Feminists From The United States

"Revolutions never go backward."

"Take the whole range of imaginative literature, and we are all wholesale borrowers. In every matter that relates to invention, to use, or beauty or form, we are borrowers."

"Write on my gravestone: "Infidel, Traitor" — infidel to every church that compromises with wrong; traitor to every government that oppresses the people."

"I think the first duty of society is justice."

"Difference of religion breeds more quarrels than difference of politics."

"Whether in chains or in laurels, Liberty knows nothing but victories."

":::is to sell yourself"

"she wrote about Black women and about Black feminism, about Black futures, but she wrote in a way that appealed to all human beings. And I think that that, to me, is one of the essences of feminism. It’s like, we’re not saying we’re better than or beyond. We’re saying we are right here, equal to anyone else and able to lead as much as anyone else. So, she understood that. She wrote it beautifully."

"one of the things that was so powerful to me when I first picked up Octavia is that she wrote these strong Black feminine characters, these protagonists, who now you might look back and see the nonbinary, see the queerness, see other things in them, but at the time, she was writing these characters, and it was like, “Oh, there’s young Black women, and they’re leading.”"

"so much has changed there because of the work of Octavia, because of the work of Nnedi Okorafor, because of the work of Tananarive Due."

"she was a worker, so she was a laborer. She was always working. And her writing process would be waking up at 3:00 in the morning, because she needed to do it. She had what she called “positive obsession,” a positive obsession with moving these stories out."

"Walidah Imarisha and I, when we did Octavia’s Brood, Walidah called it “visionary fiction,” to look ahead at the future and then write ourselves in. And that’s what Octavia was doing with all of her work."

"In 1963 Martin Luther King Jr. cautioned us about adding "deeper darkness to a night already devoid of stars." He wrote that darkness cannot drive out darkness, that hate cannot drive out hate, and he reminded us that only love can do that. Thirty years later, Octavia E. Butler wrote in her novel Parable of the Sower that our "destiny is to take root among the stars." The activist and the artist seem at first to have been engaged in markedly different lifework, yet they embraced a shared dream for the future. Their work is linked by faith and a fusion of spiritual teachings and social consciousness, a futuristic social gospel. In its essence, social justice work, which King embodied and Butler expressed so skillfully in her novels and stories, is about love-a love that has the best hopes and wishes for humanity at heart."

"Octavia Butler's wild and talented science fiction novels."

"Since Trump got elected, many people in my community have been talking about how Octavia Butler was a prophet and how her books Parable of the Sower and Parable of the Talents eerily predicted the climate change, wildfires, and fascism of our current world. Many people in movement spaces have taken Butler's words as prophecy and text...But what is often missing from these discussions is how Lauren Olamina, Butler's Black, genderqueer teenage hero who leads her community out of the ashes and founds a new spirituality that embraces change as god, is disabled. In the book, she is called a sharer: someone with hyperempathy syndrome from her mother's use of the Einstein drug, a popular drug that heightened intelligence. She feels everything everyone feels, and it's often overwhelming in a way that reminds me of some autistic and neurodivergent realities. It gives her impairments and also gifts. To me, Butler's Parable books are a Black disability justice narrative."

"Kindred is her most overtly political novel, the Patternmaster series the most popular. Survivor brilliantly blends genre SF with issues of colonialism and racism."

"(The book that...shaped my worldview:) Dawn by Octavia E. Butler."

"At a retreat for women writers in 1988, Octavia E. Butler said that she never wanted the title of being the solitary Black female sci-fi writer. She wanted to be one of many Black female sci-fi writers. She wanted to be one of thousands of folks writing themselves into the present and into the future. We believe in that right Butler claimed for each of us-the right to dream as ourselves, individually and collectively. But we also think it is a responsibility she handed down: are we brave enough to imagine beyond the boundaries of "the real" and then do the hard work of sculpting reality from our dreams?"

"We titled this collection in honor of Black science fiction writer Octavia E. Butler. Butler explored the intersections of identity and imagination, the gray areas of race, class, gender, sexuality, love, militarism, inequality, oppression, resistance, and most important-hope. Her work has taught us so much about the principles of visionary fiction, inspiring us. The title plays on Butler's three novel collection, Lilith's Brood, which is about adaptation as a necessity for survival. Changes will occur that we cannot even begin to imagine, and the next generation will be both utterly familiar and wholly alien to their parents. We believe this is what it means to carry on Butler's legacy of writing visionary fiction."

"I wish more people would talk about the ways in which she messes with normative sexualities, and I miss her very much"

"Octavia Butler told me one of the failures of sci-fi /fantasy was its inability to imagine the alien other as anything different from a human form "with a mask on." I rate sci-fi on that basis to this day. Yes. I knew her. Yes. She was exceptional."

