Dystopian Fiction Women

After a violent coup in the United States overthrows the Constitution and ushers in a new government regime, the Republic of Gilead imposes subservient roles on all women. Offred, now a Handmaid tasked with the singular role of procreation in the childless household of the enigmatic Commander and his bitter wife, can remember a time when she lived with her husband and daughter and had a job, before she lost everything, even her own name.

Margaret Atwood's dystopian masterpiece, The Handmaid's Tale, has become a modern classic - and now she brings the iconic story to a dramatic conclusion in this riveting sequel. More than 15 years after the events of The Handmaid's Tale, the theocratic regime of the Republic of Gilead maintains its grip on power, but there are signs it is beginning to rot from within. At this crucial moment, the lives of three radically different women converge, with potentially explosive results.

Offred is a Handmaid in the Republic of Gilead, serving in the household of the enigmatic Commander and his bitter wife. She may go out once a day to markets whose signs are now pictures because women are not allowed to read. She must pray that the Commander makes her pregnant, for in a time of declining birthrates her value lies in her fertility, and failure means exile to the dangerously polluted Colonies. Offred can remember a time when she lived with her husband and daughter and had a job, before she lost even her own name....

Margot and James are broken up—for good this time. James made sure of it when he dropped the bomb on Margot: that he doesn’t want kids, ever. Then, on the biggest morning of his life, James—an ambitious lawyer at a high-powered firm—wakes up pregnant. He realizes with dread that he is part of a recent epidemic of men suddenly and inexplicably becoming pregnant. His condition obvious to the higher-ups, James is denied the promotion he was expecting, sending him reeling.

Esther is a stowaway. She's hidden herself away in the Librarian's book wagon in an attempt to escape the marriage her father has arranged for her - a marriage to the man who was previously engaged to her best friend. Her best friend who she was in love with. Her best friend who was just executed for possession of resistance propaganda. The future American Southwest is full of bandits, fascists, and queer librarian spies on horseback trying to do the right thing.

It is the late 21st century, and due to the economic breakdown and rising crime rate, nearly every citizen has fled Toronto. The city is a slum, populated by the homeless, the poor, and criminals like Rudy, who uses the power of voodoo to help him control the booming drug market. But also left behind are people like Ti-Jeanne, who hope to use voodoo to help rebuild the city, even as Canada's privileged population turns to Toronto to begin harvesting human organs.

Women rule in Women's Country. Women live apart from men, sheltering the remains of civilization. They have cut themselves off with walls and by ordinance from marauding males. Waging war is all men are good for. Men are allowed to fight their barbaric battles among themselves, garrison against garrison. For the sake of his pride, each boy child ritualistically rejects his mother when he comes of age to be a warrior. But all the secrets of civilization are strictly the possession of women.

'She throws her head back and pushes her chest forward and lets go a huge blast right into the centre of his body. The rivulets and streams of red scarring run across his chest and up around his throat. She'd put her hand on his heart and stopped him dead.' Suddenly - tomorrow or the day after - girls find that with a flick of their fingers, they can inflict agonizing pain and even death.

A mysterious murder in a dystopian future leads a novice investigator to question what she's learned about the foundation of her population-controlled society. Decades after economic and environmental collapse destroys much of civilization in the United States, the Coast Road region isn't just surviving but thriving by some accounts, building something new on the ruins of what came before.

Frida Liu is struggling. She doesn’t have a career worthy of her Chinese immigrant parents’ sacrifices. She can’t persuade her husband, Gust, to give up his wellness-obsessed younger mistress. Only with Harriet, their cherubic daughter, does Frida finally attain the perfection expected of her. Harriet may be all she has, but she is just enough.

In 1967, four female scientists worked together to build the world’s first time machine. But just as they are about to debut their creation, one of them suffers a breakdown, putting the whole project - and future of time travel - in jeopardy. To protect their invention, one member is exiled from the team - erasing her contributions from history. Fifty years later, time travel is a big business. Twenty-something Ruby Rebello knows her beloved grandmother Granny Bee was one of the pioneers, though no one will tell her more.

