The Brilliance of James Tiptree, Jr. (or as she was born, Alice Sheldon)

Found on outofeverywhere.wordpress.com

This is a collection of stories by Tiptree, collected before Tiptree was discovered to be a woman. The introduction by Robert Silverberg is almost comical, especially when he defends the questioned masculinity of Tiptree: "There is something ineluctably masculine about Tiptree's writing. I don't think the novels of Jane Austen could have been written by a man, nor the stories of Ernest Hemingway by a woman, and the same way I believe the author of James Tiptree stories is male" (xii). Silverberg's supposition calls into question the definition of male and female writing. If in his mind Austen is the quintessential female writer and Hemingway the male, then his radar concerning the gender of authors is seriously misguided, more notably when he compares Tiptree to Hemingway. Silverberg manages to unknowingly pen several sexist claims, like Tiptree must be male because he talks about things like fishing, hunting, travelling, and the government with such authority. Reading the introduction reminded me of LeGuin's article "The Carrier Bag of Fiction", where she talks about the origins of what is intrinsically human, and it turns out not to be violent (and supposed) male tendencies, but the ability to gather, (a supposed) female tendency. It seems as if Silverberg is trying to legitimize Tiptree's place in science fiction by insisting on Tiptree's maleness, as if the possibility of Tiptree's womanhood would do the opposite.

There are two short stories I read in the collection, starting with “The Girl Who Was Plugged In”. If anything, the story takes place in both a utopia and dystopia. The world as laid out by Tiptree has outlawed advertising. It was deemed immoral, and word of mouth is the only way companies have of getting their products sold. That’s where J. Burke comes in. She’s described as ugly, but company execs have their own ideas on how to make her pretty. After she attempts suicide, they know she is desperate enough to accept their offer: to plug her brainwaves into a beautiful humanoid. Through the new J. Burke (re-named Delphi when in humanoid form), the execs are able to wield an alluring and subtle spokesperson for their products. A man falls in love with Delphi, and discovers in part her secret. When he finally meets the real Delphi (J. Burke), he is disgusted at her appearance and accidentally kills her.

The story is a reminder of how humans will do their best to undermine the law, even when the law is put in place to enhance their rights. Another theme of Tiptree’s short is the lie women must keep up with their looks. J. Burke/Delphi could be an analogy for said lie, with J. Burke being how men view women without “cute” clothes/make-up on, and Delphi being how they view women in their costumed perfection. In the story, Delphi’s admirer was naïve in believing she was a paragon all the time, and he is disillusioned, even horrified, to discover his real love shares her likeness with a monster.

In “The Women Men Don’t See”, a group of people have to survive a plane crash on a sandbar in the Yucatan. Two women make up part of the group, and two men make up the other. The story is told from a male perspective, with the man constantly being surprised in the unflappable nature of the two women. When he expects them to complain, they remark on the scenery. When he expects them to make demands, they make kind concessions. This second story I read really had little to do with utopia/dystopias, and everything to do with how men expect women to act, versus how women can act.

Overall, the book is a great example of how women are seen not just in science fiction, but through the eyes of men. What’s ironic about it is that Tiptree managed to write from the male perspective so convincingly she had everyone believing she was a male, and they thought it patronizing and progressive of “him” to take small feminist stands in his writing. How must they have viewed Tiptree’s writing after discovering he was a she? I have an idea as to what they were thinking, because Silverberg puts a postscript at the end of his intro, describing the letter he received from Tiptree. She confessed to him her true sexuality, and of it, Silverberg wrote, “What I have learned is that there are some women who can write about traditionally male topics more knowledgeably than most men, and that the truly superior artist can adopt whatever tone is appropriate to the material and bring it off” (xviii).

Tiptree Jr., James. “The Girl Who Was Plugged In”.  Warm Worlds and Otherwise. New York: Doubleday, 1973. Print.

            -. “The Women Men Don’t See.” Warm Worlds and Otherwise. New York: Doubleday, 1973. Print.

When Women Rule the World: Sherri S. Tepper's "The Gate to Women's Country"

Image found on
www.eternalnight.co.uk 

From the onset, it's hard to tell The Gate to Women's Country apart from The Shore of Women. Both are stories featuring post-apocalyptic settings in which women preside over great, peaceful cities, whereas men are left out to be warriors amongst each other. The differences between the stories are minor: instead of women not caring about giving up their sons (like in Shore), Tepper brings the reader through an emotional process that is very real. Instead of procreating with the aids of science (like in Shore), women and men meet twice a year at carnivals. In Tepper's world, men may return to the female cities at age fifteen if they choose.

