What follows is a discussion of three pieces of short steampunk fiction: “The Anachronist’s Cookbook” by Catherine M. Valente, “Machine Maid” by Margo Lanagan, and “The Steam Dancer (1896)” by Caitlin R. Kiernan. Each of these stories approaches steampunk from a decidedly feminist angle while individually representing a unique perspective on the relationship between women, technology, and their bodies.
In the introduction to “The Anachronist’s Cookbook” from the anthology Steampunk II: Steampunk Reloaded, Valente writes of steampunk: “I had so many political and intellectual issues with it that I couldn’t imagine writing a story that merrily went on its way without addressing them. Hence Jane was born, because you can’t have Victorian England without Levelers, Luddites, and angry young women.” Jane, the protagonist to whom Valente refers, is indeed an angry young woman, one of what the story refers to as a “confederation” of pickpockets who plagued Manchester, replacing the nicked goods with fiery political pamphlets. Sadly, Jane is picked up by the authorities, but she is far from defeated.
While imprisoned Jane is subjected to the sexual advances of one of the bailiffs, yet she faces the man with a bitter defiance and her body, plastered beneath her modest dress with riveting political pamphlets advocating the leveling of industrial machines and airships, becomes an agent of revolution rather than a vessel of submission. Jane’s world is one in which women have been replaced by “Programmable Home Tailors,” one in which the airships that hover above the city as “Floating Engines of Oppression,” are built on the “bruised bodies, broken knuckles, and lost limbs,” of young children; in short, Jane’s pamphlet remarks: “How wonderful is this world – for the Men who Made it.”