MATCHBOX

Cassandra is a series of reflections on international women writers whose works have proven prophetic, insightful, and courageous enough to transcend borders and remain relevant across time and cultures.

What would history and the world look like if these voices had been heard?

Through this monthly series, I aim to amplify voices too often silenced, inspiring women to speak their truth. My goal is to craft a personal global genealogy of women’s thought—through reading, reflecting, and sharing their stories.

Marge Piercy’s Woman on the Edge of Time remains a seminal work in feminist science fiction, offering not just a story but a call to action—a vision of what society could become if we reimagine our values and structures. Published in 1976, it explores the journey of Consuelo “Connie” Ramos, a poor, institutionalized Latina woman, and presents themes that resonate deeply today: gender, disability, mental health, motherhood, alternative relationships, and radical social change.

What if the voices of the marginalized—those like Connie—were not only heard but elevated? Piercy’s novel takes us into that possibility, presenting an alternate future where such voices form the core of society. As in previous entries of this Cassandra series, like Malika Amar Shaikh’s reflections on systemic injustice, Woman on the Edge of Time reminds us that the act of storytelling, particularly by those on the margins, is revolutionary.

Piercy’s line, “We seek not rest but transformation. We are dancing through each other as doorways,” could well be the mantra of both Connie’s struggle and the wider feminist movement that the novel champions. The journey of transformation is continual, just as it is in the lives of women writers who call out societal dysfunction.

The Marginalized and the Differently-Abled

In Woman on the Edge of Time, Connie is treated as both mentally ill and a criminal—her struggle and resistance i.e. her “difference” is pathologized and contained within the oppressive walls of a psychiatric institution. The novel highlights the ways in which society ostracises and disempowers those who do not conform to their assigned roles. Yet Connie’s connection to Luciente and the future society of Mattapoisett introduces a radically different view. Here, difference—whether physical or cognitive—is celebrated rather than punished, reflecting Piercy’s vision of a world in which all human diversity is honored.

Motherhood, Solidarity, and Alternative Relationships

Motherhood is a central theme in Woman on the Edge of Time, intricately woven into Connie’s experience of loss and survival. Her bond with her daughter, taken from her early in the novel, reflects a larger issue of control over women’s bodies. In contrast, Mattapoisett offers a collective model of child-rearing that rejects traditional gender roles and redefines caregiving as a shared societal responsibility.

In her poem The Low Road Piercy addresses mutuality: “Two people can keep each other / sane, can give support, conviction, / love, massage, hope, sex.” This vision of collective care reimagines not only motherhood but relationships, including those based on desire and respect rather than domination.

Audre Lorde’s essay Uses of the Erotic: The Erotic as Power echos Piercy’s exploration of desire between characters like Connie and Bee, whose fluid, egalitarian relationships challenge oppressive patriarchal structures. As Lorde writes, the erotic can be a source of empowerment, and for Connie, her attraction to Bee represents a yearning for love based on mutual respect and joy rather than control.

Ecofeminism, Agriculture, and Imagination

Piercy’s ecofeminist concerns are also evident in the novel’s reimagining of agriculture and gardening. In Mattapoisett, farming is communal, organic, and harmoniously integrated with the environment, reflecting the ecofeminist principles of sustainability and balance. This resonates with Vandana Shiva’s writings on seed sovereignty and the need to reclaim agriculture from corporate control. As Shiva argues in Staying Alive, women and nature share a bond rooted in nurturing and sustenance, which is also mirrored in Piercy’s vision of a future where land and labor are honored, not exploited.

Piercy’s poem To Be of Use reinforces this reverence for meaningful, grounded work: “The pitcher cries for water to carry / and a person for work that is real.” In Woman on the Edge of Time, the act of growing, preparing and sharing food becomes a symbol of connection to the earth and to each other, a revolutionary act that defies the exploitative systems Connie seeks to escape.

Imagination and Survival

Imagination is central to Connie’s survival, allowing her to envision a world beyond the confines of her institutionalized present. William Blake once wrote, “The imagination is not a state: it is the human existence itself,” a sentiment echoed in Connie’s mental travels to Mattapoisett. Piercy’s work, like Blake’s, celebrates the transformative potential of imagining a better world, offering hope in even the darkest of times. Writing, storytelling, bearing witness and sharing visions encourages resistance to ingrained systems and creates space for growth across generations.

References

• Piercy, Marge. Woman on the Edge of Time. 1976.
• Piercy, Marge. The Moon is Always Female. 1980.
• Piercy, Marge. Circles on the Water: Selected Poems. 1982.
• Lorde, Audre. Uses of the Erotic: The Erotic as Power. Sister Outsider. 1984.
• Blake, William. The Complete Poetry and Prose of William Blake. 1988.
• Shiva, Vandana. Staying Alive: Women, Ecology and Development. 1988.