Class hours: Mon. 6-9:20 pm. Classroom: B221  Office: E-222 Office Phone: 684-7565
email: kfowler@ramapo.edu   Office hours: Mon. 4:30-6:00, others by appointment

Course Description and Objectives:
This class is a 400 level interdisciplinary Senior Seminar drawing on women's studies, science, literature, cultural studies, and (to a lesser extent) history. We will be examining women writers of science fiction, utopias, dystopias, heterotopias and related genres from the Renaissance through the present. There will be a common set of texts (some of which, alas, must be read on reserve since science fiction texts and women's texts seem to go out of print at warp speed!) Each student, in addition, will read one additional novel and one critical essay and will post a report on each to WebCT (see Essay/Book Reports ). Other students will read these reports.  This will allow us as a class to become familiar with a range of women's sf texts and a range of critical perspectives and theory on feminist science fiction.

The class is a senior seminar a 4-credit, 400 level course and will be conducted in that format. The reading is heavy -- about 3,300 pages for the semester (including the extra book you will be assigned for your book report) -- i.e. an average of 220 pages a week.   Nonetheless, I hope that you will find the reading both enjoyable and rewarding and that the results will be worth both the effort and the cost of the texts. There will be no exams. Therefore it is essential that you be prepared to fully engage in the class and this will be a significant factor in your grade along with your posted reports and your seminar major project oral presentation (MPO) and paper (MPP) (see below). In addition to our readings, we will be watching several films and selections from films. You will need to plan out your semester's work since the early weeks have lighter reading loads and the late weeks will be a big shock if you don't work on them early!

We will be attempting to answer a variety of questions about women's science fiction. We will not be approaching these questions systematically, but as they emerge from the texts we are reading and the discussions in class. The background critical and theoretical works which we will be sharing through the essay reports are not meant to define or to limit our thinking, but to help set a framework to be questioned, rejected, modified, etc. I have outlined a few of those questions below but many more will arise as the semester proceeds.

1) What is the nature of science fiction in general? What subgenres and special themes emerge as characteristic of or appropriate to science fiction?
2) Is there something unique, different, or special about women's science fiction as opposed to the science fiction written by men?
3) Are there common elements, approaches, techniques apparent in all (or most) of science fiction by women.
4) How do other factors such as historical period, race, class, sexuality, nationality, region, religion, age, ability etc. affect the themes, approaches, and style of women's science fiction?
5) If science fiction reflects the world of the present in its presentation of worlds of the past, future, or elsewhere, what kind of judgments, appeals, criticisms, demands, etc. can we draw from the texts about the contemporary world?
6) What is the relationship of utopian/dystopian texts with science fiction. Are they a subset or only an intersecting genre?
7) How does the balance of science, social science, and imaginative literature affect a text of science fiction?
8) Sex, sexuality, gender, gender roles, reproduction, genetic engineering, etc. are frequent themes of feminist texts. Why? What is the significance of continued attention to these themes?

Prerequisite : Senior Status. Completion of College English. Desirable but not required : Advanced coursework in women's studies, science, and/or literature. Survey of science fiction.

Course Requirements:
You will be assigned a  Major Project sf text, a Book Report topic, and an Essay Report topic on the first night of class.  See the Report Grid below to see the various combinations of reports.  Hence you will know what you need to prepare, with whom you will be working, when you will be expected to lead the class discussion on your MPO text, and when your other reports are due. 

Major Project: Your major seminar project will involve developing background material and co-leading the discussion on one of the full-length books that the whole class will be reading. (See Assignment Calendar for choices). You will work in pairs but you will each produce your own paper on your particular approach to the text. The project will require research both in print resources and on the web. Check reserve readings for useful material along with other database resources. I will provide a brief bibliography as a starting place.  I have tried to identify one or two sources to get you started but you will need to pursue your own research in the Voyager catalog and the electronic databases at Potter Library for further material. Make use of the web links on my web page for internet resources and check out the suggestions and resources in Writing/Research Links but be cautious about which internet resources you rely upon.  See the Potter Library guide to Evaluating Websites and the Guide to Citing Web and Print resources . I encourage you to consult with me as you go along in researching and preparing your Major Project.

