The dream is not a solid block, but rather a stairway that is climbed with perseverance and steps, and the journey itself is just as beautiful as reaching the destination.
(This article was originally featured in Organise! 72 - Summer -2009)
Science Fiction is at its best when it explores everyday human problems and prejudices through their extrapolation into extreme scenarios; disasters show the best and worst sides of humanity, while dystopias explore the full implications of the political and social impulses that govern us. More unusual, subtler and equally effective, is SF that explores aspects of humanity through their absence. While utopias eradicate society’s problems and dystopias exaggerate them, Le Guin creates, from scratch, ambiguous societies of human aliens who have never experienced problems central to our particular brand of humanity, extrapolates a culture, history and mythology from the inherent differences in socialisation, and goes on to explore the problems that they do have.
With Gethen, Le Guin challenges our world’s social construction of gender and explores its fundamental influence on our notions of identity by creating a world of human hermaphrodites. Unlike us (but in common with most other mammals) they have an oestrus cycle, so that they are only sexually active for a few days each month (known as “kemmer”). A Gethenian may enter this state as male or female, depending on many factors beyond their control, including the state of those kemmering close to them at the time. If a Gethenian conceives, “she” remains female throughout pregnancy and lactation, then returns to a state of “somer” and could be male next kemmer. In somer, Gethenians are without sexual drive and physically androgynous.
This biological and sociological re-imagining of sex brings with it the problem of writing a genderless society in a language that is not equipped to describe genderlessness, for an audience barely equipped to imagine it. The linguistic problem exacerbates the perceptual one, and Le Guin has dealt with this in various ways, with varying degrees of success. Initially, she uses masculine pronouns as neutral – or, at least, views Gethen through a human male character who does so, in the novel The Left Hand of Darkness (1969). Shortly before this she had published a short story set on Gethen, but had not been aware at the time of the Gethenians’ unusual physiology. She re-wrote this story, Winter’s King, for a 1975 collection, this time using feminine pronouns for all characters while keeping the masculine titles of “King” and “Lord” to retain ambiguity. Eventually, with such deft linguistic gymnastics that the casual reader barely notices, she wrote a Gethen story eschewing the use of gendered pronouns altogether, Coming of Age in Karhide (1995).
I’ll talk first about The Left Hand of Darkness, since this is the first Gethen story that Le Guin wrote with the deliberate intention of making Gethen a world of androgynes. It is not, primarily, a story about gender. It is a story about the politics of small nations, in which a naive envoy from the Ekumen (a sort of research collective of inhabited worlds) is manipulated by factions from rival countries. It is also a story about survival in harsh conditions, and the relationships formed under those conditions. Suspicion and trust, exposure and shelter, solitude and companionship are woven in with themes of duality and oneness, reflected in the envoy Genly Ai’s (and the reader’s) perception of gender as binary, and its contrast in Gethenian sexuality and psychology.
Genly Ai, a Terran and a man, finds it difficult to treat Gethenians as genderless. Early on, he says: “I was still far from being able to see the people of the planet through their own eyes. I tried to, but my efforts took the form of self consciously seeing a Gethenian first as a man, then as a woman, forcing him into those categories so irrelevant to his nature and so essential to my own.”
His difficulty reflects the reader’s, which is made all the more problematic by Le Guin’s (or Ai’s) use of those masculine pronouns. Le Guin has spoken of regretting this decision, and in her introduction to the re-working of Winter’s King she says:“In the third person singular, the English generic pronoun is the same as the masculine pronoun. A fact worth reflecting upon. And it’s a trap, with no way out, because the exclusion of the feminine (she) and the neuter (it) from the generic/masculine (he) makes the use of either of them more specific, more unjust, as it were, than the use of “he”. And I find made-up pronouns, “te” and “heshe” and so on, dreary and annoying.”
While the decision to use masculine pronouns in LHoD is a submission to that trap, forcing the reader to perceive Gethen as a planet without women, it has another, stranger effect: it makes us actively fight that perception, to try to see the neutral as feminine as well as masculine. It also allows us to feel lulled into a sense of understanding the genderlessness on our own terms, before shocking us with startling incongruities such as: “The King was pregnant” (p. 73).
Like Ai, we force ourselves to view each character, by turns, as both male and female. Often, of course, the language (and our own cultural identification) forces us to view important and recurring characters as male, and this prejudice is used narratively – Ai’s mistrust of Estraven, his major ally in Karhide, springs from his inability to read “him”, to work out his motives and goals, and he especially hates the characteristics he perceives as feminine, dismissing subtle warnings and cautions as “effeminate deviousness” (p.17).
Ai’s unconscious, internalised gender prejudices are dangerously irrelevant on Gethen, and only when Estraven kemmers as female does he realise how great his mistake was. He has been judging Estraven according to his expectations of male behaviours, misreading a protective and loyal ally as a manipulative politician, with a mistrust coming partly from Estraven’s aloofness and stringent observation of shifgrether (a system of status and etiquette that equates openly offering advice with dire insult), but mainly from Ai’s inability to see him as both a man and a woman and neither.
