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1970S Feminist Science Fiction As Radical Rhetorical Revisioning. (2014) Directed by Dr BELK, PATRICK NOLAN, Ph.D. Let's Just Steal the Rockets: 1970s Feminist Science Fiction as Radical Rhetorical Revisioning. (2014) Directed by Dr. Hephzibah Roskelly. 204 pages. Feminist utopian writings from the 1970s included a clearly defined rhetorical purpose: to undermine the assumption of hidden male privilege in language and society. The creative conversation defining this rhetorical purpose gives evidence of a community of peers engaging in invention as a social act even while publishing separately. Writers including Samuel Delany, Joanna Russ, James Tiptree, Jr., and Ursula Le Guin were writing science fiction as well as communicating regularly with one another during the same moments that they were becoming fully conscious of the need to express the experiences of women (and others) in American literary and academic society. These creative artists formed a group of loosely affiliated peers who had evolved to the same basic conclusion concerning the need for a literature and theory that could finally address the science of social justice. Their literary productions have been well-studied as contemporaneous feminist utopias since Russ’s 1981 essay “Recent Feminist Utopias.” However, much can be understood about their rhetorical process of spreading the meme of feminist equality once we go beyond the literary productions and more closely examine their letters, essays, and commentary. This dissertation will show that this group of utopian fiction writers can be studied as exactly that: a loosely connected, collaborative, creative group of peers with specific ideas about how humanity could be better if assumptions of male superiority were undermined and with the rhetorical means to spread those ideas in ways which changed the literary and social conversation. LET'S JUST STEAL THE ROCKETS: 1970S FEMINIST SCIENCE FICTION AS RADICAL RHETORICAL REVISIONING by Patrick Nolan Belk A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2014 Approved by _________________________ Committee Chair To Erica Belk Thomas and to Mellany Belk, Cassie Belk Bowlin, Savannah, Shelby, Deanna, Abby, Katie, and all the other women who have meant the world to me ii APPROVAL PAGE This dissertation written by PATRICK NOLAN BELK has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. Committee Chair __________________________________ Committee Members __________________________________ __________________________________ ____________________________ Date of Acceptance by Committee _________________________ Date of Final Oral Examination iii ACKNOWLEDGEMENTS I would like to extend my thanks to Dr. Hephzibah Roskelly, who provided me with the initial impetus to pursue this avenue of research as well as the guidance to complete it, Dr. Nancy Myers who consistently praised my abilities in ways that made me wish to live up to her praise, Dr. Anthony Cuda for the training in and insistence on the value of my methodology, and Dr. Jeremiah Dancy for throwing down the gauntlet. I would also like to express my thanks to The Graduate School and to the Women and Gender Studies Program of The University of North Carolina at Greensboro for financial assistance supporting the research for this dissertation as well as to the Eaton Collection of Science Fiction & Fantasy at The University of California, Riverside and, most particularly, to the Special Collections and University Archives at the University of Oregon for unfettered access to much of the most significant elements of the research. iv TABLE OF CONTENTS Page CHAPTER I. 1970S FEMINIST SCIENCE FICTION, THE UTOPIAN IMPULSE, AND THE SOCIOLOGICAL IMAGINATION ................................................1 II. UTOPIA IS A PROCESS, NOT A GOAL ..........................................................27 III. RHETORICAL THEORY, COLLABORATION, AND EDIFYING DISCOURSE ..................................................................................................58 IV. RHETORICAL REVISION AND SCIENCE FICTION .....................................92 V. BREAKING THE CRUST OF CONVENTION:THE LEFT HAND OF DARKNESS, THE FEMALE MAN, AURORA: BEYOND EQUALITY AND TROUBLE ON TRITON ..................................................123 VI. WHERE DO WE GO FROM HERE? ...............................................................170 NOTES ............................................................................................................................176 WORKS CITED .............................................................................................................180 v CHAPTER I 1970S FEMINIST SCIENCE FICTION, THE UTOPIAN IMPULSE, AND THE SOCIOLOGICAL IMAGINATION “Man in Space” By Billy Collins All you have to do is listen to the way a man sometimes talks to his wife at a table of people and notice how intent he is on making his point even though her lower lip is beginning to quiver, and you will know why the women in science fiction movies who inhabit a planet of their own are not pictured making a salad or reading a magazine when the men from earth arrive in their rocket, why they are always standing in a semicircle with their arms folded, their bare legs set apart, their breasts protected by hard metal disks. Sexism Defeats Science As any student of twentieth century popular culture can tell you, Golden Age science fiction of the 1940s and 1950s worked to change the sociological imagination, providing visual and narrative images of humans in space, creating new common assumptions about space travel and paving the way for men in rockets, harnessing new scientific and technological discoveries, to capture the anti-Soviet political climate and ride it to the moon. By the spring of 1960, the Mercury space program defined for all Americans the Right Stuff for space exploration: handsome, strong, bright, young, white 1 men. Ironically, as the nation embraced these future astronauts, claiming in them the best vision of American culture, that single-sex, single-race vision was being dismantled through the maturing American Civil Rights movement and the blooming women’s movement. As participants in these new social movements, not all women or men were comfortable with NASA’s inherent sexism.1 As a practical challenge to the common belief that only men should go to space, a loosely-affiliated group of very experienced female pilots, supported by various philanthropists independent of NASA, began training and testing according to the same physical and psychological guidelines required of the male Mercury astronaut candidates. This group, known as the Mercury 13, was successful in showing the abilities of women as potential space explorers. By the spring of 1960, when the U. S. Navy stopped allowing them to test, thirteen women had passed the major initial set of tests and at least one of these women had passed all of the tests required to clear men for space exploration (Luce). Certainly by the time Valentina Tereshkova became the first woman in space, anyone who cared would have known that women were not only as well prepared biologically for space but were actually better prepared than men. As The Milwaukee Sentinel points out, admittedly in an article stuck in the “society” pages between images of dresses and articles about the new teenage furniture market, science had already shown that women were smaller, thereby saving room for more scientific equipment and other space needs; women were less susceptible to radiation poisoning and less prone to stress- related illnesses including sudden heart attacks; and women were better capable psychologically to withstand the loneliness which days of deprivation in space required 2 (“Disappointed Lady” 1.5). Despite such proof of women’s advantage or even the irrefutable proof that a woman with much less training than the Mercury 13 had become a cosmonaut, NASA refused to consider women fit for space. Americans simply could not stomach it, an anonymous NASA commander claimed (Madrigal). Alexis Madrigal claims, “The truth is, the sexism of the day overwhelmed the science of the day.” And the “sexism of the day” was undeniable. In the June 1962 society pages of the Pittsburgh Press, commentator Ruth Heimbeucher argues that while she promotes female equality, she could never imagine women in space. She questions the ability of society to accept women astronauts: “Can you imagine anything more unflattering to a female figure – any figure – than a pressurized space suit, full of lumps and bumps that aren’t there? And space boots that do nothing, even for the slimmest ankle, a helmet that flattens a bouffant hairdo even before a countdown is halfway counted down.” Such segregation did not go unnoticed. As the critic Janice Bogstad notes, “If I had ever believed in the objectivity of science and technology as presently practiced, this persistent virtual exclusion of women from such things as the space program and persistent underplaying of their role in the media would have shaken that belief” (Bogstad and Emrys 2). As an alternative to discussions of female astronauts being relegated to the society pages, the accomplished politician and journalist Clare Boothe Luce, writing for Life, did give the Mercury 13 women a well-developed article in June 1963 titled “A Blue-eyed Blonde with a New Hair-do Stars in a Russian Space Spectacular: She Orbits Over
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