        Major Project Oral (MPO) Presentation:  The project oral presentation will be due the night that your text is discussed; you are expected between the pair of you to provide background on the author and the text and to lead the class in discussion for an hour and a half. You may choose to prepare handouts on the texts.  If so they should be brief and enough copies should be made for the whole class.  
        Major Project Paper (MPP) Annotated Bibliography:  An annotated bibliography of sources for your major project (you should have at least 3 outside sources from juried journals and scholarly books as well as relevant websites) is due by Mar. 29.  Indicate how you expect these resources to be useful in preparing your final version.  Source Folder:  Include a xerox of the first page of each article/chapter with full bibliographic citation according to MLA and a printout of the websites.
        Major Project Paper (MPP) First Draft (Optional):Attach these xeroxes again to the final draft of the paper along with a xerox of any page that you have cited in your paper -- and do be sure to cite properly in parenthetical format any direct quotes or information taken from your outside sources.  Plagiarism is indefensible at th senior level.  Ask me if you are not sure how to handle some citation. The written part of your project must be handed in by Apr. 26 if you wish the option to revise the paper after receiving feedback.
       Major Project Paper (MPP) Final Draft:  All papers (including revised ones must be submitted by May 17. The paper should be thoughtful, insightful, and well-written. I would expect it to be between 15-30 pages in length but I prefer concise and meaty to long-winded and empty.  Your paper should reflect conscientious research and appropriate documentation, your own critical analysis of your assigned text and yoiur synthesis of other critical perspectives on the work.  Attach with the final draft the earlier draft (if you completed one) with my comments on it and the annotated bibliography (with my comments on it) along with your source folder (see guidelines for annotated bibliography above). You will not receive feedback on this final paper, nor will I return it.  I encourage you to consult with me as you go along in creating your project. The major project presentation is worth 15% of your seminar grade; the major project paper is worth an additional 30% -- so give it your best!.

Essay (ER) and Book Reports (BR):  You will also be preparing 2 reports (one on an individual work of science fiction and one on a critical essay on feminist science fiction).  The works and essays will be assigned the first night.  See Essays/Book Reports for selections and guidelines.   And see the Report Grid below to see the various combinations of reports.  Reports must be posted to the WebCT site under the appropriate discussion topic on the Sunday before the class on which it is due.  See Assignment Calendar for due dates.  The essay report is worth 10% of your seminar grade; the book report is worth 15%.

NOTE: We will not be reading Mary Shelley's Frankenstein for this class although it is a foundational text for feminist science fiction. If you have not chanced to read this book for one of your classes do it!

