The Cascadia Subd uction A Literary Z Quarterly on August 2012 h Vol. 2 Supplement e‑ Joanna Russ — Outsider/Contrarian/Fighter Our Seismic Foundation in in Essays t

hi Outsider, Creative Contrarian,

s Lesbian and Feminist Theorist i

ss by L. Timmel Duchamp

ue Antagonisms by Farah Mendlesohn Feminist Futures Out of Time: Reading Joanna Russ’s What Are We Fighting For? by Alexis Lothian Alienation and “the Other” in the Short Fiction of Joanna Russ by Brit Mandelo

Books Reviewed On Joanna Russ edited by Farah Mendlesohn Heiresses of Russ 2011: The Year’s Best Lesbian Speculative Fiction edited by JoSelle Vanderhooft and Steve Berman

Featured Artist Monte Rogers

$5.00 Managing Editor Dedicated to Joanna Russ, August 2012 Lew Gilchriist

Reviews Editor Nisi Shawl Essays Features Editor Outsider, Creative Contrarian, Lesbian and Feminist Theorist h 3 L. Timmel Duchamp by L. Timmel Duchamp Arts Editor Antagonisms h 6 Kath Wilham by Farah Mendlesohn Feminist Futures Out of Time: Reading Joanna Russ’s $5.00 What Are We Fighting For? h 10 by Alexis Lothian Alienation and “the Other” in the Short Fiction of Joanna Russ h 15 by Brit Mandelo

Reviews On Joanna Russ, edited by Farah Mendlesohn h 20 reviewed by Candra K. Gill Heiresses of Russ 2011: The Year’s Best Lesbian Speculative Fiction, edited by JoSelle Vanderhooft and Steve Berman h 22 H reviewed by Cynthia Ward 2

Featured Artist Monte Rogers h 23

Front Cover Photo: The Russ Collection of L. Timmel Duchamp

© The Cascadia Subduction Zone, 2012

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In This ISSUE Cover banner collagraph of the Cascadia subduction zone by Marilyn Liden Bode n

n

Cont. on p. 4 p. on Cont. bility. This is not an unusual problem facing facing problem unusual an not is This bility. but I never did blog; I simply simply I blog; did never I but

- intelligi restricts and constrains that gulf I made notes and marked pages, pages, marked and notes made I

discursivity lies between then and now, a a now, and then between lies discursivity

lowing Russ’s death: Russ’s lowing

they were published. A huge gulf of altered altered of gulf huge A published. were they

- fol work the to response her articulating

those essays meant to feminists at the time time the at feminists to meant essays those

Lothian begins by noting the difficulty of of difficulty the noting by begins Lothian

difficult to convey to feminists today what what today feminists to convey to difficult

about her own struggle with the book. book. the with struggle own her about

the problem is that it would be extremely extremely be would it that is problem the

glad to offer you Alexis Lothian’s essay essay Lothian’s Alexis you offer to glad

the heart of this silence. Rather, I think think I Rather, silence. this of heart the

arguments to simplification. And so I’m I’m so And simplification. to arguments

believe that lack of reader interest lies at at lies interest reader of lack that believe

oeuvre.…” intractability of Russ’s ideas, analysis, and and analysis, ideas, Russ’s of intractability

to my knowledge been explored. I do not not do I explored. been knowledge my to

the backbone of her her of backbone the as “outdated.” But partly it is due to the the to due is it partly But “outdated.” as

but with an added dimension that has not not has that dimension added an with but

a writer, and formed formed and writer, a tention is partly due to its being dismissed dismissed being its to due partly is tention

lem includes the difficulty Lothian faced, faced, Lothian difficulty the includes lem

develop her voice as as voice her develop - at of lack The attention. much received

- prob the extent, certain a To problem. the

as well as helped her her helped as well as interest in doing so. The book has never never has book The so. doing in interest

saddened me, but I thought I understood understood I thought I but me, saddened

theory changed her life, life, her changed theory simply wanted to explain why they had no no had they why explain to wanted simply

not be interesting to anyone today. This This today. anyone to interesting be not

feminist analyses and and analyses feminist by people who hadn’t actually read it but but it read actually hadn’t who people by

ing sense that what she had to say would would say to had she what that sense ing

“Russ’s lesbian and and lesbian “Russ’s book against such charges, often leveled leveled often charges, such against book

- overwhelm her by me, wrote she silenced,

tions in which I attempted to defend the the defend to attempted I which in tions

end, though, she could not do it. She felt felt She it. do not could she though, end,

- conversa numerous recall I relevant. ger

address those essays for this issue. In the the In issue. this for essays those address

- lon no and “dated” as many by dismissed

at the time they were published agreed to to agreed published were they time the at

finally appeared, it received little attention, attention, little received it appeared, finally

particular essays had been very important important very been had essays particular

What Are We Fighting For? For? Fighting We Are What When book.

fiction collections. A writer for whom those those whom for writer A collections. fiction

ness prolonged the process of finishing the the finishing of process the prolonged ness

- non her in reprinted been has essays these

- ill 1980s; late to mid the during posed

life and helped her find her voice. None of of None voice. her find her helped and life

- com largely was 1998, in published first

nist and lesbian consciousness changed her her changed consciousness lesbian and nist

What Are We Fighting For?, For?, Fighting We Are What work, lished

- femi profoundly how about say to much

- pub last Her 1980s. the through 1960s

3 Years But for Decades,” in particular, has has particular, in Decades,” for But Years

dates from the the from dates oeuvre Russ’s of Most

(Crossing Press, 1985). Her essay “Not for for “Not essay Her 1985). Press, (Crossing

ing, the foundation matters tremendously. tremendously. matters foundation the ing, i

mas, Trembling Sisters, Puritans & Perverts Perverts & Puritans Sisters, Trembling mas,

- build any of inhabitants the for But port.

- Mom Magic in collected were which of

- sup they buildings the to attention casual

venues in the 1970s and early 1980s, a few few a 1980s, early and 1970s the in venues

live. They are invisible to those paying only only paying those to invisible are They live.

says that appeared in a variety of feminist feminist of variety a in appeared that says

especially in the seismic times in which we we which in times seismic the in especially

- es activist lesbian and socialist-feminist

foundation. Foundations are tricky things, things, tricky are Foundations foundation.

also wanted to include an essay about her her about essay an include to wanted also

though; it is a substantial element of its its of element substantial a is it though;

and formed the backbone of her oeuvre, I I oeuvre, her of backbone the formed and

more than a brick in the wall of our city, city, our of wall the in brick a than more

helped her develop her voice as a writer, writer, a as voice her develop her helped

work, always powerful and challenging, is is challenging, and powerful always work,

ses and theory changed her life, as well as as well as life, her changed theory and ses

accomplished woman she knew of. Russ’s Russ’s of. knew she woman accomplished

we live.” we

- analy feminist and lesbian Russ’s Since

constructed her “City” of every powerful, powerful, every of “City” her constructed

seismic times in which which in times seismic

most salient characteristics. salient most comes to my mind. The medieval thinker thinker medieval The mind. my to comes

things, especially in the the in especially things,

was one of her her of one was — person or in prose in or person brilliant conceit of the City of Ladies Ladies of City the of conceit brilliant

Foundations are tricky tricky are Foundations

ply reduced to a summary, either in in either summary, a to reduced ply provoke in particular, Christine de Pizan’s Pizan’s de Christine particular, in provoke

of its foundation. foundation. its of

never to be easily digested or sim- or digested easily be to never aims to nurture and and nurture to aims CSZ the work the to

substantial element element substantial

— — and feminist science fiction in general and and general in fiction science feminist and read, suggests that such difficulty such that suggests read,

of our city…; it is a a is it city…; our of

Joanna Russ’s relationship to feminism feminism to relationship Russ’s Joanna just like every memorial I have have I memorial every like just

than a brick in the wall wall the in brick a than

Russ’s death last year. When I think about about think I When year. last death Russ’s commentary on Russ’s writings, writings, Russ’s on commentary

challenging, is more more is challenging,

we began planning shortly after Joanna Joanna after shortly planning began we already that I will fail. But every every But fail. will I that already

always powerful and and powerful always

editors, it’s an exceptionally special issue issue special exceptionally an it’s editors, I’m attempting to do so, knowing knowing so, do to attempting I’m

“Russ’s work, work, “Russ’s

uted free of charge to subscribers. For the the For subscribers. to charge of free uted response. In writing this piece piece this writing In response.

- distrib and schedule usual our for regard the contradictory elements of my my of elements contradictory the

is supplemental, published without without published supplemental, is Zone to boil things down, how to square square to how down, things boil to

The Cascadia Subduction Subduction Cascadia The of issue This couldn’t figure out what to say, how how say, to what out figure couldn’t

. Timmel Duchamp Timmel . by L by

y Outsider, Creative Contrarian, Lesbian and Feminist Theorist Feminist and Lesbian Contrarian, Creative Outsider, Outsider those reading work produced in years past. I know from my conversations with (cont. from p. 3) Work that survives for decades is seldom Russ in the early 1990s that the muddling understood as it once had been, mostly be- of the point that the personal leads to the cause it is impossible to do so, given our political vexed her considerably. In “News” loss of the cultural and discursive context she warns against “feminine-ist biologism” in which it was produced. The work that and the dangers of mystification that es- does survive either acquires fresh mean- sentialist forms of feminism was prone to. ings or is read consciously as historically “Makeup, for example, is a feminist issue,” situated. Occasionally the intelligibility of she writes, “not because using makeup a work persists because it continues to be “Russ’s feminist is anti-feminist and scrubbing your face relevant through shifting contexts, as is theorization, as she is feminist but because makeup is com- the case with Russ’s own How To Suppress notes repeatedly in pulsory. Those who don’t see the distinc- Women’s Writing, which has, if anything, those essays, more often tion are building a religion, not a politics” become more widely intelligible than it derived from her own (77). She also remarks, “I hope feminists was in 1983, when it was first published. consciousness-raising will learn that a theory which describes During a recent re-read of Magic Mom- than from analysis of only sexism is as incomplete as one that mas, although I was acutely aware of that and reflection on the describes only class struggle. I hope that gulf of time and prompted to moments body of feminist theory the biological theories will disappear and of intense recollection and historical con- (to which her essays that feminists will learn that sex is an im- textualization, I also found portions of contributed) then personal appetite and quite O.K. that way, the book astonishingly relevant. It is, like current.” but I wonder” (77). much feminist writing of that day, in- The biological theories are still with us, tensely personal. Russ’s feminist theori­ alas. But I think we’ve made some progress zation, as she notes repeatedly in those toward fulfilling her other hopes. And the essays, more often derived from her own struggle to distinguish between religion consciousness-raising than from analysis and politics does not seem to be a problem of and reflection on the body of feminist now for feminists — though it is certainly H theory (to which her essays contributed) a problem plaguing US politics at large, then current. The point is important, and in which a small minority, using scorched 4 one that Russ never allowed to be mud- earth tactics, has paralyzed the politi- died. In “News from the Front,” in which cal process. But I personally have a clear she issued a warning about the hijacking memory of a time in the early 1980s when of feminism via the Sex Wars, she makes the tendency for many feminists to make a point that I fear has become long-lost: feminism into a quasi-religious culture In the late sixties and early seven- profoundly troubled my peace of mind. ties feminists didn’t believe that In “Antagonisms,” Farah Mendlesohn, the personal was political but that editor of the outstanding collective work “…the struggle to the personal led to the political — of scholarship, On Joanna Russ, takes on distinguish between odd how the phrase has changed, Russ’s position within the field of science religion and politics does no? Descriptive theories derived fiction. She identifies Russ as a “contrar- not seem to be a problem from personal experience have ian” in the field, challenging and disrupting now for feminists…. been replaced by prescriptive comfortable narratives. She acknowledges But I personally have theories to which personal experi- that Russ “carved out a space” in the field a clear memory of a ence must conform. We have, in that wasn’t previously there, but doubts time in the early 1980s fact, developed a flourishing right that she achieved actual, lasting change. when the tendency wing in which feminist theory is We are still, she observes, fighting the for many feminists to rushing pell-mell ahead right into same battles Russ fought, still struggling make feminism into a the nineteen-fifties. with the same issues. As a creative contrar- quasi-religious culture (Magic Mommas 75-76) ian, Russ offered critiques, not programs. profoundly troubled my Russ was not far off in talking about a Her role was to destabilize, to effect a shift peace of mind.” “flourishing right wing” in feminist theory, in values. given that later that decade several femi- Our youngest contributor to this issue, nists enthusiastically collaborated with Brit Mandelo, has had her long essay, We right-wing Reagan henchman/Attorney Wuz Pushed: On Joanna Russ and Radical

