Women Academics From The United States

"All my early fiction tends to be rather male-centered. A couple of the Earthsea books have no women in them at all or only marginal woman figures. That's how hero stories worked; they were about men. With the exception of just a few feminists like Joanna Russ, science fiction was pretty much male-dominated up to the 1960s. Women who wrote in that field often used pen names."

"What I think of the mystification I was exposed to, it was just hard. I’m seventy, but this must have started when I was eleven or twelve, being squashed. Somebody was saying that for gay women to come out, they usually do it a good bit later than gay men, because you can’t get a picture of yourself at all, one way or the other."

"One thing I have tried to do when I write...was take the sex in my stories and simply make it part of the whole fabric. It’s not special, it’s not sacred, it’s not demonic, it just happens. It’s as much an ordinary part of life as heating your dinner up, or something, and I always worked very hard to get that over."

"this is a public discourse in which female sexuality really doesn’t exist...If you believe the public discourse then you have to also believe that female sexuality is a dreadful thing and must be squashed at all costs, and so on. I just hope there are many, many more young people who are growing up without that, without all of it, anyway."

"It’s that idea of disguise that I find myself coming back to. You can really, in a sense, be anybody or anybodies, plural, in writing."

"It’s still very much a different world for men and women."

"Every culture will find justification for everything they believe or want to believe. I still think that a lot of the world is still in shock, and I think probably what brought it on was easier birth control. The sort of, where are we, what do we do now?"

"The mystery stories are very interesting because again, often the ones that women write are as good as or not as good as the ones the guys write, but the women write about personalities, about characters, and what is character-driven. The men tend not to; they are more comfortable apparently with technical problems. I think the best writers are the kind who do both at the same time."

"You notice that some of the stuff by men that I would call certainly pornographic, Henry Miller, for instance, is taken very seriously. It’s all so obvious. When women do it, it’s silly, when men do it, it’s serious."

"If you take things and turn them on their heads you often get the truth. If you push things logically further and further until they explode into their opposites, then you've got something artistic and truthful."

"I am not religious. I am a socialist atheist just as my mother and her parents were. I come out of that radical Jewish socialist tradition that started in roughly 1900. These secular Jews took the messianic, utopian promise of religious Judaism and transferred it to this world. I'm very much part of that tradition, and I didn't even realize it until recently. I've been reading books about the Pale in Russia [where the czars allowed Jews to live] and the ghetto life there; I recognize a lot of things that I didn't even know came from there which deal with me."

"As I see it, there are three stages of science fiction. The first is inventing things: telepathy-geez, wow, gosh!; robots-wow! The second stage is what [Isaac] Asimov does with his robot stories, where you construct a plausible society for this to happen in. And the third when you use it for some other purpose. I think that Delany and Disch and Le Guin and Gene Wolfe and I are third-stage writers."

"I often read something and I say, “That's a goddamn lie. I'm going to tell the truth.""

"My books are a lot less politically conscious than people think. I will write them first because it is sprouting and I have to do it. Afterward I can look at them and say, "Now, that's what I was doing.""

"Either you write what is essentially autobiographical or you have to do something else. You cannot imitate a genre which was intended to exclude you."

"The wonderful and terrible thing about politics in the very broadest sense is that you never know enough, you always find out more and more, and, of course, as you find it out, it changes, too."

"Anger isn't the only thing that happens. There's also an enormous access of energy that comes from finally turning the oppression the other way and saying, "There's nothing wrong with us. There's something wrong with all of you.""

"It's the people who are on the "wrong" side of the equation in all these splits who are making theory and doing coalition work and are absolutely crucial for our future."

"Real artists, it seems to me, are those who don't repeat themselves."

"Art is collective. Always, it has a tradition behind it. Always. And they will let some of us in but they will not let our traditions in with us or our aesthetic in with us."

"there is no God in any of my stories or in my beliefs. In fact, if there's one thread running throughout my fiction it's precisely the lack of that kind of authority. My books, I would say, are designed to undermine that notion, to force readers to question the authorities governing their lives, be they literary, sexual, political, religious, whatever. Cosmic awe isn't religion. I'm an atheist, and I loathe having religion imported into my work. If you believe in religion, do it, but don't assume or insist that I do."

"Women traditionally do an enormous amount of interpersonal work, but there's no public vocabulary for this sort of activity-just as there's no public vocabulary for what mothers do raising children, or what housewives do. Anne Wilson Schaef has pointed out that there is this public male reality and anything that isn't in it is either crazy or trivial or nonexistent. There's no consensual way of talking about what makes up the daily lives of most women, so it's not surprising that women have been exploring telepathy, ESP, magic, and alternative forms of communication. Marion Zimmer Bradley does, Le Guin does, I do, even Suzy Charnas-really, just about every contemporary woman SF author I can think of has worked in these areas."