Required Texts  Note:   I use SF as short hand here for Science Fiction or Speculative Fiction
COLLECTIONS:
Kessler:  Carol Farley Kessler, ed.  Daring to Dream: Utopian Fiction by United States Women Before 1950.  2nd ed. Syracuse University Press, 1995.  Bookstore
    Blake:   Lillie Devereux Umsted Blake "A Divided Republic" (1885)  in Kessler,   94-104
    Cooley:  Winifred Harper Cooley: A Dream of the 21st Century" (1902) in Kessler, 125-130
    Cridge:  Annie D. Cridge "Man's Rights or How Would You Like It?" (1870) in Kessler, 3-60
    Jones: Lillian B. Jones.  from Five Generations Hence.(1906)175-188
Sargent:  Pamela Sargent, ed. Women of Wonder the Classic YearsHarcourt Brace, 1995.  Bookstore
       Brackett: Leigh Brackett, "The Woman from Altair" (1951)  102-129;
       Bradley: Marion Zimmer Bradley.  "Death Between the Stars" (1956) 152-167;
       McCaffrey.   Anne McCaffrey.  "The Ship Who Sang" (1961) 167-185
       McIntyre: Vondra McIntyre.  "Of Mist, Grass, and Sand." (1973) 288-307;
        Merril:        Judith Merril  "That Only a Mother." (1948) 65-73;
        Moore: C. L. Moore. "No Woman Born" (1944) 21-64;
       Russ:    Joanna Russ.  "Nobody's Home" (1972)  249-262;
       Tiptree:  James K. Tiptree, Jr. "The Women Men Don't See," (1973)  308-334;
       Vinge:        Joan Vinge.  "View from a Height" (1979) 397-410
        Zoline:  Pamela Zoline. "The Heat Death of the Universe" (1967)  205-217;
INDIVIDUAL TEXTS:
Asaro:  Catharine Asaro.  "Ave de Paso" (2000) in Redshift, ed. Al Sarrentonio, 2002, 471-485.  ON RESERVE
Butler1:  Octavia Butler. Kindred(1979).  Bookstore
Butler2: Octavia Butler.  "Speech Sounds" in Bloodchild. 1995 pp. 87-110. ON RESERVE as Fowler P-23
Burdekin:  Katharine Burdekin.  The End of This Day's Business (1930s, 1989) Bookstore
Cavendish:  Margaret Cavendish, from A Description of ...Blazing World(1666) Handout
Due:  Tannarive Due.  "Patient Zero" (2000) in Year's Best Science Fiction: Eighteenth Annual Edition, ed. Gardner Dozois, 2001, 491-503.  ON RESERVE
Esquivel:  Laura Esquivel. Law of Love (1996);  Bookstore
Gilman:  Charlotte Perkins Gilman. Herland (1915);  Bookstore
Griffith: Mary Griffith, Three Hundred Years Hence (1836) extracts, 1, 2, and 3 from Web.
Griffith:  Nicola Griffith.   Slow River (1995) .   Bookstore
Harris:  Clare Winger Harris, "The Fifth Dimension" (1928) from Away from the Here and Now (1947) Handout
Hoffman:  Nina Kiriki Hoffman.  "Between Disappearances" (2000) in Redshift, ed. Al Sarentino, 2002, 345-350.  ON RESERVE
Hopkinson Nalo Hopkinson.  "The Habit of Waste" (1999)" in Women of Other Worlds: Excursions Through Science Fiction and Feminism. Ed. Helen Merrick and Tess Williams. University of Western Australia, 1999, 259-276.  ON RESERVE
Hossein:  Rakeya Sakawat Hossein.  Sultana's Dream (1905) from Sultana's Dream &Sel.from the Secluded Ones.  Feminist Press.  1990.  ON RESERVE
Lane:  Mary Bradley Lane. Mizora: A Prophecy (1996);  Bookstore
LeFanu 1: Sarah LeFanu: "Authority & Sentiment: Is There a Women's SF?" In the Chinks of the World's Machine.  86-93. Handout
LeGuin 1:  Ursula K. LeGuin "The Carrier Bag Theory of Fiction" in Women of Vision, ed. Denise Dupont, 1-9 Handout
LeGuin 2:  Ursula K. LeGuin. The Telling (2000).  Bookstore
Loudon/Rauch:  Jane Loudon, The Mummy: A Tale of the 22nd C. (1827) ed. A. Rauch
     Rauch:  Introduction xxvii-xxix and Loudon:  Chap. 1: 3-8.  Handout
Mitchison: Naomi Mitchison.  Solution Three (1975).  Bookstore
Moore-Bentley:  Mary Ann Moore-Bentley [Mrs. H. H. Ling] "A Woman of Earth" from A Woman of Mars, in Australian Science Fiction, ed. Van Ikin, 1982.  xiv-xv; and 86-91. Handout
Norton:  Andre Norton.  "Mousetrap" (1952) in SFWA Grand Masters, Vol. 2, ed. Frederik Pohl, 2001, 18-24.  ON RESERVE
Park:  Severna Park.  "The Cure for Everything" (2000) in Year's Best Science Fiction: Eighteenth Annual Edition, ed. Gardner Dozois, 2001, 491-503.  ON RESERVE
Piercy:  Marge Piercy:Woman on the Edge of Time (1976) Bookstore
Sherman:  Charlotte Watson Sherman.  "Killing Color" (1989) in Memories and Visions,  ed. Susannah Sturgis, (1989). 58-71.  ON RESERVE
Shizegawa:  Ruth Shizegawa.  "Hills of Blue, an Orange Moon" (1996) in The Women Who Walk Through Fire, ed. Suzannah Sturgis, 1996, 256-267.  ON RESERVE
Stone:Leslie Stone. "Conquest of Gola" (Wonder Stories, 1931); Handout
Tepper: Sherri Tepper.  The Gate to Women's Country (1988)  .  Bookstore
Walker:  Sage Walker.  "Hunting Mother" (1999) in Year's Best Science Fiction: Seventeenth Annual Edition, ed. Gardner Dozois, 2000, 188-199.  ON RESERVE
Willis:  Connie Willis.  "Even the Queen" (1993) in New Hugo Winners, Vol. IV, ed. Gregory Benford, 1997, 165-188.  ON RESERVE

Attendance and class participation

We are a community of readers approaching these works together to understand, to celebrate and to share. It is important that you attend regularly (especially since we meet only once a week) and be fully prepared for the class discussion. If you are absent more than twice you must meet with me to determine if you can continue with the course. Participation is essential and will count as 30% of your grade.