General Edwin Meese in his crusade for Truth-Telling published this spring. She is

sexual purity. widely known for writing posts on Russ’s n

n

Aqueduct Press. Aqueduct

founder and publisher of of publisher and founder

. She is also the the also is She . Home

Never at at Never and Time in

Love’s Body, Dancing Dancing Body, Love’s

fiction, short of collections

Marq’ssan Cycle and two two and Cycle Marq’ssan

is the author of the the of author the is

L. Timmel Duchamp Duchamp Timmel L.

5

i

them ‘other.’” them

assumptions that render render that assumptions

of social or political political or social of

subjectivity in the face face the in subjectivity

others, but always present in some form.” form.” some in present always but others, on recognizing their their recognizing on

on the surface at times and subterranean at at subterranean and times at surface the on the story’s protagonist, protagonist, story’s the

concern that runs throughout like a river, river, a like throughout runs that concern whether or not they are are they not or whether

Russ’s entire oeuvre, “a powerful unifying unifying powerful “a oeuvre, entire Russ’s Outsiders and insist, insist, and Outsiders

this recurring theme is a unifying factor of of factor unifying a is theme recurring this “Russ’s tales often depict depict often tales “Russ’s

that render them “other.” For Mandelo, Mandelo, For “other.” them render that

the face of social or political assumptions assumptions political or social of face the

found so necessary and valuable. and necessary so found onist, on recognizing their subjectivity in in subjectivity their recognizing on onist,

and continue the conversation Russ herself herself Russ conversation the continue and - protag story’s the are they not or whether

readers to less familiar areas of Russ’s work work Russ’s of areas familiar less to readers tales often depict Outsiders and insist, insist, and Outsiders depict often tales

With this issue, we hope to take take to hope we issue, this With Writing. considerable body of short fiction. Russ’s Russ’s fiction. short of body considerable

How To Suppress Women’s Women’s Suppress To How masterpiece, rial a theme she find recurs throughout Russ’s Russ’s throughout recurs find she theme a

- magiste her and reviews, her novels, her Fiction of Joanna Russ,” Mandelo traces traces Mandelo Russ,” Joanna of Fiction

and more. Russ is mostly remembered for for remembered mostly is Russ more. and “Alienation and ‘the Other’ in the Short Short the in Other’ ‘the and “Alienation

and feminist theorist: Russ was all of these these of all was Russ theorist: feminist and rereading every one of Russ’s books. In In books. Russ’s of one every rereading

Outsider, creative contrarian, and lesbian lesbian and contrarian, creative Outsider, work for Tor.com, carefully reading and and reading carefully Tor.com, for work y Antagonisms by Farah Mendlesohn

Joanna Russ’s influence in science fic- conceived in the debate, pointing out that tion is a subtle and complex matter to only one part of the species was “sexed,” “Russ is not an entry- consider. Unlike the work of Ursula Le the other allowed to occupy a constructed level writer…. Russ’s Guin, relatively few stories of Russ bring neutrality. Russ was as angry at most femi- science fiction is… female readers into the field. Russ is not an nisms as she was at the world in general: rooted in other science entry-level writer (that is not to tarnish Le in The Two of Them (1978) she attacks lib- fiction. While one can of Guin, but Le Guin’s talent is almost pre- eral feminism and its illusions, and in The course read Russ cold, cisely in building bridges from one set of Female Man she points to the confines of to get the most out of interests — anarchism, perhaps — to science two different modes of radical feminisms. her work one needs to fiction). Russ’s science fiction is, as both This is material for the already-feminist. It have read Fritz Leiber, Gary K. Wolfe and Edward James argue in is not evangelical. Robert Heinlein, Philip On Joanna Russ (2009), rooted in other sci- Russ’s influence, whether as a reviewer K. Dick, and a range of ence fiction. While one can of course read or a writer, or as a voice in the sf world (and other [male] writers who Russ cold, to get the most out of her work voices in our communitarian and discourse- are quite likely to annoy, one needs to have read Fritz Leiber, Rob- driven world are very important), is essen- irritate, or offend the ert Heinlein, Philip K. Dick, and a range tially contrarian, just as her protagonists modern female reader.” of other [male] writers who are quite likely often served as antagonists, challenging to annoy, irritate, or offend the modern fe- and disrupting the careful narrative other male reader. The bitter coldness ofWe Who characters thought they were constructing. Are About To… (1977) makes more sense The role of voices in science fiction litera- if one has read the endless Robinsonades ture has not, to my knowledge, been studied. “Russ departs from the in which humans re-launch the human We acknowledge them: we know that writ- ‘slick’ style of 1950s race from a handful of survivors. The novel ers such as Hugo Gernsback, Sam Mos- H science fiction and sits takes flight if one has read Marion Zim- kowitz, John W. Campbell, Damon Knight, firmly with the New Wave 6 mer Bradley’s deceptively romantic Dark­ James Blish, Judith Merril, David Hartwell, experimenters who… over Landfall (1972). Similarly (Extra) Samuel R. Delany, Ursula Le Guin, John moved from playing Ordinary People (collected 1984) is one of Clute, among others, and more recently with the lego bricks of the earliest of the interstitial texts, depen- writers such as John Scalzi, Nalo Hop- English to deploying dent on our understanding of it as science kinson, and Neil Gaiman make utterances them as carefully fiction because we know the clues, even that set the fanzines and now the Internet targeted missiles, as Russ refuses (most of the time) to fol- fluttering. frequently forcing the low through. In the language of her fic- The degree to which these Voices shape reader to reconsider what tion, Russ departs from the “slick” style the conversation is fairly visible, but the an apparently simple of 1950s science fiction and sits firmly ways in which they shape it (imagine a cir- sentence means.” with the New Wave experimenters who cle being pulled and tugged into a stretched took Heinlein’s arguments about the role skin) is both too visible in the past to be of language in science fiction and moved easily studied — can we imagine the field from playing with the lego bricks of Eng- without their intervention? — and in the lish to deploying them as carefully target- present is clouded by the sheer number ed missiles, frequently forcing the reader of directions in which the conversation is to reconsider what an apparently simple being pulled. Recent attempts to discuss sentence means. this phenomenon emerge in the single au- Similarly, I doubt if reading a Russ thor/editor studies of Emily Pohl-Weary “I doubt if reading a novel ever brought a reader into feminism: (Better to Have Loved: The Life of Judith Russ novel ever brought Russ began where many people rested. In Merril, 2002) or William H. Patterson a reader into feminism: On Strike Against God (1980), Russ chal- (Robert A. Heinlein: In Dialogue with His Russ began where many lenges the liberal feminism of her period, Century, 2010), but these are classic intel- people rested.” which assumed that equality and person- lectual histories that assume that the great hood was defined by the dominant sex; and good will be listened to. More useful is

in The Female Man (1975) she challenges the growing interest in fandom as a con-

the very notion of “two sexes” as usually cept, but as a new area of study it is tend- n

n

discussions that are needed and that Russ Russ that and needed are that discussions think of none other that argues that life is is life that argues that other none of think Cont. on p. 8 p. on Cont.

seen as a substitute for the kinds of painful painful of kinds the for substitute a as seen about the relative values of life, but I can can I but life, of values relative the about

ness” and good intentions are too often often too are intentions good and ness” this. There are many sf texts that argue argue that texts sf many are There this.

- “nice demonstrated, Race-Fail acterized …, exemplifies exemplifies …, To About Are Who We ites,

- char that interactions the As cultures. and - favor my of one evident, be may as but

to bedevil many of our own organizations organizations own our of many bedevil to questions. One of her more neglected texts, texts, neglected more her of One questions.

, 1985) continue continue 1985) , Perverts & Puritans Sisters, there is an answer: there are only more more only are there answer: an is there

Magic Mommas, Trembling Trembling Mommas, Magic collection, the ist philosophies, Russ does not accept that that accept not does Russ philosophies, ist questions.”

Movement” (better known by the title of of title the by known (better Movement” - modern of comforts the reject to stance, there are only more more only are there

“Power and helplessness in the Women’s Women’s the in helplessness and “Power her only contemporary to take the same same the take to contemporary only her that there is an answer: answer: an is there that

while the issues Russ identifies in in identifies Russ issues the while — pias contrarian: like Samuel R. Delany, perhaps perhaps Delany, R. Samuel like contrarian: Russ does not accept accept not does Russ

- uto feminist bad avoid now us of most liberal feminisms. This is why Russ is so so is Russ why is This feminisms. liberal modernist philosophies, philosophies, modernist

— — applauded in her critiques of socialist and and socialist of critiques her in applauded the superficial lessons that are absorbed are that lessons superficial the reject the comforts of of comforts the reject

the women’s movement, a fracturing Russ Russ fracturing a movement, women’s the of the essays she wrote; yet, too often it is is it often too yet, wrote; she essays the of the same stance, to to stance, same the

rience is at the heart of the fracturing of of fracturing the of heart the at is rience Russ’s influence is visible through some some through visible is influence Russ’s contemporary to take take to contemporary

- expe Wilde’s Mr. ? perfection whose lenge, the event. the event. perhaps her only only her perhaps

- chal the offering creates, he perfection ence approximately twenty-five years after after years twenty-five approximately ence like Samuel R. Delany, Delany, R. Samuel like

ever competent, does so, but rejects the the rejects but so, does competent, ever - influ real movement’s or person’s a for cosy complacencies… cosy

reate his life through a jigsaw. Mr. Wilde, Wilde, Mr. jigsaw. a through life his reate personal pet theory that we need to look look to need we that theory pet personal was unable to accept accept to unable was

- rec to chance the offered limbo, a in self itself may be significant if we go with my my with go we if significant be may itself of the world, Russ Russ world, the of

- him finds Wilde Oscar Chance,” Second , although that that although , Horizons Strange of advent utopia, in the presence presence the in utopia,

outstanding short stories, “Mr. Wilde’s Wilde’s “Mr. stories, short outstanding column in the major pro-zines until the the until pro-zines major the in column “In the absence of of absence the “In

accept cosy complacencies: in one of her her of one in complacencies: cosy accept of no feminist reviewer with a permanent permanent a with reviewer feminist no of

ence of the world, Russ was unable to to unable was Russ world, the of ence some of the academic journals, I can think think can I journals, academic the of some

- pres the in utopia, of absence the In clear space opened for feminist criticism in in criticism feminist for opened space clear

stands out most vividly. vividly. most out stands While fanzine criticism grew apace, and a a and apace, grew criticism fanzine While

7 the vindictive prophet and advocate, who who advocate, and prophet vindictive the After she left reviewing, who replaced her? her? replaced who reviewing, left she After

representative, and in this novel, it is Jael Jael is it novel, this in and representative, . . se per field the in change a achieved she

i demands that bedevil her Whileawayan Whileawayan her bedevil that demands to write alternatives, but it is not clear that that clear not is it but alternatives, write to

draws attention to the taboos and social social and taboos the to attention draws with other feminist writers, carved a space space a carved writers, feminist other with

novel, Russ, honest to the core, deliberately deliberately core, the to honest Russ, novel, carved a space to talk about it, and along along and it, about talk to space a carved

version of Whileaway that we see in the the in see we that Whileaway of version these issues still exist within the field. Russ Russ field. the within exist still issues these

remembered so vividly. In the fleshed-out fleshed-out the In vividly. so remembered texts. But my point is already made. All of of All made. already is point my But texts.

cause it is utopian and directive that it is is it that directive and utopian is it cause board women substitutes that littered these these littered that substitutes women board

- be be may it and utopia, is this but — ity - card of kinds the and woman, a by book

- human of niches the all occupy to women was more worth reviewing than a good good a than reviewing worth more was

get rid of men and allow allow and men of rid get — sumption that a mediocre book by a man man a by book mediocre a that sumption gram advocated gram

- as the selected, were books which in way - pro a is there this in and story, known

still exist in the field: the the field: the in exist still — sadly — . “When it Changed” is the best best the is Changed” it “When . Manifesto which

is no no is Man Female The fiction. her Scum Scum challenged a number of the complacencies complacencies the of number a challenged

were constructing.” were

grams, the same can be said of much of of much of said be can same the grams, ply by existing as a feminist reviewer she she reviewer feminist a as existing by ply

characters thought they they thought characters

- pro not critiques are essays Russ’s If - Sim . Russ Joanna On in James, Edward

narrative other other narrative

to by the reviews she wrote, discussed by by discussed wrote, she reviews the by to Not here. Here it is angry critique. angry is it Here here. Not

2 disrupting the careful careful the disrupting

Russ’s influence is visible: it is attested attested is it visible: is influence Russ’s argument at its heart even if it is violent. violent. is it if even heart its at argument

challenging and and challenging

act is one of evangelism, with reason and and reason with evangelism, of one is act the text. the

1 served as antagonists, antagonists, as served

most writers and activists, a revolutionary revolutionary a activists, and writers most tableaux and conversations that punctuate punctuate that conversations and tableaux

her protagonists often often protagonists her

him.” (Women’s Press edition, p. 203). For For 203). p. edition, Press (Women’s him.” in the interstitial interstitial the in Man Female The in fied

contrarian, just as as just contrarian,

did it for no reason at all and I didn’t warn warn didn’t I and all at reason no for it did - identi herself Russ which speech-act, the

is essentially essentially is

terday. I shut the door on a man’s thumb. I I thumb. man’s a on door the shut I terday. sion is attention turning to the nature of of nature the to turning attention is sion

“Russ’s influence… influence… “Russ’s

- yes act revolutionary first my committed - exclu female about debates in reception

