![]() ![]() ![]() Yet a certain dead end is reached in terms of the male writer's use of sf for there is no speculative undoing of the social ills caused by patriarchy. ![]() The novel works well as narrative, and the (anti)hero is undoubtedly appealing, while Morgan's discourse is quite solid. Morgan characterizes Marsalis in this way, presenting him as the monstrous product of military engineering and complicating this monstrosity by making Carl black. Morgan uses in his novel the conventions of the detective thriller, a subgenre which usually narrates how an extremely individualistic man solves a particular case without actually correcting social injustice. Set in the same reality as his 2007 novel Black Man (published as Thirteen or Th1rte3n in the United States). Now, in Thirteen, Morgan radically reshapes and recharges science fiction yet again, with a new and unforgettable hero in Carl Marsalis: hybrid, hired gun, and a man without a country. ![]() Using the framework of masculinity studies, I argue that whereas Morgan launches a thorough attack against patriarchal masculinity through his main character, Carl Marsalis, both author and (anti)hero fail to construct an alternative. In Market Forces, he launched corporate gladiator Chris Faulkner into the brave new business of war-for-profit. Here I focus instead on the gender issues concerning masculinity raised in Black Man/ Thirteen, a novel by British writer Richard Morgan. The analysis of gender in science fiction tends to focus on women. ![]()
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