Every time I hear someone talking about the lack of boy books I die a little inside. Books have no gender. The lack of boy books is not a problem1; the problem is adults assuming boys will only read books about boys.
Here are two terrible assumptions embedded in that one little phrase boy books:
1) The assumption is that boys are only interested in boys and thus have zero interest in girls. That’s a terrible assumption because in assuming it we teach it.
2) Boys are all the same. When we think boys are all the same we mostly imagine that they’re white, straight, able-bodied, cisgendered and interested only in stereotypical boy things like sports. What about all the boys who don’t fit those categories? Children’s and YA publishing remains overwhelmingly white.
In this never-ending debate about getting boys reading it’s often forgotten that there are also girls who don’t read, as well as non-gender conforming kids. What about them?
If we want to get more boys reading we need to start by broadening that to wanting more kids reading. It turns out that the main thing kids who don’t read have in common is that they come from families that don’t read. They grow up in households without books. They’re not read to regularly before they learn to read themselves.2
The second key is to broaden what you count as reading. Non-fiction, comics, manga–it’s all reading. Airplane manuals, magazines, blogs, tumblrs—IT’S ALL READING.
It will probably turn out some of the kids you don’t think are reading actually are.
Tailor your book recommendations accordingly. If they like superheroes, give them Ms. Marvel. If they like airplanes and astronauts give them non-fiction about women in those fields. Etc. This is one of the many amazing things that librarians do so well.
Also do not get me started on those who tell kids what they’re reading isn’t challenging or complex enough. Let kids read what they want! Especially as the notion of complexity usually has to do with page count and some ridiculous formula about lexical density. Neither of which measures the complexity of the meaning of the words on the page. Do you know what’s a really simple game? Go. Thousands of years old and it took computers longer to learn how to be grandmasters of Go than the supposedly more complex chess. Do not get me started on the spuriousness of complexity as a virtue.3 Ooops. Too late.
Studies show novels teach empathy. But if someone’s only reading novels about white, middle class folks, well, I wonder. If you want boys to become more empathetic encourage them to read books by and about girls, about boys who aren’t like them, about transkids.
I recommend this for everyone. Especially white middle class folks like me. Truly, a steady diet of books/TV/movies/fakenews about folks like us is unhealthy and leads to disastrous election results.
I’m convinced much of the panic about boys not reading is really a panic about how many more books there are about girls these days. For which, hurrah! And yet picture books and early reader books still overwhelmingly have male protagonists. Middle grade is still more than fifty percent male.
It’s only YA that’s dominated by female protagonists and we panic. Just think about that. Male protagonists dominate movies particularly animated movies4, TV, graphic novels, non-fiction, toys, games, and yet we’re all, What about the boys?!
Some days I just can’t. At all.
Me go do my job now of writing genderless novels for anyone who cares to read them.
Note: Thanks to Sarah Park Dahlen for her comments on a draft of this. And thanks to Sarah and to Edi Campbell, Angie Manfredi, Debbie Reese and Ebony Elizabeth Thomas for influencing my thoughts on this subject.
Loads of research has been done on this. You can find some of it in Reading Matters: What the Research Reveals about Reading, Libraries, and Community by Catherine Sheldrick Ross, Lynne (E.F.) McKechnie, and Paulette M. Rothbauer. [↩]
Today Ambelin Kwaymullina, who is an Aboriginal writer and illustrator from the Palyku people, has generously allowed me to publish this essay.
I’ve been an admirer of Ambelin Kwaymullina’s work for some time. Not just her wonderful dystopian trilogy about a far future Australia, The Tribe series, but her thoughtful essays. She has become one of the most important Australian voices speaking out about diversity and Own Voices.
This essay is particularly important now that so much of the world is shifting to right-wing, racist governance. The work of people like Kwaymullina show us ways to fight back and make our voices heard.
Thank you, Ambelin Kwaymullina.
Thoughts on Being an Ally of Indigenous Writers (and other marginalised writers) in the Kids Lit Space
I’m increasingly being asked about how to be an ally of Indigenous writers—so here’s a few thoughts on some of what it takes.
1. Be able to articulate and interrogate your position—especially your privilege.
We all have a location in this world. Indigenous peoples are accustomed to identifying our position—our homeland, our people—and recognising the boundaries that position places upon us. For example, it is a rule common to all Aboriginal nations of Australia that no one can speak for someone else’s homeland (Country), and there are many other boundaries on who can tell what stories in Indigenous cultures.
The privileging of Whiteness means that ‘White’ has not historically been viewed as one location amongst many but rather as a kind of default normal; the universal lens through which which all other experiences of the world are to be interpreted and judged. Male privilege, and heteronormativity and ableism, work in the same way. And being an ally of others requires being able to articulate and interrogate the position that you hold and the privilege that it gives you.
All non-Indigenous peoples are to some degree privileged in relation to Indigenous peoples, because all who came here post-colonisation benefited from the dispossession of those who were here before. This means that non-Indigenous peoples writing about Indigenous peoples are doing so from the fraught position of holding a privilege that emerged from—and is in some ways sustained by—the marginalisation of the peoples they write about.
While these resources relate to White privilege, they can also have a broader relevance. For example, as an Aboriginal writer, I’ve found it useful to reflect on the White rules of engagement both to understand the reactions I encounter from some White colleagues and also to prompt consideration of how I should engage with marginalised groups to which I do not belong. I’m not suggesting that different forms of marginalisation equate; merely that its been helpful to me to consider the invasive patterns of behaviour DiAngelo identifies so as to ensure that I do not replicate similar patterns in different contexts.
Interrogating position and privilege also leads to the question of what stories can (or should) be told, and by whom? And in this respect, it is not a numbers game. I’ve had the view put to me before that there aren’t a sufficient number of Indigenous people to write ‘enough’ books and therefore White writers must step in to fill the story-space.
If writers of privilege do not proceed with considerable caution, they will become not liberators, but an occupying force whose presence in the field prevents Indigenous stories from being told and heard. This is why I have said that one boundary I believe non-Indigenous writers should observe is not to tell Indigenous stories from first person or deep third. I accept the same boundary in relation to writing of experiences of marginalisation not my own.
Beyond this, its extraordinarily difficult to write of other peoples, even when observing respectful boundaries. It requires time, research, reflection, and advice—and this is not solely an author responsibility. It’s publishers as well. I know of instances when White authors have been horrified to find that they have unwittingly included harmful stereotypes about Indigenous peoples in a novel. These things can be more difficult to spot than you might think. I’ve said before that words written about marginalised peoples have a weight and a cost, but if you don’t come from that group, then the weight is not one that you carry and the cost is not one that you pay. And that means it can sometimes be hard to see when you are contributing to harm. Authors rely on editors to guide us and challenge us and question us—but how many editors truly have the expertise to either spot a representation issue, or to realise when they need to seek specialist advice from someone who does have the expertise? I’m not saying authors shouldn’t take responsibility, but publishers have a responsibility too. And there are some amazing people in Australian publishing who are proactive in informing themselves about the issues and who continually strive to improve their practice. But we need a lot more people to do this if the industry is going to achieve sustained change.
2. Ask yourself why
Why do you wish to support others? It can be easy (for anyone) to fall prey to the perils of saviourism; the seductive allure of being the person who ‘helps’. But in many ways the goal of any good ally (or advocate) should be not to make yourself more useful, but less—the idea is to be so good at ally-ship/advocacy that you become redundant. I look forward to the day when I no longer need to speak out on diversity in children’s literature because the industry has reached the point when all voices are heard equally and all voices have an equal opportunity to be heard.
I believe supporting others requires a rights-based, strength-based approach. Rights-based, in that I recognise that the denial of anyone’s rights, and the diminishment of anyone’s humanity, diminishes and denies my own. No one should therefore be grateful to me for any support I offer; their fate and mine are intertwined. Strengths-based, in that I am not ‘fixing’ the deficit of others but challenging the barriers—including the lived impact of those barriers—that prevent others from being able to actualise their strength and realise their potential. And let me be clear here: I am not suggesting I have a ‘right’ to tell someone else’s stories. I am saying that the exclusion of marginalised voices harms me whether or not it is the exclusion of a group to which I belong, and the way to address that harm is to challenge the barriers that prevent the strength of those voices from being heard.
3. Identify (and if necessary change) your personal narrative
Most of us would like to think of ourselves as good people. But when it comes to dealing ethically and equitably with others, having a view of ourselves as a ‘good person’ can be counter-productive. For example, as a straight, cis gendered woman who wishes to support LGBTI writers, having a personal narrative of ‘I am a good person and therefore I cannot be homophobic’ is both inaccurate and unhelpful.
We are all capable of absorbing harmful attitudes and enacting harmful behaviours; ‘good’ means being aware enough to identify the attitudes/behaviours either on our own or through having them pointed out by others. And if someone does point out we’ve caused harm, the appropriate reaction is not to be angry with that other person but to make a genuine apology and to be grateful for the insight being offered into someone else’s world.
4. Inform yourself
Anyone truly interested in supporting others should take the time to find out something about about the peoples they wish to support—and with Indigenous peoples, everyone can start with some of the quality resources available free and online. These include, in relation to Indigenous cultures and histories, the exhibitions and other information available at the AIATSIS website; the resources on Indigenous civil rights and land rights at the National Museum of Australia; the Bringing Them Home report and associated resources; and the Share Our Pride module on the Reconciliation Australia website.
People can learn appropriate terminology by accessing one of the many Aboriginal and Torres Strait Islander terminology guides produced by Australian universities and government departments (google Indigenous terminology guide, and you’ll find a heap).
All this is only a starting point beyond this, and especially for anyone with a love of books, I think one of the best ways to engage with the diverse cultures, histories and experiences of Indigenous Australia is to read our stories. And for kids lit, the publisher with the biggest list of Australian Indigenous stories is Indigenous publisher Magabala Books.
5. Use your power
If I had a dollar for every time someone in literature has told me they’d like to do more for diverse writers if only they had the power, I would even now be using my many dollars to establish an Own Voices prize in Australian kids lit (‘Own Voices’ is shorthand for books written by marginalised writers about their own marginalisation). I understand that resources are few—but the level of our individual power (and therefore our individual responsibility) can only ever be measured by reference to those who have less choices than we do, not those who have more.
Judged by that standard, the vast majority of people associated with Australian literature are immensely powerful. Besides which, in the age of the internet, everyone is able to realise their individual power in ways that weren’t possible before the arrival of the worldwide web. Anyone can tweet, share, review and otherwise promote books written by Indigenous writers. Anyone can draw on online resources—such as those provided by the Racism. It Stops with Me campaign—to train themselves to be aware of discrimination at individual and systemic levels, and to say something if they see something (provided it is safe to do so).
Everyone can read and engage with the nuanced and multi-faceted conversation coming out of the US on diversity in kids lit (and anyone with an interest in Indigenous issues in this regard should be following American Indians in Children’s Literature). Everyone can raise up their voice, whether through the net or otherwise, to demand that marginalised voices be heard.
And in so doing, we can all be part of something larger and greater than ourselves.
Today in honour of James Tiptree, Jr.’s birthday I’m publishing my guest of honour speech from this year’s WisCon. WisCon is the longest-running feminist science fiction convention in the world. It’s an amazing con.
My fellow guests of honour, Nalo Hopkinson and Sofia Samatar, will also be publishing their speeches. Both speeches are amazing. Check them out!
I’d like to thank you all for inviting me here and especially Tempest Bradford for taking such good care of me and being such a good friend. I’m honoured to be GoH along side Sofia Samatar and Nalo Hopkinson. Especially Nalo, who has been a long-term mentor of mine, even if she didn’t know it, and a wonderful friend. Thank you.
My life as a YA writer
I used to write respectable scholarly work on feminist science fiction for adults. I have two published tomes that attest to that fact. The Battle of the Sexes in Science Fiction and Daughters of Earth.
That work led me here twenty years ago to this feminist science fiction paradise. I love WisCon. I love youse all.
I used to be a WisCon hometown girl. I used to organise the academic track and then the readings track.
I once spent an entire WisCon weekend attempting to interview the wonderful Judith Merril, which involved much running after Judy in her extremely fast motorised wheel chair. I miss her.
I also miss my dear friend, Jenna A. Felice, who died far too young.
This convention is full of memories for me, happy and sad.