. “Joanna” writes, “I “I writes, “Joanna” . Man Female The in ment growing discussion of women’s and men’s men’s and women’s of discussion growing

- mo a in encapsulated is This agenda. an internet discussions of Race-Fail and the the and Race-Fail of discussions internet

way things were being done, but without without but done, being were things way voices. Only in the the in Only voices. these why voices, some

sentially contrarian voice, challenging the the challenging voice, contrarian sentially (2009) never really tackles this issue of why why of issue this tackles really never (2009)

- es an was Russ essayist, an and reviewer a Cabal Feminist Secret The Merrick’s Helen

advocated. This is compounded because, as as because, compounded is This advocated. ing to concentrate on new fandoms. Even Even fandoms. new on concentrate to ing Antagonisms ­essentially communal, and to be separated tion evolves from conflict and there is a (cont. from p. 7) from the community is by necessity to re- subconscious assumption that there must duce that value.3 I noted earlier that Russ always be resolution, or “climax”). writes antagonists, rather than protago- Reading over the above I realize I have nists, and We Who Are About To demon- not written an argument that Russ was strates what I mean. The protagonists are influential, as much as I have written an “To maintain a contrarian the narrator’s companions in the crashed argument that she needs to be more in- stance and be creative is space ship. Determined to “re-start” the fluential. I write this while acknowledg- enormously difficult.… human race they engage in all the Rob- ing that there are many problems with her It is precisely the insonade strategies we have learned over work. (The transphobia in The Female Man, antagonists, those who three centuries of this particular sub- for instance, must come as a shock to many rage and resist and insist genre. The narrator is an antagonist, she modern feminists.) But Russ was often as it is their job to recognize resists the premise of the plot — the human angry at herself and her own thinking as what is broken, not race is doing just fine without them — and she was at the thinking of others; that is to fix it, who unsettle resists the role in which she has been cast. what The Two of Them is about, her realiza- and disturb with their Our narrator resists even being named; tion that the nice men in her life were still awkward questions, and she renders herself invisible, recognizing part of the structures against which she move entire systems in that names are for communities; names was fighting. other directions.” are how others recognize us. The result is a We can, however, see a number of writ- novel that breaks down an entire trope but ers who write in the same mode, who meet that cannot, by its very nature, recreate; it Russ’s demand that writing should be can only ask, why are you still doing this? angry and provocative, should reject easy To maintain a contrarian stance and solutions and avoid getting caught in other be creative is enormously difficult: when people’s expectations, or even the sense that challengers to a system are labeled “shrill,” what happens to us, the individual, matters this is often what is meant. Our politi- in the larger scale of things: we can look cal system claims to want to reward pro- to writers such as Margo Lanagan, Nalo H tagonists, those who suggest something Hopkinson, M. John Harrison, Orhan new and “positive,” but in reality, political Pamuk, Lisa Tuttle, C J Cherryh, Kelly 8 protagonists often succeed only in setting Link or, in his own quiet way, Ted ­Chiang. up parallel universes of cultural existence, What these people have in common is highly valuable but often marginalized — their position as stylists in the field. Witt- see the very realistic Native Tongue by genstein argues that without ethics there ­Suzette Haden Elgin (1985). It is precisely can be no aesthetics, and Joanna Russ, and the antagonists, those who rage and resist each of these authors, exemplify this. In and insist it is their job to recognize what order to write in a different mode, one has is broken, not to fix it, who unsettle and to write a different way. Russ was part of “The test of the success disturb with their awkward questions, and the first group of science fiction writers to of such destabilizing move entire systems in other directions. take the lessons of Heinlein and his con- writers is rarely their James Tiptree Jr. is the other great 1970s temporaries — that you can build a physical personal recognition but writer who worked at the unstable edge of world through words — and make words often a subtle shifting of genre politics. work to build a political world. Russ’s in- values so that their ideas The test of the success of such destabi- fluence in this area, along with that of her come to seem obvious lizing writers is rarely their personal recog- more politicized contemporaries from the and normal. The sheer nition but often a subtle shifting of values New Wave, may be where her influence diversity of the modern so that their ideas come to seem obvious is most long-lasting: from the 1970s on- feminist movement is and normal. The sheer diversity of the wards world building became more than a testimony to such modern feminist movement is a testimony the hard sf game of multiple suns and resistance and contrarian to such resistance and contrarian voices, extended seasons; world building turned voices, of which Joanna of which Joanna Russ was one. However, into new ways of seeing and constructing Russ was one.” while many of Russ’s books have remained the sociological and economic politics of in print, there are relatively few writers the world, new ways of extrapolating that who consciously claim her influence: pro- into cultural diversities and challenges to scriptive, protagonist-driven fiction (of any the gendered status quo. In these contexts

genre) is what we subconsciously think Russ reminded feminist writers that we

fiction is (young writers are told that fic- can use language to chisel away the giv- n

n

(reviewed in this issue). this in (reviewed Russ Joanna

On On Hugo-nominated the edited she And

different fronts. different

both the Hugo and World Fantasy Awards. Awards. Fantasy World and Hugo the both

archy is steadily undermined on many many on undermined steadily is archy

fiction book in 2009 and was nominated for for nominated was and 2009 in book fiction

extended revolution in which the patri- the which in revolution extended

Fiction Association award for best non- best for award Association Fiction

rayar stories are, after all, the tale of an an of tale the all, after are, stories rayar

won the British Science Science British the won Fantasy of Rhetorics

an unexpected heir to Russ. The Bar- The Russ. to heir unexpected an

historian Edward James. Her book book Her James. Edward historian

is not the only way in which Bujold is is Bujold which in way only the not is

which she edited with with edited she which Fiction, Science to

stories of Lois McMaster Bujold. This This Bujold. McMaster Lois of stories

The Cambridge Companion Companion Cambridge The for Book Related

3 n are the Barrayar Barrayar the are n exceptio notable A

2005 she won the Hugo Award for Best Best for Award Hugo the won she 2005

the “ladies” to clean the damn door. damn the clean to “ladies” the Anglia Ruskin University in the UK. In In UK. the in University Ruskin Anglia

out that such “gentlemen” still expected expected still “gentlemen” such that out Communication, Film, and Media at at Media and Film, Communication,

dies.” In my day it was common to point point to common was it day my In dies.” Head of the Department of English, English, of Department the of Head

over “gentlemen” opening doors for “la- for doors opening “gentlemen” over Farah Mendlesohn is Professor and and Professor is Mendlesohn Farah

2 , I suspect, to the argument argument the to suspect, I , Responding

shrugged off as complaining. as off shrugged

tice; when women write about it, it is is it it, about write women when tice;

when he writes about it, men no- men it, about writes he when

ales has noted that that noted has ales S Ian blogger UK 1

Notes

York: Dell Publishing. Dell York:

—— . New New . To About Are Who We 1977. .

Berkley Books. Berkley

—— . New York: York: New . Them of Two The 1978. .

9

Bantam.

i —— . New York: York: New . Man Female The 1975. .

lyn, NY: Out and Out Books. Out and Out NY: lyn,

—— - Brook . God Against Strike On 1980. .

. New York: St. Martin’s Press. Martin’s St. York: New . People

Extra)Ordinary Extra)Ordinary ( 1984 Joanna. Russ,

Books.

Toronto, ON: Between the Lines Lines the Between ON: Toronto,

. . Merril Judith of Life The Loved:

Better to Have Have to Better 2002. Emily. Pohl-Weary,

. New York: Tor Books. Tor York: New . tury

Heinlein: In Dialogue with His Cen- His with Dialogue In Heinlein:

Robert A. A. Robert 2010. H. William Patterson,

a political world.” political a

. Seattle, WA: Aqueduct Press Aqueduct WA: Seattle, . Cabal make words work to build build to work words make

The Secret Feminist Feminist Secret The 2009. Helen. Merrick, and and — world through words through world

you can build a physical physical a build can you

Wesleyan University Press. Press. University Wesleyan

that that — his contemporaries his

On On Middletown, CT: CT: Middletown, uss. R ­ Joanna

lessons of Heinlein and and Heinlein of lessons

Mendlesohn, Farah (ed.). 2009. 2009. (ed.). Farah Mendlesohn,

fiction writers to take the the take to writers fiction

the first group of science science of group first the . New York: DAW Books. DAW York: New . Landfall

way. Russ was part of of part was Russ way. Darkover Darkover 1972. Zimmer. Marion Bradley,

has to write a different different a write to has

Works Cited Works

a different mode, one one mode, different a

“In order to write in in write to order “In

lever open ossified ideas. ossified open lever ens, to unscrew the takens-for-granted, to to takens-for-granted, the unscrew to ens, y Feminist Futures Out of Time: Reading Joanna Russ’s What Are We Fighting For? by Alexis Lothian

It was only after Joanna Russ’s death dom and at WisCon. The contemporane- that I finally took her last book, What Are ity catches me unawares and continually We Fighting For? Sex, Race, Class, and the diverts my attempts to historicize the book, Future of Feminism (New York: St Martin’s to contain its ideas in their originating Press, 1998), down from my shelf. A uni- context, as I am academically trained to do. “Russ is wrestling with versity library copy had been there, unread, Thinking about what Russ says, I find that many of the same for several years; it seemed appropriate to I am continually confronting my own ex- questions I engage in my read it, at last, in her memory and honor. periences, histories, and conflicts. discussions with fellow I wanted to devour the book in one gulp, academics invested in then to write a blog that would pour forth On Finding Russ social justice and radical a joyful paean to its virtues, and to hers. and Coming Late critique, in my writing, in The book, however, resisted my plans. the conversations I have It forced me to read slowly and to wrestle When I first read The Female Man, about feminism, race, every step of the way as my reactions veered “When It Changed,” and Russ’s other ex- class, and disability…” between impassioned agreement and plicitly political works, I wasn’t sure what equally impassioned frustration and cri- to do with their anger. The first story of tique. I made notes and marked pages, but Russ’s that I remember loving is “Souls”: I never did blog; I simply couldn’t figure the tale of a rebellious and spiritual girl out what to say, how to boil things down, who turned out to be something else en- how to square the contradictory elements tirely. I wouldn’t recognize the story’s in- of my response. In writing this piece I’m tense commentary on gendered emotional H attempting to do so, knowing already that labor until much, much later. In the 1990s, I will fail. But every commentary on Russ’s when I was in my teens and devouring sci- 10 writings, just like every memorial I have ence fiction, much of Russ’s fiction had read, suggests that such difficulty — never the same discomfiting flavor to me as the to be easily digested or simply reduced to copies of the ’80s British feminist maga- a summary, either in person or in prose — zine Spare Rib that my mother kept in our was one of her most salient characteristics. spare bedroom. I would read them and Perhaps this late, awkward essay will be the various feminist works on her book- the right kind of memorial after all. shelves (Zoe Fairbairns, Alice Walker), What Are We Fighting For? is a historical and I would wonder why these women “…the future of document: both a document of a history kept making the world look like so much feminism she was and a snapshot of a particular moment in more of a sexist place than, as far as I was addressing, was time (a stretched-out one: from its begin- concerned, it self-evidently was. I had to attempting to shape, ning in 1985, through years whose hard- get older before I could recognize that they was already firmly ship I’ve heard about in so many elegiac were simply representing reality, and older located in the past when stories of Russ’s life, to eventual publica- still before I could perceive that reality’s the book came out. tion in 1998). It is perhaps best summa- lasting presence within my own. I read that It makes for strange, rized as a polemical snapshot of feminist famous passage in The Female Man where dislocating reading…” theory, focused on the areas most in dan- Russ addresses the fate of her book: ger of being forgotten. Its long gestation Do not complain when at last you leaves the historical moment to which it become quaint and old-fashioned, is speaking uncertain in many places. Yet when you grow as outworn as it feels, very often, intensely contemporary. the crinolines of a generation ago Russ is wrestling with many of the same and are classed with Spicy Western questions I engage in my discussions with Stories, Elsie Dinsmore, and The Son fellow academics invested in social justice of the Sheik; do not mutter angrily to and radical critique, in my writing, in the yourself when young persons read

conversations I have about feminism, race, you to hrooch and hrch and guffaw,

class, and disability, both in online fan- wondering what the dickens you n

n

Cont. on p. 12 p. on Cont.

ments) of competency in compromise. compromise. in competency of ments)

those are difficult to tell apart. tell to difficult are those

- ele professional the to comes it (when

punch me in the nose. And sometimes sometimes And nose. the in me punch

of self-expression, of aesthetic joy, or even even or joy, aesthetic of self-expression, of

compromise.” of immediate relevance that reach up and and up reach that relevance immediate of

pletely erases any significance of pleasure, pleasure, of significance any erases pletely

of competency in in competency of and old-fashioned” state with moments moments with state old-fashioned” and

- com that hierarchies power classed dered,

professional elements) elements) professional alternates reminders of its “quaint “quaint its of reminders alternates For? ing

