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Never in your life have you been helpless—under somebody’s heel. You never lived where your enemies held power over you, power to run your life or wipe it out. You can’t understand. That’s how come you stand there feeding me empty slogans!” Luciente bowed her head. “You crit me justly, Connie. Forgive me. I’ll try to see your situation more clearly and make less loud noises in your ears.

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The anger of the weak never goes away, Professor, it just gets a little moldy. It molds like a beautiful blue cheese in the dark, growing stronger, and more interesting. The poor and the weak die with all their anger intact and probably those angers go on growing in the dark of the grave like the hair and the nails.

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A strong woman is a woman who loves strongly and weeps strongly and is strongly terrified and has strong needs. A strong woman is strong in words, in action, in connection, in feeling; she is not strong as a stone but as a wolf suckling her young. Strength is not in her, but she enacts it as the wind fills a sail.

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Its reviews were mixed, and women critics, with the exception of Pauline Keel, generally liked it, while men critics, with the exception of Rex Reed, generally hated it.

And so, Colu,bia Pictures asked Eleanor Perry, one of the film industry's more vociferous feminists - she was also the screenwriter of "Diary of a Mad Housewife" -to host the screening in the hopes it would drum up interest among other women.

"Finally, a movie that is not about two guys and their adventures," Miss Perry said before the screening began. "I wonder if film makers knew they may be shutting off half their audience with that 'kind of film-women who may not want to go to 'two guy' pictures."
Signs of Disapproval
And then the film began. And before it was over, the frequent hisses, groans and guffaws from the crowd indicated that perhaps Columbia had made a mistake if they thought these women 'opinionmakers would like "The Stepford Wives."

The audience included Hildy Parks, the writer and wife of Alexander H. Cohen, the theatrical producer; Ruth 'Ford, the actress; Elizabeth Harris, co‐founder of Ms. magazine; Lois Gould and Carol Hill, the authors, and Muriel Resnik, the playwright, and Joan Silver, Amalie Rothschild and Claudia Weill, film directors.

"I think it's completely ridiculous," said Linda Arkin& a writer, who was the first to speak up in the "awareness session." "I couldn't believe the film. It dumps on everyone-women, men, suburbia. It confirms every fear we've ever had about the battle of the sexes, and it says there is no way for people to get together and lead human lives."

Miss Perry, who earlier had said she wished she had had something to do with the film, now interjected, "Men made this film, right?" (The producer, director and screenwriter were men.) Then, referring to a line in the film about bra‐burning, she said: "If I ever hear that bra‐burning thing again... Well, it's just something no woman would have put in as a line."
Urges a Walkout
(The image of women liberationisti as bra‐burners came from a demonstration at the 1968 Miss America Pageant in which brassieres were tossed into "freedom trash cans." The contents, however, were not set afire.)

About 10 minutes into the "awareness session," Betty Friedan, who had spent the day in Washington attending the funeral of Ann London Scott, a vice president of the National Organization for Women, stood and with a voice quivering with emotion said: "I think we should all leave here. I don't think we should help publicize this movie. It's a rip‐off of the women's movement."

She grabbed her coat and walked out, followed by three other women.

The "awareness session" ended with the remaining women pretty much agreed that the movie was "junk," should not be taken seriously, and that women should write and direct their own movies if they are ever to have any intelligent "women's pictures."

However, a more favorable reaction to the film, or at least to some of its ideas, emerged a bit later at a smaller gathering around Eleanor Perry's fireplace on Central Park South.

"I loved it - those men were like a lot of men I've known in my said Gael Greene, the writer. 'They really do want wives who are robots."

Eleanor Perry agreed. "The film presses buttons that make you furious-the fact that all the Stepford men wanted were big breasts, big bottoms, a clean house, fresh‐perked coffee and sex. I thought sure Betty i*riedan would stand up and say, 'Yes, this is just the way that men treat women."

Lois Gould, who called the movie "junk," said that it nevertheless had raised several questions in her mind, among them, "When a man has the perfect wife at home, doe's he still go out and che'at on his wife?"

"But you know something," she added with a smile, "I wouldn't mind having a robot housekeeper."

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reviews and other data on specific productions

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Feminists Recoil At Film Designed To Relate to Them

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Columbia Pictures Corp, screenwriter Eleanor Perry and actress Ann Bayer hold special screening for women of film The Stepford Wives followed by 'awareness session' in which women were asked to air their feelings about film; film is 1 of 1st to deal with theme of feminism; Betty Friedan, calling film 'rip‐off of the women's movement' leaves theater followed by 3 other women; audience reaction to film was largely unfavorable; included Hildy Parks, Ruth Ford, Elizabeth Harris, Lois Gould, Carol Hill, Muriel Resnik, Joan Silver, Amalie Rothschild, Claudia Weill, Gael Greene and Mrs Ring Lardner Jr; illus of Friedan (M)

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The genre allows the exploration of the the 'real' world through metaphor and complex stories. Science Fiction can use imaginary situations to comment on human behaviour and relationships

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The purpose of the thought experiment explores a society without men or women, not to predict the future, but to "describe reality', the present world.

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“Consider: There is no division of humanity into strong and weak halves, protective/protected, dominant/submissive, owner/chattel, active/passive. In fact the whole tendency to dualism that pervades human thinking may be found to be lessened, or changed, on Winter.t”

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“A man wants his virility regarded, a woman wants her femininity appreciated, however indirect and subtle the indications of regard and appreciation. On Winter they will not exist. One is respected and judged only as a human being. It is an appalling experience.”

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“The Gethenians do not see one another as men or women. This is almost impossible for our imaginations to accept. After all, what is the first question we ask about a newborn baby? ....there is no division of humanity into strong and weak halves, protected/ protective. One is respected and judged only as a human being. You cannot cast a Gethnian in the role of Man or Woman, while adopting towards 'him' a corresponding role dependant on your expetations of the interactions between persons of the same or oppositve sex. It is an appalling experience for a Terran ”

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Gender and Language in Left Hand of Darkness

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Gender and Language in Left Hand of Darkness

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WOLM 2015 Fall: #4 Gender Language & Identity In The Left Hand Of Darkness

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The “feminine mystique” was the idea that women were most content as wives, mothers, and homemakers.

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1950s Housewife to Women's Activist: Betty Friedan

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The Left Hand of Darkness Summary in 1 minute Ursula Le Guin

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the rolling stones - mother's little helper - 1st line by keith richards - processed "stereo"

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Short Documentary on The Left Hand of Darkness

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Short Documentary on The Left Hand of Darkness

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SFF180 Classics | ‘The Left Hand of Darkness’ (1969) by Ursula K. Le Guin ★★★★★

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Science Fiction Conversations: Ursula K. Le Guin

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Science Fiction Conversations: Ursula K. Le Guin

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Science Fiction Conversations: Ursula K. Le Guin

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Author Ursula K. Le Guin's "The Left Hand of Darkness" | Think Out Loud

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A History of Western Feminism...in 101 Seconds

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A bite-sized guide to Second Wave Feminism | all about women 2018

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By the end of the session, you will be able to confidently discuss how science fiction can be used to challenge perceived gender roles.

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To read and analyse The Left Hand of Darkness and the extract of The Stepford Wives (Marge Piercy’s Women at the Edge of Time if time permits) and to discuss how ideas from second wave feminism is used by writers to challenge gender roles.