And humiliating. I once made a total fool of myself here in front of Ursula Le Guin. I’m blushing thinking about it. If I could go back in time to fix one of my fucks ups that’s the one. Not the one where I threw a glass of Guinness in an ex’s face, which also happened here.
I admit—and I wouldn’t have admitted it back then—I used to dream that one day I’d be a guest of honour here. But then in 2003 I sold a novel and had the following conversation multiple times here at WisCon:
ME: I sold a novel! To Penguin! Three novels, actually! Them: Wow. That’s fantastic! Fantasy or science fiction? Will you be working with Ginjer Buchanan? Me: Fantasy. No. Them: What’s your book about? Me: A teenager who discovers a door that’s a portal between Sydney and New York and that magic is real and totally fucked up. Them: A teenager? As in teen fiction? Me: Yup. They call it YA these days. As in Young Adult. Them: Teenagers? Young Adult? Wow. Is that the time? I must dash.
Folks who’d been following my work for years apologetically confided that they would not be reading my novels.
It stung more than a little. Especially as it meant my dream of one day being Queen of WisCon aka GoH was now gone. I looked over the list of past guests to double check yup none of them wrote only YA. Most of them wrote no YA at all.
Yes, sure, Ursula wrote A Wizard of Earthsea and Tehanu but she also wrote The Left Hand of Darkness among many other classics of real science fiction and fantasy so it’s all good.
WisCon still hasn’t had a GoH who is mostly known for their YA. Tamora Pierce has never been a Guest of Honour here. Shocking, I know.
Even I have those two non-YA books, which, I suspect are a big part of why I’m guest of honour today. Hey, I’ll take it! My two scholarly books are not who I am now, I will never write more, but I’m still proud of them.
Adults Hate Teens
Turns out it wasn’t just the SFF crowd who aren’t fans of YA. (Though I suspect that SFF folk have particularly painful memories of being a teen and being oppressed by other teens.) I heard the following a lot: “Teens are awful. Being a teen was awful. Why on Earth would you write about them?” Often accompanied by visible shuddering.
It was starting to dawn on me that the horrified reaction to my writing Young Adult had little to do with the books and a whole lot to do with lack of interest in, as well as fear and hatred of, teenagers. Much as dislike of Romance is often more about misogyny than the books themselves.
It’s a mystery to me how I failed to notice that many adults hate teens. I’d certainly been aware of it when I was a teen. But somehow I forgot.
I also realised that adults hating teen wasn’t just a personal thing it was also a societal thing. There are, in fact, laws against teenagers in many jurisdictions. There are stores and even whole malls that won’t let teens in unsupervised by adults.
Why? I wondered. Why do we hate teens so much. I mean sure some of them are arseholes but so are some adults. What’s going on?
I started reading up on teenagers. (Brace yourself specialist historians for some pretty reductive, cringe-inducing history.)
What is a teenager?
When did the teenage years become a social category in the West, that sits in between childhood and adulthood?
To be clear adolescence, the biological stage, involving puberty and growth spurts and the rewiring of brains, has been a known thing for ages. The word adolescence is first used in English, borrowed from the French, in 1425. Meanwhile the word “teen age” doesn’t appear until 1921 with a space between teen and age and quote marks like tongs around it. Teen-ager in 1941. Teen-agedness in 1952 and teenaged in 1953. All of this is not to prove that I can use the OED like a fiend but that “teenage” and it’s variation are not even a century old yet!
Teenagers as a social category, that could be studied, marketed to, and blamed for society’s ills, didn’t exist until last century. In the West you were a child and then you were an adult working, depending on your time period, on the farm, on your back, in the mills, in the navy, in factories, in the streets, in someone else’s home.
If you were born a slave there was no childhood. The richer you were the longer you could be a child.
The spread of education and schools beyond the wealthy, caused lengthened childhood. This was reflected in legislation. For example in Britain the workday for eleven to eighteen year-olds was shortened to 12 hours in 1833. The minimum age of marriage was raised to sixteen in 1929.
All of these changes are deeply connected to the shift from agrarian society to capitalism and the related shift from extended family to nuclear family and the emergence of white supremacy and advertising and psychopathy and . . . MANY THINGS.
In the 1930s we get teenagers. Bobbysoxers and teen hysteria. By the 1950s Hollywood is churning out movies about this newly invented menace to society—Rebel Without A Cause (1955) being the most famous and one of the few with actual teenagers in it although James Dean was 23, Natalie Wood was 16, Sal Mineo 15, and Dennis Hopper 18. The Wild One (1952) was one of the most ludicrous and starred the twenty-eight year old Marlon Brando. You keep being you, Hollywood.
Moral panics about teenagers and what they like began almost as soon as there were teenagers. There were panics about flappers and bobbysoxers and their obsession with that ne’er do well Frank Sinatra. Then there was the freak out about rock’n’roll and Elvis Presley in the 50s. The 1960s was nothing but a moral panic: drugs! Hippies! Teenaged druggy hippies! Psychedelia! Then there was skateboards, heavy metal, rap music, satanism, file sharing, hoodies, video games, MySpace, Snapchat. Many of which were restricted or banned because teens liked them.
Teens apparently are the worst. We do everything we can to control them and keep them away from us.
Adults Love Teens
Teens are also the best, inhabiting this fabulous parallel universe where they are the top earning models in the world, the stars of many movies and TV shows (albeit mostly played by actors who are no longer teens). When popular culture isn’t portraying them as out of control monsters, it’s showing them leading carefree happy times of exploration and freedom, menstruating blue ink for the very first time, buying cool fashions, making music, hanging out with other beautiful, perfect-skinned teens at diners, malls and clubs.
Without teenagers consuming them fashions and movies and video games—and books—rarely take off.
Adults Love YA
Teens have made YA the second most profitable fiction category in the USA—after romance. Twelve years ago I mostly had to explain what YA is. These days not so much. Some of those folks who were bewildered as to why anyone would write YA back then, now read it, and some of them even write it. YA advances are, on average, higher than those for SFF writers.
Most of the top-selling SFF books in the USA are YA, not adult. Many YA books sell millions of copies all over the world. Not my YA books, alas. Can’t have everything.
YA, of course, could not be this huge if only teens were reading it. The Hunger Games trilogy sold far more copies in the USA than there are teenagers. Adults are reading YA in huge numbers. Adults are making YA super profitable for publishers.
But it was teens that started the YA explosion. They were the ones who pushed the Harry Potter, then Twilight, then Hunger Games series on their parents and teachers and other adults in their lives. Pretty much every mega-hit YA book starts out that way.
You’d think the shared bond of loving books would diminish the hatred and suspicion of teenagers and the things they like.
You’d be wrong.
There’s now a whole genre of op ed pieces about how YA is destroying the minds of the adults foolish enough to read it, turning them into blithering, infantalised ninkompoops who will never grow up. At the same time we YA writers are also corrupting the teens who read our books. Multi-tasking!
We YA writers are purveyors of soul-destroying darkness and filth, who lead teens away from reading joy-filled, life-affirming texts like Hamlet, Macbeth, The Scarlett Letter, Lord of the Flies and The Great Gatsby, which all feature on lists of books most commonly taught in US high schools.
YA books have joined the long list of things teens like that must be banned and/or set on fire. Do we legislate against what teens like because we envy their unwrinkled skin and carefree existence?
Problem is outside the imaginary teen utopias of popular culture teens have little freedom.
One of the most consistent complaints about my books from teen readers is that they’re unrealistic. Not because of the magic, or the fairies or the zombies or the vampires. No, teens consider my books unrealistic because my characters walk to school by themselves, because characters in my books have time with their friends unsupervised by adults.
Teens right now, especially in the USA, are the most surveilled generation ever.
I could go into more detail but read Danah Boyd‘s It’s Complicated: The Social Lives of Networked Teens published by Yale University Press but also available online for free. She demonstrates this fact in exhaustive and depressing detail and concludes that teens spend so much time online because that is pretty much the only space left where they can hang out with their friends unsupervised.
Who Gets to be a Teen?
Teens live in a dystopia, which may have a thing or two to do with how popular dystopias tend to be with teens. Even when publishing declares the dystopia to be dead.
But some teens’ dystopias are a lot worse than other teens’ dystopias.
One of my first big book events was in the Bronx in NYC. Students from economically disadvantaged high schools were given a free book. They got to choose either my Magic or Madness or Scott Westerfeld’s Uglies. We stood up on a stage in front of several hundred teens of colour and told them about our books and writing and they asked questions.
It rapidly became apparent that the majority of the students had chosen my book even though Scott’s book had sold vastly more copies. At the end we did a signing. I asked why they chose my book. Most students gave the same answer: “Because the girl on the cover seemed like she might look like me.”
They wanted to see themselves.
One of the PoV characters in Magic or Madness is an Hispanic teenager from the Bronx. Back then there weren’t many YAs with a character like that. Back then the vast majority of YA books had white teens on the cover. The same is true today.
When you google image “teenager” the images are overwhelmingly of white teens. Where are the black teens? The Asian teens? The Native American teens? The Hispanic teens?
Last year roughly 80% of YA was about white teens and written and published by white adults. And of that that 20% that isn’t about whites most of it is also written by whites. Whites like me writing from the point of view of Indigenous, Hispanic, African and Asian-American teens. (My figures come from The Children’s Cooperative Book Center, which is located right here in Madison, Wisconsin. They do an annual breakdown of the books it receives by race. They keep track of the race of the authors/illustrators as well as the main characters. In 2015 the majority of YA and children’s books with main characters who were African-American or Native American were written by white authors. The majority of books about Asian and Pacific Americans and Latinos were actually written by those peoples. However, those books made up fewer than 7% of all books.)
I have been told over and over again by teens of colour how much it means to them to read about teens like them. To see faces like theirs on the covers of books. But they’re even more excited when they turn to the author photo and see someone who looks like them.
Why does this matter?
It matters because books and movies and tv teach us to understand other people. They teach us to recognise who counts as a human being.
When our popular culture only shows a small percentage of the population being represented as three dimensional human beings we’re being taught that those who don’t fit that image don’t count.
What’s at stake?
Disparaging YA as inferior because it’s about and for teenagers matters because what’s at stake here is who counts as human.
What those op eds and laws that corral teens are saying is that teenagers don’t count. Yet being a teenager does afford some privileges. However, those privileges are not afforded to all teens.
White teens are less likely to be arrested than teens of colour, and when they are arrested they’re less likely to be charged, and when charged they are less likely to be convicted, and when convicted they are more likely to be given lenient sentences.
White teens are far less likely to be tried as adults. That’s right, the coveted adult category is bestowed on teens of colour most often when tried before the law so they can face harsher penalties.
Eighteen year old Michael Brown was called a monster and a demon with superhuman strength by adult cops. Meanwhile white young adults up into their twenties still get to be boys when accused of wrongdoing. Especially when accused of rape: “He was just a boy. He didn’t know what he was doing. He deserves another chance. We can’t let this one little mistake ruin his life.”
All too often that “little mistake” is another human being.
I’ve focussed on race today but the privilege of that “real” teen, the one who gets to make mistakes, rests not just on his race and sex, but on his heterosexuality, his ablebodiedness, his neurotypicalness, his Christianity, his cisgenderedness, his economic privilege, and all too often, his athletic prowess.
We here at WisCon pride ourselves on our work towards social justice. We use science fiction and fantasy as a lens on the world. As does SFF YA.
This historically new stage of life—teenagers—which is the matter of YA, not just its supposed audience–is a nexus for a lot of the things we do and discuss here—social justice work around identity: race and class and gender and sexuality and religion and politics and surveillance and so on. The Black Lives Matter movement has a large teen contingent, who were there from the beginning in Ferguson.
Loads of recent SFF YA has been grappling directly with these issues. Read last year’s GoH, Alaya Dawn Johnson’s Love is the Drug. Or Sherri L Smith’s Orleans. Or D. J. Older’s Shadowshaper. Or . . . I could go on all day.
I’ve been rereading Octavia Butler lately, who has been a huge influence not just on adult SFF, but on YA, and on some of the writers I just mentioned, as well as on me. I was reminded yet again, that so much of Butler’s work is explicitly about power imbalances, about privilege, and who wields it. Guess who else understands a lot about how power imbalances work?
