“I was surprised—though I shouldn’t have been—to discover that a book on mothering was also about not-mothering. Yet the problem of an unplanned pregnancy, for women born between 1900 and 1945, is a story that runs throughout my book. Of the women I’m writing about, almost all struggled for access to birth control. Several had at least one abortion. To have some control over the timing and material circumstances of pregnancy and child-rearing is essential to the practice of the mother-writer or mother-artist…”

In response to the growing pressure on reproductive rights in America, Literary Hub published a short excerpt from my upcoming (really!) book on writing and mothering, The Baby on the Fire Escape. [Read more]

In the summer of 2014, the talented young Mexican writer Valeria Luiselli and her husband put their kids in the car and drove from New York City to southern Arizona. Because they were applying for green cards, they couldn’t leave the country, but on the road they could get close, literally and imaginatively, to the uncrossable US-Mexico border. [read more at 4Columns]

By his mid-twenties, the artist and illustrator Edward Gorey had already settled on his signature look: long fur coat, jeans, canvas high-tops, rings on all his fingers, and the full beard of a Victorian intellectual….Among the obvious questions for a reader of Gorey’s biography are: Where in his psyche, or in the culture, did all those fey fainting ladies and ironic dead tots come from? And, not unrelatedly: Was Gorey gay? [read more at 4Columns]

Grievance, paranoia, and Ian Buruma

Many observers in the Dutch press had a hard time understanding the fall of Ian Buruma. My explanation was published in Dutch in Letter&Geest on September 29, 2018.

Ian Buruma is out. Our man in New York, the Dutchman who made his name in the English-speaking world with insightful books about Japan, his family history, and a murder in Amsterdam, winner of the Erasmus Prize, resigned under pressure last week as editor in chief of The New York Review of Books.

Buruma’s offense was to publish an essay by Jian Ghomeshi, who wrote about losing his job and friends after several women accused him of sexual assault. The first-person account by the Canadian former radio host was meant to add nuance to the fierce debate around #MeToo. Yet Buruma was sharply criticized in the media and online. In an interview with Dutch monthly Vrij Nederland he called his resignation “a capitulation to social media and university presses,” which had sided with #MeToo against freedom of opinion.

Only there was something fishy about Ghomeshi’s soul-searching. If Buruma had Googled his name, he would have discovered that ‘several’ women was actually more than 20. Ghomeshi spoke of being charged with two counts of sexual assault, not seven; these included non-consensual hitting and choking during sex. He mentioned a settlement, but not that it was for a three-year-long campaign of sexual harassment of a colleague. Descriptions of more violent abuse, given by women outside the courtroom, he insinuated were baseless gossip.

When an interviewer pointed out the discrepancies, Buruma dug his hole deeper by stating that the facts of the case didn’t matter. To him the piece was about Ghomeshi’s humiliation and exclusion and whether he had now served his time. Besides, he added, Ghomeshi was acquitted. Nothing was proven. It was impossible to say what really happened, and to him it didn’t matter. “The exact nature of his behavior…I have no idea, nor is it really my concern.”

His indifference was his undoing.

 

After word of his resignation went around, I got into a conversation online with a few other American writers. Some were celebrating his fall. Some worried about the destructive power of #MeToo. Misogyny! Freedom!

The big words started to bother me. Why, I asked, should this be about anything more than poor editorial judgment? An editor is responsible for the facts and, in a personal essay, the emotional honesty of what he prints. Buruma hadn’t done his job.

Another writer, friends with Buruma, said he was concerned nonetheless about the dampening effect on public discourse. Buruma had always had a strong ethical compass, he pointed out. If someone like him couldn’t publish about #MeToo, then who was free to speak?

I agreed about his moral compass. Buruma was an ally who had worked at the NYRB to hold Trump to account. But did that mean we had to throw his case into the free-speech soup? I suspected he had been too eager to run the piece, had overridden others’ warnings. (Later the publisher of the NYRB stated that Buruma had “had cast longstanding editorial practice aside and excluded all the magazine’s female staff” from the reading process, showing the draft to only one other editor, a man.) A bad article is not the same as a risky stance. Couldn’t we keep those separate?

We agreed that that was the question. We didn’t have an answer.

