Though not often discussed as such, Gore Vidal's Myra Breckinridge (1968) is a work of queer utopianism. Myra herself is an entrancing figure—a self-created goddess who is determined to save humanity by abolishing gender itself. That her efforts ultimately fail is a testament to the queerness of her utopianism. Using Lee Edelman's discussion of “reproductive futurism” and José Esteban Muñoz's insights into the queerness of utopianism, this article analyzes the ways in which Myra Breckinridge channels both hopeful and destructive urges as a way of imagining a counter-narrative to the human catastrophe represented by the atomic bomb and the threat of overpopulation.

You do not currently have access to this content.