And that’s one of the many reasons that they matter.
Last week I had a guest post over at the fabulous Reading While White blog. (I would have posted about it sooner but I’m on a writing holiday.) As you will have noticed from postslikethese white folks and race is something I think about a lot. If you haven’t already seen it do check out the post over there. There’s been a very strong response so far. Thanks to everyone who commented on the blog, on Twitter and shared the link. We really appreciate it.
On the 24th of August I’ll be posting my WisCon 40 Guest of Honour speech and links to the speeches of the other GoHs, Nalo Hopkinson and Sofia Samatar. It was Sofia’s idea that we three GoHs post our speeches on the same day. She chose the 24th because it’s James Tiptree, Jr.’s birthday. Perfect.
I would share my view as I write this but you’d all die of envy. Writing holidays are the best.
Why are you writing this book? Why have you decided to write a protagonist whose background is different from your own?
Is it because you want to make the world a better place? Because doing so seems to be the cool new thing? Because you lived for many years in a foreign country and you think that writing about it from that outsider’s perspective is voyeuristic and exploitative? Because you have the imagination and understanding to do so? Because you’re the reincarnation of an African king? Because you came across a cool story in the local newspaper and only you can do justice to that story? Because you’ve been part of the community you’re writing about since birth? Because the voice of the character came to you in a dream?
Once you’ve figured out why you’re going to write an Indigenous protagonist or Protagonist of Colour and can explain your motivations clearly you can move on to:
Step Two: Research
Writing from the point of view of someone from a community that gets less representation in mainstream culture than your own is hard. Especially when what representation they do get is largely negative and/or stereotyped. If you do not know people in that community, and have not spent time in that community, it will be an uphill battle to write from that point of view believably.
Which is why you must research.
As much as you can avoid accounts written by outsiders—all you’ll learn is how outsiders see them, not how they see themselves. Read books written by the people of that community. Watch TV and movies created by them. Look at what they write about themselves on social media. Listen to their podcasts.
Confusingly, you will find many of their accounts of themselves and their communities contradictory. Take a moment to think about that. Is it really confusing to have a wide range of opinions within the one community?
Consider the histories and novels that have been written about your community. It’s likely they’re every bit as contradictory. There is no completely unified community that agrees about everything. You know, other than, say, The Borg.
Ask the people you know well in that community questions. Listen to their answers.
If you don’t know anyone well from the community you’re writing about go back to step one, Why are you writing this book?
Do not jump onto social media to ask strangers about their community. Though some may be kind enough to respond it is not their job to teach you.
Step Three: Find Sensitivity Readers
When you have finished your diligent research, and have a complete manuscript you’re happy with, you need to have people from the community you’ve chosen to represent look at your book. Approach these readers in good faith and pay them for their work. Because it is hard work.
When someone critiques your book about their community it’s called a sensitivity reading. It’s called that because they’re reading to see if you have been sensitive to the community you’re writing about. If you have instead written stereotyped caricatures then critiquing your book is going to be even harder work. For some readers it will be painful work.
It’s best to have more than one sensitivity reader. Some readers might tell you the book’s fine, or only find a few minor problems with it, while others will find major problems. No community agrees on everything. Listen carefully and rewrite your book accordingly.
I had two of my readers tell me they found some of the dialogue of the black characters in Liar jarring. While other readers had no problem with it. I opted to change it. None of those readers had a problem with Micah’s use of the word “nappy” to describe her hair, though they agreed it might be a problem that I, a white writer, was using it. After publication some readers found it offensive. I discuss that at greater length here.
No amount of careful rewriting based on your sensitivity readers’ critiques will shield you from criticism. That is not what sensitivity readings are for. They are to show you how to write your book as accurately and as sensitively as possible.
And there you have it in three easy steps you now know how to write from the point of view of a Person of Colour or an Indigenous person. What could go wrong?
What’s Wrong With This Guide
Sadly, a lot goes wrong, particularly at step one.
Let me speak from my own experience, having written six books from the points of view of Teens of colour and an Indigenous teen. I went wrong at that first step. I did not ask myself why I was doing this. It did not occur to me that writing from an Indigenous or PoC point view was problematic.
If I had asked myself, these are the reasons I probably would have given: that I wanted to examine racism, and that I was trying to make YA more diverse.
My old belief that I couldn’t write about racism from a white point of view is garbage. Certainly books like To Kill a Mockingbird show that. But books like Mockingbird have other problems. Racism in Mockingbird is something that good white people save black people from. Racism is something that bad whites do, not a system of oppression that benefits all whites. There need to be more books in YA that examine white complicity in systemic racism.
I also thought I was saving YA by writing PoC and Indigenous main characters. It’s a notion that is dangerously close to the idea of the white saviour.
Once I’d proffered those two woeful reasons I would have explained that I was qualified to write these books because I spent part of my childhood living on Aboriginal settlements in the Northern Territory of Australia and because I have many friends who aren’t white. At the time I doubt I’d have realised I was literally saying, “Some of my best friends are black”. Yes, I’m ashamed.
Arrogantly, I did not let what I didn’t know about my Aboriginal and PoC protagonists be a bar to writing them. I made my protags of the same class and gender as me, which I figured would give me enough commonality to write them convincingly. Spoiler: it doesn’t. I did not consider how much I didn’t know about the ways in which race and ethnicity shape class and gender. It is impossible to know what you don’t know, which also makes it incredibly hard to write believable characters’ whose experiences are far from your own.
There are books by white writers with PoC protagonists that are loved by some people in those communities. But I think we white writers can do more good by calling attention to the books by PoC and Indigenous writers and by thinking about PoC and Indigenous readers.
In answering the question of why you want to write a book about someone else’s community try to think of those readers before you think about yourself. Think about who is better qualified to tell their stories: you or them?
Misusing Sensitivity Readers
In the last few years I have heard multiple stories about white writers in the YA, Romance and SFF communities misusing and abusing sensitivity writers. Writers who have employed sensitivity readers in bad faith, only wanting these readers to give them the Indigenous or PoC seal of approval. Spoiler: there is no such thing.
Sensitivity readers do not read your manuscript to give you cover. They read to show you how to make it better, how to make it not offensive. If they think that’s not possible they will tell you to kill the project.
Listen to them.
Writers who keep getting the same critique from sensitivity readers and ignoring it are acting in bad faith. If more than one person finds the same problem with your manuscript LISTEN TO THEM. And if it’s more than five or ten or, as in one case I heard about, twenty people pointing out the same problem? And you continue to ignore them and send your manuscript to yet another sensitivity reader? You need to stop. You need to burn the manuscript and go all the way back to step one and realise that you had no good reason for writing that book.
You also need to realise that you have trashed your good name in the community. People talk. People know what you’re doing and they’re appalled.
If you can’t take critique from the people who know the life experiences of your protagonist better than you do then STOP.
Pointing to the good reviews your book received once it was published, the prizes it won, is irrelevant. The vast majority of trade reviewers are white. The vast majority of major literary prizes come from white institutions. We white folk are not the best judges of accurate representations of any communities other than our own.
Nor is pointing to the Indigenous readers and Readers of Colour who’ve told you that they love your work. All too often they are so starved for representation that many have learned to be generous readers of even the worst representations. All too often I have heard teenagers say they’re just grateful to see themselves on their cover, to be able to read a book about someone like them, even if it doesn’t ring true.
What makes Edi and Debbie’s work powerful is that it is so clearly about the children and teenagers in their communities. Their mission is not to castigate white writers; it is to find books they can recommend wholeheartedly to those readers.
That is all the readers of any community that has been historically stereotyped and underrepresented wants: to read books that won’t make them roll their eyes, wince, or put the book down because reading it is too painful in the very worst way.
It’s Not About Us
Their work is not about us white writers. This debate about diversity in literature is not about us white writers. The only way to fix what’s wrong with publishing is systemic change at every point within the industry: from the CEOs of publishing companies through to the writers and editors and agents and sales reps and booksellers and librarians. Right now the majority are white. That has to change.
But we white writers keep centring ourselves. As Patrick Jones does in his recent article, Writing While White, published in the June 2016 issue of Voya where he discusses writing PoC teen protags as a white man:
I shared the first few chapters with two award-winning black female authors who said, more or less, “No, you—as a white male—can’t tell this story.” I also asked a black female librarian from Flint to pre-read it. Her comment-slash-question, “Why didn’t you have them eating fried chicken and watermelon?”
Chasing told one black girl’s story; the pre-reader saw it as a white retelling a stereotypical story. I caved, but at the time, I didn’t think it was the best move. I understood the arguments about writing outside of race, but I didn’t accept them. So Tonisha became Christy.
Jones did the right thing in that he asked knowledgable readers to critique his book and they said, don’t do this. So he changed “Tonisha into Christy.” Well and good. Except that Jones does not seem grateful for their critiques nor does he acknowledge their hard work. He seems to have wanted his sensitivity readers to give him the PoC seal of approval and is annoyed that they didn’t.
Jones also doesn’t seem to understood what they told him. Maybe they did say to him, “No white man can write this story.” But it also seems like they were saying, “You, Patrick Jones, cannot write this story. You have not created a believable black girl living in Flint. You have created a stereotypical caricature of a black teenage girl living in Flint, who might as well be eating fried chicken and watermelon.”
He presents their thoughtful critiques as bad advice that he caved to. He says he understood their arguments but that he didn’t accept them. He describes the long-running debate about racism and the need for more diversity in YA as noise.
That’s the language of someone who is not listening. Someone who mischaracterises this vital movement to change YA as being about whether white people are allowed to write PoC protagonists. This is a common misconception.
Later in the article Jones says he’s decided to stop writing PoC protags because he worries Teens of Colour might view his books as “perpetuat[ing] stereotypes.” But then he undercuts that central concern by saying he’s stopping because it’s all “too complicated and stressful” making it about him again.
she didn’t expect Jones’ piece to spark controversy. “Patrick Jones is a highly respected member of the YA library community and the YA lit community,” she wrote in an email. “The first person account of his own journey of questioning the efficacy of his writing about POC, extrapolated to that topic, in general, brings a human dimension to the article for his many admirers and colleagues in the field.” When asked if she had concerns about the headline before publication, she said she did “not at all.”
We whites have to stop hijacking the debate to talk about us.
By all means grapple with this question on your own, as Jones has done, as I have done.
But we have to stop taking up space on Twitter, in Voya, and elsewhere to do so. If you read all the other articles in that issue of Voya you’ll find work by Debbie Reese, Edith Campbell, Sarah Park Dahlen, Amina Chadhri, Marieke Nijkamp and others on the truly central issues around Native American and PoC and other communities’ access, safety, autonomy, constructions of intersectional identity and so forth.
But PoC Writers Get to Write About Whites It’s Only Fair We Get to Write About Them
We whites do not know as much about Indigenous people and People of Colour as they know about us. This is a large part of why when we write from their points of views we all too often get it wrong.
Yes, we’re all human. Yes, we all have the same physiology. We all experience love and hate and desire and jealousy. We all need to eat and go to the toilet. But I’m no longer sure that our white imaginations are enough to fill in what we don’t know about loving and hating and existing as an Indigenous person or Person of Colour in a world where whiteness is prized and white people hold most of the power. In a world where the vast majority of our publishing, film and television industries, and other media is run by, produced for, and about white people.
Every PoC lives with a dual consciousness. It’s the idea that PoC have to take on two identities in order to survive in a hostile society. Meaning: we learn how to act white in order to be successful. At school, in jobs, and in publishing. We know what it takes to be white. Which is why PoC can write white characters effortlessly. Because we’ve all played a white person at one time or another. . . Bottom line: the oppressed are forced to learn to identify with their oppressors, it rarely happens in the other direction.—Justine Ireland.
White people do not have to take on two identities to survive in a hostile society. Our society is not hostile to white people.1
the reality of what “playing white” entails. From my PoV, it’s about learning to instinctively bundle up, separate, partition and obscure almost every element of one’s cultural identity at the drop of a hat. To set aside the body language, dialect, the physicality, the casual modes of communication, and the unspoken values that all those things are used to express, as a daily act of survival. It’s about learning to do something monumental with casual ease. The fact, however, remains that this is actually anything but casual. It can often feel like a low-level but ever present source of stress.