 

Meanwhile it became clear how poorly Buruma understood the debate he’d entered. In Vrij Nederland he defended his decision: Ghomeshi, he emphasized, was not convicted. “It is absolutely not true that I do not have empathy for women who are mistreated or assaulted. But I also want to know: what happens when you are publicly pilloried on social media? That story had not been told.”

Yet that story has been told over and over, by women, who very often find themselves subject to online insults, threats, and campaigns of intimidation. The Cambridge classicist Mary Beard, wrote an excellent book about it last year, Women and Power. Letter&Geest interviewed her on it, and I wrote about it here. The NYRB didn’t run a review.

Buruma’s first assertion is equally irrelevant. From the beginning the goal of #MeToo was to bring to light the actual events and lived experience of survivors of sexual abuse, in the face of men whose whole career as abusers was predicated on their being powerful and willing to lie. Unfortunately, acquittal in court often means little more than no witnesses and insufficient proof.

To see how an abuser works this to his advantage, just listen to America’s current president. In ‘Fear’ Bob Woodward quotes his advice on the subject: “You’ve got to deny, deny, deny and push back on these women…. You’ve got to push back hard. You’ve got to deny anything that’s said about you. Never admit.”

It’s almost impossible for someone in the Netherlands to understand the effect on the body politic of a president who swims in lies like a predatory fish in a muddy lake. America is awash in grievance and paranoia. Trump turns all the news into a matter of opinion, and freedom of expression into a sludge in which the press is slowly going under. As NRC critic Thomas de Veen commented, a personal essay like Ghomeshi’s “is in practice almost a license to bend the facts to your own ends, because it’s ‘your story.’”

What America is suffering from is not a shortage of opinions, but a lack of solid ground.

 

Bad timing certainly abetted Buruma’s fall. As a writer, he’s known for being wary of strong emotions and extremist political positions. From such a reasonable point of view, though, it’s hard to comprehend just what a powder keg America is right now. Rights, including women’s rights, are under pressure. If women seem “hysterical” to you, it’s because we’re looking over your shoulder at everything that’s coming at us.

That includes Brett Kavanaugh, whose youthful assholery is being aired in public because we aren’t being told his judicial views, and because his apparent hostility to women’s rights isn’t enough by itself to keep the Senate from confirming him. Democrats are weaponizing #MeToo as a last defense against institutional sexism. It’s risky, desperate, destructive, but I’m right there with them.

The American Left (young people, women) is out for blood. So is the Right (old people, men). Even my calm, level-headed 80-year-old mother is breathing feminist fire. This situation is distorting everyone’s judgment, including mine. Including that of Buruma, who wanted to preach peace to the opposing armies and was left lying on the battlefield, a martyr to the ill-chosen free word.

 

No, I finally concluded, it’s not possible to see Buruma’s departure separately from larger questions of political anger and freedom of speech. But it’s not a threat to free speech, either. On the contrary: free speech thrives not on self-serving half-truths but on integrity, transparency, and accuracy.

The Left’s insistence on openness can seem dangerously Puritan. But in these days of Trumpian gaslighting, all I crave is the truth. And honestly? You can get lost with your fact-free contrary opinion.

 

unnamed.png

Writer-director Maureen Huskey’s play based on the life and work of James Tiptree Jr. premieres in Los Angeles, October 27, 2018. “Dodging in and out of reality, the play investigates gender, longing and creativity as self-exploration through one of the science fiction world’s greatest literary tricksters.”

This play has been in the works for some time, and I’m excited that it’s finally making it to the stage. More info below and at www.maureenhuskey.org.

 

LOS ANGELES, Calif. (April 19, 2018) — The Woman Who Went to Space as a Man – Part fact, part fever dream, and part musical, this captivating new work opens with Alice B. Sheldon – better known to sci-fi aficionados as author James Tiptree, Jr. – contemplating suicide. Dodging in and out of reality, the play, with a bold musical score from award-winning world music artist Yuval Ron, investigates gender, longing and creativity as self-exploration through one of Science Fiction world’s greatest literary tricksters. Sheldon was most notable for breaking down the barriers between writing perceived as inherently ‘male’ or ‘female’. It was not publicly known until 1977 that Tiptree was, in fact, a woman. Inspired by the biography ‘James Tiptree, Jr.: The Double Life of Alice B. Sheldon’ by Julie Phillips along with ‘With Delicate Mad Hands’ by James Tiptree, Jr., Maureen Huskey wrote and directs the first production of The Woman Who Went to Space as a Man, opening October 27 and running through November 17, at Son of Semele Theater in Los Angeles.


