Herland, Charlotte Perkins Gilman (1915)
Review by Jack Deighton
This is one of the earliest pieces of feminist Science Fiction, an attempt to imagine what a society without men might look like. In its form it is perhaps rooted in its time; on an expedition three men from the US hear rumours of a land of only women somewhere in the upper reaches of “a great river” – a land which no-one has ever seen but was said to be “dangerous, deadly” for any man to go there; and from which no man had ever returned – in other words a similar scenario to “Lost Worlds” of dinosaurs. That this is merely an authorial device to entice the men (and the reader) into Herland is revealed when they in fact travel by aeroplane into that mythical place, cut off by earthquake in the long ago, and find no danger but rather an initial sequestration along with a tolerant acceptance mediated by a kind of amusement.
As tends to be the way of these things all is couched as a remembrance by one of the three men, Vandyck Jennings, tracking his progress from a belief that there must be men somewhere in Herland and that social organisation without men must necessarily be lacking to an understanding of the dynamics and motivations of this strange country. But there are no men. The women in Herland reproduce parthenogenetically (how this happened is rather skipped over, being more like a miraculous occurrence than a demonstrable process but there would have been no Herland without it.) Social relations in Herland are such that violence and criminality do not occur. In effect they have been bred out. Roles – including childcare and education, though the latter is something of a life-long endeavour – are performed by those who have an aptitude for them and who specialise in that field. The contrast with the outside world is stark, especially in regard to the valuation of each member of society.
Initially the three are bemused by the appearance of their captors, “In all our discussions and speculations we had always unconsciously assumed that the women would be young. Most men do think that way, I fancy,” and – a telling aside – “‘Woman’ in the abstract is young, and, we assume, charming. As they get older they pass off the stage, somehow.”
The three do eventually form relationships with inhabitants of Herland (somewhat oddly the three women whom they first encountered on arrival) but with the difference in societal norms things do not go smoothly. Of the three intruders Terry O Nicolson is the one who thinks women like to be mastered. “His idea was to take. He thought, he honestly believed, that women like it. Not the women of Herland! Not Alima!” This conflict drives the novel’s conclusion and his banishment.
In his explanations of his world to those in Herland, Vandyck realises that, “Patriotism, red hot, is compatible with the existence of a neglect of national interests, a dishonesty, a cold indifference to the suffering of millions. Patriotism is largely pride, and very largely combativeness. Patriotism generally has a chip on its shoulder,” and religion’s “common basis being a Dominant Power or Powers, and some Special Behaviour, mostly taboos to please or placate.” His leads his companion Ellador to envisage sex as Vandyck describes its place in the outside world not, as with animals, for the one purpose of procreation but as specialised to a “higher, purer nobler use”.
Books such as this cannot be subjected to the usual reviewing criteria. The central focus of a novel about a utopia is that of the nature of the society described and how it differs from, and reflects on, ours. The idea is the substance of the novel. Though illumination of the human condition is not, such considerations as plot and character are secondary. Not that there is no character development in Herland: two of the three male adventurers who venture into this world come to their own terms with it. Nicolson the macho man of course does not. (Arguably he cannot, and without his following his instincts the events which led to Jennings providing us with this account would not have occurred.)
It might be argued that Herland is not Science Fiction. But if Science Fiction is the literature of ideas (often a reason for why some SF fails to produce rounded characterisation, but the SF background can be as much of a character as any humans in the story) then Herland definitely counts. Whatever, one hundred years on from its first publication Herland can still be read with facility. It still stands up. It still marks a contrast between what our society is and what it might aspire to.
This review originally appeared on A Son of the Rock.
One thought on “Herland, Charlotte Perkins Gilman”
Thank you for this. It is much more challenging to write utopia than dystopia, but this book manages to comment from within an ideal.