If anyone thinks otherwise, take a gander at white folks’ reactions when a beloved celebrity of color decides not to obscure their cultural identity.
What happens when we reverse that? Do we, as white people, have the same kind of insights into POC experiences, that PoC have into what it is to be white? We do not.
How would you respond if someone you didn’t know started telling you about your identity? As Doselle Young puts it:
Would you, as a writer, really expect someone else to do better job with the most telling details of YOUR autobiography? What forces would they need to marshal in order to pull that off? How many interview hours, how much research, thought, blood, sweat and tears would it take to get YOUR story right?
Everyone’s identity is complicated. All of us belong to different religions, cultures, subcultures, groups, clubs, kinship networks. We all come from particular families. One of the most common complaints I hear about white people writing Indigenous and PoC characters is that we leave out their families and friendships with people like them. We tend to give them absent brown families and present white friends.
All of which leads back to step one: Why are you writing this book?
Maybe you shouldn’t.
TL:DR: Think long and hard before you write a book about a community not your own. Listen to your sensitivity readers. Whose story are you really trying to tell?
NOTE: Thank you to Mikki Kendall, Scott Westerfeld and Doselle Young for all your hard work, brilliant writing, and wonderful conversation, and for your truly excellent notes on this post. Any remaining lack of clarity etc. is all on me. Thank you also to the too many people to name in the YA, SFF and Romance communities who have shaped my thinking. I.e. pretty much all the folks I follow on Twitter.
Though it can certainly be hostile to other parts of our identities as many white women and most LBGTIQA and disabled and poor and working class and fat whites can attest. But our society is not hostile to our whiteness. [↩]
Not all of them, obviously. Like adults, some are lovely, some are complete shitheads, and some are a bit meh. But unlike the majority of adults, teens mostly don’t temper their enthusiasms, they haven’t had their enthusiasms squashed down for them yet. Yes, some have a wall of fuck-you, but when you break through that wall of fuck you, it stays broken.
On my first book tour, for How To Ditch Your Fairy, I was sent around the USA to talk to mostly years 6, 7 and 8. In the US they segregate those years into what they call middle schools. Middle schools are notoriously hellish. All my YA/middle grade writer friends, who were veterans of many tours, were deeply sympathetic and told me horror stories of being pelted with rotten fruit and being asked probing literary questions such as, “Why are your clothes so shit?”1
Thanks, you bastard writer friends, for filling my heart with terror.
On that first tour I visited gazillions of middle schools. They were all fabulous. Not a single projectile was thrown and my western boots were beloved. So was my accent. I highly recommend touring the US if you have a non US English-as-a-native-language accent and cool boots.
A quick aside: what I was meant to be doing was flogging my books, which was pointless as most teens do not show up at school with the money to buy books. (The only exception is the insanely rich private schools with stables and croquet courts where each kids has an expense account and three hundred copies of my book sold in a day. STABLES, people!) What I actually did was not talk about my book much at all.2
My favourite visit of the entire tour was at a public school (without a hint of a stable) in the Midwest.3 I was abandoned in the library by my publicist and the librarian in front of three classes of mostly 13 and 14 year olds. There were at least 60 teens and me. Every writer in this situation develops an if-all-else-fails move. Mine is vomit stories. This is the story I told them. Their response was to ask me to tell more vomit stories. Much fun was had.
When we got to Q&A they wanted to know everything there is to know about Australians, a people with whom they clearly had a lot in common. So I may or may not have told them that wombats fly and echolocate and aerate the earth, which, is, in fact, why they’re called “wombats” because they’re a cross between a worm and a bat. The questions and answers went on in that mode. We all laughed our arses off.
You’ll be pleased to hear they DID NOT BELIEVE A SINGLE WORD. One actually said, “You are the best liar ever.”
I conceded that, yes, bullshit is an art and that I have studied with the very best.
They all cheered.
Sadly, I praised the fine art of bullshitting just as the librarian and publicist walked back in. They were unswayed by the approval of my audience.
Cue lecture on not swearing in front of students. To which I did not respond by pointing out that in my culture shit does not count as swearing. Mainly because I wasn’t a hundred per cent sure I hadn’t said any of the words that count as swearing for all cultures ever. Their main concern, of course, was not the students, it was the parents. The librarian really didn’t want to deal with all the complaints they were sure they were going to get because of my praise of bullshit.
No teen has ever told me not to swear or complained about the shits and fucks and arseholes in my books.4 Nor have they ever complained about the sex. Or violence. They have, however, complained that my books start too slow, that no teen would ever be allowed the freedom that the teens in my books have, and that I don’t write fast enough, what am I? The laziest writer in the world?
Teens also, you’ll be stunned to hear, do not complain about the so-called fact that teens don’t read.
My hairdresser does. He has apparently read every single one of the gazillion panicked articles about the the current generation’s total lack of literacy. Seriously every time I go in he will say, once we’ve gotten past all the neighbourhood gossip, “I hear kids aren’t reading much these days.”
And I will say for the gazillionth time, “Actually, teens today read more than any previous generation of teens. They are readaholics. They are a huge part of why the genre I write, YA, is such a huge seller with double digit growth every year for well over a decade.”
“My kids only read comic books.”
“That’s reading! Reading graphic novels and manga requires a level of literacy with images and language that many adult readers struggle with. Furthermore, not only are teens reading more than ever before. They are also writing more. They write novels! Did you write a novel when you were thirteen? I didn’t. Teens today are a literacy advocate’s wet dream. Also, my lovely hairdresser, you need to stop reading the [redacted name of tabloid newspaper].”
This is why I love teens. They don’t get their information from [redacted name of tabloid newspaper]. Most of them are a lot better at spotting bullshit than your average adult and they’re way less prone to repeating the warmed over moral panics of the last hundred years. The sheer breadth of their reading is astonishing. They read novels, and comic books—sometimes backwards—and airplane manuals and games reviews and they write songs and poetry and stories and novels and think about words and language and invent slang in ways that most adults have long since ceased to do.
Can you imagine a better audience?
That last question was actually asked on a tour of the UK, not the US. In the questioner’s defence the writer in question really does wear shit clothes. Most writers are poor, yo. [↩]
I wonder why I was only ever sent out on one other tour? It is very puzzling. [↩]
I think it was an M state. But it could have been a vowel state. My memory is now hazy. [↩]
For the record none of those words appear in How To Ditch Your Fairy the book I was promoting. [↩]
My comments on white people writing People of Colour in these twoposts has created a wee bit of consternation. This post is to clarify my position.
First of all: I am not the boss of who writes what.1 This is what I have decided for myself after much trial and error and listening and thinking and like that. Do what works for you.
I have decided to stick to white povs when I write a book from a single point of view.2 This does not mean will I no longer write PoC characters. There are people of different races and ethnicities in all my books. I have never written an all-white book. I doubt I ever will.
I didn’t make this decision because I was called out for writing PoC. Before Razorhurst all my main characters were PoC. The response has been overwhelmingly positive.3
The decision has more to do with the way the debate about diversity in Young Adult literature plays out. Almost every time the overwhelming whiteness of YA is discussed a well-meaning white author says, “I shall fix this. My next book will have a PoC protagonist!”
I cringe. All too often the white folks saying that don’t know many people who aren’t white. They rarely socialise with them. There’s a reason for that. As many as 75% of white people in the USA have entirely white social networks. I’m sure the numbers are similar in Australia.
That’s why I now largely recommend that white people with little experience of PoC don’t write from the point of view of PoC characters. Research will only take you so far.
Writing about PoC when none of your friends are PoC is not the same as writing about an historical period you weren’t alive for. If you perpetuate stereotypes you hurt living people. When you don’t know any PoC, even with the best research in the world, you’ll get things wrong. Stereotypes are harmful. Especially when you don’t realise you have written a stereotype.
Who are you going to get to read and critique your work if everyone in your social circle is white? Are you going to ask someone you don’t know very well? It’s a huge thing asking someone to critique your work. It takes a lot of work and if they don’t know you well how do they know that you’ll be receptive to them pointing out racism in your work?
Representation is improving but it’s mostly whites doing the representing, which is part of the problem. We need more writers and editors and publicists and publishers and booksellers of colour. We need publishing to be more representative of the countries we live in. Right now US publishing is 89% white. Australian publishing is at least that white.
We white writers could do more to increase diversity in our industry by drawing attention to the work of writers of colour. By mentoring, introducing them to our agents, by blurbing their books, by making space for them at conventions and conferences, by listening. Check out Diversity in YA. Malinda Lo and Cindy Pon and the others involved with that organisation have lots of concrete ideas of how we can make YA more diverse and inclusive.
The other reason I’ve shifted to predominately white points of view is in response to all the critics who’ve pointed out for many, many years that too many white writers think they can only tackle race through the pov of a person of colour. The implication is that race is something white people don’t have. We just are. We’re colourless neutrals.
No, we’re not.
Expectations about our race—our whiteness—shapes our lives as much as our gender or our sexuality or our class. Yet all too many whites are unaware of it.
I wanted to write about how whiteness obscures our understandings of how we are who we are and of how the world operates. For the next few books, including Razorhurst, I’ve been pushing myself to examine whiteness in my fiction.
A recent book that does this well is All American Boys by Jason Reynolds and Brendan Kiely. The character written by Kiely has to confront the ways in which his whiteness makes him complicit in the racist violence inflicted on Jason Reynolds’ character and what he can do about it.
Overt racist violence is not at the centre of Razorhurst or My Sister Rosa4 or of the book I’m currently writing. I’m looking at the less overt ways in which whiteness shapes lives.
I fully expect many of the people who read these books won’t notice. That’s okay. Many readers didn’t notice that everyone in How To Ditch Your Fairy is a person of colour. Books do many different things. No one reader is going to notice them all and many readers are going to see things the writer didn’t intend. It’s how it goes.
In all my books I try to tell a story that engrosses readers and lets them forget the real world for a few hours. That my books do that for even a handful of readers is glorious.
TL;DR: I’m writing predominately white pov characters because of reasons listed above. You do as works best for you.
Not going to lie I kind of which I was. I’d also like to dictate Australia’s foreign policy, response to climate change, and treatment of refugees. Also fashion. [↩]
In books with more than one point of view, such as Razorhurst and the NYC historical I’ve been working on forever, there are PoC povs. Those books wouldn’t makes sense otherwise. [↩]
True. Also irrelevant. Not all white people are racist but we all benefit from being white because we live in a world that is structured to give white people advantages and that makes whiteness the default.
#notallwhitepeople is also an attempt to change the subject from people of colour and racism to how most white people are good and why are talking about racism anyway?
Sexism is much worse than racism.
Unknowable. However, we do know that being a white woman is easier than being a woman who is not white. The funny thing about oppression is that it operates on multiple axes, you can be black AND a woman. You can be black and a woman and disabled and a lesbian. These are not separate categories, which is why intersectionality is so important. Thank you Kimberlé Crenshaw for giving us a way to talk about oppression in a more nuanced way.
Some white women bring up sexism in conversations about racism with women of colour. We change the subject to sexism because it is something we can talk about with authority, unlike race, where we often feel uncomfortable because we have a vague feeling that it’s somehow our fault. Quick! Let’s talk about something else! We white women need to remember that WoC know as much, if not more, about sexism as we do. They do not need to have sexism explained to them. They are aware. So. Very. Aware.
We white women also need to remember that feminism does not have an entirely unracist history. Some of the suffragettes in the USA were also members of the Klu Klux Klan and fought for the vote for women because they were outraged that black men could vote and they couldn’t. Even though in practise many black men were prevented from voting. Always know your history.
I don’t see colour.
Get your eyes checked.
When white people say they don’t see colour what they’re saying is that they don’t notice what race someone is. Let’s just say that’s possible and you really can’t tell what race anyone is—how is that contributing to a discussion about racism? You’re making the conversation about you and your perceptions of the world. The people who experience racism see the world differently. We’re talking about them, not you.
Why aren’t we talking about class? Lots of white people are poor, you know. Capitalism is the root cause of all suffering. Discrimination against the working class is worse than racism.
Unknowable. Once again instead of talking about racism the subject is changed. Let’s not talk about race, let’s talk about class! Let’s not.
And once again with forgetting that people of colour can also be working class and thus suffer the double whammy. Or triple whammy if they’re a woman. Or quadruple if they’re disabled. Etc.
