1. "Being a woman is kind of like being a cyclist in a city where all the cars represent men. You’re supposed to be able to share the road equally with cars, but that’s not how it works. The roads are built for cars and you spend a great deal of physical and mental energy being defensive and trying not to get hurt. Some of the cars WANT you to get hurt. They think you don’t have any place on the road at all. And if you do get hurt by a car, everyone makes excuses that it’s your fault."
    — A friend of a friend (via onesmallflowerofeternity)

  2. Jessie Kwak, who has excellent stories in both Bikes in Space volumes so far, has made them into ebooks, which you can read free or for a small donation. Enjoy! 


  3. Learn about the renegade history of mountain biking from Sarah McCullough (pictured in our last post).

  4. Sarah McC backed my first Kickstarter project, a feminist bike zine called “Sharing the Road with Boys.” I sent her the zine and asked her to organize an event on my first tour. Four years, four tours, 12 zines, and 18 Kickstarter projects later, while staying with her for another tour event that she helped organize, I finally asked her how she found that first project. She was just clicking around, she said. 


  5. "

    Most of the characters in my fantasy and far-future science fiction books are not white. They’re mixed; they’re rainbow. In my first big science fiction novel, The Left Hand of Darkness, the only person from Earth is a black man, and everybody else in the book is Inuit (or Tibetan) brown. In the two fantasy novels the miniseries is ‘based on,’ everybody is brown or copper-red or black, except the Kargish people in the East and their descendants in the Archipelago, who are white, with fair or dark hair. The central character Tenar, a Karg, is a white brunette. Ged, an Archipelagan, is red-brown. His friend, Vetch, is black. In the [Sci Fi Channel] miniseries, Tenar is played by Smallville’s Kristin Kreuk, the only person in the miniseries who looks at all Asian. Ged and Vetch are white.

    My color scheme was conscious and deliberate from the start. I didn’t see why everybody in science fiction had to be a honky named Bob or Joe or Bill. I didn’t see why everybody in heroic fantasy had to be white (and why all the leading women had ‘violet eyes’). It didn’t even make sense. Whites are a minority on Earth now—why wouldn’t they still be either a minority, or just swallowed up in the larger colored gene pool, in the future? […]

    I think it is possible that some readers never even notice what color the people in the story are. Don’t notice, don’t care. Whites of course have the privilege of not caring, of being ‘colorblind.’ Nobody else does.

    I have heard, not often, but very memorably, from readers of color who told me that the Earthsea books were the only books in the genre that they felt included in—and how much this meant to them, particularly as adolescents, when they’d found nothing to read in fantasy and science fiction except the adventures of white people in white worlds. Those letters have been a tremendous reward and true joy to me.

    So far no reader of color has told me I ought to butt out, or that I got the ethnicity wrong. When they do, I’ll listen. As an anthropologist’s daughter, I am intensely conscious of the risk of cultural or ethnic imperialism—a white writer speaking for nonwhite people, co-opting their voice, an act of extreme arrogance. In a totally invented fantasy world, or in a far-future science fiction setting, in the rainbow world we can imagine, this risk is mitigated. That’s the beauty of science fiction and fantasy—freedom of invention.

    But with all freedom comes responsibility. Which is something these filmmakers seem not to understand.


    Ursula K. Le Guin, "A Whitewashed Earthsea: How the Sci Fi Channel wrecked my books" (via)

    As EBP turns more to science fiction, we’re highly aware of the implication of who lives in the futures we imagine, who has power, whose story gets told. 

    (Source: zuky, via fuckyeahscifiwomenofcolour)

  6. anniekoh:

    Taking the Lane (Vol 2, 2010). Revolutions every damn day : a compilation zine for everyone by and about women who ride bicycles

    Thanks to an afternoon spent last June at the Barnard Zine Library, I encountered Elly Blue’s Taking the Lane zine series. This photo is of one of the articles that resulted in a mini fist pumps and a excitedly whispered “right on!” Taking the Lane is now also a distro for all sorts of women-and-bike awesomeness. Publishing the feminist bicycle revolution.

    Our second zine has been out of print for a while, but you can still find copies tucked away in corners of the libraryverse, like at Barnard!

  7. Yes, we are making more feminist bicycle science fiction. Bikes in Space Volume 2 is in the works!

  8. strandbooks:

    Highlighted passage, Reflections on the Art of Living: A Joseph Campbell Companion, page 173.

  9. girlsonwheelsmag:

    Afghan Cycles by Ana V. Francés

    "The bicycle has done more to emancipate women than anything else in the world. It gives a woman a feeling of freedom and self-reliance. The moment she takes her seat she knows she can’t get into harm unless she gets off her bicycle, and away she goes, the picture of free, untrammeled womanhood." - Susan B. Anthony

    1. Tell us about the project:

    Afghan Cycles is a documentary film about the Women’s National Cycling Team of Afghanistan. We follow the girls from their daily lives to training, telling the story of what it means to be a female cyclist in an otherwise oppressive country.

    2. where do the idea of the documentary come from? 

