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The Female Man
The Female Man
The Female Man
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The Female Man

Rating: 3.5 out of 5 stars

3.5/5

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Four alternate selves from radically different realities come together in this “dazzling” and “trailblazing work” (The Washington Post).
 
Widely acknowledged as Joanna Russ’s masterpiece, The Female Man is the suspenseful, surprising, darkly witty, and boldly subversive chronicle of what happens when Jeannine, Janet, Joanna, and Jael—all living in parallel worlds—meet. Librarian Jeannine is waiting for marriage in a past where the Depression never ended, Janet lives on a utopian Earth with an all-female population, Joanna is a feminist in the 1970s, and Jael is a warrior with claws and teeth on an Earth where male and female societies are at war with each other. When the four women begin traveling to one another’s worlds, their preconceptions on gender and identity are forever challenged.
 
With “palpable anger . . . leavened by wit and humor” (The New York Times), Russ both employs and upends genre conventions to deliver a wickedly satiric and exhilarating version of when worlds collide and women get woke.
 
This ebook includes the Nebula Award–winning bonus short story “When It Changed,” set in the world of The Female Man.

 
 
LanguageEnglish
Release dateMay 8, 2018
ISBN9781504050937
The Female Man
Author

Joanna Russ

Joanna Russ (1937–2011) was a radical feminist writer and academic who became one of the seminal figures of science fiction during the 1960s and ’70s, when women began to make major inroads into what had long been a bastion of male authorship. Her best-known novel, The Female Man, is a powerful mix of humor and anger told from the alternating points of view of four women—genetically identical, but coming from different worlds and vastly different societies. Russ wrote five other novels—including the children’s book Kittatinny—and is renowned for her literary criticism and essays. Her short stories appeared in leading science fiction and fantasy magazines and have been widely anthologized as well as collected into four volumes. She received the Nebula Award for her short story “When It Changed” and a Hugo Award for the novella “Souls.” Russ received a master of fine arts degree from the Yale School of Drama and was a 1974 National Endowment for the Humanities fellow. She was a lecturer at Cornell and other universities and a professor of English at the University of Washington, where she taught from 1984 to 1994. Her scholarly work includes How to Suppress Women’s Writing and To Write Like a Woman, among others. Her papers are collected at the University of Oregon.

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Reviews for The Female Man

Rating: 3.471428574025974 out of 5 stars
3.5/5

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  • Rating: 5 out of 5 stars
    5/5
    Fabulous female world.
  • Rating: 4 out of 5 stars
    4/5
    The book that wrote the book as far as feminist sci-fi goes. Published in 1975, it traces the lives of four different women living on four different worlds -- worlds where the lives of women are very different. The novel follows what happens as these women begin to come in contact. It may be a little dated now, but it it is still worth reading on its own merits. Russ is a tough and very funny writer.
  • Rating: 5 out of 5 stars
    5/5
    Fuuuuuuuuuuuuuuuck yes.
  • Rating: 4 out of 5 stars
    4/5
    Russ is burning with white-hot feminist rage in this book, which is mostly great. It feels so of its time (1975) - the bad old days, when being a feminist was fighting a war, even more so than it is today. In parts near the end it gets weird and gender-essentialist and transphobic, and that's a problem. But I am mostly glad this book exists. It's very unconventional, makes a lot of really good points, and is unafraid of being radical.
  • Rating: 5 out of 5 stars
    5/5
    A classic of feminist science fiction that I put off for entirely too long. I loved it. Especially in this moment -- the #metoo, Trump presidency, #bluewave, #waveofwomen moment. That so much of this book is still so relatable is just disgusting. Four women from different moments in Earth's (alternate?) past/present/future and thus four different cultures, four different societal relations between men and women, are all brought together and their effects on each other and judgements of each other and their worlds are by turn spectacular/hilarious/tragic/questionable.An intriguing, witty, surprisingly fresh take on humanity. Highly recommended.
  • Rating: 3 out of 5 stars
    3/5
    Classic science fiction portraying the difference society makes to gender presentation.
  • Rating: 2 out of 5 stars
    2/5
    An intense, messy, piece of speculative fiction that goes some interesting places but, I think, seldom succeeds and seems, at this point, a bit of a product of its time. Split into four female voices, including at least two that inhabit alternate realities and and one set in contemporary New York City, "The Female Man," the book seems less polyphonic than schizophrenic, as characters slide in and out of their settings and the text switches from fiction to polemic and then back again. The author's voice dominates the entire text, sometimes because Russ can't seem to differentiate her characters' internal monologues and sometimes because she doesn't hesitate to comment on her own text or, in many places, criticize their attitudes. At times optimistic and gentle and astonishingly cruel and reductive at others, it seems a book that born out of serious emotional and political turmoil. It reminded me a bit of Frantz Fannon's "The Wretched of the Earth," which, for all of its insight into the colonial mindset, also presents a bunch of rather indefensible moral conclusions. Of course, a forgiving reader could point out that it was written right in the middle of the Algerian War for Independence. In that same spirit, "The Female Man" probably could have only been written in feminist circles in 1974. But so much of it doesn't work now, and I suspect that many parts of it never really did.The sections set Whileaway, an all-female future utopia are perhaps the ones that are most worth rescuing. If only because they demonstrate, once again, how much our fantasies can tell us about ourselves. At once futuristic and decidedly agrarian, these sections describe a society that is fluid and protean, where physical and societal structures are constantly being unmade and remade. It presents a charmingly optimistic take on the coming computer revolution, and -- very productively, I think -- attempts to describe social relationships and personal qualities such as strength, aggression and resilience, might evolve in a world where our gender binaries no longer apply. I found myself wondering how much these sections of the book owed to situationism, whose critiques of planning and permanent structures had such influence on Paris '68 protests and, later, on punk rock In another section of the book, a teenage lesbian who's still struggling to accept her own sexuality attempts to navigate family life in the seventies, which may be of at least historical interest to readers. The other sections, which depict a world in which men are pitted against women in a bloody, long-term conflict and a portrait of a woman with pre-feminist ideals in contemporary New York have aged rather less well, particularly the latter. While it's certainly possible that many of the attitudes and social constraints that Jeannine, the protagonist that calls this setting home, are depicted realistically enough, the author somehow manages to condescend to her even more than the various men in her life do. This section of the book feels less like a story than a particularly brutal consciousness-raising session and is a particularly joyless read. "The Female Man" may have been a wake-up call for writers looking to create more explicitly political science fiction, but, forty years on, the book seems overwhelmed by its own contradictions and knocked too far out of balance by the very force of the emotions it contains. It's more recommendable as a fascinating document than as a novel. Not an easy or satisfying read.

