Baker’s narrative highlights feminist concerns of spatial and temporal displacement, alienation, and systems of representation concerned with gender and cyborgs. The chapter will focus on the novel’s protagonist, Mendoza, an immortal cyborg woman placed in sixteenth century England to breed and collect rare botanic specimens to take back to the future. This chapter will examine the first novel in this series, In The Garden of Iden (1997)1 and discuss how it may contribute to the emergent discourse of ‘cyborg’ identity and engage with current theoretical perspectives of subjectivity. Kage Baker’s ‘Company Series’, a collection of narratives that centre upon immortal cyborgs, can be examined through the lens of feminist cyborg and SF theory. Science fiction often adumbrates the social and political implications of anxieties surrounding technology and closely examines and challenges concepts of what it is to be human. As many theorists have pointed out, our technologically saturated experiences can often be read in terms of science fiction reality where the schism between fiction and reality is blurred. Within feminist cyborg theories and science fiction the cyborg can represent a shift in social and political ideas signifying the move from universal dualistic concepts to fluid and multiple notions of subjectivity.
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