Me? Privileged? My parents worked in a coal mine! My mum was murdered! I have no legs! I live in a hole on the side of the road!
I’m sorry for your suffering but you’re changing the subject. We’re talking about racism not about how you have suffered. Everyone has suffered. Most of us have been discriminated against in one way or the other. But that’s not what this conversation about. We’re talking about race.
I’m not racist. My ancestors didn’t own slaves. This is not my fault.
Congratulations. Also irrelevant. White supremacy gives all whites an advantage PoC don’t have regardless of their individual actions. Systemic racism is not about individuals being good or bad. It’s about whole systems discriminating. Those systems need to be torn down.
White is a broad category. You can’t put wealthy USians in the same category as poor Romanians.
White is indeed a broad category. So are statements that can be used to change the topic from talking about racism like this one.
Whiteness is also a changing category. It used to be that Jews and the Irish and Italians weren’t included as white.1 But now they are. Talking about past constructions of white when we’re trying to talk about racism here and now is changing the subject. Don’t.
You know what else is a broad category? People of colour. Think about how many different peoples are encompassed by that term in the USA. Many of them with little else in common other than being discriminated against because they’re not white.
Why do we have to keep talking about racism? Obama is in the white house.
Because racism still rules our lives. Mango is a fruit.
In case you don’t get it that’s me sarcastically pointing out that there is little connection between those two statements. There have always been exceptional PoC—Harriet Tubman, Sojourner Truth—who’ve managed to succeed despite the overwhelming odds against them. It says little about systemic racism.
Slavery was ages ago. Blacks people should stop using it as an excuse.
Long-term institutional oppression is not an “excuse”. Read this. No, really, you need to read Ta-Nehisi Coates explaining the systemic reasons black people in the USA are worse off than whites. It was true in the past and it is true today.
Asian people earn more than whites in the USA! They’re not oppressed.
How many Asian actors are there playing leads in Hollywood movies? How often do you see Asians on your tv screen? How many books are there by Asians on bestseller lists? And this is a problem even in Asian countries like Singapore.
Yes, racism is terrible I’m going to fix it by writing novels with more POC characters even though I know very few POC.
We absolutely need more books with PoC characters but we also need those books to be written by PoC. Sometimes write what you know is good advice. If you only know white people stick to writing white people. Right now in YA publishing there are more PoC characters written by whites than by PoC. That’s part of the problem.
Also, while I agree that representation is hugely important, better representation won’t automatically fix everything. If only . . .
My great great great great grandmother was Comanche so I understand.
*head desk* Okay, yes, if you go far enough back we all have mixed backgrounds. I’m a descendent of Genghis Khan. But so is a 0.5% of the world’s population. In my day to day life no one is looking at my epicanthic fold and thinking I’m anything but white. There are, obviously, many white passing PoC. I am not one of them. Nor are you with your great great great great grandmother. We were both raised white by white parents. Every day we benefit from our white privilege. We are white.
We white people need to stop trying to make everything about us. Every one of these strategies is about changing the subject to make us the centre of the conversation. Enough already. Often the best strategy is to sit and listen and read and learn.
Here are someotherposts on what white people shouldn’t be saying when discussing racism. Via @fonticulus and @SamJBrody
TL;DR We white people need to stop changing the subject so that we talk about anything other than racism.
Note: While much of what I’m saying here applies more broadly, I’m largely talking about the USA because that is the country whose history I know the best. And, yes, before you say anything, I am a US citizen. I am an Australian-USian.
There are many many more examples of what not to say. Please add them to the comments. Thank you!
Of course some Jews and Irish and Italians aren’t white. Once again this is why intersectionality is so important. See for example the African diaspora Jews in Israel and the discrimination against them there.Thanks to @sarahrhamburg for reminding me of this. [↩]
I couldn’t find the stats for Asian-Australians. [↩]
Be critical of film and TV, even the stuff you love . . . If you want to be a truly good writer, you can’t have sacred cows. If other people think an episode of your favourite show is sexist or racist or short-sighted in some way, hear them out and consider their point of view. You can enjoy a piece of media while also acknowledging its shortcomings. However, if you hold your favourite writer or producer above criticism, then you’ll likely fall into the same traps as they do, and you too may alienate or hurt people with your work. Accept that no one is perfect, not even your hero. Accept that no one’s writing is perfect, even if it’s hugely entertaining; we all have unconscious hang-ups and prejudices, and many of us write from a position of privilege. One of the best things you can do as a writer (and a person) is to listen to the way other people receive stories.
Because every word is the truth. We do not write in a vacuum. We write about the real world while living in the real world. That’s true whether we are writing about zombies or vampires or high school or genocide or butterflies or all five. Our words have effects on other people.
We need to be mindful of the history of the genre we write. For example, I’m watching Fear of the Walking Dead because I love zombies and will watch anything with even the slight possibility that a zombie might show up. Fear is a spin off from The Walking Dead. One of the biggest criticisms of that show is how few black people there are. There were hardly any black extras either, which is particularly weird given that it’s set near Atlanta which has one of the largest African-American populations in the USA. You would think that the creators and writers of Fear of the Walking Dead would be aware of that criticism. Yet the only named characters killed in the first two episodes were black. Seriously? You couldn’t kill a white named character? You couldn’t let one black character survive?
They ignored the history of their particular franchise and the broader history of US TV where black characters have always been treated as disposable. What were they thinking? They weren’t. They sat inside their blinkered world and wrote from there. Don’t do that.
Critiquing the things we love can also give us insight into the failings of our own work. As Sarah says “listen[ing] to the way other people receive stories” gives you a richer understanding of how our stories can be read and of what stories can do.
I wrote about the racism in my own work three years ago. I would write a very similar post if I were to write it today. It is essential to know as much as we can about our genre and its pitfalls when we write. Otherwise we’ll make the same mistakes.
All too often white writers who create POC characters expect to be congratulated for having made the effort and do not deal well with criticism of those characters. We forget that POC writing POC get criticism too.1 Have a look at the criticism African-Americans get for not representing their community in a positive way and for not writing uplifting books.
We must also remember that diversity is not just about who is represented in the story and on the covers of those books, which, yes, is deeply important, but also about who is writing and publishing the books. Having most of the POC characters in YA written by white authors is not a huge improvement.2
Everyone gets criticised. No writer is perfect. Jane Austen couldn’t write a satisfying ending to save her life. Her books just end, people! So annoying. Georgette Heyer was a racist, anti-semite, full of horrible class prejudices. If she were alive today she’d be embarrassing the shit our of her fans on twitter every day. She and Rupert Murdoch would probably be besties.3 I still think Heyer’s one of the best comic writers of the twentieth century.4
TL;DR: Read Sarah’s wonderful writing advice. Our writing heroes are fallible so are we. We must know the history of what we write. Listen to how other people respond to stories. Just listen!
Our own communities often judge us the most harshly. As an Australian the most vehement criticism I get of my books with Aussie characters and Aussie settings is that I’ve gotten them wrong. Aussies don’t talk that why! Why do you misrepresent your own people? Are you actually Australian? [↩]
I speak as a white author who has written African-American, Aboriginal Australian, Hispanic American and Chinese-American main characters. I know I’m part of the problem. [↩]
Although she may have been appalled by him being a vulgar colonial. [↩]
Short answer: pneumonia. Longer answer: mycoplasma pneumoniae
Apparently there’s a fair amount of it going around in Sydney in summer right now. So unjust. My bout was nasty and not short and my recovery is slow and annoying. Thus my silence online. I am now behind with everything and I have a rewrite due so my focus is on recovering and finishing the book. That’s why I’m not responding to emails and tweets etc.1
Being so sick reminded me—once again—that we build our worlds as if everyone is able bodied all the time—yet nobody is. Even if you’ve never had a day of sickness in your life, even if you’ve never even sprained an ankle, once you were a child.
We are all born utterly helpless unable to even raise our heads. As we learn to walk uneven surfaces are a challenge, stairs are a challenge. The built world is a challenge. And very little of it is altered to make things easier for littlies.2
Your strength and fitness will decline as you age. Even the fittest, healthiest ninety year old walks at a fraction of the speed they managed in their youth. They’re also a good deal weaker.
Yet pedestrian lights are all too often designed with barely enough time for someone young and fit to get across the road, let alone someone on crutches, or someone in their nineties, or someone looking after small children. Fire doors are too heavy for many people to open.
There are a million such examples. I’m too tired to list them all. We need to stop thinking that disability issues have nothing to do with the able-bodied. Being able-bodied is transitory, not fixed. We are all of us at some point in our lives going to be deeply grateful for ramps, automatic doors, and pedestrian lights that allow us to cross the road without being honked at by angry drivers.
I haven’t been on Twitter in weeks and probably won’t be back until this book is finished. [↩]
There are some good reasons for that. Challenges are how kids learn to be stronger and fitter. But stairs and ramps can co-exist. [↩]
The distinction between Real Life and the internet is frequently made. Particularly by people for whom the internet is not a big, or in some cases any, part of their social lives. But the internet is not on a different planet. It’s right here on Earth it was created by people and is made up of people just like Sydney or New York City or Timbuktu.
The internet is a huge part of my life, and has been since the early 1990s, when I was first introduced to the weird and wonderful World Wide Web. Oh, the glory of it.
I remember my very first email address. Hard to believe now, but back then email was a wonder. I could stay in touch with friends and family all around the world without stamps or envelopes or treks to the post office and without the insanely long waits.1
In those early days I spent a lot of time reading through various different rec.arts news groups. People exchanging opinions! As if they were in the same room! Except they weren’t! Woah! I joined loads of different listservs. I discovered weird and wonderful blogs and would lose days reading back through the archives. I even commented on some of them. By 2003 I had my own blog. Er, this one. In the last few years twitter has become a large part of my life and through it I have met many amazingly smart and witty an inspiring people.
Online I have found people who care about the same things as me. I’ve found communities I feel at home in. I loved it then and I still love it.
For twenty years now I’ve had many people in my life I think of as my friends whom I’ve never met in *cough* real life. But I know them. Not the way I know the people I’ve lived with. Not the way I know my closest friends. But in some cases I know my online friends better than some of my offline friends and acquaintances.
These online friends are not imaginary. We who spend big chunks of our lives online are real. We make each other laugh. We make each other cry. We annoy each other. We talk to each other several times a week. We fight bullies together. We share experiences. We care about each other.
When one of us dies it hurts.
Social media is not an abstraction. It’s real. It’s made up of real people, who live and die. Their deaths are real and painful.
Okay, obviously, not entirely true. As with snail mail it all depends on how good a correspondent a person is. But in the first days of email we were all so excited we were amazing correspondents. Until the novelty wore off . . . [↩]
The immediate, obvious answer for me is: No, I don’t want only white readers. And I’m really glad I don’t have only white readers.
But I’ve not been able to stop thinking about that question. And the shadow question which is “do white writers only write for white readers” regardless of what kind of audience they might want?
In order to respond I need to break it down:
I’m white. That fact has shaped everything about me. I know the moment when I first realised I was white. I was three or four and had just returned from living on an Aboriginal settlement in the Northern Territory. My parents were anthropologists. I was on a bus with my mum in inner-city Sydney when I pointed to a man of possibly Indian heritage and said loudly, “Mummy, look it’s a black man.” My mother was embarrassed, apologised to the man, who was very gracious, and later tried to talk to me about race and racism in terms a littlie could understand.
What happened in that moment was me realising that some people were black and some people were white and that it made a difference to the lives they lived. I’d just spent many months living in the Northern Territory as the only white kid. The fact that I wasn’t black had not been made an issue.1 We played and fought and did all the things that kids do despite my difference. So much so that tiny me had not noticed there was a difference. Despite seeing many instances of that difference being a great deal I wasn’t able to make sense of it till I was living somewhere that was majority white, majority people with my skin colour, and then the penny dropped.
Many white Australians never have a moment of realising that they’re white. That makes sense. Whiteness is everywhere. White Australians see themselves everywhere. Our media is overwhelmingly white, our books are overwhelmingly white. In Australia whiteness is not other; it just is. Whiteness doesn’t have to be explained because it is assumed.