- gen to relationship and expression gender

(when it comes to the the to comes it (when - Fight We Are What — in primary school primary in

this theme recurs: this connection between between connection this recurs: theme this

aesthetic joy, or even even or joy, aesthetic were her college students while I was still still was I while students college her were

“success dress.” Many times in the book, book, the in times Many dress.” “success

of self-expression, of of self-expression, of that Russ is writing for the feminists who who feminists the for writing is Russ that

received an analogous critique for their their for critique analogous an received

significance of pleasure, pleasure, of significance despite the fact fact the despite — the anachronism of it of anachronism the

butch academic professional could have have could professional academic butch

completely erases any any erases completely complex at the best of times. But despite despite But times. of best the at complex

wardly aspiring, three-piece-suit-wearing, three-piece-suit-wearing, aspiring, wardly

power hierarchies that that hierarchies power is never simple, and Russ’s arguments are are arguments Russ’s and simple, never is

- up an whether wonder do I but — 1998

gendered, classed classed gendered, tions of an argument across time and space space and time across argument an of tions

time of Russ’s attendance, or even than in in than even or attendance, Russ’s of time

and relationship to to relationship and - implica the Translating polemic. fiction

is a more accepting place now than at the the at than now place accepting more a is

gender expression expression gender - non than better much so origin of point

not to wear a skirt.) I realize that the MLA MLA the that realize I skirt.) a wear to not

this connection between between connection this survives losing its its losing survives , fiction engaged litically

I would be taken more seriously if I chose chose I if seriously more taken be would I

book, this theme recurs: recurs: theme this book, - po intensely even fiction, reading; cating

job-seeking in 2012, I was persuaded that that persuaded was I 2012, in job-seeking

“Many times in the the in times “Many - dislo strange, for makes It out. came book

seriously. (In my own successful academic academic successful own my (In seriously.

already firmly located in the past when the the when past the in located firmly already

clothing choice made in order to be taken taken be to order in made choice clothing

addressing, was attempting to shape, was was shape, to attempting was addressing,

to capitulate to patriarchy. Even if it is a a is it if Even patriarchy. to capitulate to

And so the future of feminism she was was she feminism of future the so And

cation that to choose heels and makeup is is makeup and heels choose to that cation

ing new writings or by periodizing the old. old. the periodizing by or writings new ing

- impli the at bristle I contexts, casual and

- incorporat by either publication, late-’90s

straight, formal and informal, professional professional informal, and formal straight,

did not seek to bring it up to date for its its for date to up it bring to seek not did

ings of my own femininity in queer and and queer in femininity own my of ings

growing unmanageability meant that she she that meant unmanageability growing

- mean apparent the with struggling of and

Her health and the project’s project’s the and health Her Feminism. of

and exploring the construction of gender gender of construction the exploring and

11

ing For? Sex, Race, Class, and the Future Future the and Class, Race, Sex, For? ing

berating. And, after years both of studying studying of both years after And, berating.

- Fight We Are What create to order in ’80s

student Russ goes on to describe herself herself describe to on goes Russ student i

feminist and antifeminist writings of the the of writings antifeminist and feminist

I feel that I may be much like the former former the like much be may I that feel I

and an ocean away, Russ was confronting confronting was Russ away, ocean an and

ideas. (18) ideas. can ’70s bore to the real ’90s a continent continent a ’90s real the to bore ’70s can

— — old very or — and some very new very some and - Ameri imagined Russ’s relationship what

heels, hose, makeup, success dress, dress, success makeup, hose, heels, feminist freedoms and trying to work out out work to trying and freedoms feminist

ing young academic professional in in professional academic young ing

While I was struggling with the status of of status the with struggling was I While

were not, yet, free…” yet, not, were

morphosed into an upwardly aspir- upwardly an into morphosed

those complications. those

too familiar. Clearly we we Clearly familiar. too

braless free spirit, she had meta- had she spirit, free braless

it was partly because I wanted to unravel unravel to wanted I because partly was it

dystopian world were all all were world dystopian

had taught. Then a blond, bejeaned, bejeaned, blond, a Then taught. had

began studying feminist and queer theory theory queer and feminist studying began

certain elements of the the of elements certain

earliest women’s studies classes I I classes studies women’s earliest

unfreedom was complicated. When I I When complicated. was unfreedom

around me, and and me, around

of mine who’d been in one of the the of one in been who’d mine of

Clearly we were not, yet, free… But that that But free… yet, not, were we Clearly

see widely represented represented widely see

convention, I ran into a student student a into ran I convention,

the dystopian world were all too familiar. familiar. too all were world dystopian the

like nothing I could could I nothing like

Language Association annual annual Association Language

sented around me, and certain elements of of elements certain and me, around sented

Janet’s sexual ease ease sexual Janet’s

Some years ago at a Modern Modern a at ago years Some

ease like nothing I could see widely repre- widely see could I nothing like ease

intensely appealing, appealing, intensely

away was intensely appealing, appealing, intensely was away s sexual sexual s ­ Janet’ In this passage: this In

Yet Whileaway was was Whileaway Yet

- While Yet latecomer? confused a simply gained from my studies in critical theory. theory. critical in studies my from gained

a confused latecomer? latecomer? confused a

it had been outgrown by culture, or was I I was or culture, by outgrown been had it to use the Althusserian vocabulary I’ve I’ve vocabulary Althusserian the use to

culture, or was I simply simply I was or culture,

me. Did the book’s strangeness mean that that mean strangeness book’s the Did me. interpellated, interpellated, — ing that I feel called out called feel I that ing

it had been outgrown by by outgrown been had it

longer understood might have included included have might understood longer

- unsurpris perhaps is it — friendly market friendly

strangeness mean that that mean strangeness

1

And I thought that the ones who no no who ones the that thought I And permanent employment in a less-than- a in employment permanent

“Did the book’s book’s the “Did

process of finishing a PhD and seeking seeking and PhD a finishing of process For on that day, we will be free. be will we day, that on For

space, as I began to write this while in the the in while this write to began I as space,

Rejoice, little book! little Rejoice,

if one in a somewhat liminal liminal somewhat a in one if — feminist

and punch the readers’ noses. noses. readers’ the punch and ademic feminisms. Since I am an academic academic an am I Since feminisms. ademic

Do not reach up from readers’ laps laps readers’ from up reach not Do - ac of denunciations her in fierce is Russ

little book. Do not curse your fate. fate. your curse not Do book. little

Is Professional Is

when you are no longer understood, understood, longer no are you when

The Personal Is Political Political Is Personal The were all about. Do not get glum glum get not Do about. all were Feminist Futures I was grateful for the person who had by us.2 In contrast to the reductive theo- (cont. from p. 11) the book from the library before me, who ries of sociobiology that have come to take annotated many sections in pencil with psychoanalysis’s place in popular culture, just what I was thinking. What if it’s fun critical uses of psychoanalytic theory can to wear makeup? To perform femininity? underline the fact that there is no universal “‘It is passages like To fuck men? What if men care about “human” precisely because we are shaped these, where Russ this stuff too? What if it’s not so easy to differently by different experiences, struc- casts herself as the delineate the difference between maleness tures, and histories — some of which hap- last bastion of true and femaleness, masculinity and feminin- pen before we are born. feminism in an academy ity? Russ argues that feminism had/has (I See? This is my experience in reading overloaded with suspect she’d consider the argument appli- this book. I argue back. I dispute interpre- patriarchal theory…in cable beyond the moment in which it was tations. I cite. I also clap and cheer — some- which I see, sadly, why composed) become something that serves times at the same things that irritate me. the book is not more the young professionals at the cost of the In a quotation from Sandra Boyner, for widely read.” women whom it ought to be for: her ex- example, Russ points out that academia re- ample is of a working-class student work- produces itself by “limiting scholarship to ing several jobs and raising a child alone experts who had survived extensive train- (6). Though I and many of my peers are ing in theory, methods, professional ethics, doing our best to do things otherwise, I and the work already completed by others” think that she may be right. But working- (71) — might I find my generosity toward class women often know the complicated psychoanalysis reflected there? powers and labors of feminine gender very The wider academic world of which I well, and my own experience as a teacher am a part, the world to which Russ’s cri- leads me to think that dismissing the va- tiques continue to apply, is better at being lidity of choices made in the hope of eco- generous to Freud, Marx, and Foucault nomic advancement might alienate some than it is to old-fashioned feminisms, people in this group most of all. whose very imbrication of personal and H It is passages like these, where Russ political can make their insights difficult casts herself as the last bastion of true to separate from their failings. In fact, 12 feminism in an academy overloaded with Russ has already given us the tools to ana- patriarchal theory — those “old ideas” that lyze that gendered difference, in How to the former student was holding to — in Suppress Women’s Writing. An appropriate which I see, sadly, why the book is not maxim might perhaps be she wrote it, but it more widely read. She reads psychoanaly- was too problematic to be worth remembering. sis, for example, as employing the “basic What Are We Fighting For? dedicates itself assumptions” that “‘behind’ behavior and to calling attention to the feminist knowl- reports of subjective experience, producing edge that had been forgotten, that has still both, lies a metaphysical entity called ‘per- not been adequately remembered a decade “What Are We Fighting sonality,’ that this Human core is essen- after this book’s publication. For? dedicates itself to tially static, and that it is constructed by I read some of the works to which Russ calling attention to the very early personal relations and personal refers in a graduate class on Marxist the- feminist knowledge that relations only,” such that the social rela- ory, taught by Ruth Wilson Gilmore (ac- had been forgotten, tions of heterosexuality, patriarchy, and so tivist academic, black feminist radical, and that has still not been forth are taken to be part of that universal founder of the prison abolition organiza- adequately remembered (22). I’ve done my wrestling with Freud, tion Critical Resistance). The class was full a decade after this and I have felt intensely angry at many of of intense young radical scholars, all more book’s publication.” the seeming universalisms of psychoana- or less committed to economic, racial, and lytic theory. But psychoanalysis has also gender justice. Gilmore assigned the so- been a powerful tool for feminist, queer, cialist feminists Mariarosa Dalla Costa and critical race studies scholars working and Leopoldina Fortunati, who argue to explain all the ways in which static and that women’s unwaged labor reproduces metaphysical cores are precisely not static, capitalism and that wages for housework because of the ways in which psychoana- would be a disruptive intervention, if not lytic theories can suggest possibilities for a utopian prospect for change. Their ideas

the convoluted processes by which the so- did not go down well. They were read as

cial gets into our psyche and is reproduced gender essentialist and as insufficiently at- n

n

she obeys them in her personal life” (24). (24). life” personal her in them obeys she

called second wave feminism, reminding reminding feminism, wave second called Cont. on p. 14 p. on Cont.

ist norms is purely academic and that that and academic purely is norms ist conflicts that have long existed within so- within existed long have that conflicts

- sex of critique author’s “the that signal ences and and ences differ the highlights — ace r on

as an “inexcusable” “inexcusable” an as Romance the Reading

the chapter chapter the — found most difficult to write to difficult most found

way’s dedication to her husband of 1984’s 1984’s of husband her to dedication way’s

intact.” boundaries easily. The chapter that she she that chapter The easily. boundaries

- Rad Janice interprets She practice.” the

keeping their complexity complexity their keeping marcated, and work like Russ’s slips those those slips Russ’s like work and marcated,

“feminism is the theory, lesbianism is is lesbianism theory, the is “feminism

radical conclusions while while conclusions radical - de be easily so can movements feminist

statement by Ti-Grace Atkinson that that Atkinson Ti-Grace by statement

carry ideas to their most most their to ideas carry wave. But I tend to dislike the idea that that idea the dislike to tend I But wave.

sion, harkening to the probably-mythical probably-mythical the to harkening sion,

and demands that we we that demands and Many would call these changes the third third the changes these call would Many

- oppres of symptom a purely be to desire

contradictory reactions reactions contradictory flicts and fractures. and flicts

sound as if she understands heterosexual heterosexual understands she if as sound

It mirrors my frequently frequently my mirrors It - con without been never had sisterhood to

ample, Russ makes many claims that that claims many makes Russ ample,

explan responses. responses. ­atory color to remind white feminists that claims claims that feminists white remind to color

- ex For intact. complexity their keeping

and more nuanced nuanced more and as well as through the work of feminists of of feminists of work the through as well as

to their most radical conclusions while while conclusions radical most their to

provocative critiques critiques provocative tivism and the rise of transgender politics, politics, transgender of rise the and tivism

actions and demands that we carry ideas ideas carry we that demands and actions

oscillation between bold, bold, between oscillation - ac queer AIDS-related through terms ent

- re contradictory frequently my mirrors

is often an an often is For? Fighting - differ grown had presentation gender and

more nuanced explanatory responses. It It responses. explanatory nuanced more

What Are We We Are What of flow different by the ’90s and afterward. Desire Desire afterward. and ’90s the by different

between bold, provocative critiques and and critiques provocative bold, between

“The argumentative argumentative “The that was certainly true, those fights looked looked fights those true, certainly was that

is often an oscillation oscillation an often is For? Fighting We

ference, not fixate on its details. But while while But details. its on fixate not ference,