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    Not a great sci-fi novel – and since that's what it's typically billed as, caveat lector – but I still give it 5***** for its very intricate use of multiple point-of-view narrations. Some readers will reject this as confusing, but it's worth some careful rereads to discover the intricacy of Russ's narrative style.
  • Rating: 1 out of 5 stars
    1/5
    I've read a couple of Russ SF books and liked them. This was not SF and it was not worth my time. Not sure who was responsible for giving it an award but they were not judging it on it's contribution to SF. The whole man hating thing is important to Russ but it does not a good book make.Could not finish it. Life's too short for this noise.
  • Rating: 4 out of 5 stars
    4/5
    Much more Second Wave Feminism than I'm usually into, fascinating largely for the passage near the end portraying societies where women are entirely separated from men (due to a full-on, literal gender war) and each society has developed new genders. I've never seen a second-wave feminist do that.
  • Rating: 2 out of 5 stars
    2/5
    I had a very difficult time with this. There are some very modern, tricky reading issues involved. I had a hard time discerning characters. There are quite a few different narrators and several writing forms. I'm not sure I could describe a plot. Some passages are pretty direct feminist/gender issue oriented passages. There are references to multiple parallel universes, alternate histories, futuristic technologies and inventions. There's even a passage where the author addresses critics with just the issues I've raised and framed the critics as locked into their sexist perspective. I don't know if I would make the effort to try to read it again. It certainly raises the bar for experimental writing in the science fiction genre and for that reason may be considered essential reading but I do wish it had used some techniques to make it more accessible.

    1 person found this helpful

  • Rating: 4 out of 5 stars
    4/5
    Four women from alternate universes come together in this work of feminist speculative fiction.Although The Female Man is billed as a "classic of feminist science fiction," I hesitate to call it science fiction. It's barely even fiction. More accurately, it is a feminist stream-of-consciousness rant that employs speculative what-ifs to imagine worlds both better and worse than our own, specifically the positions of women in those worlds.Russ herself is one of the four women, the "female man" who tries and fails to make herself into a man in order to succeed in what is presumably our world, at least our world of the 1970s, when this was published. Russ's anger is quite palpable throughout, although she tempers it somewhat with snarky humor. Several times, I found myself wondering whether we hadn't moved past all this male-female behavior that Russ is criticizing, but truthfully, you only have to read a few Internet comments to see it alive and kicking in the 21st century. In that sense, Russ's book is still needed and we are not yet free.Those readers who come to The Female Man expecting a more straightforward narrative are bound to feel stymied by the lack of plot and the jumping around, without explanation, from one world to the next. Besides our own world, there is Jeannine's world, where the Great Depression has never ended and women are primarily preoccupied with catching husbands, and there is Janet's utopian world of Whileaway, where there are no men at all. I was feeling fairly adrift in all this until about three-quarters of the way through the book, when we meet Jael, a woman warrior in a world where men and women live separately and spend all their time literally at war with one another. This is probably the most cohesive section of the book, where Jael explains more or less what's going on and the plot, such as it is.Forget it, this book is not concerned with plot. It's concerned with women, with what we endure and how things can possibly be different. Unfortunately, Russ does not seem able to imagine a world where men and women can live together with women not being subject to oppression. I hope she's wrong about that.Read for female science fiction/fantasy month (June 2014).

    2 people found this helpful

  • Rating: 4 out of 5 stars
    4/5
    How I wish this book were more dated than it is. Russ shows a time traveler coming back to an America where the depression just kept going. She shows how women and men are trained for their roles, men in charge women cajoling, appeasing and appealing to their protective and sexual nature, men taking their dominance for granted. She shows a little blue book for accepted male actions with a little pink book for girls. They could be standard issue now. Baby, you haven't come such a long way after all. And that's not because Russ didn't point out exactly where we were but because the majority of people seem determined to stay there.

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    Oh, how I loved this book. It is a very angry book, but deadly accurate, and also such an interesting concept. I love the way she plays with the novel form, occasionally addressing the reader, and even addressing the book at the end. Just fascinating and wonderful.

    1 person found this helpful

  • Rating: 4 out of 5 stars
    4/5
    A little hard to follow at times, but has some real gem insights and is, unfortunately, still very relevant today.

    1 person found this helpful

  • Rating: 5 out of 5 stars
    5/5
    Outrageous, life-changing, hilarious, unforgettable.

    1 person found this helpful

  • Rating: 1 out of 5 stars
    1/5

    This is considered a classic by many and I really wanted to enjoy it. I expected it, like a lot of old sci-fi, to not be an easy read. I hoped it would challenge me the same way Steinem, hooks, Leckie, Hurley, LeGuin and others have challenged me.

    I hated it.

