![]() ![]() Although we are undoubtedly too wise and/or jaded now to believe in the kinds of women-led utopias depicted in such feminist classics as Charlotte Perkins Gilman’s Herland or Marge Piercy’s Woman on the Edge of Time, The Power felt as though it skipped too quickly over the possibilities for difference, let alone betterment, and slid straight into a repeat of all the problems we have now, just sex-swapped. If there was a flaw in the book it was that – to use a literary term – things went to shit too quickly. It doesn’t work quite so well on screen, where it feels like we are hopping endlessly about but, given that we don’t get to grips with what is going on until the third episode, moving ponderously slowly towards each revelation at the same time. There is time and detail enough to let the reader invest in each one. The Power envisions a world in which all women worldwide are suddenly capable of wielding incredible Power at their fingertips. ‘I should have called,’ says Margot, ‘as soon as it started. Jocelyn is on her bed, legs stretched out. Margot closes the door of the bedroom softly. The novel was inspired by the long history of feminist science fiction and dystopian fiction. Read an extract from Naomi Aldermans The Power, winner of the 2017 Baileys Womens Prize for Fiction. ![]() In the book, this large cast is masterfully assembled and controlled by Alderman. 'The Power' is a contemporary novel published in 2016 by English author Naomi Alderman. ![]()
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