Akademik Veri Yönetim Sistemi
BAKEA 9th International Western Cultural and Literary Studies Symposium, Konya, Türkiye, 15 - 17 Eylül 2025, ss.199, (Özet Bildiri)
Ursula K. Le Guin’s speculative fiction The Left Hand of Darkness (1969) operates at the intersection of feminism and a poststructuralist critique of capitalism and fascism, offering a literary model of resistance to rigid identity, centralized authority, and systemic repression. Written in the wake of global political upheavals and the revolutionary fervor of the time, the novel resonates with the radical theoretical energies found in Deleuze and Guattari’s AntiOedipus (1972). As Holland notes in his introduction to Anti-Oedipus, the work was born of revolutionary desire—a desire to dismantle centralized authority and psychoanalytic repression. This same spirit animates Le Guin’s imagined world of Gethen, where gender is not fixed but fluid, and where identity resists stable categorization. Through the lens of schizoanalysis, Le Guin’s novel can be read as a literary desiring-machine: a speculative system that does not merely represent desire but actively produces and models it in anti-Oedipal, non-linear, and non-binary terms. Gethenian androgyny and the novel’s fractured narrative structure serve as processes of deterritorialization, echoing Deleuze and Guattari’s vision of the “schizophrenic” as a revolutionary figure who subverts all fixed meanings. In this way, The Left Hand of Darkness performs what Marx described as capitalism’s own paradoxical drive—“all that is solid melts into air”—but redirects it through a liberatory reimagining of social and bodily arrangements. This study argues that Le Guin’s speculative fiction embodies a schizoid form of revolutionary production: a text that both critiques systemic totalities and enacts the fluid multiplicities that poststructuralism theorizes and desires.