    The style this is written in makes it hard to read. The book has 4-5 POVs and it switches between them without warning or notice, making whatever plot there is difficult to follow. The Joanna character breaks the 4th wall frequently, and that makes her (probably on purpose) difficult to distinguish from the other 3 characters. Especially Jeanine. This is combined with an at times ranty stream-of consciousness and strange choices of similies (guilty like a box?).

    The books is also, like a lot of 70s sci-fi, dated. I am not drinking from the same communal myth and meme pools as the author and that creates extra distance.

    I think that someone more familiar with the time and context this was written, and more willing to spend time to analyze the book will enjoy this a lot more than I did. It's probably not a bad book, it just that this book and I are at very different stages in our respective lives.
  • Rating: 2 out of 5 stars
    2/5
    This book has a great premise. It has many scenes, with interesting dialog. Occasionally it shows hints of having a plot. Unfortunately, none of them are tied together in a way that makes sense.

    I agree with most of the author's complaints about how suffocatingly sexist the world can be. It's enough to drive a person crazy. Which is perhaps what she was trying to express all the times she stopped telling the story and spewed words randomly onto the page.

    The transphobic tendencies towards the end didn't make much sense, especially for a book that spends so much time playing with gender...

    The best writing is in the descriptions of Whileaway, and in the "our reality" interviews with Janet.
  • Rating: 2 out of 5 stars
    2/5
    I think people are wrong when they say this book is out of date. Many of the feminist issues Russ engaged with are still with us today, the double-standards women are held to and the things men expect of them. That part of the book seemed perfectly reasonable to me: a little out-dated, perhaps, as all of this sort of thing will become in just a few decades, but not irrelevant.The story, however... I found it incomprehensible, buried under the weight of the feminist concerns and issues raised. I would rather have read the story and the examination of the role of women separately, I think. For me, I came to this book expecting a classic of science fiction, and to be honest, it doesn't seem like there's much. It's a thought experiment, which can be done in literary fiction just as well (better?).I'm a little uncomfortable with it being relegated to the class of science fiction, in a way, instead of being read as a classic in general. So often that's used as a way to minimise the importance of a work: oh, quaint old genre fiction, rather than oh, social commentary. Those of us in the genre know how powerful a tool it is when used to examine society (and if you don't, may I introduce you to the works of Ursula Le Guin?), but in academic circles... we're starting to see more work on genre fiction -- part of my MA was on Tolkien, and mainly on his fiction -- and there's been some good work on fantasy and SF, but it's not as if any of that is even approaching "the canon".I almost feel like rereading this in an annotated version, or a Norton Critical Edition, would help me appreciate it more. But just on the merits of it as a story... no, I can't say it did much for me.
  • Rating: 2 out of 5 stars
    2/5
    (Nebula Award Nominee: 1975)Just too disjointed for me to connect with the characters. Ms. Russ is clearly very intelligent, and she writes some very funny dialogue and situations. However, the sporadic nature of the narrative coupled with the constant jumping between protagonists and settings left me more confused than entertained. I'm glad I read this book, but I am unlikely to ever read it again.
  • Rating: 1 out of 5 stars
    1/5
    Of all the books that I read for the SF Reading Challenge on Shelfari, I have to say that this is the worst (and that's saying something considering how much I disliked both Artificial Kid and Neuromancer). The writing style is difficult to read and understand, there are few reasons to like the characters, and I'm just not into all the feminist BS.

    I would definitely NOT recommend this book.
  • Rating: 1 out of 5 stars
    1/5
    The Female Man by Joanna Russ – Disappointing I wanted to like this book, I really did. I have a special interest in sci-fi written by women, and I was vaguely surprised that I had never read any of Joanna Russ’s books before. So I was looking forward to reading it with pleasurable anticipation.However, I was really disappointed, and gave up about half way through. (I won’t summarise the plot here, as that has been done exceedingly well in another review – so will move quickly on to my own personal responses to the book). For a start, I found the writing style exceedingly difficult to get on with; quite a lot of the time it’s hard to tell who is talking (or being narrated), but more importantly, there’s no clear connection between different parts. And so, because you can’t work out who is talking, or why they are saying/doing what they are, you can’t get to know and understand the characters. What’s more, there’s nothing even remotely resembling a plot (not that I found, anyway)!Yes, it’s true that there are sections of dialogue which are witty and satirical – it was these that kept me reading as far as I did get. And yes, I suppose it is ideologically interesting, but there’s far too much pontificating about male behaviour – or at least the author’s idea of it, which I thought was overly stereotyped (yes, I know she is making a point, but I think she is too heavy handed about it).All in all, I found this book to be bewildering and uncoordinated. For me it didn’t work either as science fiction, or as “women’s literature”.
  • Rating: 1 out of 5 stars
    1/5
    Thought I should familerise myself with this as it has been lauded as one of THE feminist scifi books to read, however I just got bored.....Am sure it is very good from a literature point of view , but not my cup of tea....
  • Rating: 3 out of 5 stars
    3/5
    A man basher book. Was a bit disapointing
  • Rating: 4 out of 5 stars
    4/5
    I don't feel like giving the book a rating, but it was a worthwhile read.If it hadn't been for the fact that I wanted to tick it off of a list I'm going through, I might not have finished it. It seemed bonkers, and the style certainly made it impossible for me to read it terribly closely and to make sure I understood who was who - quite frankly, I can't say there is any plot in there. But there are some brilliant explorations of different male / female interactions at varying degrees of unhealthiness which at the end make up for the difficulties - which I don't put it past Russ to have deliberately ...plotted.On second thought: I'll give it a four star rating.

    1 person found this helpful

  • Rating: 1 out of 5 stars
    1/5
    This book won a Nebula Award, and is considered to be a classic of feminist science fiction.