What Are Are What of flow argumentative The

- dif across unite to needed lesbians pecially

persist within queer communities. queer within persist

- es and feminists when time a at infighting

3

be diagnosing dynamics that continue to to continue that dynamics diagnosing be Russ, the so-called “porn wars” were odious odious were wars” “porn so-called the Russ,

this society’s misogyny” (93), Russ could could Russ (93), misogyny” society’s this and the rights and wrongs are obvious. For For obvious. are wrongs and rights the and

ity, insisting that “no one is unaffected by by unaffected is one “no that insisting ity, think we know who won, that the answers answers the that won, who know we think

- masculin elevating while support edged ments lose their edge and their fire; we we fire; their and edge their lose ments

- unacknowl providing labor feminine - argu Old trouble. most the causes liness

when she talks about the “resources” of of “resources” the about talks she when 13 - untime book’s the where is This BDSM.

femme scholar she met at MLA). And And MLA). at met she scholar femme power dynamics of sex, pornography, and and pornography, sex, of dynamics power

i

imagine a line of defense for that young young that for defense of line a imagine lesbian communities were arguing over the the over arguing were communities lesbian

had been wrong here helps (and helps me me helps (and helps here wrong been had values, at the same time that feminist and and feminist that time same the at values,

eventually prepared to acknowledge she she acknowledge to prepared eventually nated by the right and by so-called family family so-called by and right the by nated

men in drag (90). Knowing that Russ was was Russ that Knowing (90). drag in men - domi scene political a by feminism on

been having too much fun talking to gay gay to talking fun much too having been the backlash, the counterweights exerted exerted counterweights the backlash, the

impatient with young lesbians who had had who lesbians young with impatient writing in the context of the 1980s and of of and 1980s the of context the in writing

them into lesbian spaces, when she gets gets she when spaces, lesbian into them into its historical moment is to orient her her orient to is moment historical its into

cizes cisgendered women who welcomed welcomed who women cisgendered cizes tion of feminist knowledge production production knowledge feminist of tion

- criti and “men” as transsexuals female to - reaffirma Russ’s place (generously) To

reading most when Russ describes male male describes Russ when most reading

What It’s Really About Really It’s What gone by. I need my practice in generous generous in practice my need I by. gone

a wave gone by.” gone wave a

riously, that we not relegate it to a wave wave a to it relegate not we that riously,

that we not relegate it to to it relegate not we that

- se — separatism lesbian — ? For Fighting We Are What in theorists nist nism’s history nism’s

seriously, seriously, — separatism

- femi of variety huge the with deals Russ - femi of parts outdated seemingly most

— lesbian lesbian history

work since, and I recognize it in the way way the in it recognize I and since, work that we take even the most disrespected, disrespected, most the even take we that

parts of feminism’s feminism’s of parts

I have tried to take this approach in all my my all in approach this take to tried have I petuate racial oppression, Russ demands demands Russ oppression, racial petuate

seemingly outdated outdated seemingly

something that we are either for or against. against. or for either are we that something - per could they that ways the seeing

disrespected, most most disrespected,

we do not oversimplify anyone’s work to to work anyone’s oversimplify not do we think myself immune to racism). While While racism). to immune myself think

take even the most most the even take

with critique so that when we historicize, historicize, we when that so critique with ever took (though I would certainly never never certainly would I (though took ever

demands that we we that demands

hold that generosity and respect together together respect and generosity that hold Anzaldúa in every feminist theory class I I class theory feminist every in Anzaldúa

oppression, Russ Russ oppression,

and that we must at the same time time same the at must we that and — ied bell hooks, Audre Lorde, and Gloria Gloria and Lorde, Audre hooks, bell ied ence

perpetuate racial racial perpetuate

- stud has who me, like someone for tive - influ their understand we that do, to fail

ways that they could could they that ways

- informa is it write to her took clearly ects for what they are as well as what they they what as well as are they what for ects

“While seeing the the seeing “While

effectively acknowledged. The courage it it courage The acknowledged. effectively - proj political respect to generously, read

and always been necessary, even if not not if even necessary, been always and sponse. She insisted that we must learn to to learn must we that insisted She sponse.

feminism that it has always been there there been always has it that feminism - re Gilmore’s forget never will I But are.

tique only with a younger generation’s generation’s younger a with only tique of domestic labor. And, indeed, so they they so indeed, And, labor. domestic of

- cri intersectional associate who those tentive to the racial and colonial politics politics colonial and racial the to tentive Feminist Futures But later she clarifies this with a social intersections of class and race have meant (cont. from p. 13) and economic articulation of desire and that the feminist perspective on the op- its meanings, stating that to equate “the pressions of family, marriage, and domestic desire to squeeze a handsome stranger’s labor that she has frequently expressed in buttocks and tiptoe through the tulips the book is by and large a white one (270). “It is Russ’s vital and with him to a lifetime of hard work and And she calls attention to the apocalyp- far-reaching feminist accommodation to male privilege is not tic trajectory of monopoly capitalism, analyses of work that logical” (132). We might easily argue that reminding us of the venerability of the will stay with me most marriage can, if the participants work critiques that have become comparatively from this reading at it, be more about buttock-squeezing mainstream recently, and of their compat- and rereading, that I than sexist norms, despite its patriarchal ibility with feminist intersectionality. will remember as an and economic history. But it is the eco- These parts of the book feel fresh, im- inspiration more than nomics that are most central to the ar- mediate, and necessary — even more as I a debate.” gument Russ is making. The institution picked up What Are We Fighting For? to of heterosexuality as it is manifested in write this piece, my head filled with the marriage, she suggests, might quite sim- possibilities sparked by the Occupy move- ply be a result of the “objective necessity” ment, than it did when I read it for the of “domestic work” (177). If — as Russ first time immediately after Russ’s death. does — we extend the idea of domestic In fact, in writing and looking repeatedly “She is a feminist work into all kinds of material and emo- and deeply into What Are We Fighting For?, thinker whose legacy tional reproductive labor, and if — as Russ I’ve argued myself away from the awkward we must make last does not — we also see marriage as any antagonisms with which I started. I fin- into many more configuration of couplehood or partner- ish with a deeper and truer feeling of awe, generations.” ship, there is much to chew on here about admiration, and respect for Russ than the intimate inequalities, about the workings already significant one I had when I began. of labor and power in what we can too She is a feminist thinker whose legacy we easily dismiss as our “private” lives. must make last into many more genera- H It is Russ’s vital and far-reaching femi- tions — and I will be assigning her work in nist analyses of work that will stay with my classes just as soon as I possibly can. 14 me most from this reading and reread- ing, that I will remember as an inspira- Notes tion more than a debate. Russ lays out Marxist theory in a straightforward, el- 1 Not quite so tenuous as it was; between egant few pages (191-202) that I hope submission and final revisions, I’ve been to assign to students in the future: what offered and accepted a tenure-track job. capitalism is, locally within the US and 2 The texts that led me to think this way globally, how it devalues human relation- include Franz Fanon’s Black Skin, White ships, work, and play by making them all Masks (New York: Grove Press, 1967), a matter of money, and a fine three-word Judith Butler’s Gender Trouble (New Alexis Lothian is a scholar summation: “capitalists are thieves” (198). York: Routledge, 1990), and Anne of queer and feminist Being a woman has historically been and Cheng’s The Melancholia of Race (Ox- theory, science fiction, and still is a job, Russ argues: an underpaid ford: OUP, 2001). digital media. Originally and unappreciated one within capitalism. from Glasgow, Scotland, 3 See for example Julia Serano’s Whipping I mentally added a corollary that what she is currently Assistant Girl: A Transgender Woman on the Scape- she calls the Woman Job is not a matter Professor of English at goating of Femininity (San Francisco: of biology and can be done by anyone, Indiana University of Seal Press, 2007). and that it can and increasingly does take Pennsylvania. In 2012 she 4 For an example of transnational, trans- place outside the home; but the Woman edited Aqueduct Press’s gendered labor doing the Woman Job, Job remains the best name, because we The WisCon Chronicles: Vol. see Tomer Heyman’s 2006 film Paper are talking about feminized labor.4 Syn- 6, Futures of Feminism and Dolls, which tracks the lives of MTF Fandom. Alexis maintains thesizing and summarizing socialist fem- Filipina transgender care workers in a mostly-academic blog at inism, Russ talks about the specificities Israel, and Martin Manalansan’s discus- http://queergeektheory.org of women’s labor within capitalism: the sion of it in “Queering the Chain of and tweets frequently at @ labor of mothering, the labor of perform- Care Paradigm” (Scholar and Feminist

alothian. ing appropriate affect to ward off street Online, 6.3, 2008).

harassment (251), and the ways in which n

n

Cont. on p. 16 p. on Cont. that hangs over the tourist in question. question. in tourist the over hangs that

line, “I am dying” (128). (128). dying” am “I line, the perpetual threat of accidental death death accidental of threat perpetual the

and ends with the the with ends and — to name a few hazards few a name to sible as a serious piece of fiction, despite despite fiction, of piece serious a as sible

eaten, mated with, poisoned, or suffocated, suffocated, or poisoned, with, mated eaten, - dismis even glib, and lighthearted appears

in perpetual danger of being accidentally accidentally being of danger perpetual in play in this story. “Useful Phrases” initially initially Phrases” “Useful story. this in play

where the tourist is not outsider/Other outsider/Other not is tourist the where - dis on that than flavor darker and sharper

placed back in a familiar social situation situation social familiar a in back placed present in Russ’s work, it tends to be of a a of be to tends it work, Russ’s in present

spectrum of her writing.” her of spectrum

to be be to — of fiction. While humor is consistently consistently is humor While fiction. of quests to be taken to the Consulate the to taken be to quests

the years and across the the across and years the

right comedic pieces in Russ’s entire body body entire Russ’s in pieces comedic right - re of entirely almost consists subheading

concern, resonating down down resonating concern,

- out most the of one is Tourist,” the for es preceding lines. The final, “ final, The lines. preceding RAL” RAL” ­ GENE

extrapolated thematic thematic extrapolated

- Phras “Useful stories, these of first The situation may have initially appeared in the the in appeared initially have may situation

explored and ruthlessly ruthlessly and explored

and across the spectrum of her writing. writing. her of spectrum the across and danger, no matter how nonthreatening the the nonthreatening how matter no danger,

that rings with a vividly vividly a with rings that

matic concern, resonating down the years years the down resonating concern, matic with varying levels of urgency or implied implied or urgency of levels varying with

fiction oeuvre, a universe universe a oeuvre, fiction

- the extrapolated ruthlessly and explored quest to be taken to the Earth Consulate, Consulate, Earth the to taken be to quest

larger universe of Russ’s Russ’s of universe larger

oeuvre, a universe that rings with a vividly vividly a with rings that universe a oeuvre, - re the for phrase a contains subheading

present in microcosm the the microcosm in present

cosm the larger universe of Russ’s fiction fiction Russ’s of universe larger the cosm dominant society. Nearly every situational situational every Nearly society. dominant

together and separately separately and together

- micro in present separately and together tion of the tourist as true outsider in the the in outsider true as tourist the of tion

“These stories considered considered stories “These

the end of time. These stories considered considered stories These time. of end the - posi the implies in, themselves found has

isolated in a hermetically sealed house until until house sealed hermetically a in isolated situation with the Locrine that the tourist tourist the that Locrine the with situation

science fictional tale of a wife and husband husband and wife a of tale fictional science ways to extricate oneself from the sexual sexual the from oneself extricate to ways

), a a ), Moon the of Side Hidden The (from Stale” 27) for use at the theater, often followed by by followed often theater, the at use for 27)

piece of speculative fiction, “Nor Custom Custom “Nor fiction, speculative of piece and “Is this supposed to be erotic?” (126- erotic?” be to supposed this “Is and

written in letters; and Russ’s first published published first Russ’s and letters; in written intended to be erotic?” for use at a party party a at use for erotic?” be to intended

), a feminist metafictional narrative narrative metafictional feminist a ), People ticular, the recurrence of the phrase “Is this this “Is phrase the of recurrence the ticular,

Extra(Ordinary) Extra(Ordinary) (from Depressions” eryday - par In physical. or social they be common,

- “Ev story; intrigue-and-adventure queer guidebook attempts to navigate have in in have navigate to attempts guidebook

15 - gender a ), People Extra(Ordinary) (from what all of the misunderstandings that the the that misunderstandings the of all what

“The Mystery of the Young Gentleman” Gentleman” Young the of Mystery “The in the Locrine society is is society Locrine the in alien as tourist the

i

), an excerpt from a fake-language guide; guide; fake-language a from excerpt an ), Cat Locrine society rests. The literal nature of of nature literal The rests. society Locrine

The Zanzibar Zanzibar The (from Tourist” the for Phrases which the tourist’s alienation from the the from alienation tourist’s the which

cern with alienation and the Other: “Useful “Useful Other: the and alienation with cern comfortable” [125-26].) is the axis upon upon axis the is [125-26].) comfortable”

- con central a maintaining still while styles - un most be will I as [out] in mosphere

illustratively span a gamut of genres and and genres of gamut a span illustratively - at the let not do Please […] regenerate.