Alice B. Sheldon started writing science fiction under the male pen name of James Tiptree, Jr. as a last grasp for life at the age of 50. Without expecting any success, Sheldon as Tiptree ended up taking the science fiction world by storm writing the most provocative and socially relevant stories to this day. Influential science fiction writers such as Phillip K. Dick wanted to collaborate with him; Ursula Le Guin and Joanna Russ put him on a pedestal and in 2012 Tiptree was inducted into the Science Fiction Hall of Fame. For years, no one knew Tiptree’s true identity. Ironically it was the remarkable life Sheldon led as a woman that made her so believable as a man. She was an officer in the Army, worked for the CIA, the pentagon and traveled the world. 


The Woman Who Went to Space as a Man takes imaginary license whereby Sheldon is visited by an unexpected stranger — an extraterrestrial “star caller” from one of Tiptree’s stories — who leads her on an episodic, emotional journey through the shadows of her past where, despite her life’s accomplishments, buried pain and unmet desires reside. She encounters her younger selves, her repressed lesbian love, a domineering mother, and the incarnation of her male alter-ego: James Tiptree, Jr. The play locates unexpected links between gender orientation, creative expression and mental health, and shows how science fiction became the answer to Sheldon’s struggles as a woman. 


The Woman Who Went to Space as a Man has universal and topical resonance as it deals directly with the repression of women, of gender/sexual orientation, depression and the search for hope. It also brings science fiction — a form that was long marginalized — to the center stage and shows how Alice B. Sheldon used science fiction to address issues that plague humanity such as genocide, ecocide and racism. The play experiments with form, episodic storytelling, shifting time and vacillating between inner and outer realities. It is interwoven with one of Tiptree’s short stories to frame the telling of Sheldon’s life.


“
I have always been drawn to the lives of female artists; especially those who committed suicide. While their work may be celebrated, often their lives and personal triumphs are not. My intention is to unapologetically shed light on one of these overlooked lives: a true story about a woman who pretended to be a man,” explains Huskey.


Tiptree earned the reputation of being a male author who understood women and often addressed gender issues – on Earth and in worlds beyond. Having spent her entire life in male-dominated arenas – the Army, the C.I.A., academia, and finally science fiction writing – Sheldon had become a person who could say all of the things she felt she couldn’t as a woman. Once outed, Sheldon didn’t feel a sense a liberation, her confidence rattled with the transition from a perceived male writer to a female one and she faded from the science-fiction scene leaving her legacy behind.

On June 13 in Portland, OR, Literary Arts brought a terrific lineup of writers together to speak about Ursula Le Guin’s life and work. The evening included family photos, clips from Arwen Curry’s documentary Worlds of Ursula K. Le Guin, and a dragon at the end. The speakers remembered Ursula the teacher, builder of bridges, dreamer of change, writer of wildly funny e-mails, and fierce, kind friend.

We writers were all nervous at having to speak in front of over 2000 people, but the event came off beautifully: the talks were terrific, the memories bittersweet. My only regrets were that it didn’t go on longer—say, a week—and that we were onstage instead of Ursula herself. Hearing her in the clips makes me miss her profoundly, her wonderful, musical voice most of all.

You can watch the whole tribute at www.literary-arts-tribute.org/. My bits are at 30:00 (on tape) and 1.22:20 (my talk).

Thank you, Literary Arts, and thank you, Ursula.

Photos: Literary Arts

Image may contain: 3 people, people standing and outdoor

 

Image may contain: night, car and outdoor

Charles Vess with a dragon from his forthcoming illustrated Earthsea:

Image may contain: 3 people, people smiling, people standing

No automatic alt text available.

The narrator of Sheila Heti’s new novel Motherhood is in an agony of doubt. She’s in her late thirties. Does she or doesn’t she want a child? Why can’t she make this life decision? When she thinks of having a baby she balks. She’s afraid of giving up her freedom, and besides, how could she and her partner raise kids in their mouse-infested little writer’s apartment? But when she decides… read more at 4Columns

In The Village Voice I wrote about another aspect of Ursula, not the homebody but the writer and thinker ahead of her time.