Tepper creates a dual-natured gender society, one in which the balance of power appears to be equal between men and women, with perhaps a bit more power going to the men. By the end of the book, the big reveal shows the true balance of power to be entirely in favor of the women. After a nuclear war three-hundred years before, women decided to take over and establish new cities. Like Shore, they wanted to keep men out, but they also wanted to create an illusion to keep them happy. Part of the illusion is letting the men in the garrisons believe that they father children from women inside of Women’s Country. Really, all babies are born from artificial insemination. Sperm is carefully selected from those men who live within Women’s Country, as they have no desire for violence. Violence is a trait the women are set on breeding out of the men, even if it takes centuries to do so. Every fifteen-year-old male who chooses to return to Women’s Country then becomes part of the breeding pool.

The entire set-up of Women’s Country is a large breeding program, which the men are completely unaware of. The women allow the garrisons from different towns to go to war with one another, and they allow it to control the male population, or to get rid of undesirables quickly. The reader comes to understand how the men are puppets, much like the men in Shore. However, unlike Shore, the women in Women’s Country hope to reconcile with men eventually, by breeding out their violent natures.

The entire novel is themed around power. In the beginning, women appear weak, deferring to the men, loving men, giving into them. The men seem strong, protecting the women. One might argue Tepper set up a conventional dual-natured society, with proper male/female gender roles. Later, the women are seen to hold all of the power, and the men (the ones in the garrisons at least) are seen as pathetic, almost like children playing their little war games, unaware of the secrets and power the women hold over them.

For a good part of the novel, the men in the garrisons are convinced the women have secrets, but they don’t know what they are. Some of the men plot to get at the secrets, to control the women. The novel got me thinking about life, how men may believe women have secrets, or believe childbirth to be a sort of secret (or power). Considering all the anti-abortion measures state legislatures have taken, it’s possible the men of these states are uncomfortable at the thought of women controlling their own secrets, their own power. Even if their ideas about abortion are steeped in their religion, their religion is steeped in male-powered rhetoric.

At times during the novel, the comparisons between Shore and The Handmaid’s Tale would prompt the reader to believe Tepper wrote it as a further exploration of the elements in both of those feminist utopian/dystopic novels. Unlike Shore or The Handmaid’s Tale, Women’s Country is trying to change, trying to become better than the status quo, and as H.G. Wells tells it, the mark of a modern utopia is one that is ever-changing (9).

Tepper implies that a male-dominated world revolves around violence and competition, and the only end-game to such a cycle is destruction through war. According to Tepper, in history, those who suffer most in war (without any real say) are women and children.

In Women’s Country, women and children are spared from senseless death. Tepper describes Women’s Country as a world in which women have complete control, and the results are for better, or as good as they can be in a post-nuclear age.

Even as Tepper creates a sort of utopia, there are several dystopic elements to her story, such as the war games the women allow the men to play out. It is viewed as an activity the men need to do, to channel their aggression and keep their illusion of power intact, but when the men are dying on the fields, they are not allowed help for their wounds. The smallest wound can fester, turn to blood poisoning, and kill the man weeks later, a horrific death Tepper describes of one of the men. Also, the men in the garrisons are not allowed to have or create any technological advances, not just in weaponry, but everyday items that might create a better life for them are also barred. Because of the way the men are bred, most of them don’t care about advancing anyway (only a few do), but the females in the city, the perceptive ones, feel it’s wrong to intentionally hold the men back. It’s comparable to holding a dog in a cage.

The major dystopic element of Tepper’s world is the fact that from five years of age on, little boys get sent out of the cities and into the garrisons. They are separated from their families, and it can sometimes be a traumatic separation. Just like in Shore, the position of the women are elevated (and if it were the other way around, it would be just as wrong), and men (no, little children) are made to suffer for the power-swap.

A side-note: The Gate to Women's Country is a good book, nearly as good or even better than A Handmaid's Tale in my view. It's written with the same weird displaced timeline as The Dispossessed, and the writing in it feels more like poetry (at times). While The Shore of Women is great, too, I found the writing style to be a bit too romanticized. With The Gate to Women's Country, Tepper tackles the male/female romantic dynamic, but with a more objective eye than Sargent. Then again, I've also considered Sargent's over-use of romantic language and phrasing may have been on purpose, as a parody of the way women and men view one another.

Tepper, Stewart, Sheri. The Gate to Women’s Country. New York: Bantam Spectra, 1989. Print.

Wells, George, Herbert. A Modern Utopia. London: Chapman & Hall, 1905. Print.

