The revolutionary science fiction author Ursula K. Le Guin, who passed away January 22, understood something important about ideal worlds and societies: Utopia is not perfection. Utopia is process. It is reflection and adjustment, learning and growth. It is communication and respect, self-awareness and honesty. This concept echoes throughout her body of work, but she explores utopia-as-process fully in one of her most radical novels, Always Coming Home, published in 1985. This novel, more accurately described as a fictional anthropological study, has no singular narrative and no main character. Certainly, we hear life stories from individuals in the Kesh society depicted in the book, but traditional narrative isn’t the only means by which Le Guin tells this story—she includes poems, plays, illustrations, musical notation, and other ephemera as part of the tale. This nonlinear narrative structure, along with the stories included therein, synthesizes Le Guin’s beliefs on the unavoidable, destructive outcomes of a patriarchal, capitalist society by rejecting them whole cloth. In a 2015 essay for Motherboard, Le Guin wrote, “Every benefit industrialism and capitalism have brought us, every wonderful advance in knowledge and health and communication and comfort, casts the same fatal shadow. All we have, we have taken from the earth; and, taking with ever-increasing speed and greed, we now return little but what is sterile or poisoned.” Much of her fiction concerns itself with finding a better way, a way mutually beneficial to humans and the earth. Indeed, in Always Coming Home’s utopic society, the Kesh live in a reclaimed post-apocalyptic California. Although some land remains arable, much of what was formerly the United States is inhospitable to human life. The text implies that the conquest-driven, consumptive culture of the 20th century directly led to the continent’s ruination. Despite the harshness of their environment, the Kesh thrive. But how do you build utopia from destruction and ruin? Here’s where the book becomes difficult, radical, and complex. The hinge spiral, a two-armed spiral circling out from a single center point, is the key to understanding both the novel and Le Guin’s vision of utopia. Not only does the spiral form the central motif for the Kesh, but the narrative structure itself echoes the spiral. Always Coming Home is a study in what a complete and utter rejection of capitalism and patriarchy might look like—for society and for the art of storytelling. For the Kesh, poverty is non-existent because the society supports all of its members. Artists, artisans, and other creative types are valued as highly as hunters and farmers. The people work with the land, not against it, and certainly not in dominion over it. Greed is unnecessary because every person has what they need to be happy and healthy. Crime is so minimal as to be nonexistent. Although many of Le Guin’s other novels contain utopias, her most well-read novels are not quite as grand in vision as Always Coming Home. The Left Hand of Darkness, published in 1969, chiefly addresses the singular topic of gender/sex and the consequences of favoring one biological sex over the other. The Dispossessed, a 1974 novel written in response to the Vietnam War, explores an anarchist utopia and what a world without capitalism might look like. But it, too, stops short of completely re-envisioning society. In addition, these novels—along with the majority of Le Guin’s books and short stories—follow a semi-traditional narrative structure. They have a beginning, middle, and end. They have protagonists and antagonists. They use the language of patriarchy, albeit subversively. By avoiding a linear narrative in Always Coming Home, Le Guin escapes the trap inherent in all would-be subversive texts: the use of language, which is controlled by patriarchy. Always Coming Home avoids the patriarchal conventions of storytelling by first eschewing a traditional narrative arc detailing a protagonist triumphing over an antagonist. Instead of one arc, Always Coming Home consists of many smaller arcs. The text’s longest section, “Stone Telling”—the life story of a woman of the same name—takes up only slightly more than 100 of the text’s 525 pages. The inclusion of other life stores aside from Stone Telling’s, such as those in the “Eight Life Stories” section, shows that no one narrative should represent an entire group of people or a place. Rather, diverse voices should be given a space in which to share their experiences and stories, whatever form those stories might take. In The Left Hand of Darkness, we are privy only to Genly Ai’s reactions to the ambisexual Gethenians. In The Dispossessed, we follow Shevek in his studies and experiences with anarchism and capitalism. In Always Coming Home, Le Guin presents an entire world of stories and perspectives. (This is not, of course, to say that Le Guin’s other novels don’t have value and meaning—they absolutely do, and are great in their own ways.) [millions_ad] Always Coming Home also escapes the patriarchal convention of linear storytelling by situating the creative and autobiographical works of the text, which constitute its bulk, within a socio-historical context. Pandora’s commentary and informational sections lend weight to those creative works by giving them extra layers of symbolic and historic meaning, and more importantly, by revealing the processes through which Kesh society maintains its utopia (this is also a subversion of the concept of “utopia,” which by patriarchal storytelling tradition cannot exist and always ends badly). The novel’s arrangement is not, however, without shape, and its shape allows the text to communicate with itself. The “Stone Telling” section, broken into three parts, is the hinge around which Le Guin spirals the historical, societal, literary, and biographical sections of the text, many of which are also broken into multiple parts. These sections do not exist independently of each other, although they can be read separately. Instead, they wrap