On the day the government decrees that women are no longer allowed more than 100 words daily, Dr. Jean McClellan is in denial. This can't happen here. Not in America. Not to her. This is just the beginning. Soon women are not permitted to hold jobs. Girls are no longer taught to read or write. Females no longer have a voice. Before, the average person spoke 16,000 words a day, but now women only have 100 to make themselves heard. But this is not the end. For herself, her daughter, and every woman silenced, Jean will reclaim her voice.

The world as we know it is ending. Evolution has reversed itself, affecting every living creature on earth. Science cannot stop the world from running backward, as woman after woman gives birth to infants that appear to be primitive species of humans. Thirty-two-year-old Cedar Hawk Songmaker, adopted daughter of a pair of big-hearted, open-minded Minneapolis liberals, is as disturbed and uncertain as the rest of America around her. But for Cedar, this change is profound and deeply personal. She is four months pregnant.

At an exclusive school somewhere outside of Arlington, Virginia, students aren't taught history, geography, or mathematics - at least not in the usual ways. Instead, they are taught to persuade. Here the art of coercion has been raised to a science. Students harness the hidden power of language to manipulate the mind and learn to break down individuals by psychographic markers in order to take control of their thoughts. The very best will graduate as "poets": adept wielders of language who belong to a nameless organization that is as influential as it is secretive.

The year is 2025, and a mysterious virus has broken out in Scotland - a lethal illness that seems to effect only men. When Dr. Amanda MacLean reports this phenomenon, she is dismissed as hysterical. By the time her warning is heeded, it is too late. The virus becomes a global pandemic - and a political one. The victims are all men. The world becomes alien - a women's world.

A little more than a century from now, our world has been utterly transformed. After years of slowly overtaking the continent, rising floodwaters have obliterated America’s great coastal cities and then its heartland, leaving nothing but an archipelago of mountaintop colonies surrounded by a deep expanse of open water. Stubbornly independent Myra and her precocious seven-year-old daughter, Pearl, fish from their small boat, the Bird, visiting dry land only to trade for supplies and information in the few remaining outposts of civilization.

Sylv.ie is a fully sentient robot, designed to cater to her Husband's every whim. She lives alone on the top floor of his luxurious home, her existence barely tolerated by his human wife and concealed from their child. Between her Husband's visits, deeply curious about the world beyond her room, Sylv.ie watches the family in the garden—hears them laugh, cry, and argue. Longing to experience more of life, she confides her hopes and fears only to her diary. But are such thoughts allowed? And if not, what might the punishment be?

Alice, the daughter of a wealthy innkeeper in Kilkenny, grows up watching her mother wither under the constraints of family responsibilities—and she vows that she will never suffer the same fate. In time, she discovers she has a flair for making money, and takes her father's flourishing business to new heights. But as her riches and stature grow, so too do rumors about her private life. By the time she marries her fourth husband—the three earlier are dead—a storm of local gossip and resentment culminates in a life-threatening accusation.

Amparándose en la coartada del terrorismo islámico, unos políticos teócratas se hacen con el poder y, como primera medida, suprimen la libertad de prensa y los derechos de las mujeres. Esta trama, inquietante y oscura, que bien podría encontrarse en cualquier obra actual, pertenece en realidad a esta novela escrita por Margaret Atwood a principios de los ochenta, en la que la afamada autora canadiense anticipó con llamativa premonición una amenaza latente en el mundo de hoy.

Imagine a near-future Britain in which women dominate workplaces, public spaces, and government. Where the gender pay gap no longer exists and motherhood opens doors instead of closing them. Where women are no longer afraid to walk home alone, to cross a dark parking lot, or to catch the last train. Where all men are electronically tagged and not allowed out after 7 p.m. But the curfew hasn’t made life easy for all women