In Fiction
In Gore Vidal's ironic dystopia, "Messiah", a new death-worshiping religion sweeps the world and wipes out Christianity. Yet at the conclusion of the book, a woman named Iris, who was among the new religion's founders, starts to be worshiped as a new manifestation of the Mother Goddess, although there was no such concept when the religion was founded. Vidal's point was clearly to show that worship of the Mother Goddess is an immemorial institute and it would find a manifestation within whatever religion emerges.
In Robert Graves' 1949 novel, Seven Days in New Crete, a mother goddess is central to the religion of a quasi-matriarchal future society.
The Mother Goddess is referred to throughout the novel, The Mists of Avalon, by Marion Zimmer Bradley.
In the 2009 movie, Avatar, the indigenous species at the center of the drama, the Na'vi, worship a mother goddess called Eywa.
In the 2009 video game, Shin Megami Tensei: Strange Journey, a goddess known as Mem Aleph wishes to restore the Earth to its ancient worship of mother goddesses, and is opposed by the patriarchal Law faction.
In the universe of Warhammer 40000, there is the cult of the Great Sky Mother. The problem is that this cult worships an intergalactic Hive mind. And the name that the rest of the inhabitants of the galaxy give to this cult is genestealer cult.
Read more about this topic: Mother Goddess
Famous quotes containing the word fiction:
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“To value the tradition of, and the discipline required for, the craft of fiction seems today pointless. The real Arcadia is a lonely, mountainous plateau, overbouldered and strewn with the skulls of sheep slain for vellum and old bitten pinions that tried to be quills. It’s forty rough miles by mule from Athens, a city where there’s a fair, a movie house, cotton candy.”
—Alexander Theroux (b. 1940)