    I remembered that long ago I had read a short story collection by Russ (Extra(ordinary) People) and really disliked it. I also read her novel ‘We who Are About To' and was seriously unimpressed. But I didn't think I'd read The Female Man, so I was willing to give it a go due to its classic status and all... Reading it, I realized that I had actually started reading it long ago - but I think I QUIT part way through, because only the beginning was familiar. That is so unusual for me - I hardly EVER quit reading a book. But it was so bad.

    Seriously, stuff like this is why I don't call myself a feminist - I just don't want to be associated. It wasn't empowering, it was stereotyped and cliched, and DEPRESSING - not depressing because of women's place in the world, depressing because the author comes through as a sad, lonely, bitter, nasty person, full of resentment and hate for EVERYONE. I consider myself to be a strong, independent woman who at least tries to love life and embrace happiness – and, according to this type of woman, that's not feminist.

    And on top of that, it wasn't even well-written. It's scattered, awkward, without any coherent plot. It's just badly thought-out – more like random thoughts and polemical jottings than an actual novel. (I guess one would call this a ‘postmodern' style, if one wanted to dignify it.)

    There are four main characters (although one doesn't show up till most of the way through the book). They are from different worlds, and there's some vague mention of travelling between worlds, which I suppose is the justification for it being called sci-fi, but it's really more of a metaphorical device, so that the different ‘types' of women can interact.

    Joanna - is obviously the author. In the book, she comes across as unhappy, and without much notable personality.

    Jeannine - is a cliché of a weak woman oppressed by Man. She lives in a world where the Depression never ended, and is the worst stereotype of a librarian. (As a librarian, this offends me). She has a fiance that she's not attracted to, (she doesn't seem to like sex at all) but she feels the need to Be With A Man and Get Married due to personal loneliness and social pressure.

    Jael - is from a future world where women are at war with men. She is the cliché of the woman who acts like a Man because she thinks that is what one needs to do to get ahead. She likes sex and has a cloned, nearly-brainless male sex toy.

    Janet - comes from Whileaway, an all-female world (men died in a plague 900 years ago). This seems to be Russ' idea of a utopia – sort of. It's AWFUL! It's also kind of weird. The women of Whileaway are kinda stocky, have big butts, and wear pajamas all the time. (no makeup, of course!) They're really smart and technologically advanced. They live in group families, but travel separately all the time and don't form long-lasting intimate bonds, usually. They have sex, but it's a stress-free, unromantic kind of sex. (There is a funny scene describing a dildo when a young woman from ‘our' world finds one on Janet's bed – ok, that's the best part of the book). They work very few hours, but because they are intelligent and therefore not suited to work (?!) they think they work all the time. They're always changing jobs and being sent to different places, without any say-so. The death penalty is in effect for those who try to avoid these duties. There's no overarching government and no wars, but the society, which is the same planetwide, seems just as oppressive as any government, and fatal duels are frequent and accepted. Children live at ‘home' till 5, then are sent to crèches, then leave to begin independent life at 12. All these peoples' lives seem to be completely devoid of fun.

    From this, I take away that: Joanna Russ probably likes big butts. ;-) (Oh, she also definitely likes smoking but doesn't like drinking) She has serious problems forming deep relationships with lovers or children (she really doesn't seem to UNDERSTAND intimate relationships at all), and she secretly(?) wishes for an incredibly homogenous, organized society where everyone has an exactly equal place, without any need to put effort into developing your own identity and having to create that place for yourself. Because life is hard, she's decided that the Reason is MEN. When she fails to find common ground with other women, she says that's because those women have been subverted by MEN and MALE-DOMINATED SOCIETY.

    I disagree strongly. I don't think that, fundamentally, women are any different than men. I don't think that a woman-only society would be war-free or homogenous. Moreover, I don't WANT that homogenous kind of society on any level! I would rather go through the trauma of finding myself than have an identity basically handed to me. I don't think that the reason that people have problems in relationships or problems with loneliness is because we have two genders – I think it's inherent to humanity. People can have ALL KINDS of disagreements that have nothing to do with gender. All men are not the same. All women are not the same. Yes, life can sometimes be really hard. It can be lonely. But really, the problem isn't sexism. I'm not saying that sexism doesn't exist, or that it doesn't need to be addressed – but the real problems of sexism are not addressed here at all.

    I guess a surprising part of this book to me was the hatred of other women. (I expected the man-hating.) But there is just so much vitriol here directed toward women. It's like Russ is so unhappy that she deeply resents any woman who seems happy with her life. She sees them as lying or brainwashed – as Jeannines or Jaels. She feels that individual success (or empowerment) and what society considers to be ‘femininity' are mutually incompatible. It's actually a bit enlightening, to see this perspective – but I just wanted to yell, "No! You're just WRONG! You don't understand PEOPLE!" at so many points during this book.

    At one point in the book, Russ throws in a page or two of excerpts of criticism of her work. I had to laugh, because I totally agreed with about 70% of it - Part 7, Section III: "maunderings of antiquated feminism...this shapeless book...some truth buried in a largely hysterical...of very limited interest. I should ... another tract for the trash-can...burned her bra and thought that . . . no characterization, no plot...really important issues are neglected while...another shrill polemic which the...this pretense at a novel...trying to shock... the usual boring obligatory references to Lesbianism [and statutory rape no less!]... drivel." (I don't have the book on me, so I copied that from a web page – there were more accurate bits in that section, I thought, but you get the idea.)