Giveaway for "Cursed" Ending Soon

Curious about Cursed but not sure about purchasing it? Enter the giveaway on Goodreads to receive your free copy! The contest ends on April 13th. Click here to enter. 
For you Tumblr users out there, enter here for a second chance to win.

World Castle Publishing announced the immediate release of Cursed by Red Harvey. This is Red Harvey’s debut novel. Cursed is a paranormal romance about an anthropology student with the power of prescience. Imogen Ameore has learned the hard way knowing the future doesn’t mean she can change it. Another curse of her gift is her vulnerability to spirits that desire reincarnation. After her sister’s death, Imogen returns to her hometown of Graydon, Florida. Despite the fact that she always “sees” when a relationship will end and why, she re-kindles a romance with the secretive but charming Rafe Ahote. Rafe isn’t enough to distract Imogen from ancient spirits haunting her, seeking re-entry into the human world. Imogen’s pregnancy and marriage to Rafe force her to find answers. With the help of Rafe’s methods and a quirky shaman, Imogen discovers a Native American Uzita legend coinciding with Hernando de Soto, and the evil doppelgangers of Adam and Eve, Lamashtu and Samael. The hauntings culminate in Imogen’s death, Rafe’s possession, and the re-birth of Samael and Lamashtu. Once she’s dead, the spirit of Imogen’s sister helps her retain a new body, new abilities, and a new mission to stop the demonic offspring from destroying mankind. Red Harvey brings this horror story together with surprises, humor, and old clichés turned on their head. Readers hunting for a paranormal read with a Buffy-esque twist are sure to enjoy Cursed.

Red Harvey lives in Georgia with her husband and young son. She is currently working on her fourth novel, a speculative science fiction project exploring gender roles. She enjoys writing, reading, studying (yes, studying), and generally nerding it up with family and friends.

Cursed by Red Harvey is now available at your favorite bookstore.

New Teen Sci-Fi Novel "Empire State" by C.E. Smith

Decades ago, a volcanic eruption covered the Earth in dust and ash. Tim Ackerman, who sometimes goes by Grim, is responsible for a group of young boys in the crumbling ruins of New York City. A young teen himself, Tim not only has to survive the harsh world, but he has to deal with his mutated abilities. Rival gang-leader, Sykes, is also a mutant of sorts, and when Tim is forced to trust Sykes, his entire world changes. 

Indie author C.E. Smith brings a new post-apocalyptic world full of danger, discovery, and heroes with the novel Empire State.

Read Empire State in its entirety free here.

The Underrated and Overlooked Utopian Classic: "A Strange Manuscript Found in a Copper Cylinder"

"A Strange Manuscript Found
in a Copper Cylinder" by
James De Mille
(1888)
Source: Wikimedia Commons

Adam More tells of his discovery of a utopia (or in his eyes, a dystopia) via a manuscript he seals in a copper cylinder. His journey begins when More gets separated from his merchant’s ship with his friend, Agnew. Using their rowboat, the two men drift until they find a desolate island with devilish people as inhabitants. Upon first glance, More cannot stomach the Natives and only goes ashore at Agnew's insistence. The Natives are described by More as being less civilized and uglier than Aborigines, which he believes to be the most uncivilized human beings. More's prejudicial fears are well-founded, as Agnew is killed by the Natives.

However, More escapes the island and uses the boat to take an adventure through a cave that is reminiscent of Verne's Journey to the Center of the Earth. Eventually, More finds another strange land of foreigners, but he is convinced that these people aren't dangerous from the landmarks he sees as civilized, like roads, buildings and ships. When he meets these strangers, his biased perspective of aliens is fully actualized: the first Natives have black skin and are unkempt (thus, their appearance drove More's distrust), but the second set of Natives have white skin and are what More describes as 'regular'. More's encounter with the first set of Natives he meets illustrates Ursula K. LeGuin's point in her article "American SF and the Other" when she speaks of aliens in sf becoming the Other, be it Galactic aliens, “sexual aliens, class aliens, or cultural aliens.” (LeGuin). Because More does not identify with the first Natives, he thinks them murderous Others from the onset. Upon meeting the second Natives, he is assured of their innate kindness as they more closely resembled what he associates with “regular” and civilized human beings.