Because whiteness just is, like many other white people, I don’t identify as white. For me whiteness is the box I have to tick off when I fill out certain forms. While it shapes every single day of my life it doesn’t feel like it does. Because what whiteness gives me is largely positive, not negative. My whiteness is not borne home on me every single day. I don’t need to identify as white because, yes, whiteness is a privilege.
When I see a white person talking about “their people” and they mean “white people” I assume they are white supremacists. Anyone talking about saving the white race from extinction is not my people.
For many different reasons I do not think of white people as my people. As a white writer I do not write for white people.
I admit that I have used the phrase “my people.” I’ve used it jokingly to refer to other Australians. Particularly when homesick. Or when someone Australian has done something awesome like Jessica Mauboy singing at Eurovision at which point I will yell: “I love my people!” Or an Australian has done something embarrassing on the world stage: “Oh, my people, why do you fill me with such shame?”
I’ve used “my people” to refer to other passionate readers, to YA writers, to fans of women’s basketball, to Australian cricket fans who like to mock the Australian men’s cricket team and care about women’s cricket, to people who hate chocolate and coffee as much as I do etc.
All of that comes from a place of privilege. I can’t think of a single time in my life when I have been referred to as “you people.” I’ve gotten “you women” or “you feminists” or “you commies”2 or “you wankers” but never “you people.”
White people are rarely asked to speak for their entire race. N. K. Jemisin’s question about white writers writing for white readers is not something that gets asked very often. Meanwhile writers of colour are asked questions like that all the time. They are always assumed to have a people that they’re writing for.
When I sold my first novel3 I was not thinking about who would read those books. I wasn’t thinking about it when I wrote those books either.4 Frankly I was still over-the-moon ecstatic that they’d sold, that there were going to be novels out there that I wrote! I didn’t get as far as imagining who would read them.
I’ve written stories ever since I was able to write and before then I would tell them to whoever would listen. My first audience was my sister. And, yes, I tailored some of those stories to suit her tastes, adding lots of poo jokes. But, come on, I like(d) poo jokes too. It’s more that I got lucky that my sister liked what I liked.
All my novels are books that, if I hadn’t written them, I would want to read them. I write for myself. I am my main audience.
That all changed when I was published, when my stories found distribution beyond my sister, my parents, friends, teachers.
When I, at last, had an audience and that audience was responding to my novels is when I started thinking about that audience.
When members of my audience started writing to me and I met members of my audience is when I really started thinking about who my audience was and how they would respond to what I had written.
That’s how I know my audience isn’t all white. It’s how I know my audience isn’t all teens. How I know they’re not all women. Not all straight. Not all middle class.
As my books started to be translated I found myself with an audience that isn’t all English speaking.
There is one place where I am addressing a mostly white audience. And that’s on this blog and on Twitter when I’m trying to explain these kinds of complex issues of race to people who haven’t thought much about them before. White people tend to be the people who think the least about race because it affects them the least. So sometimes that’s who I’m consciously addressing.
Writing to an Audience
But white people who are ignorant about racism are never the audience I’m consciously addressing when I write my novels.
Even now when I have a better idea of who my audience is I don’t consciously write for them. When I’m writing the first draft of a novel all I’m thinking about is the characters and the story and getting it to work. If I start thinking about what other people will think of it I come to a grinding halt. So I have learned not to do that.
It is only in rewriting that I start thinking about how other people will respond to my words. That’s because when I rewrite I’m literally responding to other people’s thoughts on what I’ve written: comments from my first readers, from my agent, and editors.
My first readers are not always the same people. If I’m writing a book that touches on people/places/genres I have not written before I’ll send the novel to some folks who are knowledgeable about those in the hope that they will call me on my missteps.
Any remaining missteps are entirely my lookout. There are always remaining missteps. I then do what I can to avoid making the same mistakes in the next books I write. And so it goes.
I hope this goes a little of the way towards answering N. K. Jemisin’s question. At least from this one white writer. Thank you for asking it, Nora.
When we returned when I was 8-9 my whiteness made a huge difference. [↩]
Many USians think anyone to the left of Genghis Khan is a communist. [↩]
First three, actually. The Magic or Madness trilogy was sold on proposal as a three-book deal way back in 2003. [↩]
Well not the first two, which were written before the first one was published. [↩]
Welcome to July’s Bestselling Women’s Fiction Book Club in which we discuss Patricia Highsmith’s The Price of Salt/Carol. It’s original title was The Price of Salt and that’s what some editions in the US still call it. In Australia and the UK it’s called Carol. That’s how I think of it because that’s the edition I first read and fell in love with in my early twenties.
This is the first book we’ve discussed that one of us knows really well. I’m a huge Highsmith fan. Have read everything she’s published as well as all the biographies and memoirs of her I can find. So this discussion is a little different from the previous ones.
Because the book was originally published as a hardcover but did not take off until the paperback edition came out1 I thought it would be fun for you to see the different covers. Quite the difference, eh? From what I’ve been able to figure out it was that second version that sold the most copies. At least one of the dates in the image bleow is wrong. The hardcover version of Price of Salt was first published in 1952, not 1951.
Note: in the discussion below my information about the original publication of the book and how many copies it sold comes from Patricia Highsmith’s 1989 afterword which is now included in most reprints of the book. She says almost a million copies. As you can see some of the paperback covers above claim only half a million.
For the discussion on Twitter we’ll be using the hashtag #BWFBC. You can also join the conversation in the comments below.
If you haven’t read Price of Salt/Carol yet there are many spoilers below.
And here at last is our take on this bloody brilliant book:
JL: This is my third or fourth read so I’d really like to hear your take on it first. Very curious to know what you thought.
KE: I’m about a third through.
I think it is quite well written. And I’m really impressed by how she captures Therese’s stunned attraction. Also, something about Highsmith’s point of view is so interesting to me and I’m not sure I can put my finger on it. Maybe because the situation doesn’t feel as desperate as some of the other books where we can tell from the subject matter and the tone that a dire fate awaits the women characters. This isn’t precisely a comedy, but it is a book in which there is a fragile sense that a woman can contribute to her own destiny? That she has a hope of happiness and success of a kind? Does that make sense?
I’m enjoying it. The initial phone call exchange where Carol rings up and realizes who it is who called her is brilliant.
JL: Yes to all of that. Except that I think Highsmith is a genius and her writing perfect.
The pov is deeply strange. It verges on omniscient.
The description of Therese’s desire, love, obsession is remarkable. Every time I read it I’m absolutely desperate for them to kiss already. WHY AREN’T YOU BOTH KISSING ALREADY?! And I do mean kissing. They barely so much as hold hands for most of the book. Sexual tension = this book.
I can’t help thinking how disappointed the 1950s straight men who read lesbian pulps for the titilation must’ve been with this book and how beyond delighted the lesbians must have been to discover it. No wonder it was an underground hit.
Have you finished yet? Didn’t want to write more of my thought until you’ve finished.
I will say this one thing since it’s clear that Richard is like this early on. I’m struck by how in every single novel we’ve looked at there’s a guy who will not take no for an answer and who pathologises the woman for her refusal to marry him/be with him.
KE: Yes. Richard doesn’t seem bad at first but then it turns out he’s awful. Dannie is better because of he isn’t bothered (seemingly) by the revelation that Therese has had an affair with Carol, and because he genuinely does seem like a person who will not demand.
The man who won’t take no for an answer is a familiar and comfortable trope, still present today in guises that make such a man seem worthy and attractive, but in all these novels the writers simply skewer that notion.
JL: It’s lovely to see that revulsion at that guy is not a recent development. He’s been loathed for much longer than either of us has been alive. And yay for that! Now if only we could get him to go away forever.
I just reread Malinda Lo’s review of the book. I was really struck by how weird I found it that she saw it as a love at first sight novel. I didn’t read it that way at all. I mean Carol doesn’t even realise that it was Therese at first she thought it was some guy who served her that day. Carol pretty clearly isn’t immediately attracted to Therese it’s more of a slow burn. The falling in love is even a slower burn. I feel like Carole doesn’t even take Therese seriously until she realises that she’s a set designer.
Therese is very much attracted straight away. But that’s not love at first sight that’s lust at first sight which I’ve never found hard to buy at all.
KE: I absolutely read it as Therese falling in love at first sight. Carol feels the attraction but, I think, is mature and experienced enough to be amused by it because she knows what it is.
But I simply can’t agree that it is lust at first sight.
JL: Wow. I think I have a totally different understanding of what love at first sight as a narrative device is compared to you and Malinda. Because I really disagree. I’ve always seen it at as something that happens to both in the pairing—a la Twilight or Tristan and Isolde. They might struggle against it but they both feel it. A narrative in which only one person is into the other is not a love at first sight narrative.
Carol definitely does not feel it. She doesn’t even remember who Therese is at first and if Therese hadn’t contacted her Carol would never have thought of her again.
Therese feels an attraction—I think it’s lust—that she doesn’t quite make sense of until she sees Carol a few more times. But, yeah, I think her immediate attraction to Carol is physical. And that she lets herself understand it as something more romantic because she doesn’t quite have the means to understand being attracted to a woman. It’s part of what she tries to talk to idiot Richard about when she asks him if he’s ever been attracted to a man. So, yeah, I definitely feel the attraction is instant but the love comes later.
I don’t read Therese as truly being in love with Carol or even truly understanding Carol until the very end of the novel when she’s wowed by Carol’s bravery in deciding to be with Therese even though it means she’s going to lose her daughter.
One of the many things I adore about this novel is that it shows the reader Therese and Carol getting to know each other fairly slowly and falling in love fairly slowly. Therese learns that Carol is not, in fact, who she thought she was.
KE: Therese is so sure of herself and how these feelings permeate her. I think it’s beautifully written in capturing the sense of floating and surety. Besides the really good writing I think what I love most about this book is that Therese never questions herself, never hates herself for having what most people at that time (and too many even now) considered “unnatural” feelings. The power of the emotion that hits her is so strong that she simply accepts it in a way that might typically be written in a heterosexual romance of the time (and still today). There’s no agonizing forr her, it’s Cupid’s arrow straight between the eyes. I love that. Although over the course of the novel Therese slowly comes to realize what it means for her and Carol in terms of society’s disapprobation and the real threat it poses to both of them for different reasons.
JL: Here we can agree. (Though I think Cupid fires lust darts, not love.) I adored Therese’s surety about her own desires too. And it’s a huge part of why it sold almost a million copies in paperback and caused so many lesbians and gay men to write to Highsmith about the novel. Here was a story where a woman falls in love with another woman without believing that she’s deranged or infantile or any of the things that awful Richard acuses her of being. Here’s a story in which the lovers get to be together at the end.
KE: So, yes, put me firmly in the love at first sight camp.
Carol’s is a slower burn but I read that in part as caution and, as you say, in part that at first she seems to find Therese more amusing (and maybe a little flattering) than anything.
(Very true about Cupid. My bad.)
JL: If she’s a slow burner than how on earth is it love at first sight?! That makes no sense! I read it as Carol being depressed. Her ex is awful, she’s just broken up with her best friend, her daughter’s with her awful ex, she has a housekeeper she doesn’t trust, she has no job to distract her. So, yes, as you say she’s enjoying the flattery of Therese’s crush on her but doesn’t take it seriously beyond that. She’s certainly not imagining them living together. Pretty much until they go on the road trip Carol tries to encourage Therese to stick with her odious boyfriend.
KE: The set design does change Carol’s view of her. I wonder if you have any thoughts in how Carol reacts (with the negative criticism)? It could be seen as a compliment (I’m being honest) or as a little more passive aggressive. Or some other option. It’s interesting though.
JL: For me that’s the first moment Carol starts to really see Therese and not just the flattery of this pretty young thing having a crush on her.
I read her criticism as part of Carol’s general discomfort. Carol’s up against so much that she’s not talking about. Two break ups in a row. She’s constantly kind of on edge and irritable and I see the picking at Therese’s designs as another part of that. She spends a lot of time trying to push Therese away. And there’s a lot of weirdness around her break up with Abby and Abby’s interaction with Therese. I also think she’s a bit freaked out by her growing feelings for Therese and the ramifications for Carol. She is, as you say, much more aware of the consequences of being a lesbian in the 1950s in the USA than Therese is.
I’m coming out of YA where there’s a metric tonne of love at first sight in the sense I mean it. In the fairy tale sense. And YA is where Malinda is from as well which is how I read her as responding to the book: “Oh, God, not that awful trope again.” Whereas I think this novel is SO not that trope.
