moment of vision or revelation, orgasm, manic ecstasy, and the aesthetic experience.” Cixous proposes that the androgyny’s function has “the potential to fulfill other bisexuality: which involves true unification in the sense that neither gender identity is excluded or differences are explored rather than annulled” (Fayad n.p.). These different definitions of androgyny suggests that the center of the utopian concern of feminist science fiction writers “is in modifying sex roles to allow for full human development of each individual person” (Annas n.p).

Combination of utopia, androgyny and science fiction created new alternatives because the writers were “no longer really [interested] in the gadget, or the size of the universe, or the laws of robotics, or the destiny of social classes, or anything describable in quantitative, or mechanical, or objective terms . . . Their subject is the subject, that which cannot be other than subject: ourselves” (Le Guin, “Mrs Brown” 105). In these works, societies are constructed as being in process, “straining to come into being and open to change” (157). As Ursula K. Le Guin puts it in Dancing at the Edge of the World: Thoughts on Words, Women, Places, science fiction opened a new universe for women:

Judith Butler believes that gender is not only a construct, but something that is performed (Butler 34). Although, the Gethenians do not actively perform a gender, their actions are representative of one gender that is variable