lar with this assertion in mind, stories that that stories mind, in assertion this with lar I am not edible. […] We humans do not not do humans We […] edible. not am I

- particu in stories four discuss to like I’d not breathe ammonia. […] Are you edible? edible? you Are […] ammonia. breathe not

tinuous argument throughout her work. work. her throughout argument tinuous - can I because room my be cannot (“This

- con of tapestry a weaving and question The constant threat of accidental death death accidental of threat constant The

of alienation depending on the story in in story the on depending alienation of of potential dialogue from the guidebook. guidebook. the from dialogue potential of

ent, providing myriad angles on the theme theme the on angles myriad providing ent, rative that grows out of these isolated lines lines isolated these of out grows that rative

- differ quite otherwise are that stories in - nar the and included, phrases the text, the

fiction and appears in multitudinous forms forms multitudinous in appears and fiction more thoroughly considers the shape of of shape the considers thoroughly more

roundings, is a common figure in Russ’s Russ’s in figure common a is roundings, strange or overreaching until the reader reader the until overreaching or strange

Other.’” - sur their or society from alienated sider, that this story has a theme at all may seem seem may all at theme a has story this that

the subjectivity of ‘the ‘the of subjectivity the - out The Other.” “the of subjectivity the need of basic communication. To argue argue To communication. basic of need

it is alienation and and alienation is it these diverse stories, it is alienation and and alienation is it stories, diverse these Locrine guidebook provides the tourist in in tourist the provides guidebook Locrine

these diverse stories, stories, diverse these ring theme I have observed throughout throughout observed have I theme ring so too are many of the other phrases the the phrases other the of many are too so

observed throughout throughout observed - recur one is there if but — genres involved genres are amusing and faintly ridiculous lines; lines; ridiculous faintly and amusing are

recurring theme I have have I theme recurring sixty stories as it does, with almost as many many as almost with does, it as stories sixty you were in this seat” (127), for example, example, for (127), seat” this in were you

“…if there is one one is there “…if spanning nearly forty years and and years forty nearly spanning — thread not intend to sit on you. I did not realize realize not did I you. on sit to intend not

as a coherent subject united by a thematic thematic a by united subject coherent a as 124) or “AT THE THEATER: […] I did did I […] THEATER: THE “AT or 124)

short fiction appears too varied to discuss discuss to varied too appears fiction short Zanzibar ( tip” a as intended not is It ion.

At first glance, Joanna Russ’s body of of body Russ’s Joanna glance, first At - compan my is That HOTEL: THE “AT

by Br by it Mandelo it

y Alienation and “the Other” in the Short Fiction of Joanna Russ Joanna of Fiction Short the in Other” “the and Alienation Alienation This story made of guidebook phrases gender-performances throughout. With (cont. from p. 15) is a farce comedy, but one entirely driven the threat posed by the doctor sufficiently by the experience of a true Other — not defused, the narrator implies that there is simply cultural, but biological and psycho- a happy ending ahead when the pair finish logical as well — attempting to navigate a the journey. society where they are alien. Survival and The reason they are traveling to the “Russ may be using communication in a dominant society that colony of other telepaths in the first place, alienation for comedic does not understand or connect with the well away from the dominant society in effect, but the arguments alien outsider are the basic concerns of the the mountains of the American West, is to about the dangers Locrine guidebook, after all. Russ may be escape the danger of persecution and ma- presented to the Other using alienation for comedic effect, but the nipulation. To make it there, however, they by dominant society that arguments about the dangers presented to must both blend into expected social roles can be drawn from the the Other by dominant society that can be and perform accordingly as average, nor- text, if the text is taken drawn from the text, if the text is taken as mative persons — though they are anything as a larger metaphor, are a larger metaphor, are not funny. Without but. The narrator and the young woman’s not funny.” alienation, “Useful Phrases for the Tour- lives are both in danger, thanks to their ist” wouldn’t be a functional story; it would outsider status as telepathic individuals; have no center, and certainly wouldn’t be their performances of normativity, blend- as hilarious. In an illustrative microcosm ing in despite their real alienation, are of Russ’s short fiction, stories like “Useful vital. When the mask slips too far in one Phrases for the Tourist” show that even at direction and the bumbling Doctor be- her most whimsical, she was still working gins writing up the narrator’s case, “names, with the broader ideas that underpin her dates, details, everything that must never larger fictional project. While it appears get into print” (Extra(Ordinary) 77), be- to be the least serious piece in her entire lieving the narrator to be a male invert, the oeuvre — short, silly, and free of emotional intrigues begin and the performances be- heft — even it has an implicit, through- come more complicated, manipulating not H going concern with the functions and pat- only the norms of society but the expected terns of alienation and of being the Other. forms of alienation from them. Of sexuality 16 Conversely, “The Mystery of the Young and gender, the narrator says: “…the divi- Gentleman” is an emotionally and themat- sion is so strong, so elaborate, so absolute, so ically rich story making direct arguments much trained into them as habit, that with- about outsider existence and alienation in in reasonable limits they see, generally, more a more contemporary social milieu: the or less what they expect to see, especially if “‘The Mystery of the late nineteenth century. I have discussed one wears the mask of the proper behavior” Young Gentleman’ explores this story as a piece of genderqueer fiction (73). This sexual division and the accepted/ alienation from the concerned with “passing” and sexual/gen- expected manners of Othering in the nine- first-person perspective der performativity elsewhere (Mandelo,­ teenth century are what allow the narrator of the character “Reading…”), but implicit in those con- to succeed in neutralizing the Doctor. experiencing it, a cerns is the obvious function of alien- “The Mystery of the Young Gentleman” person…actively Othered ation — what would passing be without a is, therefore, another piece deeply driven by their gender, their dominant society the Othered, alienated by concerns with alienation and outsider true sexuality, and their person has to blend into? subjectivity, though it differs in every telepathy — genuinely “The Mystery of the Young Gentleman” other way from a light piece like “Useful alien… — but who must is told through letters to a third party by Phrases for the Tourist.” “The Mystery of nonetheless pretend not a narrator whose gender is constructed as the Young Gentleman” explores alienation 1 to be an outsider, or non-binary. It follows that narrator’s at- from the first-person perspective of the pretend to be a certain tempt to disguise and transport a young character experiencing it, a person who is type of outsider.” woman telepath from Europe by sea to actively Othered by their gender, their true America, where they will make their way sexuality, and their telepathy — genuinely to a safe telepathic colony together. The alien, a different strain of humanity entire- passage is made treacherous by the interest ly — but who must nonetheless pretend not an older male doctor takes in the pair; the to be an outsider, or pretend to be a cer- narrator must neutralize him to protect tain type of outsider. The narrator becomes

their identities, and does so by seducing at turns a handsome young cardsharp, a

and then blackmailing him, using varying woman dressed as a man, a stereotypically n

n

over their having feelings for each other; other; each for feelings having their over tion of this sort of story for the theoretical theoretical the for story of sort this of tion

Cont. on p. 18 p. on Cont.

have been so much convulsion and drama drama and convulsion much so been have - representa ideal an is Depressions” day

their alienation as lesbians, there wouldn’t wouldn’t there lesbians, as alienation their - “Every such, as allusion; by driven highly

wouldn’t have been at issue, and without without and issue, at been have wouldn’t explicitly feminist, set contemporarily, and and contemporarily, set feminist, explicitly

women, the inheritance of Mary’s estate estate Mary’s of inheritance the women, Russ’s short fiction; such stories are always always are stories such fiction; short Russ’s

(158). Without their outsider status as as status outsider their Without (158). common occurrence in the larger body of of body larger the in occurrence common

Society Will Accept a Love Like Ours…” Ours…” Like Love a Accept Will Society semi-autobiographical literary story is a a is story literary semi-autobiographical

the obligatory prophecy that Some Day Day Some that prophecy obligatory the she is writing, to her woman friend. The The friend. woman her to writing, is she

walk into the sunset, hand in hand, and and hand, in hand sunset, the into walk description of a fake lesbian gothic novel novel gothic lesbian fake a of description

letters…”

in a quiet house away from society and “a “a and society from away house quiet a in told through letters, about the narrator’s narrator’s the about letters, through told

short work told through through told work short

that finally resolve resolve finally that — commits suicide over it over suicide commits autobiographical piece of short work work short of piece autobiographical

autobiographical piece of of piece autobiographical

154-55) and then then and 154-55) Extra(Ordinary) ( carnal” ential, metafictional, postmodern, semi- postmodern, metafictional, ential,

postmodern, semi- postmodern,

ing that their feelings for each other were were other each for feelings their that ing - refer a is it slightest, the in speculative

referential, metafictional, metafictional, referential,

- discover upon (Mary) her shunned who sort of story from the preceding two: not not two: preceding the from story of sort

in the slightest, it is a a is it slightest, the in

relationship she had with a “Miss Bethel, Bethel, “Miss a with had she relationship “Everyday Depressions” is a whole other other whole a is Depressions” “Everyday

two: not speculative speculative not two:

all, the guilt on Mary’s part is driven by a a by driven is part Mary’s on guilt the all, alienation and the outsider are paramount. are outsider the and alienation

story from the preceding preceding the from story

after after — this time in a fantastic historical narrative, narrative, historical fantastic a in time this cial strictures against women’s love women’s against strictures cial

is a whole other sort of of sort other whole a is

story would be nonexistent. Once again, again, Once nonexistent. be would story - so the all above and intrigues, family crets,

“‘Everyday Depressions’ Depressions’ “‘Everyday

and performance. The thematic heft of the the of heft thematic The performance. and - se dire by driven is letters the in fashion

ments to make about the ethics of passing passing of ethics the about make to ments and Fanny that unwinds in typical gothic gothic typical in unwinds that Fanny and

- argu no have also would it — be no danger no be the narrative. The romance between Mary Mary between romance The narrative. the

render the narrator an Other, there would would there Other, an narrator the render acter’s own alienated subjectivity through through subjectivity alienated own acter’s

if the telepathy didn’t didn’t telepathy the if — lack its entire plot entire its lack - char the demonstrates Russ, author, actual

of the Young Gentleman” would not only only not would Gentleman” Young the of tivity in her pretend gothic novel while the the while novel gothic pretend her in tivity

ation and outsider subjectivity, “Mystery “Mystery subjectivity, outsider and ation - subjec lesbian and alienation of structions

- alien Without towards. heading are they - con the of aware is author as character

to the understanding fellow in the town town the in fellow understanding the to lows for this twofold approach, where the the where approach, twofold this for lows 17

are ultimately alienated, hence their letters letters their hence alienated, ultimately are The metafictional nature of the story al- story the of nature metafictional The

i the narrator can communicate fully; they they fully; communicate can narrator the university campus and in the wider society. society. wider the in and campus university

There is no-one on board the ship to whom whom to ship the board on no-one is There her own alienation from her world on a a on world her from alienation own her

charge, who shares their telepathic ability. ability. telepathic their shares who charge, their world as outsiders, and the second is is second the and outsiders, as world their

in the broader society but also with their their with also but society broader the in her characters and their interactions with with interactions their and characters her

es them into an outsider position not only only not position outsider an into them es way in which the depicted author describes describes author depicted the which in way

- forc and subjectivity narrator’s the affects and outsider subjectivity. The first is the the is first The subjectivity. outsider and

(70-71). This is one point of Othering that that Othering of point one is This (70-71). Depressions” has two angles on alienation alienation on angles two has Depressions”

am tempted to do again, she will kick me” me” kick will she again, do to tempted am Due to its dual-layered story, “Everyday “Everyday story, dual-layered its to Due

, as I once did and and did once I as , mujeres los y hombres las ter, ending the story on a meditative note. meditative a on story the ending ter,

as if it were a fact of nature […] If I say say I If […] nature of fact a were it if as - let last the in subjectivity lesbian and nism

others’, is full of los hombres y las mujeres mujeres las y hombres los of full is others’, - femi about feelings own her discuss to her

comes out explicitly: “Her head, like all the the all like head, “Her explicitly: out comes write the novel after all, outlining it leads leads it outlining all, after novel the write

the dominant society understands gender gender understands society dominant the in Mary’s family. Though she decides not to to not decides she Though family. Mary’s in

opposed to how their young charge and and charge young their how to opposed other while solving the mysteries lurking lurking mysteries the solving while other

theory and real life.” real and theory

the narrator understands their gender as as gender their understands narrator the they dance around a courtship with each each with courtship a around dance they

axes of oppression in in oppression of axes

oppression in theory and real life. The way way The life. real and theory in oppression woman who becomes her companion, as as companion, her becomes who woman

interdependent, as are are as interdependent,

woven and interdependent, as are axes of of axes are as interdependent, and woven lative male relatives, and Fanny, the young young the Fanny, and relatives, male lative

all interwoven and and interwoven all

- inter all are — gender, telepathic ability telepathic gender, - manipu and feckless her by run is estate

are are — telepathic ability telepathic

sexuality, sexuality, — dominant society in this story this in society dominant novel as she unfolds it is about Mary, whose whose Mary, about is it unfolds she as novel

sexuality, gender, gender, sexuality, — story

The three axes of alienation from the the from alienation of axes three The of the correspondence. The hypothetical hypothetical The correspondence. the of

dominant society in this this in society dominant

performances. performances. are they that aware mances, store; the reader sees only the narrator’s side side narrator’s the only sees reader the store;

alienation from the the from alienation

- perfor vital these informing and driving - book a in gothic gay a seeing after write