"For women, there's simply no easy way of finding some kind of fulfillment. The whole idea of going from your own world to an alien world makes sense only if you're not an alien in your own world. It's very hard to feel at home here when you're not. So women either don't go into space-you're either there or here but without much traveling in between-or you came from there and now you're here, but what the hell are you doing here?"

"What fascinated me about the theater then was that you could project a private reality onto actual material things: people, sets, voices, scenes. It gradually dawned on me that I could do this in words, too."

"The key for me wasn't the '60s but the early '70s and the feminist movement. Gloria Steinem once said that women get more radical as they get older because things start to pile up-the alienation, the outsideness. We don't age as men do; there's no reward. We get out or go under. Radicalism for any oppressed group isn't youthful; it's lifelong...Simply being a female so often has the effect of placing women so far out, so far on the margin, so far from being central or important, that when women go radical, they tend to jump a long way. Radicalism partly derives from the basic question, How much have I really got to lose? I'm not sure you can generalize about this, but it seems clear to me, from my recent researches, that black women are frequently more radical than white feminists and black lesbian feminists are more radical still, because just to stay alive they've had to become radical. Like Barbara Smith, Gloria Anzaldua, Cherrie Moraga. Audre Lorde has a collection of essays called Sister Outsider that is magnificent on this topic. There is a tradition of women on the Left being overlooked that I myself just found out about quite recently. I discovered that in the most amazing ways it's always been women who were the most radical figures on the Left. Suppressed radicals, punished radicals. Not only has this happened before, but it's happened and happened and happened and happened. There have been something like two to four feminist movements in the last three hundred years. Dale Spender's book, Women of Ideas, has some evidence of this. We've buried the slave revolts, and we constantly bury radical events like the labor wars."

"I've never lost the feeling of transcendental beauty and awe that attached itself to the physical world. Lucretius has a line in De Rerum Naturae that says something about how everything in nature fits together and gives a joy beyond expression. It's a feeling people have surely always had about the way the seasons or planets change, the way plants grow, a sense of joy or awe about what's around us."

"The point is to show how small the greatest of disasters can appear when seen from a distance of several billion miles or years."

"most of the women in my generation who were doing groundbreaking work usually felt the need to find a way to distance a lot of personal, controversial issues. And while some awareness on some questions has gone up among the general public, so that it may be possible to say things out loud now that in 1965 or 1970 were certainly very tough to say out loud, in many ways they're getting tough to say again. Back in the early '70s, I shocked myself in writing parts of The Female Man. It scared the dickens out of me. I doubt that women are ever going to feel comfortable being direct, at least not until our society's undergone some changes of its own. When women try to speak totally directly, we lack the social forms or the cultural images or the permission to do so. These things just aren't in our vocabulary yet, so we still have to get at things in a roundabout manner."

"Anger is a necessity. It's part of all radicalism. When Marxism isn't second-generation, academic, and establishment-theoretical, its motive is sheer fury. What else? When groups get past a certain point of oppression, it's a revelation to be angry. Prior to that you'd go through a stage of feeling you have to be so moral, so good, that anger seems inappropriate; you think you shouldn't get angry. Eventually you get to a place where you can more honestly express that anger, and that's fine. Mother Jones said, "Farmers in this state are raising too much corn and not enough hell!" There's a point where it's essential to get in touch with anger in situations where people or structures are dumping on you. You need this anger to resist looking at the structure and saying, "It's us, it's our fault"; or "What they're saying is true, we must be wrong." If you lose touch with this outrage, you wind up forgetting what you were mad about in the first place; you start feeling that you'd really rather not get involved, that you can't change things, that it's no use. Oppression is always mystifying and confusing. Lying, really."

"I'm not anti-utopian in spirit. I'm just not so naive as to think that people can discard who they are. My point isn't that utopia is impossible-I think "Bodies" presents a real utopia-but that creating it isn't as simple as most SF implies."

"A lot of reviewers froth at the mouth whenever someone takes a hallowed situation and refuses to reinforce all the usual capitalist, imperialist, Americans-can-do-anything attitudes associated with it."

"the whole Robinson-Crusoe-and-the-desert-island business is, at bottom, an imperialist myth: you find a place "out there" and you make it yours, whether the people who already live there want you to or not. This goes on in SF all the time--you can see it in Marion Zimmer Bradley's Darkover series, for instance. I'm not interested in that notion. It's been obvious for at least twenty or thirty years now-certainly since the '60s to us white folks-that it's simply not a good attitude for people to take. And, of course, if you were really put in that situation, I'd think you'd do amazingly well just to stay alive."

