet to Octavia Butler. Columbia University Press, 2017.

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22

American Literature in the World: An Anthology from Anne Bradstreet to Octavia Butler. Columbia University Press, 2017.

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23

Stallings, L. H. Marvelous Stank Matter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039591.003.0005.

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This chapter reviews the importance of sacred subjectivity to various black sexual cultures. In its proposal of nonmonogamy as an alternative practice for funk's genealogy of affection, relationality, and sexuality between human and nonhuman beings, the chapter addresses M. Jacqui Alexander's question about sacred subjectivity. Using queer legal theory, debates about the marriage crisis in black communities, and cultural depictions of nonmonogamy in the science fiction of Octavia Butler and the erotica of Fiona Zedde, the chapter reveals how funk attends to alternative models of family and community to challenge the heteropatriarchal recolonization that happens with capitalism and the Western model of family.
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24

Payne, Mark. Flowers of Time. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691205946.001.0001.

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The literary lineage of postapocalyptic fiction — stories set after civilization's destruction — is a long one, spanning the biblical tale of Noah and Hesiod's Works and Days to the works of Mary Shelley, Octavia Butler, Cormac McCarthy, and many others. Traveling from antiquity to the present, this book reveals how postapocalyptic fiction differs from other genres — pastoral poetry, science fiction, and the maroon narrative — that also explore human capabilities beyond the constraints of civilization. The book places postapocalyptic fiction into conversation with such theorists as Aristotle, Jean-Jacques Rousseau, Claude Lévi-Strauss, and Carl Schmitt, illustrating how the genre functions as political theory in fictional form. It shows that rather than argue for a particular way of life, postapocalyptic literature reveals what it would be like to inhabit that life. It considers the genre's appeal in our own historical moment, contending that this fiction is the pastoral of our time. Whereas the pastoralist and the maroon could escape to real-world hills and fashion their own versions of freedom, on a fully owned and occupied Earth, only an apocalyptic event can create a space where such freedoms are feasible once again. The book looks at how fictional narratives set after the world's devastation represent new conditions and possibilities for life and humanity.
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25

Mao, Douglas. Inventions of Nemesis. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691199252.001.0001.

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Examining literary and philosophical writing about ideal societies from Greek antiquity to the present, this book offers a striking new take on utopia's fundamental project. Noting that utopian imagining has often been propelled by an angry conviction that society is badly arranged, the book argues that utopia's essential aim has not been to secure happiness, order, or material goods, but rather to establish a condition of justice in which all have what they ought to have. The book also makes the case that hostility to utopias has frequently been associated with a fear that they will transform humanity beyond recognition, doing away with the very subjects who should receive justice in a transformed world. Further, the book shows how utopian writing speaks to contemporary debates about immigration, labor, and other global justice issues. Along the way, the book connects utopia to the Greek concept of nemesis, or indignation at a wrong ordering of things, and advances fresh readings of dozens of writers and thinkers — from Plato, Thomas More, Nathaniel Hawthorne, Edward Bellamy, Charlotte Perkins Gilman, and H. G. Wells to John Rawls, Robert Nozick, Fredric Jameson, Ursula Le Guin, Octavia Butler, and Chang-Rae Lee. The book offers a vital reconsideration of what it really means to imagine an ideal society.
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26

Japtok, Martin, and Jerry Rafiki Jenkins. Human Contradictions in Octavia E. Butler's Work. Palgrave Macmillan, 2020.

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27

Octavia E. Butler's Parable of the sower. Abrams ComicArts, 2020.

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28

Ford, Sarah Gilbreath. Haunted Property. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829696.001.0001.

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At the heart of America’s slave system was the legal definition of people as property. While property ownership is a cornerstone of the American dream, the status of enslaved people supplies a contrasting American nightmare. This book considers how writers in works from 19th slave narratives to 21st century poetry employ gothic tools, such as ghosts and haunted houses, to portray the horrors of this nightmare. Out of all of slavery’s perils, the definition of people as property is the central impetus for haunting because it allows the perpetration of all of the other terrors. Property becomes the engine for the white accumulation of wealth and power fueled by the destruction of black personhood. Specters often linger, however, to claim title, and haunting can be a bid for property ownership. Through examining works by Harriet Jacobs, Hannah Crafts, Mark Twain, Herman Melville, Sherley Anne Williams, William Faulkner, Eudora Welty, Toni Morrison, Octavia Butler, and Natasha Trethewey, this study reveals how writers can use the gothic to combat legal possession with spectral possession. The book thus reimagines the southern gothic, which has too often been simply equated with the macabre or grotesque and then dismissed as regional. Instead, gothic tales of slavery are the very distillation of the anxieties about race and property located in the larger American literary tradition.
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29

Giles, Paul. The Planetary Clock. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.001.0001.

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The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into dialogue with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall) and cinema (Rohmer, Haneke, Tarantino), The Planetary Clock enlarges our understanding of global postmodernism for the twenty-first century.
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30

Mitchell, Koritha. From Slave Cabins to the White House. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043321.001.0001.

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This book argues for a new reading practice. Rather than approach art and literature from marginalized groups as examples of protest or as responses to “dominant” culture, it demonstrates the power of reading through the lens of achievement, using case studies from black expressive culture. Even while bombarded with racist and sexist violence, African Americans remain focused on defining, redefining, and pursuing success. By examining canonical examples of black women’s cultural production, this study reveals how African Americans keep each other oriented toward accomplishment through an ongoing, multivalent community conversation. Analyzing widely taught and discussed works from the 1860s to the present (via Michelle Obama’s public persona), the book traces “homemade citizenship”—the result of practices of making-oneself-at-home, practices of affirming oneself while knowing violence will answer one’s achievements and assertions of belonging. The texts examined include Harriet Jacobs’s Incidents in the Life of a Slave Girl (1861), Elizabeth Keckley’s Behind the Scenes; Or, Thirty Years a Slave and Four Years in the White House (1868), Frances E. W. Harper’s Iola Leroy (1892), Pauline Hopkins’s Contending Forces (1900), Nella Larsen’s Quicksand (1928), Zora Neale Hurston’s Their Eyes Were Watching God (1937), Lorraine Hansberry’s A Raisin in the Sun (1959), Alice Childress’s Wine in the Wilderness (1969), Octavia Butler’s Kindred (1979), Toni Morrison’s Beloved (1987), and Michelle Obama’s first lady persona. [220 of 225 words]
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