The Hidden Side of the Moon, Joanna Russ (1987)
Review by Ian Sales
There can be little doubt by now that Joanna Russ was one of the most important figures in American twentieth-century science fiction, although for many years, particularly afterward, her contribution to the genre was downplayed or ignored. Much, in fact, as she described in her important work, How to Suppress Women’s Writing. Of course, she was not the only female sf writer to be “forgotten”. From the twenty-first century it seems like there was a concerted effort from the late 1970s through the 1980s to write female authors out of science fiction history. Only a few managed to hang on in there – Ursula K Le Guin, of course, who is often the only woman writer on so-called lists of “classic sf”. And this despite a huge number of female mid-list writers publishing throughout the 1980s, some of whom went on to bestseller status, like Lois McMaster Bujold.
Joanna Russ won four major genre awards, and was nominated 41 times, during her career; and yet by the turn of the century she seemed to be known only as the author of a little-read classic, The Female Man. In part, I suspect this was due to the fact she was a vocal feminist and feminist writer, and conservative sf fans, echoing a move in wider US culture, tried to demonise feminism and feminist sf. Fortunately, science fiction is a progressive genre, and many of its fans fought against this reactionary rewriting of sf history.
Having said all that, I still think Russ is under-appreciated. While her novels now often appear on “classic sf” lists, much of her short fiction output has been overlooked. And she wrote a lot of short fiction – fifty-six stories between 1955 and 1996. The Hidden Side of the Moon, a collection from late in her career, contains twenty-six stories published between 1959 and 1984. Some are less than a page long. Not all were originally published in genre venues.
Twenty-six stories is too many to cover individually. Overall, they give an impression of fierce intelligence I don’t recall getting quite so strongly from other Russ collections (although certainly from individual stories). This is especially odd given I don’t believe the collection was curated, or its contents chosen for particular reasons. It may simply be a consequence of the fact that not all of the stories are science fiction or fantasy.
The opener, ‘The Little Dirty Girl’, is a chilling ghost story, told in epistolary style. In ‘Sword Blades and Poppy Seed’, a female writer rails against society, before being told she should, in fact she will, use the nom de plume George Sand. ‘This Afternoon’ describes a play in a park, in which one of the actors plays a satyr, only he may not be an actor…
‘”I Had Vacantly Crumpled It into My Pocket … But By God, Eliot, It Was a Photograph from Life!”‘ is a Cthulhu story. In fact, a number of the stories in The Hidden Side of the Moon play with, or reference, other literary works, something Russ did throughout her career. Given that ‘Window Dressing’ was originally published in 1970, in New Worlds of Fantasy 2, I suspect it’s not referencing the film Mannequin, although it shares the same story. ‘The Clichés from Outer Space’ is about a friend of the writer who is an anthologist of science fiction stories and, well, the title says it all. After reading the slushpile for the anthology, the narrator: “… that pile of rejected mss must have been the vehicle for a curse … How do I know? I began to write trash.” Some of which is then given.
‘Nor Custom Stale’, published in 1959, is the oldest story in the collection. It’s a variation on ‘The Machine Stops’ by EM Forster, although here it’s the reverse which is true, and which leads to a strange, inexplicable result. ‘The Experimenter’ is a sort of fantasy, but ‘Reasonable People’ is definitely science fiction. Russ’s stories – and these two are good examples – often seem to end on single lines which question everything has gone before. The final three lines of ‘Reasonable People’, for instance, go:
Isn’t it a lovely world?
And so it is. It is.
For reasonable people
Both ‘Visiting’ and ‘Visiting Day’, titled here ‘I. Visiting’ and ‘II. Visiting Day’, although originally published in 1967 and 1970, and ‘Old Thoughts, Old Presences’, which contains two stories, ”The Autobiography of My Mother’ and ‘Daddy’s Girl’ are more literary experiments than genre fiction. And yet, genre reading protocols still work on them – if anything, Russ’s genre fiction had a tendency to confound genre protocols more than her non-genre work did. Or rather, ‘Old Thoughts, Old Presences’ can be read as genre; but something like ‘The Mystery of the Young Gentleman’ (collected in Extra(Ordinary) People) is clearly genre but resists an obvious read.
The more of Russ’s fiction I read, the further I want to explore her oeuvre. From what I have seen to date, it is variable but, to borrow from Longfellow, “when she was good, she was very, very good”. But more than that, there was a fierce intelligence driving her fiction – and her non-fiction too, of course – and a fierce commitment to feminism evident in pretty much every word she wrote. As I have said before, the giants of twentieth century fiction we have been lumbered with are Heinlein, Clarke and Asimov; when the true giants were, and are, Russ, Delany and Le Guin.