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" "The United States is a nation made up of many very different sub-cultures (this is not even mentioning class differences). I have heard talk - largely from middle-aged white men - to the effect that everything used to be so harmonious and people so happy and what happened? - but they don't really want to know. Differences that used to be firmly suppressed in a hierarchy that was sold to all of us as "natural" are now busting out all over. When they take the forms of theory or morals (and even when they don't) it's impossible to argue them away. They exist. The Left (to which I belong) must learn them. We must all learn them. It's time and it's hard to do. I'm trying.
Joanna Russ (February 22, 1937 – April 29, 2011) was an American writer, academic and feminist. She is the author of a number of works of science fiction, fantasy and feminist literary criticism and is best known for The Female Man, a novel combining utopian fiction and satire.
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all political propaganda generally ends the same way: it's yours now, this thing isn't over; I can't tell you what finally happened because it hasn't finally happened yet! This is always a problem when you write anything with real social or political consciousness-what you're describing hasn't ended. I suppose this is true, in a way, of all fiction.
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If any theme runs through all my work, it is what Adrienne Rich once called "re-vision," i.e., the re-perceiving of experience, not because our experience is complex or subtle or hard to understand (though it is sometimes all three) but because so much of what's presented to us as "the real world" or "the way it is" is so obviously untrue that a great deal of social energy must be mobilized to hide that gross and ghastly fact. As a theatre critic (whose name I'm afraid I've forgotten) once put it, "There's less there than meets the eye." Hence, my love for science fiction, which analyzes reality by changing it. Mundane, realistic fiction often carries its meaning behind the action, underneath the action, underneath the ostensible action. Science fiction cancels this process by making what is usually a literary metaphor into a literal identity. (Introduction)