“The three axes of of axes three “The

both perpetually aware of the alienation alienation the of aware perpetually both a lesbian gothic novel she was inspired to to inspired was she novel gothic lesbian a

vival. Yet, the reader and the narrator are are narrator the and reader the Yet, vival. writes letters to another woman describing describing woman another to letters writes

- sur ultimate for passing of necessity the In “Everyday Depressions,” the narrator narrator the Depressions,” “Everyday In

with finesse, class, and utter conviction for for conviction utter and class, finesse, with alienation and outsider subjectivity. subjectivity. outsider and alienation

a mentor, performing all of these roles roles these of all performing mentor, a here, not least because it, too, talks about about talks too, it, because least not here,

predatory gay man, a father, a rancher, and and rancher, a father, a man, gay predatory microcosm I am attempting to construct construct to attempting am I microcosm Alienation of all this, the narrator remains wryly the broader thematic concern has been a (cont. from p. 17) aware. Finally, as the letters end with her part of the project since her first sale. “Nor own reflection on her increasing age and Custom Stale,” Russ’s first published piece “middle-aged tolerance” (160), she dis- of speculative fiction, is a story that makes cusses a scene in which her own alienation its commentary on alienation almost im- seems to come full circle as part of the plot possibly literal, so immediate that at first “Angles of engagement that had driven her to want to write a les- glance I slipped past it and read only the and forms of exploration bian gothic in the first place, after having commentary on domestic entrapment in can and do differ seen a gay one on a bookshop shelf: “Last the text. In the story, Freda and her hus- throughout Russ’s short week a frosh wombun (wumyn? wymeen?) band Harry live in a futuristic House, fiction, but the presence came up to me while the other twenty- a self-contained unit that lasts for gen- of the broader thematic year-olds were chasing Frisbees on the erations and takes all possible care of its concern has been a part university grass, playing & sporting with inhabitants. Their House begins having of the project since her their brand-new adult bodies, and said ‘O minor malfunctions that concern Freda first sale.” Teachur, what will save the world?’ and but which Harry disregards until it is so I said, ‘I don’t know’” (160). The ways in far gone that they can no longer leave or which age creates a divide, changes per- communicate with the outside world — ceptions, and renders her in some forms no car, no phone, no mail, no view out of unable to communicate even with those the windows. They fall into a routine that young folks who are now as she once was Harry enjoys as if he’s on a perpetual vaca- herself — the snarky parenthetical refer- tion but Freda dislikes, bored and isolat- ence to made-up feminist words in par- ed, perpetually ignored and her concerns ticular is a spot of division between the pushed aside. Time begins to slip. There is narrator, who is writing about women, and one intrusion into their house from some- the young person — those, too, are forms of one who is dressed and speaks strangely outsider subjectivity, especially on a uni- but it startles them and they refuse to versity campus populated almost entirely listen to him. Finally, all of the red lights H with brand-new adults. on the House’s panel begin to glow — it is “Everyday Depressions” gives the reader failing. It is then they realize that without 18 both author and story within a story, at a change in their lives they have not aged conversational remove. There are further and the world is ending; they and the referential commentaries — such as the House have nearly outlasted it all, but not potential story heroine’s mother, who was quite. Freda’s alienation from the outside named Alice Tiptree and came from the world, as well as from her husband and her Sheldon family, and “(by the way) died House, are vitally necessary to the story’s of a broken heart” because of the loss of argument about domestic entrapment and her romantic friendship with another allow it to unfold. Throughout the story, as woman — that complicate the nature of Freda and her husband grow increasingly “‘Nor Custom Stale,’ lesbian subjectivity and alienation even isolated — at first they must shut off their Russ’s first published further, commenting as they seem to on car, and then the phone goes, and then the piece of speculative both the real world and the fictional world mail stops coming — Freda also becomes fiction, is a story that the Russ-esque narrator is creating in her increasingly alienated from her own world makes its commentary letters. Though it is a very short, somewhat and their unequal relationship. on alienation almost comedic and finally mellow open-ended At first, when the House begins hav- impossibly literal…” piece of metafiction, “Everyday Depres- ing problems, Harry continually dismisses sions” is exploring alienation and outsider Freda’s concerns with the phrase “not se- subjectivity no less than other stories like rious,” repeating it at every turn as Freda “The Mystery of the Young Gentleman” or protests that “something is really wrong” “Nor Custom Stale;” the difference rests (126). As her communication with the only in the angle of engagement, a differ- outside world is slowly — and quite sym- ence that illustrates how varied the em- bolically, in the larger arc of the story — cut bodiment of a given theme can be between off, trapping her inside, she comes to real- stories in a larger collection of work. ize that regardless of Harry’s presence in Angles of engagement and forms of the House she is quite alone there. With-

exploration can and do differ throughout out the phone, or the mail, or friends, or a

Russ’s short fiction, but the presence of husband with whom she can communicate, n

n

Truth-Telling. - contempo in survive to tries she as Janet

Joanna Russ and Radical Radical and Joanna Russ are outsiders in patriarchal societies, even even societies, patriarchal in outsiders are

We Wuz Pushed: On On Pushed: Wuz We Man Female The of women the chooses;

from Aqueduct Press, Press, Aqueduct from her subjectivity and her right to die as she she as die to right her and subjectivity her

as the nonfiction book book nonfiction the as social outsider who refuses to abandon abandon to refuses who outsider social

from Lethe Press, as well well as Press, Lethe from

is a religious and and religious a is to… About Are Who We

story for purposes of survival and safety. and survival of purposes for story

, , Binary Beyond fiction,

ists she is trying to save; the protagonist of of protagonist the save; to trying is she ists

both genders and more throughout the the throughout more and genders both

genderqueer speculative speculative genderqueer

- tour of group the to outsider an and scape

man or woman; instead, they perform perform they instead, woman; or man

has an anthology on on anthology an has

- land the to outsider an both is Paradise on

bodied, they do not identify as either either as identify not do they bodied,

. She She . Horizons Strange at

Picnic Picnic in Alyx project: larger the of part a

e implied to be female- be to implied e ar they Though 1

the newest fiction editor editor fiction newest the

but would argue that her novels are no less less no are novels her that argue would but

critic, and editor. She is is She editor. and critic, Note

alienation at work in Russ’s short fiction, fiction, short Russ’s in work at alienation

Brit Mandelo is a writer, writer, a is Mandelo Brit

I have observed the thematic concern with with concern thematic the observed have I

artistically and a personally significant act. act. significant personally a and artistically

WI: Arkham House. Arkham WI:

angles in her fictional project is both an an both is project fictional her in angles

——

Sauk City, City, Sauk Cat. Zanzibar The 1983. .

ploring that alienation from all possible possible all from alienation that ploring

- Ex society. heterosexist-dominant archal, New York: St. Martin’s Press. Martin’s St. York: New

—— - patri a in artist outsider an of that was Moon. the of Side Hidden The 1987. .

a lesbian feminist, Russ’s own subjectivity subjectivity own Russ’s feminist, lesbian a

. New York: St. Martin’s Press. Martin’s St. York: New . People

structions of alienation and the Other. As As Other. the and alienation of structions

Extra(Ordinary) Extra(Ordinary) 1984. Joanna. Russ,

- con Russ’s informs intrinsically that ence

- experi authorial personal a also is it but extraordinary-people-1984-part-1.

and/or feminist centers and characters, characters, and centers feminist and/or blogs/2012/01/reading-joanna-russ-

tional worlds tend to revolve around queer queer around revolve to tend worlds tional 10 Jan 2012. http://www.tor.com/ 2012. Jan 10

- fic her since fiction, short Russ’s through . Macmillan Publishing. Publishing. Macmillan . Tor.com 1.”

son this perennial thematic concern flows flows concern thematic perennial this son (1984), Part Part (1984), People Extra(Ordinary)

19

- rea one is that subjectivities; alienated are

Mandelo, Brit. “Reading Joanna Russ: Russ: Joanna “Reading Brit. Mandelo,

edge that feminist and queer subjectivities subjectivities queer and feminist that edge

i

Works Cited Works - acknowl to important it find I Here,

damage that isolation can do. do. can isolation that damage

connection to a broader society, and the the and society, broader a to connection Other.

sensations of being the Other with no no with Other the being of sensations subjectivity of the alien, the outsider, the the outsider, the alien, the of subjectivity

the sensations of outsider subjectivity, the the subjectivity, outsider of sensations the subjectivity: the complicated, prickly, vital vital prickly, complicated, the subjectivity:

mystique; but it is also an exploration of of exploration an also is it but mystique; a whole united by a broader concern with with concern broader a by united whole a

ment, rooted in critique of the feminine feminine the of critique in rooted ment, digmatic microcosm of her short work, as as work, short her of microcosm digmatic

- argu feminist dedicatedly a is further no - para a via here suggested have I as read, be

narrows and narrows until it can narrow narrow can it until narrows and narrows

in the field at large; however, they may also also may they however, large; at field the in

personally significant act.” significant personally

of “Nor Custom Stale” as Freda’s world world Freda’s as Stale” Custom “Nor of

fabulously unique amongst themselves and and themselves amongst unique fabulously

an artistically and a a and artistically an

alienation in the science fictional universe universe fictional science the in alienation

short fiction are heterogeneous, varied, and and varied, heterogeneous, are fiction short

fictional project is both both is project fictional

The literal representation of isolation and and isolation of representation literal The

in some form. The stories in Russ’s body of of body Russ’s in stories The form. some in

possible angles in her her in angles possible

piece of science fiction she published. published. she fiction science of piece

subterranean at others, but always present present always but others, at subterranean

alienation from all all from alienation

throughout her work, from the very first first very the from work, her throughout

out like a river, on the surface at times and and times at surface the on river, a like out

society. Exploring that that Exploring society.

the themes of alienation and “the Other” Other” “the and alienation of themes the

- through runs that concern unifying erful

heterosexist-dominant heterosexist-dominant

ect and demonstrates the centrality of of centrality the demonstrates and ect

- pow a productions, cultural multifarious

artist in a patriarchal, patriarchal, a in artist

- proj fiction visible Russ’s of beginning

strong angle from which to discuss her her discuss to which from angle strong

was that of an outsider outsider an of that was

things go” (137). “Nor Custom Stale” is the the is Stale” Custom “Nor (137). go” things

gether her immense oeuvre, providing a a providing oeuvre, immense her gether

Russ’s own subjectivity subjectivity own Russ’s

of the world, “almost […] forever…as such such forever…as […] “almost world, the of

- to tie nonfiction her in as well as novels

“As a lesbian feminist, feminist, lesbian a “As

has managed to last until the end end the until last to managed has — inside Other throughout Russ’s short fiction and and fiction short Russ’s throughout Other

alienated, and completely without change change without completely and alienated, Engagements with alienation and the the and alienation with Engagements

isolated, isolated, — that quite literally, as the House the as literally, quite that novels: they are connected. are they novels:

stasis, and in the end the reader discovers discovers reader the end the in and stasis, available bibliography represented by her her by represented bibliography available

upsetting scene. Alienation is stagnation, stagnation, is Alienation scene. upsetting integral part of the larger and more readily readily more and larger the of part integral

memory of the solutions in a particularly particularly a in solutions the of memory on. Definitively, Russ’s short works form an an form works short Russ’s Definitively, on.

and redoes the same word puzzles with no no with puzzles word same the redoes and status and concurrent alienation. I could go go could I alienation. concurrent and status

daily life begin to slip. She solves, erases, erases, solves, She slip. to begin life daily Irene’s growing awareness of her outsider outsider her of awareness growing Irene’s