    Oh, the other funny thing is that in at least two places in the book she praises Kate Millett. I met Millett. She used to live on the Bowery, and she'd occasionally stop by CBGB Gallery. She came by one time during my club night, and started talking to me at the door. She seemed almost unwilling to believe that the night was 'mine,' (how could a woman be in charge?) and then started yelling (well, practically) at me because the music that was playing wasn't a woman. I tried telling her (which was true) that although the singer was male, the bass player in the band was a woman, but that didn't seem to count, somehow. She was just going on about how I should support women. (Oh, and she was definitely bona fide CRAZY).
  • Rating: 4 out of 5 stars
    4/5
    For various reasons it has taken me almost a month to review this book since I finished it. This is not a bad thing, as I've needed to think a little before criticising it. 'The Female Man' is a product of its time, 1975. Major themes are: the feminism, the multiverse, environmentalism.Four different women (or perhaps aspects of the same woman) are brought together by a multiversal event. They are Jeanine, Janet, Joanna and Jael. Their origin worlds are very different. Jeannine is from a world where the Great Depression never finished. She has a job and a bedsit and dreams of being married to a decent man -- except that there aren't any. Janet Evason is from Whileaway, a future state where there are no men. Whileaway is a utopia; Whileaway has no men, though the connection between the premises is weak. Joanna (also the author's name) is from a world closest to ours, a career woman in a "man's world". Jael is an assassin from a future world where the war between the sexes is an actual one.There are no positive representations of men in this book (disclaimer, possibly required for reviewing this book: I am male). They are depicted as universally sleazy, stupid, charmless, controlling, vain, condescending or rapacious. Nevertheless, the presence or absence of men defines the worlds and worldviews of each of the protagonists. Men have long since vanished from Whileaway (originally due to a plague) and their absence is simply not missed. Janet Evason has only mild curiosity about men when she encounters them in the other dimensions. Whileawayean society and culture is described in detail: an underpopulated, technological, agrarian world. Its utopian vision had shades of Ursula LeGuin's 'The Dispossessed', but with less thought. Where was Whileawayean politics? Its police? Its dissidents? There are generalisations like 'Whileawayeans like big asses'. If the book had been simply about Whileaway I would have put it aside.Joanna and Jeannine live in a world more like our own (or our own in the 1970s perhaps, since some progress *has* occurred in feminism since then). Jeannine just wants to get married, though her boyfriend is exploitative and doesn't seem to care about her. Joanna seemingly hates men, or hates having to deal with men or explain herself to men. In Joanna's case it may be more about self-hate too. Men are portrayed as the reason for bad female behaviour. There are imaginary dialogues in a nightclub and at a mothers' group which portray bitchy, exclusionary and negative female behaviour (notably absent from any Whileaway passages).Jael is interesting. Her job -- and she gets quite a bit of job satisfaction too -- is murdering men in the constant hot and cold conflict which burns and freezes her world. Ironically she is heterosexual ('I love men's bodies, hate their minds') and keeps a pet man with the intelligence of a dog for that purpose.This book is an angry salvo from the intolerant side of feminism, contemptuous and dismissive of men but with a measure of self-loathing too. Man-free Whileaway is depicted as a utopia with few drawbacks, but there was not enough exploration of its ideas to convice me of its plausibility. Try as it might, this book failed to convince me that the genders are better off without each other.

    1 person found this helpful

  • Rating: 4 out of 5 stars
    4/5
    For my part, this is a book that deserves its place in the canon of science fiction, feminist or otherwise. Without denying that some of it comes across as a bit dated, there's enough that isn't to make this a thought-provoking book today, and a humorous and engaging one at that.Russ uses the device of traveling between parallel worlds to present us with four simultaneous perspectives on womanhood. At one end of a particular spectrum is Jeannine, expected and expecting to marry and become a dutiful wife. At the other is Jael, an assassin from a world where women and men have been in open warfare for decades. Somewhere in between sits Joanna, a feminist from a world close to ours who has come to the realization that she cannot win a fight to have women separate-but-equal to men, she must adopt the "male" role and become the female man. Lastly, in a direction orthogonal to the others, sits Janet, from a future world where there are no men and no need to submit, fight or adapt.The story is challenging to read. Much of it is told in the first person, with the narrator changing constantly and no direct indication of who is speaking at any moment. Even the third person scenes sometimes shift viewpoint in mid paragraph. It's confusing and it's also terribly effective. You find yourself losing the distinctions that placing a label (this here is Jael; that there is Joanna) on a particular viewpoint normally allows. You come to understand that Russ isn't just using the conjunction "or" in presenting the alternatives, she is also using "and". When we finally learn (extremely minor spoiler here) that the women are the DNA analogs of each other from their respective universes, it makes a certain sense as a single woman with myriad aspects, more complex than any of their individual societies envisioned. And yet, for all that, something seems missing. I perceive the geometry more as a pentagon than a quadrilateral, with one corner left unfilled—there is no woman who is simply equal to a man without seeing herself as a man. Janet comes closest but she does so by finding men irrelevant, almost mythical, rather than engaging them as an equal. I'm not sure what to make of this. Is Russ saying (perhaps because of where she stood in 1975, but perhaps not) that this isn't a possible position? Or, is she leaving the book, itself, to occupy that fifth point: pointing out to the reader that, if woman is this complex, embracing roles habitually seen as male as well as those female, that perhaps there doesn't really need to be a divide and roles are just roles, not gender-specific distinctions?One of the beauties of this book is that these kinds of questions are there to occupy the reader, should the inclination be present. And, that Russ takes her shots—at both men and women, though men do get the worst of it—without completely getting your back up is an indication of her wonderful humor and her ability to subvert you and make you care. It's good speculative fiction.