However, I still don’t see Therese as instantly in love. Intrigued and crushing, yes. Full of desire, yes. In love? No. I also see a very slight amount of omniscience in the narrator. Through those eyes I feel like the novel is very lightly mocking—mocking is too strong a word—Therese’s growing obsession with Carol. But there’s a definite feel of someone much older telling the tale of this nineteen year old’s first real experience with love.
KE: If you are defining “love at first sight” as necessarily mutual, then no it isn’t. But I’ve never defined it as having to be mutual.
In Carol’s case, she even says toward the end that she went over to Therese in the department store because she was the least busy, and not wearing a smock.
JL: I don’t think either of them really start to fall all the way in love with each other until the road trip when they get to know each other and discover they have great chemistry in bed.
KE: Nah. I just disagree. Therese is in love from the get-go, although I should specify that I think of it as infatuation-love rather than love-love, if that makes sense. But it is not just lust. The emotion made Therese stronger and more sure of herself. Lust (to my mind) doesn’t create the same grounding.
JL: It’s lust with romantic longings. That ain’t what I call love. I do not call infatuation love. I call love what you’re calling love-love. So I think we’re agreeing but we have definitional disagreements. Frankly I don’t believe in love at first sight. I believe in lust at first sight, infatuation at first sight, but not love. Love takes time. You can’t love someone if you don’t know them.
KE: I should note that I myself am skeptical about the idea of love at first sight. On a personal note I actually have a statement about “love at first sight” in my forthcoming YA fantasy novel, in which a father tells his daughter about the first time he saw her mother. He emphatically does not believe in “love at first sight” and then describes what pretty much what in any book would be “love at first sight.”
I should also note that from my own experience I know that “instant attraction” (sometimes sexual but often a more intangible quality that is an instinctive “connection” between two people) does exist but I have experienced it with both men and women. It always startles me when I instantly like and feel drawn to someone (even as I know I don’t really know them, but something sparks that connection and I am sure I have no idea what it is).
JL: Yes to all of that.
KE: I’m enjoying your analysis of Carol. I think in this case that is a perspective that can’t be gained from a single reading of the novel but only from a re-read.
JL: It is true *cough* that this is at least my fourth read of this novel. It fascinated me because it is so not like Highsmith’s other books yet at the same I can see so many places where it could take a turn into Highsmith territory. Like when awful ex, Harge, shows up, there’s a moment where either Therese or Carol could plausibly have killed him. The fact that Carol brings a gun on the road trip and it never goes off! If this were a regular Highsmith Carol could have wound up killing that detective.
KE: Yes, I recognized the business with the gun and felt it was, perhaps, a tip of the hat to her thrillers? I was pretty sure it would not go off because the tone of the story wasn’t right for it, but it was a reminder that the entire narrative could have taken a far darker turn.
JL: Oh, I like that interpretation. Hadn’t occurred to me. It’s just the sort of thing Highsmith would do too.
KE: What’s interesting is that I think the story may have been far more important to readers because it did not take that dark turn.
KE: The ending is brilliant and adorable, and the cinematic romantic in me is just beaming because it is so sweet and yet somehow Highsmith pulls it off without making it saccharine; she makes you want it.
JL: The first time I read it I cried. Sobbed my heart out with joy. Not just because it’s a (relatively) happy ending but because they’re both now in a place and the novel takes place over at least a year and a half where they’re right for each other, mature enough for each other, and brave enough for each other. *sniff*
KE: I must say that I did feel a pinch of anger at Therese for that business of “she choose Rindy over me” because I’m a mother and so I entirely empathize with Carol’s situation. Having said that, Highsmith has carefully set up that Therese has no reason to understand “motherly love” as she never got any and, in fact, was herself discarded when her mother chose her second husband over Therese. So it makes psychological sense.
JL: Oh, sure. I also think it’s meant to be a bit appalling. Even without her awful background Therese is still very young. It’s a very young person’s selfish thought.
KE: So while Therese’s story ends well, Carol’s remains filled with a combination of triumph and heartbreak, very bittersweet. In my fanfic, Rindy will start writing secret letters to her mother and then, as 16, will start seeing her mother secretly and, at 18, tell her father where to go.
JL: That’s hilarious. I was going to tell you that I imagine Rindy constantly running away from her dad until he finally gives in and lets her go live with Carol and Therese. He won’t mind because he’s found himself another trophy wife and had more children. And Rindy’s proven herself to be too much trouble.
But, yes, my heart breaks for Carol.
One of the lovely things at the end of the book is that we finally get to see Carol without all those weights on her. She knows, at last, where she stands with her ex, she’s lost custody of her daughter. She doesn’t have to hide. She doesn’t have to pretend anymore. That brittleness about her is gone.
KE: The only thing that mitigates my annoyance with the plot device of Carol having to lose her child in order to be “free” (very dicey plot device, that one) is that I know that legally it would and could have happened in that way. But in this particular case the plot line of a mother losing her child always comes across to me as traumatic.
JL: It happened to a close family friend in the 1970s. Lesbian mothers didn’t start winning custody battles til later in that decade. At least not in Australia and I bet it was just as bad in the US. So I never thought of that as a plot device but rather as absolutely what would have happened. Because that’s what did happen. Sometimes still does happen.
I also think is clear Carol doesn’t see losing Rindy as making her free. She’s clearly heartbroken. But in the choice between denying who she is to people who hate her and won’t to keep her from her daughter and will use any excuse to do so she chooses love with Therese.
KE: I’ve thought a bit more about this and I realize that in fact Carol doesn’t read to me as heartbroken and in fact her relationship with Rindy never felt true to me; it is the one thing in the book that doesn’t ring true to me. It feels obligatory but not emotionally authentic. So it isn’t the plot device that didn’t work for me — the legal aspect — it’s that I never quite believed in the mother/daughter relationship as depicted between them so that it came across as a plot device rather than something I truly cared about because I never (as a reader) invested in the Carol/Rindy relationship. All the other relationships felt true to me, even the minor ones like Mrs Robichek.
JL: Again I disagree. One of the things I’ve noticed on rereads is that Therese is not a reliable narrator though she absolutely strives to be one (which is a key distinction between kinds of unreliable narrators). but everything about Carol is filtered through her gaze. Therese does not give a shit about Rindy. She doesn’t much ask about Rindy except in a pro forma way. So Carol doesn’t much talk about Rindy with Therese. Yet even so she’s there haunting the entire book and a huge part of Carol’s grief and brittleness. When letters arrive Carol always reads Rindy’s first. And Therese is puzzled by that. To me that was a huge tell that Therese just doesn’t get Carol’s love for her daughter.
KE: If that is the case, and I think you make a compelling argument about something that might not be as obvious EXCEPT on a re-read, then there’s a second layer to all this in that Therese essentially acts as did the second husband for whom her mother discarded her. It would be interesting to think about how and what it means that, as an abandoned child, she can’t (yet) empathize with a girl about to be separated from her mother.
I wanted to make a brief mention of how brilliantly Highsmith uses excerpts from letters. She’s such a skilled writer, and it’s interesting to see how the narrative voice differs from the voices displayed in the letters (naturally, but it’s not easy to do).
JL: As I have now mentioned multiple times I am a huge fan. Can I admit now that you’re initial comment that Highsmith writes “quite well” had me fuming? Yay, that you saw the light. 🙂
KE: Justine, “quite well” is a huge compliment from me. I don’t gush much. If I say, “that was a good book” it is strong praise.
There is a period of several chapters where Therese does a cascade of “growing up” that turns her into a person of budding maturity and—quite the most interesting to me—a woman with determined goals and a sense of herself. She is a woman who will succeed and also be true to herself (in many different facets of her life). Wow. What a fabulous emotion to leave the reader with.
JL: Yes to all of this. I too think that was beautifully done, which I guess is pretty obvious given how many times I’ve read it.
KE: I would like to hear more about the context of this book’s bestsellerdom because I confess it surprised me that a book with this content would have been a bestseller in 1952. I’m not surprised people wrote to Highsmith. Again, I can’t express enough how unusual it is EVEN TODAY but especially then to read a lovely story like this in which her sexual coming out (if I may use that term) is depicted so positively, and sexily. And without any need to ever have Therese question, doubt, dislike, or try to “change” herself.
JL: It may not be technically a bestseller. But it did sell close to a million copies and it was one of the bestselling lesbian pulp paperbacks of the 1950s. It did not do well in its original printing in hardcover though it got some nice reviews including from the NYT. But it’s real impact was in paperback.
Those lesbian pulps were mainly aimed at titilating straight male readers but many lesbians also read them and I’m pretty sure this novel would have stood out like a sore thumb. It became a novel that was passed around by lesbians and by which they could recognise each other. Marijane Meaker (M. E. Kerr) was one of Highsmith’s lovers and talks about the book’s impact in her 2003 memoir about her relationship with Highsmith:
Pat was revered [in the lesbian community] for her pseudonymous novel, The Price of Salt, which had been published in 1952 by Coward McCann. It was for many years the only lesbian novel, in either hard or soft cover, with a happy ending.
It stood on every lesbian bookshelf along with classics like The Well of Loneliness; We, Too, Are Drifting; Diana; and Olivia.
KE: The book dragged for me a little in the middle, mostly because I was waiting for dragons or ninjas to appear and they never did. But the ending is really masterfully written.
JL: You do realise that there will be no dragons or ninjas in any of the books we’re looking at, right?
So glad you had us read this one! I’d never even heard of it. But then again, because of the lack of dragons and ninjas and sword fighting, I tend not to have heard of a lot of mainstream fiction.
The next book for Kate Elliott and mine’s Bestselling Women’s Fiction Book Club is Patricia Highsmith’s Carol.
The book was originally published under the title Price of Salt and under the pseudonym Claire Morgan as a Bantam paperback original in 1952. Although it did not sell well as a hardcover it sold nearly a million copies as a Bantam paperback and become a lesbian classic. Highsmith didn’t publicly admit the book was hers until the 1980s. This lovely article by Terry Castle at Slate gives some more context for the book.
It’s one of my favourite Highsmith novels and the one least like her other books. No one’s murdered, there are no psychopaths,1 and the ending does not fill your heart with despair.
You can join in the conversation by commenting on the post where Kate and I share our thoughts which will go up next Monday/Tuesday and/or by joining in the twitter discussion with #BWFBC
Kate and I look forward to discussing it with you on on Monday 28 Jul at 10 pm ET (USA)/ 7 pm PT (USA)/ 4 pm Hawaii Time and on Tuesday 29 July noon Eastern Standard Australian time.2
Update: I got some facts wrong about the book and corrected them. My source is the note that Highsmith wrote for a reprint of the book in 1989.
No, obvious ones anyways. I think Carol’s husband could be one. [↩]
Kate Elliott and I have started a book club to talk about bestselling women’s fiction. First book we’ll discuss is Jacqueline Susann’s The Valley of the Dolls. A post with both our takes on it will go up here on 12 March (in the USA) 13 March (in Australia). We’d love to hear your thoughts on it too.
We’re both curious about the whole idea of the publishing category of “women’s fiction.” Particularly how and when that label started. And, of course, we also wanted to see how well the bestselling and most long lasting of the books with that label stand up. Because usually books like Valley of the Dolls (1966) and Rona Jaffe’s The Best of Everything (1958) and Grace Metalious’s Peyton Place (1958) are considered to be, at best, middle brow. Yet now some of these books are being taught in university and they’re all back in print or have remained in print.
But we’ll be pretty broad in what we consider as women’s fiction. Some of it will be bestselling fiction written by women that may not have been categorised as “women’s fiction” when published or even now.
At the moment we’re not considering any books published later than the early 1990s because we want at least twenty years distance from what we read. We definitely want to look at Flowers in the Attic (1979) for no other reason than Kate has never read it. It’s past time she experiences the joys of overthetop writing and crazy plotting that is V. C. Andrews’ first published novel.
I would love for us to read Han Suyin’s A Many Splendored Thing (1952). Her novel, The Mountain is Young has always been a favourite of mine. Sadly, though, Splendored seems to be out of print. It’s certainly not available as an ebook. Unfortunately that seems to be a problem for many of the ye olde bestsellers. Being in print, even if a book sells a gazillion copies and is made into a movie, can be fleeting, indeed.1
If you have any suggestions for other books you think we should look at. We’d love it if you shares.