around each other and reflect upon each other, building meaning as they go. At the very end of “Time and the City,” the Archivist at the city of Wakwaha tells Pandora, “Tell about the Condor. Let Stone Telling tell her story.” Linearly speaking, though, Stone Telling’s story began on page seven, and part two begins on page 173, immediately after this exchange between Pandora and the Archivist. The narrator’s introduction to “Stone Telling,” the hinge, comes one-third of the way through Stone Telling’s tale, effectively cycling back to that section rather than simply providing a preface for it. Because there are many stories, readers can enter the text at multiple points, unlike a traditional novel. The lack of a dominant narrative voice gives the reader freedom to choose her entry point and makes her an active participant in the text. Not only do multiple entry points undercut the idea that there is one “right” story—that of the hero—but create a text in which exist nearly infinite possibilities for the interpretation of meaning. “Readers, after all,” Le Guin said in an interview included in the collection At the Field’s End, “are making the world with you. You give them the materials, but it’s the readers who build that world in their own minds.” Regardless of where a reader starts reading and what choices she makes, she is in effect swirled back into the text and into communication with it at the end of each section, not marched out of it as in a traditional point A to point B narrative. Capitalism and patriarchy embrace a binary: rich/poor, right/wrong, male/female, etc. “Success” refers only to vocational and financial success, never the successful raising of children or creation of art (whether or not anyone sees or appreciates said art). Le Guin cracks these binaries open, from the way the Kesh keep records (anyone can give anything to the library, and it is kept as long as people are interested in keeping it) to the way she structured the book as a spiral. Le Guin takes the idea of multiple entry points to another level entirely by including non-lingual aspects in the book, thereby further evading the problem of language and dominant discourse. Scholar Robin Roberts points out that the novel itself is a collaborative work, since others composed the music, drew the pictures, and helped Le Guin with the maps, further avoiding the problem of “univocality,” as she calls it. Roberts says—and I agree—that, “Through her amalgamation of diverse materials, Le Guin emphasizes the act of interpretation.” In Always Coming Home, even the arrangement of sections provides a clear critique of patriarchy by juxtaposing Kesh society with that of the Dayao, or Condor, people. The Dayao people believe in an immortal god called One. One created the world, and will eventually unmake it. On page 190, Stone Telling says, “Human men are imitations of him. One is not the universe; he made it, and gives orders. Things are not a part of him nor is he part of them, so you must not praise things, but only One.” Instead of the Valley’s animistic beliefs that hold all things sacred, the Dayao worship one god and follow a strict hierarchy of power and authority. The above passage from page 190 brings to mind two particular passages from The Bible. The first is John 1 verses 1-3, which states, “In the beginning was the Word, and the Word was with God, and the Word was God. He was with God in the beginning. Through Him all things were made; without him nothing was made that has been made.” The second passage is Genesis 1:7, which states, “So God created man in his own image.” The Bible teaches, like the One, that a supreme being created the world, and that humans were made in his image, and exist to glorify him. Since a supreme being created the world for human use, they do not need to respect or show honor to the more-then-human world, let alone communicate with it. By echoing the language of The Bible, the text makes the parallel between the Dayao society and our own clear. The Kesh, in contrast, call all living things people, and differentiate between species. There are human people, and cow people, and coyote people. By calling these species the same word used for humans, the Valley people show that they hold animals in equal regard to themselves. They do not kill mercilessly or without cause. Only wild animals who, according to “The Back of the Book,” “allowed themselves to be hunted, who responded to the hunter’s singing and came to meet the arrow or enter the snare, had consented to come into the Second of the Earth Houses, the Blue Clay, in order to die. They had taken on mortality sacrificially and sacramentally.” The ways the hinge motif can be applied to Always Coming Home would fill volumes. The novel’s content and structure echo one other so closely that they, too, become arms on the spiral. Even the physical book acts as a hinge, connecting reader to author, and reader to content, and author to content. Without the others, the existence of one becomes meaningless. It is not the final product that matters, but the process by which author and reader give the story life. Le Guin understood that if we seek a limited version of success defined by the values of capitalism and patriarchy, we will never progress beyond these self-destructive ideals. Instead, we should revel in the cyclical nature of things, in self-reflection and growth, in living with the natural world instead of against it. We should embrace the interconnectedness of life and reject the idea that if one person is rich, another must be poor. It is only by engaging in the never-ending process of reflection and growth that we can achieve utopia, or some version of it. That is Le Guin’s final, and greatest, gift to all those who dream of a better way to live.