Book preview

The Female Man - Joanna Russ

PART ONE

I

I was born on a farm on Whileaway. When I was five I was sent to a school on South Continent (like everybody else) and when I turned twelve I rejoined my family. My mother’s name was Eva, my other mother’s name Alicia; I am Janet Evason. When I was thirteen I stalked and killed a wolf, alone, on North Continent above the forty-eighth parallel, using only a rifle. I made a travois for the head and paws, then abandoned the head, and finally got home with one paw, proof enough (I thought). I’ve worked in the mines, on the radio network, on a milk farm, a vegetable farm, and for six weeks as a librarian after I broke my leg. At thirty I bore Yuriko Janetson; when she was taken away to a school five years later (and I never saw a child protest so much) I decided to take time off and see if I could find my family’s old home—for they had moved away after I had married and relocated near Mine City in South Continent. The place was unrecognizable, however; our rural areas are always changing. I could find nothing but the tripods of the computer beacons everywhere, some strange crops in the fields that I had never seen before, and a band of wandering children. They were heading North to visit the polar station and offered to lend me a sleeping bag for the night, but I declined and stayed with the resident family; in the morning I started home. Since then I have been Safety Officer for the county, that is S & P (Safety and Peace), a position I have held now for six years. My Stanford-Binet corrected score (in your terms) is 187, my wife’s 205 and my daughter’s 193. Yuki goes through the ceiling on the verbal test. I’ve supervised the digging of fire trails, delivered babies, fixed machinery, and milked more moo-cows than I wish I knew existed. But Yuki is crazy about ice-cream. I love my daughter. I love my family (there are nineteen of us). I love my wife (Vittoria). I’ve fought four duels. I’ve killed four times.

II

Jeannine Dadier (DADE-yer) worked as a librarian in New York City three days a week for the W.P.A. She worked at the Tompkins Square Branch in the Young Adult section. She wondered sometimes if it was so lucky that Herr Shicklgruber had died in 1936 (the library had books about this). On the third Monday in March of 1969 she saw the first headlines about Janet Evason but paid no attention to them; she spent the day stamping Out books for the Young Adults and checking the lines around her eyes in her pocket mirror (I’m only twenty-nine!). Twice she had had to tuck her skirt above her knees and climb the ladder to the higher-up books; once she had to move the ladder over Mrs. Allison and the new gentleman assistant, who were standing below soberly discussing the possibility of war with Japan. There was an article in The Saturday Evening Post.

I don’t believe it, said Jeannine Nancy Dadier softly. Mrs. Allison was a Negro. It was an unusually warm, hazy day with a little green showing in the park: imaginary green, perhaps, as if the world had taken an odd turning and were bowling down Spring in a dim bye-street somewhere, clouds of imagination around the trees.

I don’t believe it, repeated Jeannine Dadier, not knowing what they were talking about. You’d better believe it! said Mrs. Allison sharply. Jeannine balanced on one foot. (Nice girls don’t do that.) She climbed down the ladder with her books and put them on the reserve table. Mrs. Allison didn’t like W.P.A. girls. Jeannine saw the headlines again, on Mrs. Allison’s newspaper.

WOMAN APPEARS FROM NOWHERE ON BROADWAY, POLICEMAN VANISHES

I don’t— (I have my cat, I have my room, I have my hot plate and my window and the ailanthus tree.)

Out of the corner of her eye she saw Cal outside in the street; he was walking bouncily and his hat was tipped forward; he was going to have some silly thing or other to say about being a reporter, little blond hatchet face and serious blue eyes; I’ll make it some day, baby. Jeannine slipped into the stacks, hiding behind Mrs. Allison’s P.M.-Post: Woman Appears from Nowhere on Broadway, Policeman Vanishes. She daydreamed about buying fruit at the free market, though her hands always sweated so when she bought things outside the government store and she couldn’t bargain. She would get cat food and feed Mr. Frosty the first thing she got to her room; he ate out of an old china saucer. Jeannine imagined Mr. Frosty rubbing against her legs, his tail waving. Mr. Frosty was marked black-and-white all over. With her eyes closed, Jeannine saw him jump up on the mantelpiece and walk among her things: her sea shells and miniatures. "No, no, no!" she said. The cat jumped off, knocking over one of her Japanese dolls. After dinner Jeannine took him out; then she washed the dishes and tried to mend some of her old clothing. She’d go over the ration books. When it got dark she’d turn on the radio for the evening program or she’d read, maybe call up from the drugstore and find out about the boarding house in New Jersey. She might call her brother. She would certainly plant the orange seeds and water them. She thought of Mr. Frosty stalking a bath-robe tail among the miniature orange trees; he’d look like a tiger. If she could get empty cans at the government store.

Hey, baby? It was a horrid shock. It was Cal.

No, said Jeannine hastily. I haven’t got time.

Baby? He was pulling her arm. Come for a cup of coffee. But she couldn’t. She had to learn Greek (the book was in the reserve desk). There was too much to do. He was frowning and pleading. She could feel the pillow under her back already, and Mr. Frosty stalking around them, looking at her with his strange blue eyes, walking widdershins around the lovers. He was part Siamese; Cal called him The Blotchy Skinny Cat. Cal always wanted to do experiments with him, dropping him from the back of a chair, putting things in his way, hiding from him. Mr. Frosty just spat at him now.

Later, said Jeannine desperately. Cal leaned over her and whispered into her ear; it made her want to cry. He rocked back and forth on his heels. Then he said, I’ll wait He sat on Jeannine’s stack chair, picking up the newspaper, and added:

The vanishing woman. That’s you. She closed her eyes and daydreamed about Mr. Frosty curled up on the mantel, peacefully asleep, all felinity in one circle. Such a spoiled cat.

Baby? said Cal.

Oh, all right said Jeannine hopelessly, all right.

I’ll watch the ailanthus tree.