Class decorum is also a must. Be respectful of the opinions and contributions of your classmates. I will not hesitate to ask anyone to leave who chooses not to behave in a responsible and respectful manner. Your conduct will enter into your participation grade.

Leaving early, coming late, or leaving class and returning, damage your learning and cause distractions to other students who are trying to learn. You will be marked 1/2 absence for tardiness over ten minutes or leaving before the class is over. If you are late even by a few minutes please take your seat quietly near the door in order to minimize disruption.

Note: Honors Students: If you wish to take this class as an Honors option, you must notify me right away.  We will develop together a list of additional readings and assignments.

Note:  Students with Special Needs: Please let me know as soon as possible if you will need disability-related accomodations in taking this course.  I will be happy to try to assist you in making appropriate arrangements through the Office of Specialized Services.

Emergency Cancellations:  In case of  "emergency cancellation" due to hurricane, blizzard, or other disasters we will fall back one class until April 26 which is set aside as a catch-up class. Note, however, that the first draft of the MPP which is due that night if you are seeking the option to revise is still due Apr. 26 even if the rest of the class activities have fallen behind a week.  However, the Hopkinson story and BRs 14-20 which would have been scheduled for Apr. 26 would now be due on May 3 along with the curently scheduled activities of May 3.  The reading is still heavy so be sure to spend your blizzard day curled up with a good book to be ready!  (If there are more than one emergency cancellations we'll figure out what to do then...)

Don't! Plagiarism and cheating are the theft of another's words or ideas and can result in penalties as serious as expulsion from the college.  See the Student Handbook for guidelines on plagiarism and cheating. If you have any doubts about how to present material from other sources, please come see me for help. If I find a paper which I believe has been plagiarized I will forward it to the Vice President's Office for action. Don't do this to me or to yourself!

Assignment Calendar

Essay and Book Reports: Check the guidelines and the list of reports at this link.  Post your report by the Sun. of the week that the report is due.  Read the posted reports of other students before the following class.

ER 1.  Betty King, "Chap. 1: Historical Perspective 1818 Through 1929"  King:  1-37.
ER 2.  C. Kolmerten, "Texts & Contexts: American Women Envision Utopia, 1890-1920, in D&K, 107-136
ER 3.  N. Jacobs, "The Frozen Landscape in Women's Utopian & Science Fiction" in D&K, 190-202
ER 4.  R. Roberts, "Gender in 19th C. SF: The Female Alien and the Woman Ruler," in Roberts,  15-39.
ER 5.  Sarah LeFanu, "The Dream of Elsewhere: Feminist Utopias" in Lefanu 2, 53-70.
ER 6.  Robin Roberts, "The Female Alien: Pulp SF's Legacy to Feminists" in Roberts, 40-65.
ER 7.  J. Donawerth, "SF by Women in the Early Pulps..." in D&K, 137-152.
ER 8.  Brian Atterbury, "Chap. 5: Wonder Women" in Atterbury, 82-105.
ER 9.  Judith Merril, "Better to Have Loved: Excerpts from a Life"  Merrick & Williams:  422-442.
ER 10.  Susan Schwartz.  "Marion Zimmer Bradley's Ethic of Freedom."  in Staicar:  73-88.
ER 11.  Marion Zimmer Bradley, "One Woman's Experience in SF" in Dupont, 84-97.
ER 12.  Sarah LeFanu, "Who is Tiptree, What is She?..." in LeFanu 2, 106-129.
ER 13.  Sarah LeFanu, "The Reader as Subject: Joanna Russ" in LeFanu 2, 173-98.
ER 14.  Joanna Russ, "Amor Vincit Foeminam: The Battle of the Sexes in SF" in Russ 2, 41-59.
ER 15.  Alice Sheldon, "A Woman Writing Science Fiction and Fantasy" in Dupont, 43-58. 
ER 16.  Marleen S. Barr, "The Females Do the Fathering!: Reading, Resisting, and James Tiptree, Jr."  Barr2:  19-38.
ER 17.  Carl Yoke, "From Alienation to Personal Triumph: The Science Fiction of Joan D. Vinge" in Dupont, 103-130.
ER 18.  Brian Atterbury, "Chap. 6: Women Alone, Men Alone" in Atterbury, 100-128.
ER 19.  Marleen S. Barr, "Suzy McKee Charnas, Sally Gearhart, and Marge Piercy Depict Sex and the Single Feminist Utopian Quasi-Tribesperson.  Barr3:  39-49.
ER 20.  Wendy Pearson, "Sexuality and the Figure of the Hermaphrodite in Science Fiction or the Revenge of Herculine Barbin" in Hollinger & Gordon, 108-123. 
ER 21.  Joan Gordon, "Utopia, Genocide and the Other"  in Hollinger & Gordon, 204-216.
ER 22.  Lucie Armitt, "Magical Realism Meets the Contemporary Gothic: Isabelle Allende and Angela Carter" in Armitt, 160-190

