This Time Next Year...

I'm happy to announce the publisher Champagne Book Group has finalized the contract for Daughter of Zeus, and it will be out in July of 2014. 

Until then, I will shower you with more academic book reviews and articles. I know, the truly fun stuff in life!

Possible back blurb:

The future can be a terrifying prospect, especially when Ada Freyr discovers she can manipulate electricity. Her newly acquired abilities result in the death of her husband. Ada is numb with shock, and terrified of being discovered by the Prominent-run State. Anyone deemed different is deemed an Undiligent, never to be seen again. She is desperate to find the source of her power, believing her estranged father to be the cause.

After her mother is killed by Prominents, she leaves her hometown in Colorado to begin a trip to Atlanta, Georgia. Ada learns new things about her powers along the way, like that she can manipulate anything with electrical impulses, including humans. Her mother's boyfriend, Kressick Lyman, insists on going with her, keeping his own agenda well hidden.

Once in Atlanta, Ada finds her father, Brontes Corentin, is very different from the alcoholic she met as a child: he’s a House Representative with a new family and a new name, ready to ascend to a Senator’s seat. His family has no knowledge of his dark history.

Ada pretends to like Corentin in order to get close to him, because her ultimate plan, the real reason she came to Atlanta, is to kill her father.

            Ada’s revenge scheme lands her on the Undiligent list, leads a stranger to stalk her every move, and stunts her relationship as a sister to her new siblings. Soon, she has to decide which is more important, an old vendetta or forgiving the man she blames for ruining her life.

Noah Bertlatsky: The (Short) History of Feminist Utopian Literature

"Nancy Porter"
Source: Wikimedia Commons

“Imagine there’s no gender: the long history of feminist utopian literature” is an article in The Atlantic highlighting the history of feminine utopian literature. However, writer Noah Bertlatsky does not delve far enough into said history. Based on Bertlatsky’s subtitle: "From Wonder Woman to Shulamith Firestone to Joanna Russ, visions of societies run by women or absent of gender altogether have existed for almost a century”, it’s obvious he either has decided to ignore earlier examples of feminine utopian literature, or he is unaware it exists.

The beginning of the article focuses on feminist writer Shulamith Firestone, and her views expressed in her text The Dialectic of Sex. Bertlatsky quotes Firestone as having said in 1970, “There is no feminine utopian literature in existence”. He believes the claim to be exaggerated, especially given the fact of several publications he cites, like The Left Hand of Darkness (1969), Herland (1915), and graphic novels like Wonder Woman (1941- ).

In Bertlatsky’s view, the most distinct part of Firestone’s philosophy is her description of feminism, which has roots in utopian theory: “[as radical feminists, we] are talking about changing a fundamental biological condition." Inequality, according to Firestone, is begot foremost by gender differences, and can be overcome when gender differences are gone (a notion shared by many a feminist, whether they be man or woman). Without gender to get in the way, Firestone imagined utopias in which technology would eliminate the need for work and even the need for live childbirth (an idea found in several utopian/dystopian novels, like Woman on the Edge of Time, The Shore of Women, and Brave New World).

Overall, it was refreshing to see an article on feminist utopian theory in the popular media, because it is not seen often. However, I feel like Bertlatsky deprived his readers by limiting his scope of feminist utopian history to a mere hundred years. He also displayed his male outlook on feminist utopian literature by including the Wonder Woman graphic novels. The world of graphic novels is notorious (much like science fiction) for being a good ol’ boys club, so to include any graphic novel (especially Wonder Woman, a graphic novel objectifying women on a grand scale) speaks volumes.
It saddens me that this article was written this past year, illustrating just how much further the world needs to progress to attain gender equality, which, consequentially, in the words of Marlene Barr, would bring an end to feminism.

Bertlatsky, Noah. “Imagine there’s no gender: the long history of feminist utopian literature”. The Atlantic. The Atlantic Mag., 15 April 2013. Web. 20 May 2013. http://www.theatlantic.com/sexes/archive/2013/04/imagine-theres-no-gender-the-long-history-of-feminist-utopian-literature/274993/

What a Strange World We Live In- "Woman on the Edge of Time" by Marge Piercy

Source: Wikipedia

Marge Piercy creates a detailed portrait of a poor minority female who is constantly trying and hoping for a better life that never comes. For most of her life, Connie has been oppressed in every way imaginable. She has suffered at the hands of male and  government institutions. She has never known real power, not even over her own body.

During her second incarceration in a mental institution, visits from a time traveler become more insistent. At first, Connie is convinced the traveler is in her imagination, but as the visits transport her to an androgynous utopia in the future, the legitimacy of the traveler is indisputable, and it is the present which seems more like a surreal nightmare.

Luciente is the traveler that shows Connie another world, a better world. Luciente is described as a male, at least in Connie’s eyes. From Luciente’s movements, confidence, and attitude, Connie is sure she is dealing with a man. She even forms the beginnings of romantic feelings for Luciente, but they fade after she discovers Luciente is actually a woman.

While visiting the future with her time-traveling friend, Connie is confronted with other non-traditional forms of society. For example, men can petition to be mothers. Children in the future are no longer born, they are grown. As such, babies are assigned to those that request them, and men commonly request to be mothers alongside women. Each child has three mothers (male or female), and is separated from their mothers at age twelve to foster independence.

Towns are kept small, so as to remain self-sustainable. A town models itself after past cultures of a certain time. The town Luciente is a part of follows the traditions of the Wampanoag Native Americans, and different races are purposefully bred, with racism having been bred out of human beings.

Sexually, Luciente and her friends are quite liberal. Homosexual relationships are normal, as are polyamorous or monogamous relationships. When Luciente is recalling her most passionate relationship, she tells Connie it was with a woman, a concept Connie cannot grasp.

The separation of gender, especially through the eyes of the lead female character Connie, are analyzed throughout the novel. The validity of power structures in society (like police, social workers, and doctors) are also questioned, as all the structures Connie encounters only take advantage of her position in society as a female, low-income, minority citizen.

The capitalist life style Connie is on the fringes of seems barbaric in comparison with the rich and happy life Luciente exposes her to. Piercy brings a disconnect to the modern world, and certainly evokes Suvin’s infamous theory of “cognitive estrangement” in science fiction writing with Woman on the Edge of Time.

Six weeks...

In six weeks, The Mutant Star Tragedy will debut on Amazon as a second edition copy. One week prior to the book's release, there will be a giveaway on Goodreads for a free hard-copy, and on my blog, I will give away five e-copies!!!

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.