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y separately published work icon Letters to Tiptree anthology   correspondence  
Issue Details: First known date: 2015... 2015 Letters to Tiptree
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AbstractHistoryArchive Description

'In celebration of the 100th Anniversary of Alice Sheldon’s birth, and in recognition of the enormous influence of both Tiptree and Sheldon on the field, Twelfth Planet Press is publishing a selection of thoughtful letters written by science fiction and fantasy’s writers, editors, critics and fans to celebrate her, to recognise her work, and maybe in some cases to finish conversations set aside nearly thirty years ago.' (Publication summary)

Notes

  • Letters from Kathryn Allan, Marleen Barr, Stephanie Burgis, Joyce Chng, Aliette de Bodard, L. Timmel Duchamp, A.J. Fitzwater, Lisa Goldstein, Theodora Goss, Nicola Griffith, Valentin D. Ivanov, Gwyneth Jones, Rose Lemberg, Sylvia Kelso, Alex Dally MacFarlane, Brit Mandelo, Sandra McDonald, Seanan McGuire, Karen Miller, Judith Moffet, Cheryl Morgan, Pat Murphy, Sarah Pinsker, Cat Rambo, Tansy Rayner Roberts, Justina Robson, Nisi Shawl, Nike Sulway, Lucy Sussex, Rachel Swirsky, Bogi Takács, Lynne M. Thomas, Elisabeth Vonarburg, Jo Walton, and Tess Williams.

    Includes bonus reprint material including:

    • Archived letters from Ursula K. Le Guin, Joanna Russ and James Tiptree Jr./Alice Sheldon
    • Excerpts from The Secret Feminist Cabal: A Cultural History of Science Fiction Feminisms by Helen Merrick
    • Excerpt from Battle of the Sexes in Science Fiction by Justine Larbalestier
    • Essay by Michael Swanwick
  • Nominated for a World Fantasy Award, in the category 'Special Award, Nonprofessional.'

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Yokine, Stirling area, Northern Perth, Perth, Western Australia,: Twelfth Planet Press , 2015 .
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      Extent: 277p.
      Note/s:
      • Published September 3, 2015
      ISBN: 9781922101259
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Works about this Work

Drawing Back the Curtains of SFF History Anita Harris Satkunananthan , 2015 single work essay
— Appears in: Australian Women’s Book Review , vol. 27 no. 1 / 2 2015-2016; (p. 14-19) 'I was sixteen years old when I first read “The Women Men Don’t See” by James Tiptree Jr. in 1991. I was a teenager in a small agricultural town in Malaysia who saved her lunch money every week to buy Science Fiction and Fantasy (SFF) books, when she wasn’t borrowing them from the library. The collection I bought had three women in it who were to influence the way I thought about the world, and about my own writing. Ursula K. Le Guin’s “Winter’s King,” and Joanna Russ’s “When It Changed” haunted me when I read the tales for different reasons. “The Women Men Don’t See” was another quietly feminist work of science fiction. So much of “The Women Men Don’t See” resonated with a quiet anger, bristling through the typeface with recollections of multiple elisions. In my twenties, I finally learned that Tiptree was in fact Alice Sheldon, and that she had written for many years under this pseudonym because of the freedom it had given her. I preface this review with my anecdote for three reasons. First, many of the letters in Letters to Tiptree resonated with my own personal experience of my “start” in SFF. Second, in my reading of this collection, I asked myself several intersectional questions in relation to gender, class, and race privilege. For instance, I speak of the heritage of the SFF community and fandom, but am painfully aware that access to this heritage is not easily attained by most. There is also the problematic centring of SFF works in North America, which tends to work towards eliding the work 14 done in other cultures, in different languages. For instance, in Malaysia, the classical hikayats have SFnal elements that predate much of Occidental science fiction by centuries. Third, as a newly professional SFF author writing from the margins of those intersectional categories, reading these letters packed a visceral and emotional punch for me which is deeply pertinent to my discussion of the collection.' (Introduction)
Drawing Back the Curtains of SFF History Anita Harris Satkunananthan , 2015 single work essay
— Appears in: Australian Women’s Book Review , vol. 27 no. 1 / 2 2015-2016; (p. 14-19) 'I was sixteen years old when I first read “The Women Men Don’t See” by James Tiptree Jr. in 1991. I was a teenager in a small agricultural town in Malaysia who saved her lunch money every week to buy Science Fiction and Fantasy (SFF) books, when she wasn’t borrowing them from the library. The collection I bought had three women in it who were to influence the way I thought about the world, and about my own writing. Ursula K. Le Guin’s “Winter’s King,” and Joanna Russ’s “When It Changed” haunted me when I read the tales for different reasons. “The Women Men Don’t See” was another quietly feminist work of science fiction. So much of “The Women Men Don’t See” resonated with a quiet anger, bristling through the typeface with recollections of multiple elisions. In my twenties, I finally learned that Tiptree was in fact Alice Sheldon, and that she had written for many years under this pseudonym because of the freedom it had given her. I preface this review with my anecdote for three reasons. First, many of the letters in Letters to Tiptree resonated with my own personal experience of my “start” in SFF. Second, in my reading of this collection, I asked myself several intersectional questions in relation to gender, class, and race privilege. For instance, I speak of the heritage of the SFF community and fandom, but am painfully aware that access to this heritage is not easily attained by most. There is also the problematic centring of SFF works in North America, which tends to work towards eliding the work 14 done in other cultures, in different languages. For instance, in Malaysia, the classical hikayats have SFnal elements that predate much of Occidental science fiction by centuries. Third, as a newly professional SFF author writing from the margins of those intersectional categories, reading these letters packed a visceral and emotional punch for me which is deeply pertinent to my discussion of the collection.' (Introduction)
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Last amended 28 Jul 2021 09:41:27
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