Given my proclivity for post-apocalytic literature, I was pleased and surprised to find Sheri S. Tepper’s
The Gate to Women’s Country recently. First published in 1988, Tepper’s novel continues to have relevance to the contemporary (and perennial) issues of war, religion and environmental sustainability. It also touches on a nascent form of genetic manipulation.
My foray into the post-apocalyptic began when I was 12 and picked up Nevil Shute’s On the Beach. I loved the beach and had not expected to be reading about nuclear annihilation, but the book captivated me and rendered me forever vigilant of the earth’s destruction by man. Since then I’ve read many books charting the events that may follow the world’s devastation. I’ve found most present a brutal world where women are especially vulnerable. In Cormac McCarthy’s
The Road, a young mother ends her life with a sliver of obsidian rather than confront the vicious world that remains.
In
The Gate to Women’s Country, women and men live in separate spheres. Behind walled towns women work, study, and produce children. Food, medicines, textiles and even ale are fruit of women’s labor. Outside the walls men live in armed garrisons which will defend the town if necessary. Not falling conveniently into these worlds are the servitors, the Gypsies, the Holylanders, and traveling marauders.
In Marthatown the women strive for a sustainable living which requires constant work. So much of the world has suffered from the “convulsions” that even seeds and tillable land are in short supply. If women bear sons, they care for them for only five years; then, they relinquish them to their “fathers” in the garrison. At age 15 the young men decide whether to remain warriors outside the walls or to return to Women’s Country to become “servitors.” The role of the servitors is conveyed slowly, although readers quickly learn that warriors do not respect servitors.
Stavia is in her 30’s when the novel opens and tells her story in flashbacks. She relates the pain of having to give up a son when he turns five; the second round of pain if he remains a warrior instead returning to Women’s Country; and the final pain if, as a warrior, he dies in battle. Throughout the plot is woven the reenactment of Iphigenia at Ilium, a play based on “The Trojan Women” by Euripides. Iphigenia is celebrated yearly in Marthatown. The women identify with the play’s characters: they’ve lost brothers and sons. War is hell.
Stavia wonders why, at age 15, a brother or friend would choose to be a warrior instead of returning to Women’s Country. Warriors cannot study books, and they return to their families only at carnival time. Carnival, a bacchanalian fest, is held twice a year when warriors re-enter the gate to share in “assignations” with the women which presumably beget their children.
As a young girl, Stavia finds some of the “ordinances” of the Marthatown council unacceptable. She defies them by giving books to Chernon, a warrior living outside the gate. As punishment, Stavia is sent away to study medicine.
Stavia returns from her studies and is chosen to go on an exploration of lands south of Marthatown. Chernon’s commanding officer, Michael, encourages Chernon to accompany her. Michael has heard that the women in Marthatown’s council have a secret weapon, and Chernon is to find out about the weapon from Stavia.
The journey south results in Stavia’s capture by the Holylanders, a polygamous sect embodying all the negative connotations conjured by that term. Although she is traveling with Chernon, a warrior who is to protect her, she is brutalized by some of the Holylanders. Who rescues her? Surprisingly, not any warriors.
Now, for a bit of a spoiler:
In Teppers’ postapocalytic world , women are slowly but surely wrestling the reins of power from men in order to create a more peaceful world; but, in so doing, they also commit or cause acts of violence resulting in many deaths. I had hoped that the women of Womens’ Country would find a way to avoid being victims of the violence that seems endemic to the postapocalyptic world. Happily, they accomplish this. Unfortunately they must also resort to violence to achieve this. The reader is left to ponder: do the ends justify the means? Perhaps Tepper needs to write a sequel to answer this question!
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