Nisi Shawl’s debut novel, Everfair, reveals a history that could have been—that should have been. Shawl, a prolific writer of speculative short stories, wrote a steampunk alternate history that could just as easily be used as a how-to guide for creating a modern utopia. The novel illustrates how people of vastly different backgrounds can work together toward a common goal. In this case, that goal is to create a safe place (named Everfair) for refugees from the brutality of Belgium’s King Leopold II in late 19th-century Congo. On the surface, Shawl’s characters are so different as to be incompatible. There’s an African-American pastor. A disabled Chinese railroad worker who makes functional prosthetic limbs for maimed and broken runaways. A family built on polyamory. But each contributor to Everfair is driven by the same conviction that Belgium’s colonization of the Congo is destructive and vile. Instead of meeting violence with violence, the founders of Everfair buy some land and set up their own anti-colonial haven. As it usually goes with these matters, the colonizers don’t take kindly to Everfair, but the book is ultimately a hopeful one. In addition to her novel and short stories, Shawl writes a column on science fiction by Black authors for Tor.com, teaches writing, and has written extensively on the topics of inclusive speculative fiction and writing the other. Over the summer, I had the pleasure of sitting down with Nisi Shawl to talk about her novel, why it’s important to write about people from different groups and backgrounds, and what all of us can do to make literature more inclusive. What follows is an edited version of our conversation. The trade paperback version of Everfair is out now from Tor Books. TM: Before Everfair, you mostly wrote short fiction. What was it like transitioning from the short form to the novel? NS: Actually, I wrote three other novels before Everfair, it’s just that nobody bought them. So the transition wasn’t sharp. What I originally started out with was poetry, which is an even shorter format than the short story. So there was a transition, but it was much more gradual, and I was writing short stories at the same time that I was writing novels. When it comes to Everfair I have been accused by some readers of writing a bunch of related short stories rather than a novel. There is actually an arc to the novel. It’s not the arc of a person, it’s the arc of a nation. People who know that going in might have an easier time of it. I do have a couple other series of short stories, one of which I would like to publish—that one will be a bunch of short stories acting like they’re a novel. I don’t think Everfair was. But then, I wrote it. TM: Everfair the place is very much a character in the novel. Can you talk about writing the arc of the nation as opposed to writing a more individual-driven story? NS: I realized as I was writing the novel that I would have to have a macguffin. I would have to have some sort of plot device that people could latch onto and say, “Well, it’s a love story. It’s a love story between Daisy and Lisette,” and then that would satisfy that need. But at the same time I just knew it was about Everfair, it was about the nation itself, about the project. When it comes to creating a place as a character, I’m so glad that you noticed that, because it is a very important thing to me. My go-to guy on that is Raymond Chandler. He was writing in a different genre, he was a homophobe, he was anti-Semitic, problematic in many ways, but man, he could make a setting come alive and be active, and that’s what I study him for and that’s what I was trying to accomplish. TM: Can you talk about your process, and your routine? NS: I seem to write fairly finished drafts, I don’t do a lot of “write everything in 30 minutes and go back.” What I come up with is usually pretty close to what’s going to be going on. I have a critique group that I attend, and they help me with what is not actually on the page, or unintended consequences of what I’m writing. Then I often revise based on what they say and what an editor says. As far as the routine, because I went to [renowned science fiction residency] Clarion West, I generally write in the afternoon. At Clarion West the classes are in the morning. So whereas most people are like, “Get up at five, write first,” no, I have to write in the afternoon. So I spend the morning exercising and taking care of all the other writing stuff that goes on, send a bio to this place—that’s why we’re having an interview here in the morning. Afternoon is writing time. And I do this thing where you do 90 minutes [writing] and 30 minutes not writing. It’s not as fast as a sprint, but I do have timed breaks, and I do push through those 90 minutes. I usually pray before I start writing. Because I practice a West-African tradition, I pray to Eshu or Elegba, any of those [deities] that mediate between the realm of what’s happening and what could happen, and ask for their help in entering and coming back from the world of the imagination. And then sometimes I do additional prayers based on what I’m writing. TM: How does your spiritual practice feed into your writing, and how does your writing feed into your spiritual practice? NS: There is quite a bit of overlap. The West-African tradition is very much about spirituality being bound up in materiality. That dichotomy between spirituality and materiality is false, and writing is one of the points at which that dichotomy breaks down. You’re writing about imaginary friends, as one of my friends put it, you’re writing about imaginary worlds, and you’re creating something physical with it—a related impression, not the exact impression you have, but a related impression in the mind of another physical being. I do write quite a bit that depends on my spiritual practice. In Everfair, for example, one of the characters is a practitioner of a related tradition. Then there are other short stories where people are practicing it. Even when it’s not there on the surface, I think of my characters as related to different deities. We call it, in my tradition, someone is ruling your head. So you could be very much like Oshun, you could be very much like Ogun, and I think of my characters in those ways. TM: What was the most challenging thing about writing