Three men roaming through the forest hear rumors of an untouched community high in the mountains. "Up there," the guide points. As they calculate how many days it will take to get "up there," and compare their potential find to other fame-making conquests, they continue to gather information that could lead them toward a society entirely composed of women. Before we even had the Science Fiction of today (and its Speculative branch,) Charlotte Perkins Gilman used "Herland" as a microscope to examine what makes a society better.
Charlotte Perkins Gilman's childhood was largely unhappy. After she was born, her father left. Her mother moved the family constantly trying to outrun poverty and in hopes of a life of opportunity. She was an overprotective mother, young Charlotte (a self-described "tomboy") found solace in history and physics (her mother did not allow fiction reading.) Gilman's only memories of her mother being loving were collected when she feigned sleep.
As she entered adulthood, Gilman first discovered her creativity through artistic means, most notably designing greeting cards. After marrying Charles Stetson, Gilman gave birth to her daughter Katharine. The mantle of motherhood and its reminders of childhood overwhelmed Gilman who fell into the natural cycle of post-partum depression. When her husband demanded that she seek the "rest cure treatment," the isolation and claustrophobia pushed her into both madness and writing (resulting in her most famous short story, 1890's "The Yellow Wallpaper.")
Drawn to writing from her published non-fiction work on suffrage and labor reforms, Gilman produced her own "newsletter," "The Forerunner" from 1909 to 1916. Designed down to even the advertisements printed within (carefully chosen and endorsed for use by Gilman,) "The Forerunner" was a conduit for her fiction writing. Told in a serialized form, 1915's "Herland" is proto-Science Fiction that creates a female-only version of Utopia. "Herland" is narrated in the male voice of one of the three explorers who discovered it. Gilman's speculative fiction of a future civilization uses this perspective to satirize modern male-female relations.
The three explorers are Gilman's archetypes, each given distinct characteristics and beliefs. As they combine their efforts and knowledge, we learn about them. Terry, who one would choose as the leader of the expedition and the provider of all funding and technology, sees himself as a bit of a ladies' man. The idea of a secret society away from our civilization is both enticing and proof that "there must be males around." On the other hand, Jeff is a "tender soul," chivalrous and immediately accommodating. That leaves the middle ground and most of the narration and interaction to Van.
What unfolds as the trio of avid travelers unearth a civilization of women and girls is a study of what makes both men and women. With language differences, the men are given theme books and taught the women's method of communication. Obviously, Terry has the most difficulty, not because he is set in his ways because his experience is so dramatically different. Jeff and Van are almost immediately deferent to their "chosen" women, Terry resists slightly assigning them other playful names or variations on their own. When questioned about this practice, the women retort that they have two names - one is given and one is earned.
There are such thought-provoking differences in their world. Everything is communal. Public spaces to meet or eat, are designed to benefit the group or the individual. Gilman's political influences "leak" into the work as she separates this society of women by relishing their purpose not enforcing the collectivism of the day. As Gilman tears down these walls (this Utopia has none to begin with, its "mountain fortress" motif is what seals them off from the outside world,) a fascinating portrait of the unfettered growth of what we could call "the woman ideal."
Gilman is not without dashes of humor. Writing amuses her and she shares it in mixing male and female expectations or just bits of conversation that stem from the differences in general society at the time. Upon discovering this rumored unknown "tribe" through a native guide showing them water flowing in shades of green, red, and blue, Jeff figures they have a cloth mill. Terry scoffs, "Oh, cloth! Women have always been spinsters." Gilman loves to toy with the double meanings.
Gilman's fiction works were largely unknown until the Sixties saw a republication of several "Forerunner" stories. In 1973, "The Yellow Wallpaper" finally ascended into favor leading to the first public printing of "Herland" (and the remainder of her trilogy) in 1979. Gilman's career ended much earlier. In 1932, she was diagnosed with breast cancer. Rather than live life to its terminal conclusion, she inhaled chloroform and passed in 1935.
NEW MUSIC THIS WEEK
CHARLEY CROCKETT - Lonesome Drifter [SILVER LP/CD/CS](Lone Star Rider/Island)
Recorded in just ten days at famous Sunset Sound studios, Charley Crockett puts his most reliable songs and band in the hands of Grammy-winner Shooter Jennings. "Lonesome Drifter" shows Crockett's ability to sidestep both classic Country motifs ("Game I Can't Win") and its sleek Seventies generational twist on the title track. The dizzying steel and low rumble of piano notes on "Jamestown Ferry," may be enough to get this longtime favorite on the radio.
NEAL FRANCIS - Return To Zero [BLUE LP/CD](ATO/Virgin)
Organist Neal Francis showed his depth on 2021's underrated "In Plain Sight." A feast for Seventies Funk and Rock fans, Francis brought Pop elements to the forefront ("Alameda Apartments") when available before pushing late-period Meters into space ("Prometheus.") Working with Sergio Rios of Orgone, "Return to Zero" takes Francis a few feet deeper into both Seventies Pop (the ELO-meets-Jackson Browne bliss of "What's Left of Me") and its glittery Disco counterpoint ("Need You Again" with Say She She.)
CLIPPING - Dead Channel Sky [GHOSTLY GREEN 2LP/CD](SubPop/AMPED)
Borrowing its title reference from William Gibson's classic "Neuromancer," Daveed Diggs and Clipping look to put the Alt. Hip-Hop side into "terminal overdrive." With its scratchy sounds, lightning-fast Death Grips-style machine gun lyrics, and drum machine ooze, "Dead Channel Sky" is grimy and grim. The chaos of the past is boiled down into "Run It" which does not have to get loud to grab your attention or leave you out of breath.
COHEED AND CAMBRIA - The Father of Make Believe [BLUE/PINK LP/CD](Virgin)
These veterans of The Amory Wars roll on into the conclusion of their VALIS trilogy with a rolling, emotional, well-crafted album of heart-tugging ("Someone Who Can") almost Prog Metal ("Something For Tomorrow.") All credit due to the band for going back to their riffy roots on the shrieker/slammer "Blind Side Sonny."
CIRCUIT DES YEUX - Halo on the Inside [LP/CD](Matador/Beggars/Redeye)
With her haunting lows and swooping highs, Haley Fohr as Circuit des Yeux does some real damage to her psyche on her second album for Matador. An emotion-drenched horror show, "Halo" plays into the madness ("Megaloner") in its synthy/ doomy dance ("Canopy of Eden") Pop.
OKLOU - Choke Enough [CLEAR LP/CD](True Panther)
On one of the best Electronic records of the year so far, French chanteuse Oklou (pron. OK-lew) with PC Music legends Danny L.Harle and A.G.Cook deconstruct HyperPop into that is trance-y but never somnambulant, elaborate but never overwhelming. Including trending guests Bladee and Underscores is not only a smart move but a great exposure for them to Dance Music/Club kids raised on Charli and the late Sophie.