III

Janet Evason appeared on Broadway at two o’clock in the afternoon in her underwear. She didn’t lose her head. Though the nerves try to keep going in the previous track, she went into evasive position the second after she arrived (good for her) with her fair, dirty hair flying and her khaki shorts and shirt stained with sweat. When a policeman tried to take her arm, she threatened him with le savate, but he vanished. She seemed to regard the crowds around her with a special horror. The policeman reappeared in the same spot an hour later with no memory of the interval, but Janet Evason had returned to her sleeping bag in the New Forest only a few moments after her arrival. A few words of Pan-Russian and she was gone. The last of them waked her bedmate in the New Forest.

Go to sleep, said the anonymous friend-for-the-night, a nose, a brow, and a coil of dark hair in the dappled moonlight.

But who has been mucking about with my head! said Janet Evason.

IV

When Janet Evason returned to the New Forest and the experimenters at the Pole Station were laughing their heads off (for it was not a dream) I sat in a cocktail party in mid-Manhattan. I had just changed into a man, me, Joanna. I mean a female man, of course; my body and soul were exactly the same.

So there’s me also.

V

The first man to set foot on Whileaway appeared in a field of turnips on North Continent. He was wearing a blue suit like a hiker’s and a blue cap. The farm people had been notified. One, seeing the blip on the tractor’s infrared scan, came to get him; the man in blue saw a flying machine with no wings but a skirt of dust and air. The county’s repair shed for farm machinery was nearby that week, so the tractor-driver led him there; he was not saying anything intelligible. He saw a translucent dome, the surface undulating slightly. There was an exhaust fan set in one side. Within the dome was a wilderness of machines: dead, on their sides, some turned inside out, their guts spilling on to the grass. From an extended framework under the roof swung hands as big as three men. One of these picked up a car and dropped it. The sides of the car fell off. Littler hands sprang up from the grass.

Hey, hey! said the tractor-driver, knocking on a solid piece set into the wall. It fell, it passed out!

Send it back, said an operator, climbing out from under the induction helmet at the far end of the shed. Four others came and stood around the man in the blue suit.

Is he of steady mind? said one.

We don’t know.

Is he ill?

Hypnotize him and send him back.

The man in blue—if he had seen them—would have found them very odd: smooth-faced, smooth-skinned, too small and too plump, their coveralls heavy in the seat. They wore coveralls because you couldn’t always fix things with the mechanical hands; sometimes you had to use your own. One was old and had white hair; one was very young; one wore the long hair sometimes affected by the youth of Whileaway, to while away the time. Six pairs of steady curious eyes studied the man in the blue suit.

"That, mes enfants, said the tractor-driver at last, is a man.

That is a real Earth man.

VI

Sometimes you bend down to tie your shoe, and then you either tie your shoe or you don’t; you either straighten up instantly or maybe you don’t. Every choice begets at least two worlds of possibility, that is, one in which you do and one in which you don’t; or very likely many more, one in which you do quickly, one in which you do slowly, one in which you don’t, but hesitate, one in which you hesitate and frown, one in which you hesitate and sneeze, and so on. To carry this line of argument further, there must be an infinite number of possible universes (such is the fecundity of God) for there is no reason to imagine Nature as prejudiced in favor of human action. Every displacement of every molecule, every change in orbit of every electron, every quantum of light that strikes here and not there—each of these must somewhere have its alternative. It’s possible, too, that there is no such thing as one clear line or strand of probability, and that we live on a sort of twisted braid, blurring from one to the other without even knowing it, as long as we keep within the limits of a set of variations that really make no difference to us. Thus the paradox of time travel ceases to exist, for the Past one visits is never one’s own Past but always somebody else’s; or rather, one’s visit to the Past instantly creates another Present (one in which the visit has already happened) and what you visit is the Past belonging to that Present—an entirely different matter from your own Past. And with each decision you make (back there in the Past) that new probable universe itself branches, creating simultaneously a new Past and a new Present, or to put it plainly, a new universe. And when you come back to your own Present, you alone know what the other Past was like and what you did there.

Thus it is probable what Whileaway—a name for the Earth ten centuries from now, but not our Earth, if you follow me—will find itself not at all affected by this sortie into somebody else’s past. And vice versa, of course. The two might as well be independent worlds.

Whileaway, you may gather, is in the future.

But not our future.

VII

I saw Jeannine shortly afterward, in a cocktail lounge where I had gone to watch Janet Evason on television (I don’t have a set). Jeannine looked very much out of place; I sat next to her and she confided in me: I don’t belong here. I can’t imagine how she got there, except by accident. She looked as if she were dressed up for a costume film, sitting in the shadow with her snood and her wedgies, a long-limbed, coltish girl in clothes a little too small for her. Fashion (it seems) is recovering very leisurely from the Great Depression. Not here and now, of course. I don’t belong here! whispered Jeannine Dadier again, rather anxiously. She was fidgeting. She said, "I don’t like places like this." She poked the red, tufted leather on the seat.

What? I said.

I went hiking last vacation, she said big-eyed. That’s what I like. It’s healthy.

I know it’s supposed to be virtuous to run healthily through fields of flowers, but I like bars, hotels, air-conditioning, good restaurants, and jet transport, and I told her so.

Jet? she said.

Janet Evason came on the television. It was only a still picture. Then we had the news from Cambodia, Laos, Michigan State, Lake Canandaigua (pollution), and the spinning globe of the world in full color with its seventeen man-made satellites going around it. The color was awful. I’ve been inside a television studio before: the gallery running around the sides of the barn, every inch of the roof covered with lights, so that the little woman-child with the wee voice can pout over an oven or a sink. Then Janet Evason came on with that blobby look people have on the tube. She moved carefully and looked at everything with interest. She was well dressed (in a suit). The host or M.C. or whatever-you-call-him shook hands with her and then everybody shook hands with everybody else, like a French wedding or an early silent movie. He was dressed in a suit. Someone guided her to a seat and she smiled and nodded in the exaggerated way you do when you’re not sure of doing the right thing. She looked around and shaded her eyes against the lights. Then she spoke.

