Review: The Female Man, by Joanna Russ
by Rich Horton
Joanna Russ finished
The Female Man in 1971, and spent the next few years trying to sell it. According to Nicole Rudick, the editor of the Library of America edition in which I reread it (
Joanna Russ: Novels and Stories), one reason was that Russ wished to place it with a "mainstream" publisher, instead of a science fiction imprint. Those publishers rejected it, says Rudick in her "Notes on the Texts", either because of Russ's established identity as a "science fiction writer", or because they had already bought their token feminist novel for that year. (I would add that Russ's identification with science fiction aside,
The Female Man is pretty obviously science fiction in itself, no need to have the author's backlist confirm that.) Eventually she placed it with Frederik Pohl's line at Bantam, labeled "A Frederik Pohl Selection". This was, then, a definite concession for Russ -- it appeared from a science fiction imprint, and as a mass market paperback to boot. That said, the "Frederik Pohl Selection" label was an attempt at positioning the book as a sort of prestige imprint for SF, and indeed the month before
The Female Man appeared in February 1975 the Frederik Pohl Selection was Samuel R. Delany's
Dhalgren. (Having said that, the only "Frederik Pohl Selections" that seem to have lasted are
The Female Man,
Dhalgren, and another Delany novel,
Triton.)
1975 was 50 years ago, and for that reason there have been some discussions of the major SF novels of that year, and in the process I have reread the top three such books: in terms of sales (I assume), notoriety (I am sure), and latter day reputation (I sense). These are The Forever War, which won both the Nebula and the Hugo; Dhalgren; and The Female Man. (The latter two did not appear on the Hugo shortlist, but were both on the (rather long) Nebula shortlist.) Back in 1976 I am pretty sure my Hugo vote went to The Forever War, though I did read both Dhalgren (the whole thing, honest!) and The Female Man. But here in 2025 I am pretty strongly of the opinion that the best SF novel of 1975 was The Female Man. All three novels are to a great extent, er, "products of their time" -- particularly in their treatment of sex and sexuality. But The Female Man remains much fresher today, certainly including that aspect.
I hinted at commercial success above. Frederik Pohl took a significant risk in publishing both Dhalgren and The Female Man -- but his risk definitely paid off. Dhalgren was a major seller, something of a sensation back then, and it still sells well now. The Female Man didn't make quite the commercial splash Dhalgren did, but it sold nicely, and it too has continued to sell consistently since then -- over 500,000 copies, according to Ludick. And on the face of it, The Female Man isn't a particularly "commercial" book. (Neither to be sure is Dhalgren.)
Part of the appeal -- and part of the difficulty -- of The Female Man lies in its structure. It's told from the points of view of three women ... or four ... or even five? Janet Evason was born on Whileaway, a world inhabited entirely by women, the men having died of a plague hundreds of years before. Jeannine Dadier lives on Earth, in 1969, in an alternate history in which a certain Herr Schickelgruber died in 1936. And Joanna ... who is Joanna? We see her first in Jeannine's timeline. She tells us she has turned into a man. We are invited to imagine that she is indeed the author, and she does seem to be from our timeline. Later we will meet Jael, who lives in another timeline in which men and women live separately and are engaged in a decades-long war -- in which Jael serves as a gleeful assassin. (And behind these women is a mysterious other -- the spirit of the author? The spirit of the book?)
Janet Evason has come to Jeannine's timeline, as the very advanced society of Whileaway has developed a means of interdimensional travel. Janet is acting as some sort of ambassador (though with what goals seems unclear.) Jeannine is in a long term unsatisfying relationship with a man named Cal. The plot -- and there is a plot though in no sense a conventional one -- follows Janet's time on Earth, during which she ends up collecting Jeannine and Joanna, and then the three of them go to Jael's timeline. That sounds a bit flat, but the novel isn't flat at all.
Whileawayan society is described through Joanna's life story: in some ways almost utopian, though with dark streaks: duelling is common, and there is a distinct authoritarian aspect to its organization, though it's a rather communal and apparently benevolent authoritarianism. Their technology is high, and they live lightly on the land (partly due to a fairly low population.) By law, every woman has one child of her body (the goal seems to be a static population but in reality such a rule would lead to a continually declining population, as some people die before they can bear children.) There is advanced genetic science, allowing for their parthenogenetic reproduction and also for enhancements such as elimination of most diseases, and increased intelligence.
Janet's mission to Earth gives us a view of Jeannine's society, which is broadly very similar to ours in 1970 or so. Jeannine herself is a critical character -- evidently intelligent, but unable to use her intelligence due to sexism; unable to have a satisfying relationship due to sexism; unable even to quite understand that she isn't happy. Another woman allows us another perspective -- Laur is shown attracted to Janet, and able to break free of heteronormative constraints.
The eventual transition to Jael's world is the most satirical, and the harshest, part of the book. It's also queasily funny, and Jael is a fascinating if horrible character. The men of Manland have made themselves a dystopia, complete with men deemed unworthy of manhood who are changed into women -- the fully changed can become "wives", the half-changed take on other traditionally so-called feminine roles. All this is horrific but it lands too, as a cruel exaggeration of male-dominated society that hits home as a funhouse mirror of our world.
Throughout the novel there are powerful lines, expressing the frustration the author, her characters, and many women feel at the positions they are forced into by men, at the justifications offered by men, at the lack of listening, the lack of imagination, the lack of perception by men. These hit home, they hit hard, and it's hard for me as a man to respond in any way -- inappropriate even. I could argue -- and I would -- that in the 50 years since The Female Man was published there has been significant progress; but then perhaps that's not an argument I have the right to make. Finally I should say that angry as the book is -- justifiably angry -- it is also very funny. (One of the abiding virtues of Russ's writing is her wit.)
The last chapter is the best -- it's unexpected, it's powerful, it's moving. It reiterates many of the arguments set forth earlier (implicitly or explicitly.) It provides a conclusion -- not a wrapping up but an impressionistic hint -- for each of the book's four -- no, five! -- J's. It makes its point, it says goodbye, and it introduces itself -- the book -- to the world. It was four years late, perhaps, to first publication -- but 50 years later, the book still speaks strongly.