Before Ursula K. Le Guin, who died last week at age 88, goes to dwell among the stars — maybe near the constellation that bears her name — it’s worth remembering how provocative she could be. The outpouring of tributes to her generosity, inventiveness, and wisdom has been so profoundly personal because she spoke to people so directly: a book or story by Le Guin could go so deep that it felt like yours alone. As her biographer, I can attest to her warmth, and elsewhere I’ve written about the love of home and humor that was one aspect of her many-sided being.

But I also want to talk about how good her aim was with a verbal thunderbolt. When Le Guin accepted a lifetime achievement award at the 2014 National Book Awards, an audience of New York editors and publishers witnessed her in her full angry glory, just before they were sizzled into a…

Read more at https://www.villagevoice.com/2018/01/29/ursula-le-guins-eternal-search-for-freedom/

 

“How should we remember Ursula Kroeber Le Guin? Together,” Nisi Shawl writes. Like many others of Ursula’s friends and readers after her death, I wanted to honor her memory. I don’t think I’d ever worked and written as hard as I did that week, but I wanted to do something, and it seemed like the work I had to do. From me and others, I’ve collected a few of the many tributes to her life and art.

I was interviewed for the radio by WYNC’s Brooke Gladstone, who did a beautiful piece on Ursula’s life and on how her work “cuts to the heart of gender, politics, morality, and what it means to live and to die.”

https://www.wnyc.org/story/le-guin-legacy/

On the Library of America website, along with tributes from Zadie Smith, Michael Chabon, Nalo Hopkinson, Elaine Showalter, Gary K. Wolfe, and others, I wrote about my first meeting with Ursula, when I was in college. It’s a pretty typical first-meeting-with-Ursula story: I was young and dumb, and she was kind and offered me a new way of seeing.

https://www.loa.org/news-and-views/1375-fellow-writers-remember-ursula-k-le-guin-1929-2018

Ursula’s friend and webmaster, Vonda N. McIntyre, has been collecting tributes on ursulakleguin.com. Here are just a few:

“To enter her books is an extraordinary experience: it is to learn something about yourself that you did not know, it is to feel you are about to discover your place in the world….[In person as well as in her work she was] a union of opposites: tiny and fragile, but with an indomitable personality; humble and generous, but with the pride of one who is aware of her talent; poetic and light as a breath of air, but with a demolishing intellectual capacity. She aspired to serenity and illuminated the shadows with a fine sense of humor. ” —Rosa Montero (in Spanish)
https://elpais.com/cultura/2018/01/24/actualidad/1516816747_713174.html

“The fact that we may have no conscious experience (or knowledge) of something right now does not mean we can never become conscious of it under the right future circumstances….Le Guin was always able to imagine (and evoke) states of mind and soul that were not her own.”
—Carol Cooper
https://www.villagevoice.com/2018/01/30/in-celebration-of-ursula-le-guins-fantastic-legacy/

“[For] nonwhite writers of fantasy, horror and science fiction….she was our best and most powerful ally. She made our presence in her stories a matter of course.” —Nisi Shawl
https://www.seattletimes.com/entertainment/books/author-nisi-shawl-remembers-a-literary-hero-ursula-k-le-guin/

“I want to see Ursula Le Guin described for future generations, and for ourselves, as a destroyer of common myths, as a fighter against hierarchical horseshit, as a radical, as a maker of worlds…” —Maria Dahvana Headley
https://www.thedailybeast.com/stop-calling-ursula-k-le-guin-a-grand-old-dame

“When i wondered if imagination could be necessary for revolution and transformation, you said yes, you said our dreams and visions matter, they are the way we make oppression temporary.” —Adrienne Maree Brown
http://adriennemareebrown.net/2018/01/24/final-letter-to-ursula-le-guin-sent-the-day-after-your-departure/

“Write what you want to write. Add as many dragons as you like.”  —Karen Joy Fowler
https://www.theparisreview.org/blog/2018/01/25/ten-things-i-learned-from-ursula-k-le-guin/