{"id":427,"date":"2019-05-13T12:06:07","date_gmt":"2019-05-13T17:06:07","guid":{"rendered":"http:\/\/ldinmanbooks.com\/?p=427"},"modified":"2019-05-13T12:11:25","modified_gmt":"2019-05-13T17:11:25","slug":"worldbuilding-standing-in-mothers-place","status":"publish","type":"post","link":"http:\/\/ldinmanbooks.com\/index.php\/2019\/05\/13\/worldbuilding-standing-in-mothers-place\/","title":{"rendered":"Worldbuilding: Standing in mother’s place"},"content":{"rendered":"\n
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In some ways, worldbuilding is like unsnarling a necklace chain found in a drawer, particularly at the beginning. It takes patience and mental energy to tease the links apart, to soften and separate the knots, to draw one loop free of a ball of metal tangles. Very often it can’t be done in one sitting; one has to put it away before ragequit takes over — take a break, take a walk, rest one’s inner and outer vision.<\/p>\n\n\n\n

This is because building a world is a reversed process of how our world usually unfolds. I want my characters to be in a particular predicament; but the predicament depends on a situation that doesn’t happen in our world. So how can I get that situation to come about? Well, it could happen due to these causes. And where do those causes come from? They came from a larger situation like…this. And why is the larger situation like this?<\/p>\n\n\n\n

Then: do all these causes agree with one another? If not, what would need to happen to make them agree?<\/p>\n\n\n\n

And then: what invisible assumptions am I making? Are those assumptions valid in the world I’m building? What kind of parabolic light do they shed on our world? Is that the parable I wanted to sketch?<\/p>\n\n\n\n

All this is by way of saying that when I invented a matrilineal society for my main characters to live in, it was a means to an end, starting from my characters and working outward. I didn’t start with the world and work inward to the characters.<\/p>\n\n\n\n

A lot of times when we describe the premise of a SFF story (or urban fantasy, or anything that requires extensive worldbuilding), we describe it from the outside in. We say, what if there were Jesuits IN SPAAACE? Let’s hear a story about that<\/em>. But did Mary Doria Russell say that when she started to write The Sparrow<\/em>? Maybe she did. But maybe not.<\/p>\n\n\n\n

I didn’t say: what if we had a matrilineal society in a half-broken post-nuclear world? Let’s hear a story about that<\/em>. I said: these two characters interest me. I think I’ll call them Speir and Douglas. This half-tangled story I’m drawing about them — what’s happening to them? What’s happening around them? What are they doing about it? And why?<\/p>\n\n\n\n

Only then did I say: hey, it sure would be interesting if this society was matrilineal. And if there were a long-past nuclear holocaust, that would explain why the technology is so piecemeal compared to our own. How do those two things fit together?….Well…<\/p>\n\n\n\n

And so I got out my tweezers and turned on the anglepoise lamp and set about pulling free a straight chain. Because like all writers, I’m a glutton for self-punishment. It’s not enough to spend a luxurious week in free-form daydreaming, reeling out a one-show-only viewing in my mental theater. Oh no. I had to plan to tell the story to other people<\/em>. I had to make it sturdy<\/em>. I had to make it internally consistent<\/em>. I had to develop a coherent moral imperative<\/em>. Dammit.<\/p>\n\n\n\n

So from a writer’s point of view — or this writer’s point of view, anyway — vicarious enjoyments are like a gumdrop trail of rewards: if you write this story, then guess what, you can read <\/em>it. You want that, don’t you?<\/p>\n\n\n\n

It was so simple, seven years ago, when I was inventing Ryswyck<\/em>. I was just an ordinary space-cadet writer sitting at a table with a pair of tweezers and a necklace. I thought that inventing, sketching, and detailing a matrilineal society was a pretty pedestrian way to tell the story I wanted to tell.<\/p>\n\n\n\n

It may have been, but it isn’t now. <\/p>\n\n\n\n

In the country I invented, mothers are the undisputed custodians of their children; their surnames are the ones that children are known by; their fertility is a precious asset that they control; they live in bonds of sworn trust with the local communities they live in and participate in collective decisions as a matter of course; their relationships are governed by witnessed contracts of which they are equal and sovereign negotiators; their property and inheritance is at their own disposal and likewise can be negotiated by contract with the fathers and sponsors of their children.<\/p>\n\n\n\n

What I am describing is not a matriarchy. But it is so very, sickeningly far from the world I wake up in day after day that the distinction is obscured by distance. By day I work up to my elbows in stories about how there are maternal health care deserts spreading in rural areas in what we tell ourselves is the pinnacle of civilized society. I get on my Facebook feed and between the dead dolphins and the ominous Bonhoeffer quotations are sandwiched horrific headlines about men shooting their wives point-blank in the face for not behaving abjectly enough to their inherent superiority. Laws being written denying that a female body houses a self and a soul of its own. Public citizens treated like public property. Godwin’s Law is dead and Margaret Atwood is a prophet.<\/p>\n\n\n\n

The story hasn’t changed. But the parable has.<\/p>\n\n\n\n

At church yesterday all the women were offered a pink carnation for Mother’s Day. I politely avoided taking one. I don’t want to be handed a fucking flower, I want to be handed a sword<\/em>.<\/p>\n\n\n\n

Fortunately, I’ve already got one.<\/p>\n\n\n\n

So: would you like to read a story about characters in a matrilineal society set in a half-broken post-nuclear world? Would you like to read a story about two countries whose leaders recognize the choice between destroying one’s enemies and not destroying the world they live in — and who stand a chance of choosing rightly? Would you like to read a story in which a character’s slogan becomes Undefendedness is an offensive strategy<\/em> — and who deploys that strategy to great effect? Would you like to read a story in which courtesy and humanity are more valuable than cynicism?<\/p>\n\n\n\n

You may think that if you stretch out your hand for this story, you’ll be getting a flower.<\/p>\n\n\n\n

You won’t be.<\/p>\n","protected":false},"excerpt":{"rendered":"

In some ways, worldbuilding is like unsnarling a necklace chain found in a drawer, particularly at the beginning. It takes patience and mental energy to tease the links apart, to soften and separate the knots, to draw one loop free of a ball of metal tangles. Very often it can’t be done in one sitting;<\/p>\n

Read More <\/i><\/a><\/span><\/div>\n

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