"One of the most exciting things about working in SF for me, a woman, is that SF is so open-ended-it's perfectly possible to imagine a world where sexism doesn't exist, or in which women can be presented in the context of new myths that women can admire or learn from."

"people will never be totally at home, spiritually, in any environment."

"SF was born didactic! It originated as a teaching medium-which is why its potential to actually effect some changes in people's attitudes is infinitely greater. It's got representative protagonists, for example-at least it starts like this in the works of H. G. Wells, Jules Verne, and other proto-SF writers. If you look at, say, The War of the Worlds, the human beings there may represent certain attitudes or types, but they are obviously not "individuals" in the sense that characters in the great realistic novels are."

"People accept all sorts of attitudes-about racism, sexism, and class-simply because they don't have the time or the energy to think these things through. It's easier to accept the status quo, especially if you're part of a privileged group and want to think well of yourself. So one way to make people aware of how morally atrocious and even downright stupid many of their assumptions are is to confront them with a pattern whose meaning they think they're comfortable with-and then to undermine the whole thing, forcing them to see how arbitrary and wrong they've been."

"We need to force the reader always to come back to where we all are. Otherwise, it's pure game playing, escapism. And you fall out with an awful shock."

"I was constantly reading these stories about fucking in bars and fistfights and war, and my reaction, quite naturally, was that I didn't know anything about those things so I couldn't possibly write about them. And the stuff I could write about was considered trivial-writing about a fishing trip was considered "deep" and "raw," while a description of a high school dance was unimportant. There really was a profound bias about what was proper material for "Great Writing." So I decided to write about something nobody knew anything about-to transform the realism of my life into SF and fantasy. I was also drawn to the way SF writers' minds seemed to work. Current fiction bored me stiff, but not SF, where the conceivable was far larger than the personally observable. It's interesting to note that so-called mainstream fiction seems finally to be catching up to SF in this regard; it's becoming increasingly unrealistic, surrealistic, fantastic, “postrealistic.” I feel justified."

"I'll never understand the kind of writer who genuinely advances the proposition that life is a dream or a fiction. To me that's the voice of privilege, whether it's money, class, sex, color, or what have you. Most of us can't find refuge in anything so false."

"Courage is willful hope. (p86)"

"After the first shock you think, "Well, that's over," but what do you do then? The news that kills is the news that makes everything else impossible; you can't sleep or go out or read or watch TV because you can no longer enjoy anything; I had never before realized what a substratum of pure pleasure there is in just going to sleep, for instance. Just eating. All spoiled now. (p63)"

"Nothing but machines left between people. Telephones, taxis, letters, the discarded automata of the modern love affair. (p63)"

"...I'd say tiredly over and over again (to an absent Dr. D.)that I had no troubles with sex, only with men, and that my trouble with men did not come from what was between their legs but from what was between their ears. (p47)"

"Leaning her silly, beautiful, drunken head on my shoulder, she said, "Oh, Esther, I don't want to be a feminist. I don't enjoy it. It's no fun." "I know," I said. "I don't either." People think you decide to be a "radical," for God's sake, like deciding to be a librarian or a ship's chandler. You "make up your mind," you "commit yourself" (sounds like a mental hospital, doesn't it?). I said Don't worry, we could be buried together and have engraved on our tombstone the awful truth, which some day somebody will understand: WE WUZ PUSHED. (p37)"

"Something-elses of the world, unite! (p19)"

"After a while you tame your interior monsters, it's only natural. I don't mean that it ever stops; but it stops mattering. (p8)"

""You are on strike against God"--said by a nineteenth-century American judge to a group of women workers from a textile mill. He was right, too, and I don't wonder at him. What I do wonder is where did they get the nerve to defy God? Because you'd think something would interfere with them, give them nervous headaches, hit them, muddle them, nag at them (at the very least) and prohibit them from daring to do it, just as something interferes with me, too, tries to keep me away from certain regions. (first lines)"

"Remember: I didn’t and don’t want to be a “feminine” version or a diluted version or a special version or a subsidiary version or an ancillary version, or an adapted version of the heroes I admire. I want to be the heroes themselves. What future is there for a female child who aspires to being Humphrey Bogart?"

"As my mother once said: The boys throw stones at the frogs in jest. But the frogs die in earnest."

"If you want to be an assassin, remember that you must decline all challenges. Showing off is not your job. If you are insulted, smile meekly. Don’t break your cover. Be afraid. This is information about the world. You are valuable. Push yourself. Take the easiest way out whenever possible. Resist curiosity, pride, and the temptation to defy limits. You are not your own woman and must be built to last. Indulge hatred. Action comes from the heart. Pray often. How else can you quarrel with God?"