Sometimes, I read a thing, and despite whatever mixture of rage, incredulity, consternation and general agogness it provokes in me, I nonetheless manage to sit down, muster my thoughts in an orderly fashion, and write out a calm and cogent rebuttal.
Other times, I read a thing, and my entire brain explodes in a symphony of What The Actual Fuck in D Minor. When that happens, I still try to do the whole cogent rebuttal thing, but I don’t always succeed, and the end result usually involves swearing.
This would be one of those others times.
Behold this blog post by author Rod Rees, expressing his thoughts as to whether or not male authors can successfully write female characters. This is an important question, one that can and frequently does lead to interesting discussions about privilege, the male gaze, stereotypes and default narrative settings; that being said, my short answer is always going to be an unequivocal yes. Above and beyond the fact that many of my favourite fictional ladies are male creations, I strongly distrust gender essentialism in all its forms, and the idea that women are inherently different, unknowable creatures, such that we exist beyond the true comprehension of men, falls firmly into that category. So, from the outset, let me be clear: male authors are totally, 100% capable of writing a wide variety of awesome female characters, and many of them frequently do just that.
But Rod Rees, I suspect, is not among them.
The utter gobsmacking cluelessness of his approach to the matter can best be summed up in the following quote:
This brought to mind other criticisms. One woman commented on the scene where Odette (a character I introduced in The Demi-Monde: Spring) was admiring her breasts in a mirror by opining that ‘Women don’t do that!’ I was tempted to reply, ‘Oh, yes they do!’
OK. Look. As I’ve recently had occasion to say elsewhere, women are not a hivemind. No one woman speaks for all women. And obviously, men can have genuine insight into women as individuals that some women might not have. But part of that insight must necessarily come from listening to women, and especially on the topic of women themselves. So when Rees’s response to criticism on the topic of women, by a woman, is a straight-up desire to gainsay her – as though her lived experience of actually being a woman is automatically inferior to his observations of same? That, I’m prepared to say, is the TOTAL FUCKING OPPOSITE of a healthy, helpful attitude.
As for admiring our breasts in the mirror, some women certainly do that. Hell, I’d even go so far as to say it’s something I’ve done myself. But if I’m agreeing with Rees, then what’s the issue? The answer is twofold: first, his reaction to the criticism as outlined above; and second, the text of the actual passage in question, which it just so happens I’ve read. Because there’s a big, honking difference between showing someone doing something normally, and showing someone doing something normal in an exaggerated, problematic fashion – such as, to pick just one example, the difference between the way women actually eat salad, and the way we’re depicted eating salad in a disturbingly large number of advertisements. Which, once again, isn’t to say that no woman in the entire history of human civilisation has ever sat at home, alone, laughing manically while delicately lofting a piece of cos in the direction of her epiglottis – it’s just that, by and large, this isn’t what happens.
This is how Rees describes Odette at the start of The Demi-Monde: Spring:
Examining herself carefully in her looking glass, Odette Aroca decided that she made quite a striking Liberte. That she stood tall and proud… and that the breast she had exposed was full and plump, all meant that she was the living embodiment of the figure shown in Delacroix’s famous painting…
Moreover, the instructions had continued, the robe had to be cut so that the right breast – and it had to be the right breast, the UnScrewed Committee members were devils for detail – was unsheathed. ‘Tempting but Untouchable’ was to be the UnScreweds’ catchphrase, and for a woman like Odette this was good news. She regarded her breasts as her second- and third-best features, having, as was often remarked upon by her admirers – many of her regrettably few admirers – big breasts. But then Odette was a very big woman, so it was natural that she should have breasts to match her great height and her equally great girth. Still, never being one to look a gift horse in the mouth. Odette gave a wiggle and was pleased to see that her untethered breast jiggled in quite a charming fashion.
Which is to say, he spends near as dammit two whole paragraphs describing her boobs in that telltale way invariably used by people without boobs of their own who are nonetheless possessed of a great interest in the boobs of others, viz: by using the language and phraseology of a sexually interested outsider, as opposed to the language and phraseology of someone who, regardless of their levels of self and sexual confidence, is talking about their own body. Because – and I’m speaking from experience, here – the idea of a woman who thinks that “her untethered breast jiggled in quite a charming fashion” is about seven different shades of ludicrous, never mind the “full and plump” part. More to the point, though: these are descriptions that Rees has actively chosen to incorporate into his narrative. We don’t need to hear a lengthy paean to Odette’s breasts in order to picture her physically, and we certainly don’t need one in order for the story to make sense, but we have them, because Rees likes boobs and thinks that his readers might like them, too. And that’s fine! It is totally cool that Rod Rees likes boobs, and wants to share his boob-love with the world. But that doesn’t mean that Odette’s thoughts about her breasts are any way realistic, and it certainly doesn’t mean that his decision to start the first paragraph of the first chapter with lots of gratuitous boobietalk isn’t going to look like a cheap, sensationalist ploy to grab the attention of male readers.