Freda’s engagement with her mind and her her and mind her with engagement Freda’s traces traces Them of Two The and America; rary y Contextualizing a Meta-Textual Woman On Joanna Russ, edited by Farah Mendlesohn, Wesleyan University, 2009, 304 pages, $29.95 Reviewed by Candra K. Gill The diversity of Joanna Russ’s body of Gene Wolfe’s opening essay, “Alyx among “Even for those of us who work means it can’t be placed into a single the Genres,” looks at Russ’s development may not have read the box or category; however, some readers as a science fiction writer through the Alyx entire breadth of Russ’s may know of her work in only one arena. novel and stories, relating it to Russ’s deep work, the challenge, In many ways, I am such a reader. While knowledge of science fiction and fantasy. variety, and ferocity of I knew about Joanna Russ the critic and Her writing could be critical of the genre her intellect is visible in Joanna Russ the scholar, I was most famil- and its themes because she knew it so well. everything she wrote. ” iar with Joanna Russ the science fiction Edward James builds upon this with his author. Because of this it was a rich ex- look at Russ’s work as an sf reviewer, which perience for me to read On Joanna Russ, a he differentiates from her critical academic critical anthology dedicated to her life and work. In his overview, James characterizes work, and consider the other Russes to be Russ’s tenure as a reviewer as “a minicourse found and embraced. in how to write science fiction, and — part- Even for those of us who may not have ly in response to letters, critical of her re- read the entire breadth of Russ’s work, the viewing, which were sent to the editor — in challenge, variety, and ferocity of her intel- how to write science fiction reviews as lect is visible in everything she wrote. In well” (20). In “A History of One’s Own,” her introduction to the anthology, editor Lisa Yaszek contextualizes Russ’s work in Farah Mendlesohn writes, “Russ’s work terms of the establishment of a tradition of questions the cosy consensus of author- feminist science fiction through a discus- reader relations. The reader must follow sion of Russ’s criticism of mid-Twentieth an author whose every book is written in Century SF by women authors, Russ’s own H a different form” (viii). Not only is each earlier writing, and, coming full circle, later book written in a different form, even feminist scholars’ analyses of Russ’s work. 20 within a single genre, but this is a person Yaszek discusses how Russ’s earlier fiction who offered readers significant outputs and criticism led to her later focus on fem- in academic writing, fiction, reviews, and inist utopian futures as a way of critiquing fanzine exchanges, among other forms. On and resisting patriarchy. Helen Merrick’s Joanna Russ looks at these many sides of “The Female ‘Atlas’ of Science Fiction?” Joanna Russ and locates them within the looks at Russ as an active participant in history of her development as a writer, a science fiction fan communities, particu- feminist, and a scholar. larly through her contributions to fan- It is appropriate that a writer whose zine discussions through letters. Merrick’s work Mendlesohn describes as both meta- essay was an especially fascinating read textual and inter-textual would be con- for me as a lifelong sf fan who came up sidered in essays that place the work into after the heyday of print fanzines. Finally, larger cultural contexts. The anthology is in their “Learning the ‘Prophet Business,’” divided into two sections: Part I: Criticism ­Dianne Newell and Jenea Tallentire look and Community and Part II: Fiction. In at Russ’s professional evolution through both sections, all essays consider Russ’s her sometimes difficult interactions with work in terms of politics, science fiction ­Judith Merril. history, feminism, and Russ’s own personal Each of the essays in this section is in- evolution. teresting on its own, but taken together, Perhaps because I was most familiar they present a complex picture of a writ- with Russ’s fiction when I came to read er’s own intellectual, political, and artistic this anthology, I found the Criticism and development; the evolution of American Community section to be the most com- science fiction, both in terms of profes- Reviews pelling. The essays in this section build sional and fan relationships; and the de-

upon each other, sometimes even making velopment of feminist thought, especially

direct reference to other essays in the book. within that tradition. n

n

steering Committee. Committee. steering

the Carl Brandon Society Society Brandon Carl the

fan, she currently serves on on serves currently she fan,

Midwest. A lifelong sf sf lifelong A Midwest.

lives in the American American the in lives

interaction designer who who designer interaction

Candra K. Gill is an an is Gill K. Candra

21

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that tradition.” that

thought, especially within within especially thought,

development of feminist feminist of development

fan relationships; and the the and relationships; fan

terms of professional and and professional of terms

science fiction, both in in both fiction, science

evolution of American American of evolution

shaped her work. her shaped development; the the development;

space to give them here, continue the work work the continue here, them give to space more about her and the influences that that influences the and her about more political, and artistic artistic and political,

deserve more consideration than I have have I than consideration more deserve like me who are interested in learning learning in interested are who me like writer’s own intellectual, intellectual, own writer’s

gender modeling. These essays, which which essays, These modeling. gender worth the time as well, especially for those those for especially well, as time the worth a complex picture of a a of picture complex a

films, or Sandra Lindow’s discussion of of discussion Lindow’s Sandra or films, is is Russ Joanna On But better. it know to “[T]he essays…present essays…present “[T]he

Russ’s work in terms of D.W. Griffith’s Griffith’s D.W. of terms in work Russ’s own work is, of course, the best way to get get to way best the course, of is, work own

or Samuel R. Delany’s look at race and and race at look Delany’s R. Samuel or fiction fan and a feminist. Reading Russ’s Russ’s Reading feminist. a and fan fiction

Wave feminist intergenerational readings, readings, intergenerational feminist Wave especially in terms of being a science science a being of terms in especially

whether it’s Sherryl Vint’s look at Third Third at look Vint’s Sherryl it’s whether her influence on many of my communities, communities, my of many on influence her

All situate Russ’s fiction in larger contexts, contexts, larger in fiction Russ’s situate All I’ve been thinking a lot about Russ and and Russ about lot a thinking been I’ve

themes found throughout multiple works. works. multiple throughout found themes but I read it in 2011, after Russ’s death. death. Russ’s after 2011, in it read I but

on individual works, while others focus on on focus others while works, individual on was published in 2009, 2009, in published was Russ Joanna On

Russ’s fiction. Some of the essays focus focus essays the of Some fiction. Russ’s work as part of a larger discussion. larger a of part as work

Part II of the anthology deals with with deals anthology the of II Part of the first section by looking at Russ’s Russ’s at looking by section first the of y An Exemplary Inheritance Expanded and Continued Heiresses of Russ 2011: The Year’s Best Lesbian Speculative Fiction, edited by JoSelle Vanderhooft and Steve Berman, Lethe Press, 2011, 286 pages, $18.00 Reviewed by Cynthia Ward The preeminent writer of lesbian specu- N.K. Jemisin’s delightful novelette, “The lative fiction is the late Joanna Russ. So Effluent Engine,” re-imagines the Hai- “The anthology opens it’s suitable that a new anthology series tian Revolution with the inclusion of a strongly with Ms. collecting the year’s best lesbian specula- bastard lesbian spy daughter for Toussaint Vanderhooft’s insightful tive fiction is titledHeiresses of Russ. But L’Ouverture and a multicultural steampunk ‘Introduction’ and new readers may reasonably ask if the inaugural spin. While it’s doubtful the protagonist writer Georgina Bruce’s (2011) volume, which collects twelve sto- would ultimately be happy if she heeded her slipstream-y ‘Ghost ries and is edited by JoSelle Vanderhooft beloved’s concluding demand, the reader is of a Horse Under a and Steve Berman, lives up to its ambi- left eager to revisit this alternate history. Chandelier.’” tious title. In “The Children of Cadmus,” Ellen The anthology opens strongly with Kushner wonderfully transforms the myth Ms. Vanderhooft’s insightful “Introduc- of Actaeon via the viewpoint of a beloved tion” and new writer Georgina Bruce’s sister besotted with Artemis. Meanwhile, slipstream-y “Ghost of a Horse Under a donning the persona of Jewish lesbian au- Chandelier.” Unfolding in the borderland thor Esther Garber, Tanith Lee pursues a between mainstream and speculative fic- possible ghost in the darkly droll “Black tion, this smart story of comics-reading Eyed Susan.” “Many of the stories friends working out their ambiguous ado- Though several contributions come in Heiresses of Russ lescent relationship is all the more effective from less well-known authors, they too 2011 slide more toward for its genre-blurring. are superior stories. Michelle Labbé’s pas- the slipstream than Set in New Orleans’s historically signif- sionate vignette, “Her Heart Would Surely Joanna Russ did, and icant red-light district, “Storyville 1910” Break in Two,” seems as much historical H few achieve the heights revisits the ex-slave vampire protagonist fiction as fantasy. Steve Berman’s radical re- of her best fiction. But 22 of Jewelle Gomez’s best-known book, the vision of Swan Lake, “Thimbleriggery and every contribution fulfills ground-breaking Lambda Award win- Fledglings,” brings with it heartbreak and Russ’s legacy through its ner The Gilda Stories (Firebrand Books, liberation. A couple disintegrates in Csilla intelligence, insight, and 1991). Most easily appreciated by readers Kleinheincz’s unease-inducing “Rabbits.” fine prose. ” familiar with the novel, “Storyville 1910” Zen Cho’s lovely Southeast Asian magic- is nonetheless clear and engaging enough realist tale, “The Guest,” features a smell for newcomers, as Gilda encounters an old magician who takes in a cat that isn’t what friend and a new foe. it seems. A quite different feline features in “The Egyptian Cat,” Catherine Lun- doff ’s Lovecraftian amusement. In Nora Olsen’s hopeful “World War III Doesn’t Cynthia Ward has Last Long,” even nuclear catastrophe can- published stories in not daunt a determined lover. And relative Asimov’s, Triangulation: newcomer Rachel Swirsky contributes the Last Contact, and anthology’s best work: the audacious Neb- other anthologies and ula Award-winning novella, “The Lady magazines. With Nisi Who Plucked Red Flowers Beneath the Shawl, she coauthored Queen’s Window,” which follows a dead Writing the Other: sorceress’s spirit across millennia. A Practical Approach (Aqueduct Press) based Many of the stories in Heiresses of Russ on their diversity writing 2011 slide more toward the slipstream workshop, “Writing the than Joanna Russ did, and few achieve Other: Bridging Cultural the heights of her best fiction. But every Differences for Successful contribution fulfills Russ’s legacy through Fiction.” Cynthia is its intelligence, insight, and fine prose. The

completing a novel. She anthology, like Russ, deserves a place in

lives in Los Angeles. your library. n n

Featured Artist

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and ceased publication in 1975. in publication ceased and a as Regarded painting. time full to way

cation in February 1973, put out 16 issues, issues, 16 out put 1973, February in cation gave work illustration his paintings, oil his

- publi began Vertex . Fiction Science of zine sell and show to began he as time In

articles and stories. and articles - Maga The Vertex: of issue 1974 February

illustrations for a number of science fiction fiction science of number a for illustrations reprinted here was first published in the the in published first was here reprinted

Monte Rogers’ drawing of Joanna Russ Russ Joanna of drawing Rogers’ Monte provided he 1970s early the In Institute.

Bend, Oregon Bend, and picture making at the California Art Art California the at making picture and

approach. He currently resides in North North in resides currently He approach. tisements. He also taught figure drawing drawing figure taught also He tisements.

intensity paint infused with a plein air air plein a with infused paint intensity - adver and magazines, books, of illustrator

men, light-filled images rendered in full- in rendered images light-filled men, years he worked as a commercial freelance freelance commercial a as worked he years

amusement parks, beaches, and working working and beaches, parks, amusement College of Design in Los Angeles. For 30 30 For Angeles. Los in Design of College

West Coast. His subjects include rodeos, rodeos, include subjects His Coast. West coast. He graduated from the Art Center Center Art the from graduated He coast.

show the influence of his childhood on the the on childhood his of influence the show Hood River Valley and California’s central central California’s and Valley River Hood

Western artist, Monte’s cumulative works works cumulative Monte’s artist, Western Oregon’s in up grew Rogers Monte Monte Rogers Monte New from Aqueduct Press We Wuz Pushed: On Joanna Russ and Radical Truth-Telling by Brit Mandelo

“To speak radical truths — unapologetically, ferociously, rudely when necessary — is the central purpose of Joanna Russ’s influential body of work,” declares Brit Mandelo in her essay on Russ’s radical, groundbreaking literary and critical work. Mandelo’s essay traces Russ’s evolving efforts to speak truth throughout her literary career — examining both Russ’s successes and failures in doing so. She insists that Russ problematized and individualized her ultimate understanding of truth without rejecting its possibility. Rather, Mandelo argues, the trajectory of change in Russ’s work and her revision of prior truths itself constitutes a valuable part of the truth-telling project. Russ emerges in Mandelo’s essay as a heroic though all-too-human intellectual and artist, one whose angry, brilliant work we cannot afford to ignore or forget. Birds and Birthdays by Christopher Barzak Remedios Varo, Leonora Carrington, Dorothea Tanning: three of the most interesting painters to flourish in male-dominated Surrealism. This is Christopher Barzak’s tribute to them: three stories and an essay that enter into a humane surrealism that turns away from the unconscious and toward magic. Sometimes the stories themselves seem to be paintings. Sometimes painter and writer may be characters, regarding each other through a painful otherness, talking in shared secrets. Barzak’s stories are huge with the spacious strangeness of worlds where there is always more room for a woman to escape her tormenters, or outgrow an older self. The Receptionist by Lesley Wheeler

A stirring narrative of fantasy and derring-do, set in the ivy-clad towers and poky offices of modern academia, in which the warrior princess of an ancient line returns to the fray at last and summons ancient powers to defend the right.… The forces of evil are all too recognizable, the bad guys satisfyingly bad and the good guys not too goody-goody.… In the bonus package of shorter poems, “Zombie Thanksgiving” (T. S. Eliot’s “The Waste Land” retold) is stunning, an absolute tour de force. —Gwyneth Jones

Where can an evil Dean meet his doom more fitly than in terza rima? Lesley Wheeler’s brief novel of misbehavior in academia, subtle and funny, rashly inventive and perfectly realistic, uses all the forgotten powers of metaphor and poetry to make the mundane luminous. www.aqueductpress.com —Ursula K. Le Guin

$5.00 The Cascadia Subduction Zone PO Box 95787 Seattle, WA 98145-2787