Fantastic fictions are omnipresent in mass media in the twentyfirst century and cannot be considered part of a niche audience. As the success of the Marvel Cinematic Universe and the Game of Thrones (2011–2019) television series demonstrate, audiences have a hunger for these genres. Detractors of superhero narratives and other fantasy texts argue that they romanticize violence, present simplistic moral binaries, and offer limited character development. Such arguments are common reductive critiques of popular fiction as adhering to a set of narrow genre conventions, setting such works apart from so-called literary fiction. The irony, of course, is that fantasy and science fiction writers have imagined spectacularly innovative worlds, although the most radical texts have not traditionally been embraced by Hollywood. Or if they are produced, their more challenging ideological concepts do not make it through the process of adaptation. Periodically, I read that science fiction writer Octavia Butler’s works will soon be adapted for television or film, but she is a perfect example of a writer who offers such ideologically transgressive and complex texts that it is hard to imagine the most interesting concepts of her work remaining intact after adaptation. Take, for example, Butler’s last novel, Fledgling (2005), which features a 53-year-old vampire who must recover her memories after a brutal assault. She eventually discovers that other vampires attacked her family because she was genetically engineered to be black and more resistant to the sun. Her enemies were concerned about the greater advantages she would have as a vampire who could function better in the daylight. Like Butler’s other protagonists, Shori strategizes to gain power through alliances and alternative family structures. She binds people

中文翻译：

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不可言说的投机，口语

奇幻小说在二十一世纪的大众媒体中无处不在，不能被视为小众受众的一部分。正如漫威电影宇宙和权力的游戏（2011-2019）电视连续剧的成功所证明的那样，观众对这些类型有一种渴望。超级英雄叙事和其他幻想文本的批评者认为，它们将暴力浪漫化，呈现简单的道德二元论，并提供有限的角色发展。这样的论点是对流行小说的常见还原批评，因为它坚持一套狭窄的体裁惯例，将这些作品与所谓的文学小说区分开来。当然，具有讽刺意味的是，奇幻和科幻小说作家们想象了非常创新的世界，尽管最激进的文本传统上并没有被好莱坞所接受。或者如果它们被生产出来，他们更具挑战性的意识形态概念并没有通过适应的过程。我定期读到科幻作家奥克塔维亚·巴特勒的作品很快就会被改编成电视或电影，但她是一个完美的例子，她提供了如此具有意识形态上的越界和复杂的文本，以至于很难想象她作品中最有趣的概念适应后保持原状。例如，巴特勒的最后一部小说《初出茅庐》（2005 年）讲述了一个 53 岁的吸血鬼必须在遭到残酷袭击后恢复记忆的故事。她最终发现其他吸血鬼袭击了她的家人，因为她被基因改造为黑色，更能抵抗阳光。她的敌人担心她作为吸血鬼能够在白天更好地发挥作用会带来更大的优势。与巴特勒的其他主角一样，Shori 制定战略以通过联盟和替代家庭结构获得权力。她捆绑人