This cultural confusion extends to Ai’s and previous Ekumen investigators’ view of Gethenian culture and history. We are told that there has never been a full-blown war on Gethen, yet the feuding nations that we see – a paranoid monarchy with a mad king, and an authoritarian communist state with forced labour camps – are far from utopian. The nation of Karhide is described early on as “not a nation but a family squabble” (p.12). Ai speculates that Gethenians, while capable of the same aggression and cruelty as other humans, lack the capacity to mobilise. He says, with characteristic simplicity: “They behaved like animals in that respect; or like women. They did not behave like men, or ants.” (p.39) An account from an earlier Ekumen investigator theorises that the Ancient Hainish (who seeded all human-inhabited worlds) created Gethenians as a genetic experiment with the deliberate aim of eliminating war: “Did the Ancient Hainish postulate that continuous sexual capacity and organized social aggression, neither of which are attributes of any mammal but man, are cause and effect? Or [...] did they consider war to be a purely masculine displacement-activity, a vast Rape, and therefore in their experiment eliminate the masculinity that rapes and the femininity that is raped?”
This hypothesis does not go unchallenged, though. In the grip of a long ice age, Gethen is known to the rest of the Ekumen worlds as “Winter”; cold and starvation have had as much influence on the moulding of Gethenian society as has genderlessness, and which of these forces are responsible for Gethen’s unique characteristics, we are left to guess.
The same researcher speculates that the lack of sexual frustration or competition (since all are released from other duties for kemmer, and nobody is barred from the kemmerhouse) dulls ambition and slows technological progress, but again this is left open to the possibility that survival of the intense cold is a factor.
Technological progress happens slowly and steadily on Gethen. Large communal buildings stand for thousands of years, being repaired rather than demolished and replaced. Their greatest technological marvel is a highly efficient camping stove that can heat a tent for months on a single fuelling, but they have very few powered vehicles and no flight (with no flying animals to inspire
it). Resources are not wasted on anything but food and warmth. Travel is undertaken on foot, or by catching a supply vehicle headed in the same direction. Gethenians don’t rush to reach any destination, physical or technological – they get where they’re going without hurrying. Even the perilous journey across the ice that constitutes the second half of the story, compelled as it is by the need to arrive before supplies run out, is slow-paced and careful, with more development of character and setting than action or plot. Despite the lack of pace, the novel makes gripping reading. Each new discovery about the nature of Gethenian physiology and society, each shift of perception in the complex relationship between friends and aliens, every unexpected word and phrase connects theme to plot to character, and these quiet, thoughtful interactions are more riveting than any hectic chase over thin ice.
The revised Winter’s King demonstrates the reasons why Le Guin chose not to use feminine pronouns as neutral in The Left Hand of Darkness. Not only is the feminine more specific, but instead of giving the impression of a planet without men (as the opposite tactic implied the absence of women) it seems to suggest only that the characters important enough to have their movements described – the King, the palace officials and politicians – are female, while those mentioned too briefly for a pronoun to be necessary (staff and subjects) remain male by default. Because the use of the feminine rather than the masculine is being reconsidered, the neutral escapes consideration altogether. As in LHoD, the reader struggles against these perceptions, as King Argaven struggles against the mindforming aimed at manipulating her rule, but it is a harder struggle to see she as neutral than he, and the overall effect is not of androgynes but of a world ruled by women using masculine titles. It is a good antidote to the use of male as neutral, a challenge to the reader’s perceptions and the writer’s skill at manipulating them, but since thealiens’ sexual difference to Gethenians isn’t made explicit until two thirds of the way through the story, there is no real sense of androgyny in the characters. That said, the failure at androgyny leads, at least, to seeing more women than men, which is unusual enough to be worth the experiment.
The story, remaining relatively unchanged from its original version, has echoes of Semley’s Necklace in its concern with the incongruities of time and long distance space travel, but is most interesting for what it tells us about the Gethenian techniques of brainwashing – which they call “mindforming” and the Hainish “mindscience”. This is a huge contrast from the Foretelling of the Handdara, the more spiritually-inclined (yet still scientifically founded) psychic ability glimpsed in the other Gethen stories, and may go some way towards explaining why so many of the kings of Karhide are completely insane.
In contrast to both previous stories, Coming of Age in Karhide has no kings or politicians and is set amongst working people in an ordinary Hearth (a communal dwelling of around 200 people). This is a return to Gethen after around 25 years, for both for the writer and the planet. Le Guin chooses a completely different voice for this story: an open and intelligent Gethenian narrator looking back, with honesty and humour, on the experiences of adolescence. Since the narrator is using personal experience, and speaking in the first person, there is little need for gendered pronouns, and where other characters are spoken of they are either mentioned by name or cunningly pluralised to evade gendered pronouns, save for explicit uses to describe kemmering status.This careful consideration of language provides a very different viewpoint to previous Gethen stories, but nevertheless the characters emerge from the page gendered, perhaps more readily so as the reader has no consciously inappropriate gendered pronouns to challenge. The narrator, Sov, by intimately describing of the aches, pains, clumsiness and shame of puberty, including the first experience of menstruation, cannot help but come over as female, especially since we are left to hear all the anxieties regarding uncontrollable urges and awkward erections from Sov’s taller, moodier friend Sether. Their conversation, though they are comparing and confirming symptoms that they are both experiencing, reads like a girl and a boy talking, her with shyness and gentle reassurance, him with angry, humiliated outbursts at the unfairness and inhumanity of it all.
