Society Marches On: Difference between revisions

* In ''[[Piers Anthony|Omnivore]]'', most of the melodrama pivots on Aquilon being torn between her feelings for Cal and Veg, her colleagues on a far-future space mission. It's blatantly obvious that [[Polyamory]] would be an acceptable solution for all three of them, yet she's too afraid of looking like a slut to become sexually involved with either man, let alone both. Maybe that's how scifi readers felt about things in 1968, but now it just seems like prudish [[Wangst]].

* Arguably averted in ''[[Atlas Shrugged]].'' While the time frame the book takes place in is deliberately vague (it seems to [[The Fifties]] with some sci-fi inventions, like Rearden Metal), the main character is a powerful career woman who courts and has sex out of wedlock with three different men—and holds this up as a sign of her empowerment, rather than something to be stigmatized by. On the flip side, the two housewives of the story have a decidedly anti-Fifties portrayal. Lillian Rearden is portrayed as a nagging parasite who tries (and initially succeeds) to control her husband with sex and is ultimately much worse off for relying on her husband's wealth than if she had forged her own way. Cherryl Taggart is shown to only be a valuable commodity to one of the antagonists when she stays docile and uninformed—her steady gain of savvy shows her become an empowered figure who her husband agonizes over being unable to control any longer. All three are quite the far cry from the docile housewife common in [[The Fifties]] fiction.

 

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