"Donna Haraway and Amanda Boulter praise Butler's novels for the way that they consistently "interrogate reproductive, linguistic, and nuclear politics in a mythic field structured by late twentieth-century race and gender,""

"As Katrina was happening, in the aftermath of Katrina, a lot of people were talking about Octavia Butler and how the Parable series made them think about that."

"Sister, we got cities burning, you know, they were telling her. And how dare she, you know, sort of retreat into this world. But actually, she was showing us an even bigger world, you know, something that we couldn't even wrap our minds around. And that's important."

"Imagination is a muscle that, for many of us, will atrophy if we don't use it, especially under the pressure of constant fear. Fear and imagination often can't be in the same room. So, one of the things I think to strengthen that muscle is, first of all, reading. Reading visionary fiction, reading visionary texts. I often recommend Octavia Butler to people because it's reading things that are hard."

"For too long, the voices and visions for our future have been provided, for the most part, by and from a culturally European (if not Eurocentric) perspective. However, there is change afoot. The works of Octavia E. Butler are becoming mainstream, and names like Nnedi Okorafor and Lesley Nneka Arimah are bringing much needed flavor to the narratives that help shape our future."

"Seattle-based science fiction writer Greg Bear said. "For being a black female growing up in Los Angeles in the '60s, she was attracted to science fiction for the same reasons I was: It liberated her. She had a far-ranging imagination, and she was a treasure in our community.""

"“She was an utter inspiration,” said Steven Barnes, a longtime friend and science fiction author who was the first African American to write one of the novels based on “Star Wars.” “I don’t know what would have happened to me had I not had her as an example.” Mystery writer Walter Mosley said Butler expanded the genre “by writing a kind of fiction that African American women around the country could read and understand both technically and emotionally.... She wasn’t writing romance or feel-good novels, she was writing very difficult, brilliant work.” “For an African American woman to somehow define herself as a science fiction writer and to realize that dream is an extraordinary thing,” he said in an interview Monday. “In black speculative fiction, we are a tiny family and Octavia Butler was our matriarch,” writer Tananarive Due said. “So we just lost our mother, our grandmother.”"

"The Prophet Octavia Butler."

"Colson Whitehead, Charles Dickens and Octavia Butler — fascinating writers who carved out their own dominions in literature and who, in wholly unique fashion, changed writing for the rest of us."

"I wrote the two Parable books back in the '90s. And they are books about, as I said, what happens because we don't trouble to correct some of the problems that we’re brewing for ourselves right now. Global warming is one of those problems. And I was aware of it back in the ’80s. I was reading books about it. And a lot of people were seeing it as politics, as something very iffy, as something they could ignore because nothing was going to come of it tomorrow. That and the fact that I think I was paying a lot of attention to education because a lot of my friends were teachers, and the politics of education was getting scarier, it seemed to me. We were getting to that point where we were thinking more about the building of prisons than of schools and libraries. And I remember while I was working on the novels, my hometown, Pasadena, had a bond issue that they passed to aid libraries, and I was so happy that it passed, because so often these things don’t. And they had closed a lot of branch libraries and were able to reopen them. So, not everybody was going in the wrong direction, but a lot of the country still was. And what I wanted to write was a novel of someone who was coming up with solutions of a sort."

"I fell into writing it because I saw a bad movie, a movie called Devil Girl from Mars, and went into competition with it. But I think I stayed with it because it was so wide open. It gave me the chance to comment on every aspect of humanity. People tend to think of science fiction as, oh, Star Wars or Star Trek. And the truth is, there are no closed doors, and there are no required formulas. You can go anywhere with it."

"Most vampires, I’ve discovered, are men, for some reason. I guess it’s because Dracula, people are kind of feeding off that."

"("Are there social movements that you identify with or are inspired by?") OB: Not terribly. Not in the sense of joining something. I'm with the ABB-"Anybody But Bush"-movement right now [winter 2003]. For the first time in my life I was sending campaign donations to a political candidate-Dean, as a matter of fact, before he fell out. There are a lot of things that I care about, and I mention some of them with relation to the two Parable books. I belong to a lot of environmentalist organizations. I really feel that it's important we stop playing games, and the idea that we're somehow going to improve the forests by having people go in and chop down the most valuable trees is just obscene, and the idea that we are going to lose environmental legislation for clean air and clean water that earlier groups worked really hard for is obscene. I mean we're doing such unutterably stupid things that I can't not pay attention to it. Then there are things like war and peace, of course. I found the war [in Iraq] to be totally unnecessary, and I said so before we got into it. We're going down a lot of wrong paths. The books are warnings, they're "If this goes on..." novels. Nobody really needed warning, everybody could see that we're sliding in the wrong directions, especially with regard to things like global warming. But nothing is being done, at least on the part of our national government. (2003)"