The whispered fears of the two adolescents include losing control in kemmer and committing rape, putting in doubt the Ekumen investigator’s assertion that rape is a physical impossibility for Gethenians – never that convincing, since we know from LHoD that drugs exist to stimulate or suppress kemmer, and are used by government agents in Orgoreyn to seduce spies and pacify prisoners. Sether relates a friend-of-a-friend story about a rape that took place when two truck drivers were cut off by snow and one kemmered as male. Sov is shocked, never having heard such things were possible. The story might be an exaggeration, as adolescent rumours about sex so often are, but it seems more likely that such incidents are taboo and that an alien researcher would have had difficulty uncovering them.
This fear of being made inhuman by kemmer may be due, in part, to the characters’ awareness of aliens and of their own uniqueness amongst other human races; they are afraid of the animalistic qualities of the kemmer cycle, that it will be like going into heat or rut, while also ashamed that, in kemmer, they become more like the grotesque aliens, who they equate with a hormonal imbalance towards male or female that causes some Gethenians to remain in a permanent state of kemmer. These people are stigmatised as “perverts” and, more tellingly, “half-deads” (indicating, perhaps, that the stigma is not in the permanence of their sexual state but in their lifelong limitation to only one physical sex). We hear of their existence in LHoD, as Genly Ai is often mistaken for one, but hear more in this story of the fear and fascination they evoke in other Gethenians. They are variously mistrusted and pitied, but not excluded from kemmerhouses – in fact, they often live in and run them, this being one of the few roles Gethenian society deems acceptable for those whose identity and sexuality are so conflated.
These various viewpoints, with their linguistic limitations, may not quite allow us to see genderlessness as the Gethenians do, but they do allow for some striking observations that can shock us out of assumptions we didn’t realise we were making. One of the best is this advice from an early Ekumen investigator on Gethen:“The First Mobile, if one is sent, must be warned that unless he is very self-assured, or senile, his pride will suffer. A man wants his virility regarded, a woman wants her femininity appreciated, however indirect and subtle the indications of regard and appreciation. On Winter they will not exist. One is respected and judged only as a human being. It is an appalling experience.”
It is both amusing and uncomfortable to be reminded how much we have invested in gender identity, and how manipulatively seductive those heteronormative and patriarchal behaviours can be, even to those directly harmed by them. While it is tempting for any anarchist, feminist or LGBT activist to see a world lacking gender divisions as a form of utopia, Le Guin’s transitions to alternative societies are never that simple – there are no utopias, and the removal of one fundamental source of privilege on our world provides no easy answer to all the rest. The binary division of society into male and female is not replaced by another single, overwhelming binary, but by a multitude of smaller systems of status and hierarchy shifgrethor being the most visible of these, stigmatisation of a sexual minority the most familiar. Le Guin uses Gethen not to answer the problem of gender but to provoke further questions on the nature of identity and prejudice. When Ai asks Estraven if Gethenians are as obsessed with wholeness as Terrans with duality, he replies: “We are dualists too. Duality is an essential, isn’t it? So long as there is myself and the other.” (p.159)
Perhaps we will remain unable to truly deconstruct gender until we can deconstruct the language that we use to reinforce it every day. Dreary and annoying as those replacement pronouns may be, perhaps a story using the Gethenian pronouns (whose existence is implied in LHoD) to describe those in somer, those in kemmer as female, those in kemmer as male, female animals, male animals and (prusumably) inanimate objects would better portray the people of Gethen, and I would love to see Le Guin take up that experiment.Which pronouns would better portray the Terrans remains an experiment for us all.
Le Guin, Ursula, The Left Hand of Darkness, 1973 (Panther, Herts.)
Le Guin, Ursula, ‘Winter’s King’, in The Wind’s Twelve Quarters, 2000 (Gollancz, London)
Le Guin, Ursula, ‘Coming of Age in Karhide’, in The Birthday of the World and Other Stories, 2003 (Gollancz, London)
The dream is not a solid block, but rather a stairway that is climbed with perseverance and steps, and the journey itself is just as beautiful as reaching the destination.
We felt it throughout our two-day tour of Gwangju and confirmed it through the seminar we held in the inn with everyone who had come with us: the Gwangju Uprising did not end back in 1980.
The player is instructed to deliver 20 CVs (job applications/resumes) into “submission boxes,” which are appropriately trashcans, scattered throughout a nearly deserted city, the only inhabitants being Scotty, the Centrelink desk clerk, and a giant floating Scott Morrison head. I’m not kidding.
Suffice it, then, to say that this is not a history text in any real sense. Certainly, it contains historical claims and some of these are true. Others are half true, and others still are simply wrong or ill-thought.
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