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Sinister Wisdom, 12, winter 1980

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Summary

“Listen, There's a Story for you…”

Retreat As It Was! Donna J. Young (The Naiad Press, 7800 Westside Dr., Weatherby Lake, Missouri, 64152, 120pp., $5.00).

In Literary Women Ellen Moers notes that nineteenth-century women writers' insistent presentation of public acclaim for female genius in their fiction is due to “the impossibility of ever having [it] in real life” and that the embarrassingly “raw fantasy” of such scenes comes from having been “starved for centuries.”

Retreat: As It Was! by Donna J. Young is a heartbreaking non-book, although with training – especially someone to stand over her, yelling “Details!” every time she drifts into summary – she might eventually become some sort of writer. Retreat was written out of sheer starvation, published ditto (unless we're to believe that Naiad is simply being opportunistic), and will be read for no other reason, if it's read at all.

Ostensibly science fiction, Retreat's science comes from incoherently bad television; it's a mixture of faster-than-light communications and spacedrive, inexplicably endless sources of light and power, and no other method of transporting the wounded from a grounded spaceship to a provincial settlement than “pack animals” (with “spines” but otherwise undescribed), a grueling six-or-seven-day, hypothermia-inducing journey which looks bafflingly like a rather Darwinian version of triage. Since the wounded receive only psionic healing (the women disdaining such primitive devices as bandages, food, water, antibiotics, etc.), why not send the healers to the ship? But Retreat mystifies all its technology. Here are the book's only descriptions of technological activity, quoted entire:

The room she entered contrasted to [sic] the rustic simplicity of the post. Instead of cave-like walls and fur-lined floors, there were gadgets and square corners, levers and dials, hard stone underfoot.

Lita, Tulla, Ain, and a few others were gathered around a console, making calculations. (p. 12)

They turned and began the process of tuning the complicated machinery to the biological rhythms that were Ria's alone. First Lita placed her hand on a yellow, translucent square. She brushed her other hand over a series of colored plates to the left of the yellow square. Ria laid her hand down on the square next to Lita's and pressed the same plates in reverse order to Lita's. Lita then removed both hands from the console. (p. 14)

The walls of the central room had been energized into multi-dimensional [sic] representations of various sectors of the known universe.

Type
Chapter
Information
The Country You Have Never Seen
Essays and Reviews
, pp. 181 - 185
Publisher: Liverpool University Press
Print publication year: 2007

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