Explore the vast range of titles available.

Ecohorror represents human fears about the natural world—killer plants and animals, catastrophic weather events, and disquieting encounters with the nonhuman. Its portrayals of animals, the environment, and even scientists build on popular conceptions of zoology, ecology, and the scientific process. As such, ecohorror is a genre uniquely situated to address life, art, and the dangers of scientific knowledge in the Anthropocene. Featuring new readings of the genre, Fear and Nature brings ecohorror texts and theories into conversation with other critical discourses. The chapters cover a variety of media forms, from literature and short fiction to manga, poetry, television, and film. The chronological range is equally varied, beginning in the nineteenth century with the work of Edgar Allan Poe and finishing in the twenty-first with Stephen King and Guillermo del Toro. This range highlights the significance of ecohorror as a mode. In their analyses, the contributors make explicit connections across chapters, question the limits of the genre, and address the ways in which our fears about nature intersect with those we hold about the racial, animal, and bodily “other.” A foundational text, this volume will appeal to specialists in horror studies, Gothic studies, the environmental humanities, and ecocriticism. In addition to the editors, the contributors include Kristen Angierski, Bridgitte Barclay, Marisol Cortez, Chelsea Davis, Joseph K. Heumann, Dawn Keetley, Ashley Kniss, Robin L. Murray, Brittany R. Roberts, Sharon Sharp, and Keri Stevenson.

In addition to writing science fiction, Bacïgalupï, a resident of Colorado, writes for High Country News, a magazine that emphasizes such concerns as pollution, land and water rights and usage, and responsible stewardship of the Western US environment. Furthermore, he has been repeatedly published in major science-fiction and fantasy magazines such as Fantasy & Science Fiction and Asimov's Science Fiction, has had stories anthologized in Gardner Dozois's The Year's Best Science Fiction series, has received the Theodore Sturgeon Memorial Award for best science fiction short story of the year, and has recently published his first novel (based on one of the stories in Pump Six), The Wmdup Girl (2009), which has been awarded both the Nebula and the Campbell awards and was joint winner of the Hugo award.

Only a couple of the books included in this study have protagonists that are actually old people with no invented technology or species differences to separate them from the process of ageing (Heinlein's Time Enough for Love and Elizabeth Moon's Remnant Population), - and only three of these novels include female protagonists in the oldest age range (Elizabeth Moon's Remnant Population, Bruce Sterling's Holy Fire, and Kim Stanley Robinson's 2312). [...]she remains on the planet alone after everyone else departs.

[...]Marine experts have praised the creators of Finding Nemo for doing their homework. Most animated movies for children that use animals as speaking characters approach the issue of talking animals by merely providing the central characters (animal or not) with speech and leaving the rest to their animal noises. [...]although many of these films have animal protagonists that speak, the range of speaking animals is limited to the species of the main characters (protagonist, antagonist, and sidekicks).

Feminist science fiction (SF) and feminist science studies share common concerns—the gendered perception of science and women’s place in the sciences among them—but the two fields are rarely considered together. This failure to connect the two fields may be explained in part by the ongoing divide between the sciences and the humanities; it may be further exacerbated by the ghettoization of SF within literary studies. I gather together feminist SF texts, literary theories of feminist SF, and feminist science studies in order to add to the scholarship of each individual field as well as make a case for the value of combining these fields. Building on the historical exclusion or marginalization of women in the sciences, Chapters 2 - 4 examine three major responses to the place of women in science as represented in feminist SF: rejecting science, embracing science-as-usual, and reversing power relations associated with science. In Chapter 2, I explore a radical feminist approach to the relationship between women and science, examining in particular antiscience feminist utopias and “utopian science” in feminist SF and the consequences of rejecting or radically redefining science. In Chapter 3, I consider a number of SF texts that take science seriously and that, through representations of women as scientists, attempt to challenge stereotypes about women doing science and provide new narratives for girls and women to either use as models or warnings. Chapter 4 considers what happens when the inclusion of women in science seen in Chapter 3 is combined with the critique of masculine science explored in Chapter 2, asking whether it is the person doing the science that makes a difference or the science being done that matters. In other words, can science done by women be better than (i.e., more equitable, feminist, or productive) than science done by men? The final two chapters argue that a more fruitful response to the problem of women and science involves the development of a specifically feminist science. Through readings of feminist theory and science fiction by women, Chapters 5 and 6 consider feminist science as a project to revise the definitions and expand the limits of traditional science in order to include work traditionally associated with women, challenge hierarchical and dichotomous modes of thinking, and make space for more ethical, embodied scientific practices that are not limited by identity politics. For feminist science and feminist SF to be truly effective, they cannot be limited to women's writing and women doing science but must also work to incorporate men into feminist science and SF.