Returning, then, to Rees’s blog post, I find his apparent belief that male characters are typically the victims of more negative, pervasive stereotyping than female ones to be not only bizarre, but wildly inaccurate. He writes:
Female characters are, in my humble opinion… free of the limitations and pre-conceptions imposed by the curse of stereotype-itis that afflicts male characters. A male lead is beset by doubts and indecision and the appellation ‘weak’ heads his way: a female lead is beset by doubts and indecision and she is seen as ‘sensitive’. A male character panics in the face of adversity and he’s one step away from being labelled ‘a coward’; a female character does the same thing and she thought of as a pragmatist. A male character charges unthinkingly into a perilous situation and he’s ‘high on testosterone’; a female character . . . well, I doubt if she would, females being the smarter half of the h.sapiens double act.
Ignoring the gender essentialism of that last sentence – because benevolent sexism is still sexism, Mr Rees, however much you’d like to believe it’s a complimentary attitude – my reaction to this paragraph can best be summarised as follows: are you fucking KIDDING me? In what universe aren’t female characters subject to rampant stereotyping? In what universe are they stereotyped less than guys? I mean, where do I even begin debunking this bullshit? With the omnipresent damsel in distress trope? With the ubiquity of women in refrigerators? With an in-depth conversation about just how many stories don’t pass the Bechdel test, and why film schools actively teach screenwriters to fail it? I mean, Christ on a fucking BICYCLE – this is 101 stuff, and it is EVERYWHERE. And if Rees honestly thinks that male stereotyping in narrative is a bigger goddamn problem than the stereotyping of women – by which I mean, if he honestly thinks that male stereotyping in narrative is more common, more pernicious, and more deeply intertwined with fucked-up, sexist cultural notions about traditional gender roles than female stereotyping*? Then we have more and bigger problems than the boobie issue.
Such as, for instance, the fact that Rees thinks that learning exclusively about radical feminism is the same thing as being “pretty clued up” about the entirety of feminism:
What I discovered is that like all quasi-religions, Feminism has its zealots: so much so that I found it damned difficult to make HerEticalism more extreme than the world envisaged by the out-there radical-feminists. The upshot of all this reading and pondering was that I thought I was pretty clued up on feminism.
Maybe I was wrong.
Firstly, if you’re going to describe feminism as a “quasi-religion” – as opposed to, you know, the crazy belief that women are people who deserve equal rights, and coincidentally, where the fuck is my MRA bingo card when I need it, oh wait, it’s right here, and lookie! “Feminism is a religion” IS ACTUALLY ON IT, please wait while I headdesk unto infinity – then you have officially forfeited the right to talk about feminism as though you understand it. Period. Secondly, if you are incapable of distinguishing between radical ANYTHING and the non-radical version, then CONGRATULATIONS, YOU FAIL BASIC COMPREHENSION FOREVER. I mean, is it really THAT FUCKING DIFFICULT? He’s got the word radical IN there, and yet is evidently unaware of its role as a descriptive qualifier. Thirdly, why do I feel like the radical feminism Rees is referring to belongs to the same, outdated, Andrea Dworkin school of fringe theories that Mike Resnick and Barry Malzberg are so fond of conflating with the movement as a whole? What, did all these old, embittered white guys go to the same seminar on Why Feminism Is Insane back in 1973 and just take it as gospel forever and ever, amen? Do I even want to know the answer to that question?
And then, it gets even worse.
What I found most unsettling about these criticisms was their nugatory nature. My characters were being criticised not for doing what strong, independent women should be doing, but for doing what a section of the readership believes they shouldn’t be doing. Rather than look at the broader attributes/attitudes of a character, it is the minutiae that was being picked over… I am drawn to the Biblical parable about motes and beams and could take this religious analogy further: feminist criticism has many of the features of the theological debates in mediaeval times where being pilloried for heresy turned on the most trivial of deviations from the accepted canon.
Bear in mind, this comment is made in response to a female reader objecting to the fact that one of his female characters described herself as “a lush thrush with a tight tush”.
