Ambrov Zeor. Issues 1-3. Page #11


Dublin Core


Ambrov Zeor. Issues 1-3. Page #11


Science Ficition Fanzine


A fanzine centered around the Sime Gen Universe.


Ann Pinzow, Jean Airey, Judy Segal, Kerry Schaefer


Georgia Tech Archives: Science Fiction Fanzines Collection:




Mani Japra, Collin Richards, Emmanuel Fregene, Ella Sivertsen


Copyright 1984 by Jacqueline Lichtenberg. All rights reserved to Jacqueline Lichten- berg except where otherwise noted and arranged by prior agreement. All original artwork remains the property of its creator. All letters received by Jacqueline Lichtenberg, Anne Pinzow, Jean Airey, or Kerry Schaefer will be considered potentially publishable material and will be treated as such, unless the writer specifically requests they not be quoted. Publication does not constitute endorsement by the staff of Ambrov Zeor.




Science Fiction



ent that many people are either taking for granted a homosexual relationship between
Kirk and Spock or carefully writing stories detailing suchla relationship. Now I look
at my Own 'I‘reklit over the years, and I find that much isof. it deals with other cha rac-
ters (notably Sarek and Amanda), 2: creates situations in ivhich Spock and Kirk are
separated by circumstances and go on to other things. I wonder if, years ago, I saw
something in that relationship that seemed to my then—unliberated mind unhealthy?
Today, although I am still not interested in writing about sexual relations between
people of the same sex, I am at least consciously determined not to regard any love
relationship which is satisfactory to both parties as being unhealthy.

Which brings me to the problem of the unconscious, or subconscious, both yours and
mine. I know you did not mean to mistreat women in your novel, and that you made a.
conscious effort to have a female doctor, for example. But unconsciously, there it is:
women are raped, killed, used. There is the Kraith pattern, too: Klyd has already
lost one wife when the novel begins, and he loses another in the process of the tale --
both times offstage, just as happens with Spock (did T'Rruel die in his arms? If so,
we didn't see it, and so to the audience it is an offstage event -- and when we see
Spock's response . . . he's hungry? ). . .

I am sorely disappointed to hear that the sequel to Hoz does not elaborate on the sug-
gestions of the first novel. I was ready for the further adventures of Hugh and Klyd
-- Hugh in particular. The discussion of the way Gen and Sirnes are still mutating,
combined with Hugh's dreams, his feelings about himself (particularly his feeling that
he ought to have tentacles), and the final experience with Klyd (which Klyd says is
something new to him), convinced me that Hugh is a new mutation, part Gen, part Sime .
I thought you would build over a couple of novels the new Householding, the story of
Hugh's mother, and the meaning of the starred-cross, etc. , with plenty of adventure
-- and oh, yes, some explanation of all those channel-companion terms as High is
trained as a companion. Then , it seems obvious to me, comes the day when Hugh,
undoubtedly while deep in Gen territory, undergoes changeover. Really socko scene,
right? Look out -- if you don't write it, someone else may!

Letter from Jacqueline Lichtenberg to Jean Lorrah:


. . . the questions you’ve raised regarding women writing about male/female love and/or
sex have been a major topic between M28 and me for some months now. Your observa-
tions are not new, though they may be original. They are certainly things I hadn‘t

been equipped to think about when I wrote HoZ.

I do know that as a woman sf writer, there are pressures on me to write in a certain
idiom or not get published. Especially as a beginner. Had I written the female roles
less stereotypically, that book would never have been published. (you must realize

it was written, let's see -- 1971—72, not so long ago, but things have changed rapidly

in our corner of publishing just in the last couple of years.) HoZ is a pecular thing.
The Simes are so very exotic a notion, all by themselves, that to use ANY other exotic-
ness in or around them puts the book so far out it wouldn't get published.

This is one reason the "plot" is so cliche (boy loves girl, she gets kidnapped, boy rescues
girl). Not only was I unable to handle anything more profound at that time, but it would
have been a blunder to try. '

And there's this. As a beginning writer, one learns how to characterize by reading

"good books". Well, in my field there ISN'T any literature from which to learn to
charact'erize a female hero. M28 is only just now able to write such women. (she's

got a backfile of unpublishable stuff with female heros, 10-15 years ahead of the industry.)
For my money, MZB is the only writer today who knows how to write a female hero. I
forsureasheck don't. And the militant feminists write propaganda :Caricatures not
characters. '

But with MZB to teach me, I firmly expect to develop my own style with women.
Meanwhile, I continue to learn how to handle male characters. And since I'm trapped
by incompetency into making most of my major characters male, naturally the heavy
emotional relationships occur between them. *sigh*

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