Last fall I read Julie Phillips’ James Tiptree, Jr.: The Double Life of Alice B. Sheldon, and it provoked me into months of reflection. For those who don’t know, Sheldon was, among diverse other things, an important sf writer in the 1960s and ’70s who wrote under the name “James Tiptree, Jr.” In 1973 Tiptree’s style was characterized by Robert Silverberg as “ineluctably masculine;” and some of Tiptree’s correspondents characterized “Tip” (as he called himself) as a “man’s man” and a “man of the world.” And yet Tiptree’s work also appealed to feminists, who held him up as a rare examples of a man who “got” it. All of these notions of the masculinity of Tiptree’s writing vanished in the late 1970s when Sheldon was outed as a “little old lady living in
Significantly, Phillips’s first epigraph for the book is taken from a letter by Joanna Russ to Tiptree: “To learn to write at all, I had to begin by thinking of myself as a sort of fake man.” Sheldon wrote for many years before creating Tiptree’s voice and style, but apart from her columns as an art critic in the 1930s and an occasional letter to the editor or other nonfiction piece, she published only one story in all those years (published in the New Yorker under the name Alice Bradley. This was written from a female pov, but (going by Phillips’ description) suffers from the very qualities Sheldon in her journal around the time she was writing it believes is typical of women’s writing:
I find, in all the writings of women, a strange muffled quality, as if the living word, as it left the lips, had been hastily suppressed and another substituted, one which would conform to some pattern imposed from without….
The construction of Tiptree, as voice and author(ized) persona, apparently solved her problem.
I know many examples of women sf writers (several of them personally) having pretended (to themselves) to be men to authorize their voices and then eventually being able to write in their own (i.e., non-impersonating) voice; in most cases creating female pov characters presented a challenge to them they overcame with great difficulty. I have also been told by some writers (both men and women) that they are unable to create interesting women characters only by first writing them as male characters and then later changing their sex. And I know that many women writers—regardless of their feminism—are unable to think of women characters as unmarked or “universal.” (Just a week ago a former student told me that though she wishes it were otherwise, this is the case for her.) The consequences of such gender issues for the construction of authorship are significant. Apart from everything else, as Joanna Russ wrote to Tiptree: “Not being oneself in any way at all exacts its price…The minute one writes about [one’s own experience], you walk head-on into the cruxes of your own life, whatever they are.”
An essay in Rachel Blau DuPlessis’s Blue Studio (“Reader, I Married Me”) offers some insight into the reasons women writers’ construction of authorship is frequently so vexed. (DuPlessis’s most famous essay is probably her experimental piece “For the Etruscans.”) As an undergraduate at Barnard “circa 1960,” Duplessis was a “secular humanist” who saw no need for feminism. She describes herself as having been “poetically awakened” by the Donald Allen New American Poetry anthology and as having being categorically told in a creative writing course that “women can’t (really) write.” She notes that she kept asking herself
which was I, the woman or the artist, with a relentless and lacerating binarism. It was the greatest pain and grief—the sense that I had to choose, that one precluded the other, and that I was a bad woman for wanting an artistic career, a bad artist because I was a woman and couldn’t work out the terms of any art. This ideological and psychological stalemate was perfectly ridiculous, now arcane sounding. Yet at the time it presented a powerful invisible barrier….Self-repression and cultural censorship of females were in interlock. Adrienne Rich’s “Snapshots of a Daughter-in-Law” captures the sense of desperation, loneliness, and near-paralysis women felt when faced with what seemed like a billion years of cultural and social despising…My resistance came destructively, in not writing, in long silences around writing, in baffled and punishing blockage. This went on for years.
And then in the late 1960s, Duplessis became a feminist. “If I had not become a feminist,” she observes, “I probably would not have been able to write much or to think anything especially interesting in an original way. I would not have been able to create the works that came through me and go under my name. My title torques the ethical-romantic climax of Jane Eyre (“Reader, I married him”) not to deny biographical marriage but to signal a polygynous entitlement.” The result of her feminism, though, wasn’t simply that she escaped the desperate binarism forced on her psyche, but that she learned that “structural and formal choices were part of ideology; that language, hegemony, discourse, form, canon, rightness and wrongness, allowable and not allowable were historical, relativized, and interested concepts. This insight was always mixed with a strong aesthetic sense of form and language.”
More specifically, she discovered that “as a feminist” one needed “to invent an endless number of forms, structures, and linguistic ruptures that would cut way beyond language-business-as-usual and narrative-business-as-usual, which always seemed to end up with ‘the same’ kind of binary, ‘patriarchal’ normalcy. Experimental writing of all sorts had always been crucial to the female project of cultural change: of revolution, not revision. It seems to me that feminism (with other socially based cultural movements) is a necessary completion of modernism… Writing cannot make these changes alone; but writing exerts a continuous destabilizing pressure and, in both analytic and formal ways, creates an arousal of desire for difference, for hope.”
Science fiction has, of course, been a marvelous medium for all sorts of feminist experimentation. Despite that, many of the women writing science fiction have had to struggle (and may still be struggling) with the construction of authorship. I’m wondering whether this is still the case for women doing alternative/experimental writing. Or have the very powerful female voices of alternative writing over the last twenty years made this a non-problem? For those of you who teach creative writing: do your women students find the gender-inflections of the construction of authorship difficult to negotiate?