Savour that phrase for a moment. It might well be worse than the bit about the jiggling, untethered breasts, but either way, it’s sort of like comparing guano to horseshit, if animal faeces were composed entirely of gross, sexually objectifying language. But, I digress, because Rees has once again missed the point by a margin so epic, it’s like watching a man trying to drive to Dover and ending up in Calais. The issue isn’t with what your female characters are doing – it’s how and why you portray them doing it, and whether or not you’ve stereotyped them horribly in the process. Which, given the fact that Rees is evidently oblivious to the issue of female stereotyping – he even goes on to lament his “troubling suspicion” that feminist critique is trying to “confine female characters in much the same way as male characters have been” – sends up a red flag the size of Neptune about his total inability to recognise and avoid it. (As do his unthinking use of the Big Breast Pride and Omniscient Breasts tropes. For instance.)
Then I reached the penultimate paragraph.
But I have a suspicion that these proscriptions affect female writers as much as they affect male ones. It seems to be a fixture at the SF conventions I’ve attended to have a panel discussion debating why there are so few women writing in the adult SF and fantasy genres. Could it be that the success of female writers in YA fantasy fiction is in part attributable to their young female characters being better able to adhere to this template of the ideal female? Once female writers venture into the more visceral world of adult fiction they find this stereotype doesn’t work and hence struggle. Just a thought.
Let me get this straight: according to Rees, female authors only succeed in writing YA fantasy novels because it’s easy, and that once they try to venture into the “more visceral world of adult fiction”, they “struggle” to move beyond the “stereotype” of non-passive, actively feminist characters – and this is “why there are so few women writing in the adult SF and fantasy genres”?
WHAT. THE. ACTUAL. FUCK.
Here’s an alternate theory: adult SF and fantasy are chock-full of spectacular women writers despite the fact that troglodytic, sexist asshats like Rod Rees think that most of us are incapable of writing grown-up characters due to our Hindering Ladyfeelings. Plus and also? The idea that you graduate to writing adult novels after starting out in YA – or rather, that WOMEN can graduate to writing adult novels after starting out in YA, presumably because men who write about jiggling tits are sculpting literary masterpieces whatever the age of their intended audience – is fucking INSULTING.
And I just. I CANNOT with this fuckery, this I’m-so-enlightened-because-I-have-a-wife-and-daughters, therefore it’s COMPLETELY OK that I sexually objectify my female characters using the grossest language possible, ignore all female criticism of same because I know more about being a woman than women do, write off feminism as a radical religion while claiming to know all about it, and plead total and comprehensive ignorance of even the most basic forms of stereotyping that affect women in narrative, all while positing that the dearth of female writers in my field is due to female incompetence. YES. YOU ARE TRULY A PRINCE AMONG FEMINISTS.
*Which isn’t to say that male stereotyping isn’t a problem: it is, and it’s rife with problematic gender essentialism, too, particularly around the perpetuation of culturally constructed, restrictive and ultimately toxic notions of masculinity. Sexism in stereotyping cuts both ways, because that’s what sexism does: it hurts everyone, even the people it’s ostensibly meant to benefit. But there’s also a deep imbalance in terms of the scope and ubiquity of the representation afforded to men as opposed to women, and a much greater variety of male portrayals as opposed to female, which is why (for instance) you have Seth Rogan acknowledging the fact that Pineapple Express would never have been made if it were about two girls, and that he wouldn’t have a career if he were female.
30 June 2013, ETA: As of today, Jo Fletcher Books has taken down both Rees’s original post and a post published subsequently wherein Jo Fletcher explained why she’d allowed it to appear in the first place. (In a nutshell: Because Free Speech, I don’t censor my authors even though it’s not something I’d have written myself, which is fine, except that this isn’t what people were objecting to – or at least, not insofar as the decision to publish went – and therefore came across as missing the point. As was explained by several people in comments on that second post, the issue on that count was more to do with the fact that, if you publish something on your company blog, regardless of whether or not You, The Person agree with it, then people are, not unreasonably, going to assume that You, The Organisation does – or at the very least, that your company doesn’t *disagree* enough with the content not to have refrained from publishing it in the first place. Thus: if you publish a sexist piece on the company blog, then while Because Free Speech will certainly explain your personal decision to do so, this explanation is neither synonymous with nor a substitute for an explanation about why you chose to associate your company with sexism – or, more pertinently in this case, with why you’d then be surprised that people were disappointed in you for having done so.)
Anyway. The original blog might be gone, but this being the internet, it lives on in cache and screencap, in which form it can still be found here.
3 July 2013, ETA: With no explanation, both posts are now back up at the Jo Fletcher Books Blog. So, there’s that.