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History, Race and Gender in the Science Fiction of Octavia Estelle

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History, Race and Gender in the Science Fiction of Octavia Estelle HISTORY, RACE AND GENDER IN THE SCIENCE FICTION OF OCTAVIA ESTELLE BUTLER A Thesis Presented in Partial Fulfillment of the Requirements for the degree Master of Arts In the Graduate School of The Ohio State University by Ben Davis Jr., B. S. Ed. ***** The Ohio State University 1992 Master's Examination Committee: Approved by Christian K. Zacher Patrick B. Mullen ~ef~ College of English Copyrig ht by Ben Davis Jr. 1992 To my mother and father, Leontyne and Ben i i ACKNOWLEOOEMENTS My sincerest thanks, appreciation, and gratitude to everyone who has encouraged me and helped me realize this graduate thesis. To my very first literature professor, the late Dr. Stanley J. Kahrl, my mentor and friend who instilled in me the drive for excellence and love for the written word; Dr. Christian Zacher, who took a chance on me to guide me through my research and my writing on this project; Dr. Patrick Mullen, my second reader and guide; my closest friends, Albert, David, James Daniels and James Moorer, who are always behind me; my brothers Michael and Thomas, whose love and admiration I will forever cherish; Viola Newton, who is both a wonderful colleague and friend; and Octavia Estelle Butler, the beauty and magic of whose words have inspired me with the means to do my work. iii VITA April 28, 1962 Born - Cleveland, Ohio 1990 - 1991 Graduate Research Associateship, Ohio State University, Columbus, Ohio FIELDS0 FSTUDY Major Field: English Studies in: Twentieth Century American Literature, African American Literature, and Science Fiction iv TABLEOFCONTENTS DEDiCATION ii ACKNOWLEDGEMENTS iii ViTA iv CHAPTER PAGE I. INTRODUCTION: HISTORY, RACE AND GENDER IN THE SCIENCE FICTION OF OCTAVIABUTLER 1 II. SLAVE HISTORY AND TIME TRAVEL IN KINDRED 9 III. RACE, GENDER AND POWER RELATIONSHIPS IN WILDSEED 28 IV. KINSHIP AND RACE IN MINDOFMYMIND 55 V. CONCLUSION: BLACKCONSCIOUSNESS IN OCTAVIA BUTLER'S SCIENCEFICTION 68 LISTOFREFERENCES 77 v CHAPTER I INTRODUCllON: HISTORY, RACE AND GENDER IN THE SCIENCE FICTION OF OCTAVIA BUTLER Octavia Estelle Butler's pathbreaking novels offer a new perspective on the dimensions of science fiction by focusing on important themes in Black history and culture and also on issues of race and gender. Butler addresses many controversial questions concerning Black people in a modern world, and does so by creating a world peopled with superhuman telepaths, psychic vampires, telekinetics, mutant humanoids, and alien beings. Responding to various theories about Black life, Butler creates characters who represent a radical alternative to learning and understanding Black culture. In Contemporary Authors, Butler addresses her purpose for choosing a genre almost "alien" to the Black literary tradition: When I first began writing science fiction, I was disappointed at how little creativity and freedom was used to portray the many racial, ethnic and class variations. Also, I could not 1 2 help noticing how few significant woman characters there were in science 'fiction. Fortunately, this has been changing over the past few years. I intend my writing to contribute to the change. (73-74) For these reasons, Butler creates significantly strong Black science fiction/fantasy characters that are anything but stereotypical. Robert Crossley notes that during the 1940s and 1950s science fiction offered no Black writers (male or female) and focused on very few Black characters. Crossley also posits that many science 'fiction stories were "provocatively racist, including Robert Heinlein's The Sixth Column (1949), whose heroic protagonist was unsubtly named Whitey" (Kindred xiv); additionally, Crossley notes: The highest tribute paid to a character of color in such novels was for the author to have him sacrifice hls life for his white comrades, as an Asian soldier named Franklin Roosevelt Matsui does in Tile Sixth Column, as does the one black character in Leigh Brackett's story "The Vanishing Venusians" (1944). (xiv) Equally interesting, Crossley states that many science fiction works tried to be "colorblind...imagining a future in which race no longer 3 was a factor...embodying the White liberal fantasy of a single black character functioning amiably in a predominantly White society" (xv). An example of this is Jan Rodricks, earth's last survivor in Arthur C. Clarke's Childhood's End (1953), whose race, as Crossley notes, supposedly does not matter. Thus, science fiction readers did not have (or perhaps were not interested in having) a non­ stereotypical or non-underrepresented perspective on Black characters whether they were heroic or not. What is distinctive about Butler is that she makes the presence of her Black characters known, especially her female characters. Furthermore, some of her critics have labeled the women characters in her stories as heroines. Ruth Salvaggio in her article "Octavia Butler and the Black Science Fiction Heroine" says that the "female protagonists. .shape the course of social events" (78). Salvaggio calls this "changing the typical scenario" (78). Butler states that during the 1940s and 1950s (and even into the early 1960s) an "insidious problem with science fiction is that it has always been nearly all white, just as until recently, it's been nearly all male" (Transm ission 17-18). Thus, Butler's science fiction heroines usurp the masculine world. Also, Salvaggio recognizes that Butler's concern with racism and sexism is "a conscious part of her vision" (78) but she defines Butler's works only through her science fiction 4 heroines. Indeed, most of Butler's critics examine only the characteristics of the modern "liberated" woman that typify the heroines of her stories. In fact, the only importance seen in her work is that it offers entertainment with some "historical and contemporary truth" (Friend 55). However, Butler's fiction is important for much more than its presentation of strong female figures, and it is in the series of stories she calls the Patternist and Non-Patternist forms that her strength as a science fiction writer is revealed. The elements of science fiction, speculative fiction, and science fantasy are used as vehicles to deal with racial and social themes to create a consciousness of Black culture and and history in the genre. Mixing normal and mutant human beings, Butler explores stories that speak directly to contemporary racial, sexual, historical, political and economic issues. In the Non-Patternist novels Kindred (1979), Clay's Ark (1984), Dawn (1987), Adulthood Rites (1988), and Imago (1989), Butler's characters are psychics and storytellers who unearth facts about the Black race by traveling into the past to learn about the conflicts of miscegenation, and the male and black female characters reveal critical, revolutionary views of the life and society of black people during the period of slavery. The women characters in the Non-Patternist novels triumph over the white male 5 characters to establish the strength of the black woman within their race. In Butler's novel Wild Seed, two mutants, Doro and Anyanwu, are concerned with the negative forces that control them during the Slave Trade. Doro is a ruthless 4000-year-old Nubian mutant who has the terrifying ability to steal bodies of other beings; out of pride, he prefers the form of a strong black male. His name means lithe east, the direction from which the sun rises. II During his search for one of his people's villages, he encounters the woman Anyanwu, who appears in the form of an ancient crone and is worshiped by her people as an African (Onitsha) goddess; her form is only a disguise meant to discourage any young male suitors. She is a shape-shifter, a healer, and a kindred spirit to Doro. Anyanwu is virtually immortal and her name means lithe sun." Butler's aim in her works is not to patronize an image of Black assimilation on White terms" (Crossley xv) as Clarke does with the Rodricks character in Childhood's End, but to acknowledge and portray, as realistically as possible, her characters' blackness, for race is a crucial fact for Butler, as a presence in science fiction/fantasy through the framework of the culture and history of Black people. How her stories address racism and sexism as the Black characters of her Non-Patternist and Patternist works speak to and deal with, in ways that real people do, issues of race, gender, relationships, feelings and historical truths 6 is what is important in this thesis. This study will focus on the characters in Butler's Patternist and Non-Patternist works remarkable both for their variety and for the realism of details that suggest, in the combination of humans and mutants, relationships strongly relevant to the history of Black people. This study will also be developed around several questions: 1. How do the characters help to focus attention on continuity between past and present? 2. What lessons do the characters reveal about historical realities? 3. How do the characters provide a kinship with others and events in history? 4. How do the characters enrich the reader's understanding of history? Chapter one will address the first question by showing how Butler's Non-Patternist novel, Kindred, the basic elements of science fantasy are at work in her characters. Butler's main character in the novel, Dana Franklin, travels back and forth from her present time of 1976 in Los Angeles, California, to the past of 1824 in Talbot County, Maryland. In the past, she encounters and comes to the aid of Rufus Weylin, the son of a plantation owner, and saves him from drowning. Dana is unwillingly drawn into the past 7 whenever Rufus is in danger and she comes back to the future of the late seventies whenever she herself is imperiled. She comes to realize why: Rufus is destined to rape Alice Greenwood, a slave and also Dana's great-grandmother, thus creating Dana's existence in the twentieth century.
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