Everfair? NS: The most challenging thing was probably trying to do research about a people who had been killed off in the millions, a culture that had been just shredded, and a place that I had not been to and could not get to with the resources I had at hand. So that was challenging. TM: How did you overcome the research challenge? Where did you find your information? NS: I am a proponent of using multisensory research for anything like that. I did quite a bit of reading. I read things online, which led me to books I was able to get deeper into. One of my most helpful books is called African Reflections. It’s basically a catalog of an exhibit of the booty from an expedition to the area I was writing about, the Upper Congo, very shortly after the period I was writing about. That was very helpful because it had photos as well as really important essays. Sometimes I had to pass a side-eye on some of the things I was reading, some of the anthropological texts were obviously written from the point of view of someone outside the culture. I also did quite a bit with music. I was able to set up a Pandora station with music from that region. I’m sure it’s changed over a couple hundred years, but it was so immersive, and that’s what I look for. I did some cooking. There was only one film [The Kitchen Toto] I was able to find, but I used that. Websites of people who were involved in it, people who have descended from it, people who have come to the area in the last 10, 15 years. All of that was helpful. TM: One of the things I loved about Everfair was the truly diverse cast of characters—not just racially, but ethnically, religiously, in terms of sexual orientation and even disability. Was that a conscious choice or did it evolve more organically? NS: I wanted not just to have people represented, but to have them have their own voice. That’s something that I find very helpful in this sort of “writing the other” mode that I’ve published a book about, that I teach about. It’s one thing to have someone talking about a Chinese railway worker, it’s another thing to have that builder speak for themselves. And that’s what I was very conscious of, that I wanted to have people speak for themselves. Nobody thinks they’re a bully or a villain, and I was very consciously trying not to have bullies and villains. When people would talk about themselves, what they saw, what they were doing, their motivations, it became much less black and white. TM: You’ve done a lot of writing and teaching about how to “write the other” in a respectful, realistic way. What would you say to people who are afraid of screwing up when writing about people from different backgrounds? NS: It’s important to do it because it’s good writing. It’s realistic. You have to, of course, do research, and you have to be mindful that you are doing things that could have consequences for the people that read, for the people that are part of a culture you’re trying to depict, but you still have to do it. You can’t just back out; that’s sort of creepy and cowardly if you ask me. The thing to do is remember that you might get criticism and that criticism might actually be helpful. It might be what you need to hear. I have less sympathy for the people who are afraid for themselves, and more sympathy for the people who are afraid for others. In other words, some people are saying, “Well, I will get beaten up on and I will get vilified,” and others are saying, “Well, I could cause someone actual harm.” That I have sympathy for. And to that I could just say, do your best, and learn. TM: Everfair is an alternate history/steampunk story. What drew you to this genre and this particular era and story of colonization? NS: I had been confronted with the idea that steampunk valorized colonization and empire, and I really wanted to spit in its face for doing that. Alternate history, you know, I guess I am really attracted to it just because I just dislike this privileged narrative of “This is the way things are, this is the way things were supposed to be.” Just because something happened doesn’t mean that that’s the way it had to happen. And I think it helps us figure out where to go next if we figure out where we might have been coming from. TM: What role do you see speculative fiction playing in our social and political lives? NS: A major, major role. I think of speculative fiction as basically taking care of all of our needs when it comes to imagining ourselves, imagining ourselves doing better, imagining ourselves in the future, imagining ourselves in the past. To me, speculative fiction makes stories of ourselves in a world that is unknown and in some ways unknowable. There are films, there are games, there are novels, those are all ways that people use speculative fiction to tell themselves a story of what’s going on right now, and what’s going to happen, and what has happened. TM: When it comes to inclusivity, what can writers, editors, and readers of speculative fiction do to make the genre better? NS: For starters, as readers we can look for lists of writing that features inclusivity. Like lists of books by women, lists of books by disabled people, lists of books by trans people—and read them. You can, as a reader, back Kickstarters for projects like this. As a writer, you can work to be more inclusive in your own stuff, and you can also encourage others, in particular those “own voices” writers. For instance, I accepted an invitation to a magazine and was asked who else they should request, and I had a list of all of these people I thought they should be in contact with. As a writer you can use whatever influence you have to get others noticed, as well as doing the best on your own that you can. As an editor, you can look for and encourage the presence of writers outside the mainstream, dominant paradigm. And that includes not just saying your story is perfect so I’ll publish you, but saying your story is really cool in some interesting ways, and you have to revise it a little bit, but I’m going to help you do that and get that published.