Book Reports
BR 1.  Mary Shelley. Frankenstein (1818) (Due 2/9)  or Francis Stevens. The Heads of Cerberus (1919) (Due 2/16)
BR 2.  Inez Haynes Gillmore.  Angel Island (1914) (Due 2/16) or Leslie F. Stone. Out of the Void (1929/1967)   (Due 2/23)
BR 3. Susan Ertz. Woman Alive (1936) (Due 2/23) or Judith Merrill. Shadow on the Hearth (1950)  (Due 3/1)
BR 4. Andre Norton. Star Man's Son 2250 A. D.(alt. title:  Daybreak 2250 A. D.) (1952) or Leigh Brackett. The Long Tomorrow (1955) 
BR 5. Naomi Mitchison Memoirs of a Spacewoman (1962) or Ursula K. LeGuin The Left Hand of Darkness
(1969)  BR 6.  Dorothy Bryant. The Kin of Ata Are Waiting For You (alt. title:  The Comforter) (1971) or James K.Tiptree, Jr. Ten Thousand Light Years from Home(1973) 
BR 7. Joanna Russ. The Female Man(1975) or Suzy McKee Charnas. Motherlines (1978) 
BR 8. Sally Gearhart The Wanderground. Stories of the Hill Women (1979) or Joan Vinge.  Snow Queen(1980)
BR 9. Vondra McIntyre. Superluminal(1983) or Doris Lessing.  The Making of the Representative for Planet 8 (1983)
BR 10. Katherine V. Forrest.  Daughters of A Coral Dawn. (1984) or Suzette Hardin Elgin.  Native Tongue
(1984) BR 11. Margaret Atwood.  The Handmaid's Tale (1985) or Joan Slonczewski.  A Door into Ocean (1986)
BR 12. Pamela Sargent. The Shore of Women (1986) or Judith Grahn. Mundane's World (1988)
BR 13.  C. J. Cherryh.  Rimrunner.(1989) or  Judith Moffett.  The Ragged World: A Novel of the Hefn on Earth (1991)
BR 14.  Eleanor Arnason.  Woman of the Iron People (1991) or Cynthia Kadohata In the Heart of the Valley of Love (1992)
BR 15.  Connie Willis Doomsday Book (1992) or Starhawk.  The Fifth Sacred Thing (1993)
BR 16.  Maureen McHugh.  Half the Day is Night(1994) or Nancy Kress. Beggars in Spain(1994)
BR 17.  Elisabeth Vonargburg.  In the Mother's Lands (orign. pub. in French, Trans. Jane Brierley). or Amy Thomson.  The Color of Distance (1995).
BR 18.   Kathleen Ann Goonan.  The Bones of Time (1995) or Alison Sinclair. Legacies(1995)
BR 19.  Mary Doria Russell.  The Sparrow (1996) or Melissa Scott. Night Sky Mine (1996)
BR 20.  Edith Forbes Exit to Reality (1997) or Carolyn Ives Gilman.  Halfway Human (1998).
BR 21. Nalo Hopkinson.  Brown Girl in the Ring (1998)  or Pat Cadigan.  Tea in an Empty Cup  (1998)
BR 22. Nancy Farmer.  The House of Scorpion (2002) or Audrey Niffenegger The Time Traveller's Wife (2002)