"I know a lot of people are where I was several years ago, when I was getting started with writing, wondering how they might get started as writers. And I have this little litany of things they can do. And the first one, of course, is to write-every day, no excuses. It's so easy to make excuses. Even professional writers have days when they'd rather clean the toilet than do the writing. Second, read every day. Read voraciously and omnivorously, whatever's out there. You never know what's gonna grab you. Third, for people who aren't doing it already, take classes-they're worthwhile. Workshops or classes-a workshop is where you do actually get feedback on your work, not just something where you go and sit for a day. A workshop is a way of renting an audience, and making sure you're communicating what you think you're communicating. It's so easy as a young writer to think you're been very clear when in fact you haven't. Those are some of the suggestions I give to my young writers. (2004)"

"I think the most interesting thing about looking back now at the 1950s is how familiar things would be...We can do a lot of things faster, bigger, higher, that sort of thing, but they're essentially the same things. We're talking on the telephone. Now of course we could be going on computers, but even so we would be typing and looking at a screen and in those days we had typing and we had screens. We're connected. The cars might look different but they're still internal combustion engine cars for the most part. All the things that we thought, the flying cars, and buildings a mile high...The nonsense, I like to call it. The things that would make our era un-recognizable are mainly the social things. Imagine going back to the fifties and explaining that we're now discussing homosexual marriage. In the fifties, you didn't even hear the word homosexual, let alone that they might get married. I mean, black and white was illegal, forget two people of the same sex. And it was still OK to lynch people in different parts of our country. It was still OK to expect people to be openly racist in all parts of our country. Interesting how that goes in and out of fashion."

"Everything is political in one way or another. (1997)"

"My favorite collection of slave narratives was a nineteen-volume set called The American Slave: A Composite Autobiography. It was assembled in the 1930s by the Writer's Project [of the Works Progress Administration], and these people interviewed the slaves who were left, the very last ones. It was depressing reading not only because bad things happened to slaves, but because slavery could become so pedestrian when you read enough of it, so ordinary. I remember someone telling me that they'd read the Harriet Jacobs narrative, and they said it was mild compared to other slave narratives. And, horribly enough, it was, but that doesn't make her any less a slave. It wasn't something you'd want to undergo. (2003)"

"Obviously in some places you will meet with some nastiness, but it isn't general. The only place I was ever called "nigger," had someone scream nigger at me in public, was in Boston, for goodness sakes. It wasn't a person going to a conference, it was just a stranger who happened to see me standing, waiting for a traffic light. (1990)"

"I was in classes sometimes where I was the only Black person and tend to either get ignored or get petted on the head a lot. Neither is in the slightest useful so I was eager to get away from that and Harlan was not interested in doing either. (1994)"

"When I began writing science fiction, when I began reading, heck, I wasn't in any of this stuff I read. The only black people you found were occasional characters or characters who were so feeble-witted that they couldn't manage anything, any way. I wrote myself in, since I'm me and I'm here and I'm writing."

"I did not read any Langston Hughes until I was an adult, but I remember being carried away by him and Gwendolyn Brooks. When I was growing up, the only blacks you came across in school were slaves-who were always well treated-and later, when we got to individuals, Booker T. Washington and George Washington Carver. Booker T. Washington started a college, and Carver did something with peanuts; we never knew what. We did not read anything by a black writer except [James Weldon] Johnson's The Creation, and that was in high school. We managed to get through adolescence without being introduced to any black culture. (1996)"

"I want to write about what's going to happen if we keep doing what we've been doing, if we keep recklessly endangering the environment, if we keep paying no attention to economic realities, if we keep paying no attention to educational needs, if we keep doing a lot of the things that are hurting us now. And that's what I wound up writing about. And everything else just kind of fell into it, fell into place."

"I began writing the book with the thought that maybe what we needed was the biological conscience. It does seem to me that there are too many people in this world who would just as soon wipe out half their country if they could rule the other half."

"I don't write about good and evil with this enormous dichotomy. I write about people."

""When your rage is choking you, it is best to say nothing." (p.275)"

"We can see that our Councils aren’t games like the tribunals humans have. The work of a Council of Judgment is to learn the truth and then decide what to do about it within our law. It isn’t about following laws so strictly that the guilty go unpunished or the innocent are made to suffer. It isn’t about protecting everyone’s rights. It’s about finding the truth, period, and then deciding what to do about it."

"That is the most unromantic declaration of love I’ve ever heard. Or is that what you’re saying? Do you love me, Shori, or do I just taste good?"

"My ignorance wasn’t just annoying. It was dangerous."

"“He had guns,” Celia said. “Iosif didn’t like guns, but Stefan did.” It hadn’t helped him survive."