His view of the Natives, whom he later calls Kosekins, changes when he learns of their value system that is basically an invert of what he is used to back home in England. To start, Kosekins revere death and hate the burden of living, thus they go on numerous hunts (in which women are included) and basically throw themselves at the feet of the large animals they pursue so as to die an honorable and public death. Secondly, Kosekins detest wealth and aspire to poverty, viewing possessions as burdens. The poorest man in the nation of Kosek has the most influence and respect, while the richest man has the least respect (capitalism is seen as evil). In accordance with their scorn of wealth, Kosekins are very self-sacrificing; they are always to bestow gifts on one another (to get rid of their possessions/wealth), and when one nation surrenders to another, it is considered a great honor and the greatest possible instance of self-sacrifice. That is not to say that Kosekins do not know of violence or war, but their reasons for war or violence differ from the traditional reasons, as Kosekins fight when they receive too many gifts from one person. When one is sick, all is done to nurse them back to health, so that they may die in a more honorable way, yet when someone is sick, every Kosekin trips over themselves to nurse the patient (as that is self-sacrificing to care for someone else). Requited love among two human beings is not a good thing in the Kosekin culture, because “love is self-surrender, and utter self-abnegation. Love gives all away, and cannot possibly receive anything in return. A requital of love would mean selfishness.” Thus, the most self-sacrificing thing a Kosekin can do for the person they love is to arrange their marriage to another. The most deterring fact about Kosekins that More cannot get past is their sacrificial rituals. When their comrades are wounded in battle, even from non-mortal wounds, they kill their fallen brethren with a knife to the heart, and it is their duty to do so. Not only do they kill their own, but they eat them as well, and it is for that purpose that More and another foreigner of Kosek, Almah are in Kosek, to be guests of honor at the next festival of cannibalism. While More might see killing a fellow man and eating them as villainous acts, the Kosek see it as bringing great honor to their fellow man. Almah tells More that he would not deny a man that seeks life, the idea of it would go against all that he believed in. Such is the Kosekins thoughts on denying a man death.

"Balls Pyramid" 13 Miles South of
Lord Howe Island
(2006)
Picture by Fanny Schertzer
Source: Wikimedia Commons

More’s friend in Kosek, the Kohen, explains to him why death is such a large part of their culture: “[To love death] is human nature. We cannot help it; and it is what distinguishes us from animals.” The Kohen goes further with his comparison of civilized Kosekins and animals, “Animals fear death; animals love to accumulate such things as they prize; animals, when they love, go in pairs, and remain with one another” (169). All of the things that the Kosekins believe to be against human nature are things that only lowly animals practice, like pairing, keeping possessions, and fearing death.

That is part of why the Kohen cannot understand More’s point of view when More tells him that his culture fears death and loves life. The Kohen tries his best to dissect More’s perspective by asking “If you really fear death, what possible thing is there left to love or hope for?” To which More replies, “Long life, and riches, and requited love”. After the Kohen’s thoughts on those three unmoral life pursuits, More’s reasoning sounds selfish, naïve, and unattainable.

Author James De Mille uses the inverted civilization of the Kosekins to satire the foundations of the world’s “civilized” populations, much in the fashion of Swift’s Gulliver’s Travels. At first, reading about the Kosek love of death and their desire for poverty seems absurd, but their reasoning behind it makes sense against the backdrop of humanity’s selfish pursuits for money, love, and a long life. Kosekins live in both a utopian society and a dystopian one, because while their 180 degree way of life is admirable in a backwards way, their love of death (and cannibalism) creates too wide of a gulf to reconcile their beliefs with More’s, or with mine. 

De Mille, James. A Strange Manuscript Found in a Copper Cylinder. New York: Harper and Brothers, 1888. Print.

LeGuin, Kroeber, Ursula. “America SF & The Other”. Science Fiction Studies 2.3 (1975). Print. 

"The Carrier Bag Theory of Fiction", a thought-provoking essay by Ursula K. LeGuin

LeGuin’s essay begins by explaining the gender dynamics of the early humans from the Paleolithic and Neolithic time periods. She describes the average life of an early human as one that began as gatherer, not hunter as many have assumed. As part of that description, she brings with her the theory that the first cultural device used by humans was a container (LeGuin 150). Again, it has been an assumption, an assumption perpetuated by the media (as LeGuin notes), that the first device used by humans had to be a weapon.

To LeGuin, the invention of the weapon was most likely a man-made invention, and one that men used to hold over women in a way, as to say, “Ha, look, men made the first invention that just happened to be violent, and women hate violence, therefore, women aren’t really human.” As Russ says of the men in her short story “When It Changed”, they didn’t consider the women they found on planet Whileaway to be human. They kept asking the women, “Where are all the people?” People, to them, meaning men.

