What is it to Write as a Man?

James Tiptree Jr. aka Alice Sheldon is able to explore topics of female inequality through her adoption of the male pseudonym. Julie Philips refers to this adoption of a male pseudonym as raising "questions [to] all our assumptions about writing and gender" (Philips 6). Tiptree was thought of as an oddly pro-feminist writer. The mystique surrounding Tiptree was rather large, Sheldon claimed, "My secret world had been invaded and the attractive figure of Tiptree-- he did strike several people as attractive-- was revealed as nothing but an old lady in Virginia" (Philips 3). That this constructed pro-feminist male writer could be considered

Sheldon's work often deals with the gender binary, especially in the story of The Screwfly Solution.  Sheldon switched from the penname of Tiptree to Racoona Sheldon for this story, a woman who was believed to be a student of Tiptree. The story explores the concept of a global catastrophe stemming from a mixing of the pleasure gained from "agression/predation and sexual reproduction in the male... shown by (a) many of the same neuromuscular pathways which are utilized both in predatory and sexual pursuit, grasping, mounting, etc., and (b) similar states of adrenergic arousal which are activated in both" (Tiptree 25). Through the letters and correspondence between Ann and Alan we are able to see the degeneration of a loving husband and father as his psyche switches from love and desire to feelings of violence and a lust for blood.

The impact of the title, and of Alan's position as scientist studying how to remove parasites, comes to a head with the conclusion of the short story and the reveal of the "angels." Starving and feverish, Ann encounters one of the fabled angels that motivated the mad ravings of the Sons of Adam Cult. This angel takes samples of the earth, and utilizes a system they used to eradicate the screwfly population: "Pinpoint the weak link, wait a bit while we do it for them" (Tiptree 31). The angel clears the earth of the parasite, in this case man, for reasons unexplained. Ann speculates that they have taken on the role of "a real estate agent," but it is never explained whether the angel is either magical or alien. Based on the evidence in the short story we can determine that the aliens are clearing the world of humanity, yet for what end we cannot tell.

The use of angels, God and the cult's name referring to Adam all hint towards the aliens reverting the Earth back to a prelapserian sort of world and the inevitability of man's destruction. A world before the fall and the spread of humanity throughout its border. Something resulting from the change the aliens brought about drives Alan, a former loving father, to murder his daughter. This inevitable movement towards sin, as if it is within man's nature to destroy himself, serves as a forceful embodiment of the gender divide and the essential nature of women in society in order to temper these destructive impulses.

Humanity through Martian lore: the discovery of the self through the other

Zelazny’s A Rose for Ecclesiastes addresses notions of alterity in an interesting and indirect way. Gallinger, the pompous but linguistically gifted poet that acts as the protagonist of the story, is granted access to the cultural history of the Mars after demonstrating his considerable mastery of their “Lower Tongue.” While immersing himself in translating alien works of history and scripture, he falls for a Martian dancer that he inadvertently impregnates. Unbeknownst to Gallinger, his ensuing challenge to the Martian Matriarchy in the name of his beloved Braxa would fulfill an ancient prophecy that predicts the arrival of a savior from the sky.

On the surface, the story appears to represent a simple, colonial fantasy where the educated white man (who also happens to possess some serious martial arts training) swoops in to save the beautiful, dancing women of another world – a work of “camp” or “pulp,” as noted by a few others. The narrative itself is saturated with constant name-dropping and literary allusion, not to mention the heavily religious undertones suggested by the title. I want to argue, however, that Zelazny’s vision is more complex than what is suggested above. The scholarly (albeit pretentious) referencing, in addition to the lack of overall detail provided about the Martians themselves, appears to unpack notions of humanity more so than illustrate the speculative facets of science fiction.

First, Gallinger’s constant invoking of literary figures and allusions properly reflect his identification as a “second rate poet with a case of hubris.” Furthermore, this narrative style also serves to emphasize Gallinger’s challenge to his father’s faith; instead of becoming a missionary, the prodigious younger Gallinger chose to rebel, seek a liberal arts education, and eventually become a well-respected poet living in Greenwich Village. Ironically, it is his interactions with a dying alien society that reawakens his biblical roots. By invoking Ecclesiastes, he is able to present a positive example of struggle in the face of prophetic hopelessness. However, this does not result in his endorsing of religion or faith: Gallinger makes a point to venerate “vanity”, “pride,” and the “hubris of rationalism.” He preaches, “It is our blasphemy which has made us great, and will sustain us, and which the gods secretly admire in us.”

Several discourses of alterity can be identified within the above analysis. Most overtly, Gallinger’s dissention from religious discourse provides an alternate and more flexible way to interpret historical literature. It also addresses the issue of separating history from scripture, two elements traditionally viewed to be indistinguishable in primitive societies. Gallinger essentially highlights critical thought and western academic discipline as the major catalysts to civil and philosophical development.

The above arguments, however, are complicated by the plot twist revealed at the end of the story. That is, Gallinger’s discovery that his passionate sermon had actually fulfilled the very Martian prophecy he thought he was debunking suggests that faith can play a major role in humanity. Moreover, the paradox Gallinger identifies – that the “great paradox which lies at the heart of all miracles” is that he “[never believed a word of his own gospel]” – emphasizes the irony that he had been only acting on his own individual passions despite becoming the Martian messiah. Of course, the ultimate irony is the Braxa never loved him back.

[NOTE: sorry about how late I posted this – I screwed up and thought the posts were due at midnight and not noon.]