(The first thing said by the second man ever to visit Whileaway was, Where are all the men? Janet Evason, appearing in the Pentagon, hands in her pockets, feet planted far apart, said, Where the dickens are all the women?)

The sound in the television set conked out for a moment and then Jeannine Dadier was gone; she didn’t disappear, she just wasn’t there any more. Janet Evason got up, shook hands again, looked around her, questioned with her eyes, pantomimed comprehension, nodded, and walked out of camera range. They never did show you the government guards.

I heard it another time and this is how it went:

MC: How do you like it here, Miss Evason?

JE (looks around the studio, confused): It’s too hot.

MC: I mean how do you like it on—well, on Earth?

JE: But I live on the earth. (Her attention is a little strained here.)

MC: Perhaps you had better explain what you mean by that—I mean the existence of different probabilities and so on—you were talking about that before.

JE: It’s in the newspapers.

MC: But Miss Evason, if you could, please explain it for the people who are watching the program.

JE: Let them read. Can’t they read?

(There was a moment’s silence. Then the M.C. spoke.)

MC: Our social scientists as well as our physicists tell us they’ve had to revise a great deal of theory in light of the information brought by our fair visitor from another world. There have been no men on Whileaway for at least eight centuries—I don’t mean no human beings, of course, but no men—and this society, run entirely by women, has naturally attracted a great deal of attention since the appearance last week of its representative and its first ambassador, the lady on my left here. Janet Evason, can you tell us how you think your society on Whileaway will react to the reappearance of men from Earth—I mean our present-day Earth, of course—after an isolation of eight hundred years?

JE (She jumped at this one; probably because it was the first question she could understand): Nine hundred years. What men?

MC: What men? Surely you expect men from our society to visit Whileaway.

JE: Why?

MC: For information, trade, ah—cultural contact, surely. (laughter) I’m afraid you’re making it rather difficult for me, Miss Evason. When the—ah—the plague you spoke of killed the men on Whileaway, weren’t they missed? Weren’t families broken up? Didn’t the whole pattern of life change?

JE (slowly): I suppose people always miss what they are used to. Yes, they were missed. Even a whole set of words, like he, man and so on—these are banned. Then the second generation, they use them to be daring, among themselves, and the third generation doesn’t, to be polite, and by the fourth, who cares? Who remembers?

MC: But surely—that is—

JE: Excuse me, perhaps I’m mistaking what you intend to say as this language we’re speaking is only a hobby of mine, I am not as fluent as I would wish. What we speak is a pan-Russian even the Russians would not understand; it would be like Middle English to you, only vice-versa.

MC: I see. But to get back to the question—

JE: Yes.

MC (A hard position to be in, between the authorities and this strange personage who is wrapped in ignorance like a savage chief: expressionless, attentive, possibly civilized, completely unknowing. He finally said): Don’t you want men to return to Whileaway, Miss Evason?

JE: Why?

MC: One sex is half a species, Miss Evason. I am quoting (and he cited a famous anthropologist). Do you want to banish sex from Whileaway?

JE (with massive dignity and complete naturalness): Huh?

MC: I said: Do you want to banish sex from Whileaway? Sex, family, love, erotic attraction—call it what you like—we all know that your people are competent and intelligent individuals, but do you think that’s enough? Surely you have the intellectual knowledge of biology in other species to know what I’m talking about.

JE: I’m married. I have two children. What the devil do you mean?

MC: I—Miss Evason—we—well, we know you form what you call marriages, Miss Evason, that you reckon the descent of your children through both partners and that you even have tribes—I’m calling them what Sir calls them; I know the translation isn’t perfect—and we know that these marriages or tribes form very good institutions for the economic support of the children and for some sort of genetic mixing, though I confess you’re way beyond us in the biological sciences. But, Miss Evason, I am not talking about economic institutions or even affectionate ones. Of course the mothers of Whileaway love their children; nobody doubts that. And of course they have affection for each other; nobody doubts that, either. But there is more, much, much more—I am talking about sexual love.

JE (enlightened): Oh! You mean copulation.

MC: Yes.

JE: And you say we don’t have that?

MC: Yes.

JE: How foolish of you. Of course we do.

MC: Ah? (He wants to say, Don’t tell me.)

JE: With each other. Allow me to explain.

She was cut off instantly by a commercial poetically describing the joys of unsliced bread. They shrugged (out of camera range). It wouldn’t even have gotten that far if Janet had not insisted on attaching a touch-me-not to the replay system. It was a live broadcast, four seconds’ lag. I begin to like her more and more. She said, If you expect me to observe your taboos, I think you will have to be more precise as to exactly what they are. In Jeannine Dadier’s world, she was (would be) asked by a lady commentator:

How do the women of Whileaway do their hair?

JE: They hack it off with clam shells.

VIII

Humanity is unnatural! exclaimed the philosopher Dunyasha Bernadetteson (

A.C

. 344–426) who suffered all her life from the slip of a genetic surgeon’s hand which had given her one mother’s jaw and the other mother’s teeth—orthodontia is hardly ever necessary on Whileaway. Her daughter’s teeth, however, were perfect. Plague came to Whileaway in

P.C

. 17 (Preceding Catastrophe) and ended in

A.C

. 03, with half the population dead; it had started so slowly that no one knew about it until it was too late. It attacked males only. Earth had been completely re-formed during the Golden Age (

P.C

. 300–ca.

P.C

. 180) and natural conditions presented considerably less difficulty than they might have during a similar

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