Using the idea of the container as the first human invention, LeGuin goes on to say that finally, she can be counted as human now too: “If it is a human thing to do to put something you want […] into a bag […] and then take it home with you, home being another, larger kind of pouch or bag, a container for people, and then later on you take it out and eat it or share it […] and then next day you probably do much the same again, if to do that is human, if that’s what it takes, then I am a human being after all.” (LeGuin 152). What LeGuin is saying is that women invented the first relevant piece of culture, but I think it could have been both the container and the weapon, all at once. Human beings could have started out as both the hunter and the gatherer, as we also began as women and men. Still, the point that LeGuin makes is fascinating: the invention of the container is one of the most important inventions to man, and being an assumed female invention, it brings women into the arena of humanity in a way she wasn’t before.

The rest of the essay changes directions. LeGuin begins to equate the idea of grafting a good novel by using a container of words, instead of a spear of words. LeGuin mentions how some authors have described writing a book to be a mock-battle, when she believes it to be the lugging of a container full of words, thoughts, and story elements waiting to be used up.

LeGuin, Kroeber, Ursula. “The Carrier Bag Theory of Fiction.” The Ecocriticism Reader: Landmarks in Literacy Ecology. Ed. Cheryll Glotfelty, Harold Fromm. Athens, Georgia: University of Georgia Press, 1996. 149-154. Print.

The Idea of Gender Divides in LeGuin's "The Dispossesed"

The Dispossesed (1st Ed. Hardcover)
1974, Harper & Row Cover
Source: Wikimedia

Somewhere in a similar galaxy is a planet much like Earth, called Urras. On Urras, a group of settlers were sent to colonize the moon, Anaress. Cut-off from their home planet, the Anarresti built a different society than the one they came from, one in which there is no central government, no real form of currency, and gender equality isn’t even a thought, it just is.

Shevek, a theoretician from the colonized moon, is invited by a university on the home planet to come and study. When he does, his entire worldview is shaken, as he is exposed to alien concepts, like class divides, crime, money, and ego. Once Shevek understands that the home planet society is driven by profits (i.e. capitalism), he chews on his assumption “that if you removed a human being’s natural incentive to work--his initiative, his spontaneous creative energy--and replaced it with external motivation and coercion, he would become a lazy and careless worker […] The lure and compulsion of profit was evidently a much more effective replacement of the natural initiative than he had been led to believe.” (82). LeGuin is answering  a central question here about the details of a utopian society quite simply: if a citizen is given all they need by the State, they will not become lazy, because their own creativity will be their drive. She also answers the question about innovation in an utopian society, a concept assumed to stagnate in any imagined utopia, because only suffering can foster innovation (the need to make something bad into something better), but if creativity is its own reward, then even in a utopian society citizens will know of and promote innovation.

There are many gender divides Shevek encounters on the home planet. He argues with many of the Urrasti about how they treat their women and why they feel the need to treat women differently at all. Several times, he asks the Urrasti men “Where are the women?” They are amused at the question, and they tell him that women make great wives, but terrible scientists: “[Women] can’t do the math; no head for abstract thought; don’t belong. You know how it is, what women call thinking is done with the uterus! Of course, they’re always a few exceptions, God-awful brainy women with vaginal atrophy.” (73).

When Shevek reveals that 50% of the scientists (and workers in all fields) on his world are women, the Urrasti men become very uncomfortable. They cannot imagine a world in which a man is not made to feel “manly” and a woman is not kept as a feminine object and an object alone.

At the end of one of these gender arguments, Shevek concludes “that he had touched in these men an impersonal animosity that went very deep. Apparently they, like the tables on the ship, contained a woman, a suppressed, silenced, bestialized woman, a fury in a cage. He had no right to tease them. They knew no relation but possession. They were possessed.” (74).

Soon, Shevek comes to realize that the very design of the planet Urras, and the syntax of the Urrasti speech, all help to maintain the binary gender divide, however unintentional (or intentional) the design might be. Aboard his first starship, Shevek notes that the curves and lines on the ship are soft, supple. Even his bunk bed on the star ship is soft and inviting, and he cannot help but have erotic thoughts of yielding women. The language of the Urrasti is as possessive as their nature, as they refer to things as “my hankerchief” or “my wife”, when an Anarresti would say “the hankerchief that I use” or “the woman I share life with”. Shevek does not know of a translation in his language for the possessive pro-nouns Urrasti people are so fond of using.

Overall, LeGuin uses the analogy of a visitor to an Earth-like world to illustrate the cognitive estrangement of Earth-like customs. Through Shevek’s eyes, the reader sees everything backwards, gender included. Everything that is “normal” is odd to Shevek, and the simple nature in which he explains his world makes it seem as real as the Earth-like planet of Urras.

LeGuin, Kroeber, Ursula. The Dispossessed. New York: Harper & Row, 1974. Print.