    Our Producer and non profit partner, Shannon Galpin/Mountain2Mountain, approached me last winter to tell me about the women’s team that was taking shape in Afghanistan. I have known Shannon for years now, and have been inspired by her work in Afghanistan from the moment I met her. She was the first woman to mountain bike in Afghanistan, so when she discovered that a woman’s cycling team was forming, I could tell she was excited to tell the story. She came to me with the idea of making a film about them, and I was on board immediately. The structure of the film has evolved and changed shapes in a lot of ways. After meeting the girls, we quickly realized how important this story was, and it wasn’t just about the cycling team. It’s also about the social and cultural taboos that these women are challenging by riding the bike.

    3. why girls? why bikes?

    Participating in sport gives individuals something to passionate about, and it allows them to be a part of cohesive team. For women in an oppressive county, that team dynamic and passion for sport can be incredibly empowering. Our story is about how the bicycle achieves this, and we see the metaphor of “pedaling a revolution” applying directly with this team of women who are challenging gender barriers. The bicycle played a big role in the Women’s Suffrage Movement in the States, and we see a lot of parallels between that time in our history, and the women on the cycling team in Afghanistan. There are more girls joining sports teams in Afghanistan everyday - boxing, basketball, volleyball, even skateboarding. The bike has long since been a symbol of freedom for women, most notably during the women’s suffrage movement in the United States in the early 1900’s.  The activist Susan B Anthony famously quoted that nothing was more important for women than bikes in the fight for equality.   Around the world today, the bike is a vehicle for social justice and change… used to help combat gender violence in rural communities, increase access to education and healthcare, and to provide cheap transportation alternatives.  In Afghanistan, riding bikes for women is still seen as culturally offensive and revolutionary.  Women have never rode bikes in Afghanistan and finally seeing young women ride bikes in the post-Taliban era is thrilling and inspiring, and sign of change to come.  

    4. why Afghanistan? what was your initial motivation to go there? 

    Shannon first traveled to Afghanistan in 2008, to start her work with women’s rights and gender equity in what is repeatedly ranked, the worst country in the world to be a woman. She wanted to find unique ways to work on behalf of women and girls, and over the past 15 visits, she had been inspired by the resiliency and strength of the women and girls that prove their worth every day in a culture that places little value on the lives of women. The concept of using the bicycle as a metaphor to “pedal a revolution” is a universal theme. Our ultimate goal with the film is to get more women on bikes, but we’re focusing on the Afghan team because they live in one of the hardest places in the world to be a woman. Documenting the progress and success of this team will show women internationally that riding bikes can be possible for women everywhere.

    5. How’s the feedback with the locals? In your time in Afghanistan, did you ever face a lot of opposition from the people of Kabul?  

    Our time in Kabul was amazing. Everyone we met was so hospitable and interested in what we were doing. There were certainly the times where your heart starts beating a little bit faster though - we were an all female crew filming an all female cycling team. Knowing that the team has been threatened in the past, we felt a bit vulnerable a handful of times. But our experience was incredibly hospitable. People always wanted to know more about what we were doing. We had incredible access with support from the local police chief and Province Governors. 

    (Shannon’s Perspective) My interactions with Afghans has been 99% positive.  Its a difficult place for women to work, its an even more difficult place for women to live.  Women have found their voice and are integrated into every aspect of Afghan society in urban areas like Kabul.  Educated Afghan men and boys value the role of women in society and are moving towards a more equal society, but the majority of Afghanistan is rural and uneducated and that creates a country with a wide spectrum of values and expectations.  The fact remains that this is still one of the most oppressive countries to be a woman, the Taliban are in control of many parts of the country, and women have to fight for their rights every step of the way.   The women that ride their bikes are taking risks that we would never expect to face in the West just to pedal a bicycle.  But they do this to express their rights, the normalcy of riding of a bike, and to challenge the gender norms.  That doesn’t happen without ruffling a few feathers. 

    6. Any story  that touched you particularly? 

    It’s difficult to say that one story touched me anymore than another story. With each of the girls, there was always that moment where we could feel them trust us wholeheartedly. It came in different forms for each of them, but when that shift happened through smiles, hand gestures, and broken English, it was always so special to me. In the beginning, we were total strangers, so asking them to open up to us about such taboo topics was a lot for them. When those walls fell and we connected on what felt like a deep and respectful level - well as a documentary filmmaker, that’s always a really special moment.

    "Photo by - Claudia Lopez Photography"

    "Film shots from the documental"


  10. Religion and bikes


    The newest issue of Taking the Lane (it’s the This American Life of feminist bicycle zines, in case you weren’t familiar) is about religion and bicycling. And like all our stuff, we’re Kickstarting it — starting today—help make it happen!

    As an extra bonus, we’ve got an audio zine coming out featuring favorite essays, including some good out-of-print and previously unpublished stuff, read—mostly—by the authors. 


    Blogged to the wrong tumblr… but now y’all can check out my other spot on here. Everyday Bicycling’s online counterpart, updated almost as rarely as this one.