TL;DR: 12 March (US), 13 March (Oz) we’ll be discussing Jacqueline Susann’s Valley of the Dolls here. It will be joyous fun just like the book.
Though that will changing with ebooks. It’s still a prob for older books that have no digital files. [↩]
Of course, America doesn’t give a shit about actual facts: at last count, this pendejada had been shared over 40,000 times on Facebook and garnered nearly 600,000 page views. And that, Mr. and Mrs. Millennial, is why your generation is fucked.
Seriously? Poor research and shoddy journalism didn’t exist until the Millennials came along? Tell that to Mr Randolph Hearst and his tabloids of yesteryear that routinely made stuff up. I roll my eyes at you, sir.1
You may detect a hint of skepticism about generations. You’d be right. I do not believe in them. There is no way everyone born within a decade or so of each other have the same tastes and aspirations and experiences and shitty research skills.
For starters these generational labels don’t even apply to the vast majority of people born within their timespan. The way they are used in Australia and the USA, which is all I know about, they usually only include relatively affluent, able-bodied, white people. Because factoring in class and race and anything else is too complicated, isn’t it? Even amongst the anointed ones there are vast differences in politics and world view and how well off they are. It’s still absurd to think that all the affluent, able-bodied white people born within the same decade are all the same.
So what is the point of generational labels?
They’re mainly used: 1) to help advertisers figure out how to sell things to people, 2) to let previous generations bag on current generations.
When the Generation X tag first started being used many of us so-called Generation Xers would talk about how stupid it was. Actually, we do work really hard. We are, too, politically engaged. We are, too, feminists.2 Those of us still living with our parents did so because the rents were way higher than for previous generations and we couldn’t afford to move out. We are not a lazy generation. Nor are the Baby Boomers, nor are the Millennials.
Sigh. Do you know who was first called the Me Generation? The Baby Boomers. Then it was applied to, you guessed it, Generation X. And so on and so on.
That Time article begins like this:
I am about to do what old people have done throughout history: call those younger than me lazy, entitled, selfish and shallow. But I have studies! I have statistics! I have quotes from respected academics! Unlike my parents, my grandparents and my great-grandparents, I have proof.
And I roll my eyes at you, too, sir. They always have proof. Every single time.
Am I saying there have been no changes in people in Australia the USA over the period in which we’ve been talking about these generations? Of course not.
A century ago in Australia and the USA the vast majority of people were living in extended family households. Far fewer people, back then, were left alone to raise their children. They were helped by grandparents, siblings, aunts etc. etc. Far fewer people lived alone. Far fewer people were ever alone. We were vastly more socially connected back then than we are now. This basic shift in how most of us live has caused a great many changes. Some good, some not so good.
We still don’t understand the extent of those changes. But some researchers believe that the rise in depression and other mental illnesses, including, yes, narcissistic personality disorder, is closely connected to these changes in our basic family unit.3
Those changes to the family unit did not happen over night and those changes didn’t all of a sudden manifest themselves in one single generation. The very idea is absurd. And yet generation after so-called generation we keep repeating that absurd notion.
I keep seeing people say that teenagers are addicted to social media. Yet when I go out you know who it’s hardest to get to put their damn phone away? The adults right up into their forties. When I see teenagers out together their phones are mostly in their pockets. Anecdotal evidence I know.
But if you don’t believe my observations about an extremely small sample size—and why should you—then read Danah Boyd’s It’s Complicated she’s got proof! Her basic thesis is that teens are not addicted to social media, they’re addicted to each other, to socialising and often, because of the tight controls of their parents, social media is the only way they can socialise.
You know what my generation was/is mostly addicted to? Socialising with our peers. As was the previous Baby Boomer generation.4 We humans we are very social creatures.
TL;DR: There is no such thing as a coherent generation who are all the same. Historical change happens much more slowly than that. Stop leaving out class and race and other important ways in which identity is determined. Also: GET OFF MY LAWN!5
Though am very grateful to you for this particular corrective piece of journalism. One of the things I love best about the internet is that while, yes, false information spreads quickly; the corrections spread quickly too. And it’s much easier to find correct information than it was in the days before the internet. [↩]
I often think about how to make the world a better place. What would I do if I were world dictator? Other than ban coffee,1 I mean, and banish all the smokers to Bulgaria. Obviously, there are many, many, many things about this beautiful, broken world that need fixing. Clean water and food for everyone! Shelter and clothing! And like that.
My utopia would also highly prize education. Particularly Early Childhood Education.2 There would be well-trained, well-paid, early childhood teachers. And when I say well-paid early childhood teaching would be the highest paid job attracting the bestest and brightest.3 Some would be skilled at working with kids from a very early age, even newborns. They’d be available to all parents.
That’s right, no parents would be left alone to raise their kids without any support. So if you have kids and you live far from your family and closest friends, or if your family are the kind of people you wouldn’t let near your children, there would always be someone to help you. Multiple someones. I’m convinced that each child needs a minimum of three adult carers (though five is better). Yes, I truly believe that it takes a village to raise a child. And two adults—especially when one of them is in full-time employment so the family can eat and keep a roof over their head—is insufficient.
Here in Australia there are almost 20,000 children in foster care. There aren’t enough foster carers to take care of them. And every year that equation gets worse as there are more kids taken into care and fewer carers.
In my state, New South Wales, the government has responded to the crisis by throwing money at the foster care end of things which, obviously, does need more money. However, it’s even more crucial that families are helped before things get so bad their kids are taken away.4
If all new parents, no matter how poor or how rich, were given support and training and access to people and places to help them with their kids I reckon their chances of government intervention would go way down.
I’d also like us to completely revamp our education system from top to bottom so that it worked more like this experimental class in Mexico. The headline of that article puts the emphasis on finding geniuses but what I thought was coolest was that every student improved and learned and that they all seemed to really enjoy going to school. Wouldn’t it be marvellous if school was like that for everyone?
In case you think there’s no way any country could turn its education system around to that extent have a little squiz at what’s been going on in Finland for the last decade or so. Pretty impressive, eh?
Tragically, I am not dictator of the world, I am a novelist, which means I am dictator of those worlds I create. I think I’ll be writing a novel where everything is built around that kind of education from cradle to grave and see how it could go horribly wrong . . . (The problem with a fully functioning utopia is that they’re not great for generating plot. Unhappy people make more plot than happy people.)
What’s your utopia?
Just kidding. I would never do that. Scott would die. So would my parents. [↩]
Sentence caps cause I am emphasising its importance. [↩]
I would reverse the way teachers are paid. In my world primary school teachers would be the next best paid after the early childhood educators. Then those who teach children 12 years and up to the end of high school. Then, lastly, university educators would be at the bottom of this extremely well-paid scale. In my world lawyers and advertising agents and CEOs would be paid way less than educators. [↩]
I’m not going to go into the total economic disparity in whose kids get taken away and whose don’t. Let’s just say rich folk no matter how vile their treatment of their offspring very rarely have their children taken away. And there are all too many cases of working class families have their kids taken away for no good reason. [↩]
There was conflict in the world before there was an internet. Shocking, I know. Yet this notion keeps arising that all this conflict online somehow never existed before the internet. Or that in the early days of the internet everything was lovely and conflict-free and rose petals fell from above. And then it all went horribly wrong. The trolls descended.
Even when people admit that, yes, there was conflict in the olden days they often go on to say but it’s so much worse now.
I spent several years of my life researching the science fiction community in the USA from the 1920s through to the 1990s. I read many, many, many, fanzines, and prozines and issues of the Science Fiction Writers of America’s Bulletin. There were fights. Oh, Lord, there were fights. And, yes, sometimes it got nasty.
I looked specifically at debates around sex, sexuality and gender. You can see some letters on the subject here including some from a very young Isaac Asimov valiantly fighting to keep women out of science fiction. He’d be pleased to know there are men still fighting that fight almost eighty years later. Bless.
Every generation of feminists have had fights and disagreements over a huge range of issues.1 But usually those issues boil down to who counts as a woman? When women were fighting for the vote many white women suffragettes excluded women of colour because they did not see them as women.
I think many people feel like it’s worse now because the internet is faster and less mediated and reaches further than any previous means of mass communication. People who have not been able to speak publicly before can now be heard. That’s the key part: before the internet, before blogs and social media like Twitter, most people could not get their voices heard. The best they could do were letters to the editor. And it was extraordinarily hard to get your letter printed back then. Now all you have to do is push a button.
As Mikki Kendall points out what happened in publicly printed forums pre-internet was governed by “middle class social norms.” However, many online spaces like Twitter are not “the province of the middle class.” Different notions of what constitutes “polite” are clashing against each other.
More people are talking faster than ever before. They’re speaking from different places (in terms of geography and identity) and classes and different notions of what’s polite, what’s bullying, what should be discussed in public, and what shouldn’t. There is conflict and there will always be conflict. Some of it is exceedingly nasty and vicious and racist and sexist and homophobic and transphobic and etc.
I was online in the (relatively) early days. I have been a denizen of the internets since the 90s when I was a phd student. Back in the days when online social interaction took place on usenet newsgroups. There were trolls back then. There was conflict. The term “flame war” goes back to at least the late 1980s. According to the OED the first use of “troll” in its current sense goes back to 14 Dec 1992 when it was used on alt.folklore.urban.
But the biggest difference was there weren’t anywhere near as many people online back then and those who were online were overwhelmingly university educated–and mostly in the STEM fields, mostly white, male, and from the USA. The internet is not like that anymore. I am not at all nostalgic for those days because I truly was afraid to speak out back then. I knew that on most forums if I wanted to talked about racism or sexism I’d be ignored or the conversation would be swiftly changed. Sadly, there are still many corners of the internet that are like that. But there are plenty that aren’t.
Yes, there are more trolls now trying to shut down those conversations, but there also more allies, more people who want to talk about race and class and gender and so forth. I don’t feel nearly as alone as I did back then and I feel far more hopeful.2
Update: I really wish I’d read this wonderful article, “In Defense of Twitter Feminism,” by Suey Park (@suey_park) and Dr. David J. Leonard (@drdavidjleonard) before I wrote this post. Go read it: http://modelviewculture.com/pieces/in-defense-of-twitter-feminism
In the 1970s a friend of my mother’s was once excluded from a women’s group because she’d had a male child and was thus harbouring the enemy. I hasten to add that was a fringe view back then. [↩]
I mean today I do. There are days when not so much. [↩]
I. Many writers rail at the very idea that their main characters must be “likeable”.
II. No one agrees on which characters are “likeable” and which aren’t.
III. Most of the characters deemed “unlikeable” are female. For some mysterious reason,3 the bar for “likeability” for female characters is way higher than it is for male characters.
IV. This seems to be more of a thing in YA than in other genres.4
V. Whenever one of us authors writes about how irritated we are by the “likeability” shenanigans there’s always someone who’ll go off on a But-Why-Would-I-Read-About-Characters-I-Don’t-Like rant.
VI: “Likeable” is a really ugly word and there seems to be no agreement about the spelling yet.5
I. Why do our characters have to be likeable?
I want my characters to evoke strong reactions. Love them? Awesome. But I’m perfectly happy with hatred too. As long as they don’t put readers to sleep.6 But the idea that a character’s likeability is the most important thing about them drives me spare. The lack of likeability of Patricia Highsmith’s characters hasn’t dented her sales, or literary reputation, and her protags are all psychopaths.7
For heaven’s sake, what kind of question is that? Would you want to be friends with Humbert Humbert? Would you want to be friends with Mickey Sabbath? Saleem Sinai? Hamlet? Krapp? Oedipus? Oscar Wao? Antigone? Raskolnikov? Any of the characters in The Corrections? Any of the characters in Infinite Jest? Any of the characters in anything Pynchon has ever written? Or Martin Amis? Or Orhan Pamuk? Or Alice Munro, for that matter? If you’re reading to find friends, you’re in deep trouble.
What she said. Whether readers are going to like my characters is basically the last thing I’m thinking about when I write them. And when I say “last” I mean I don’t think about it at all. What matters to me is, as Claire Messud goes on to say, whether they come alive on the page.8 Can I lull readers into believing my characters are real?
For what it’s worth I care about every character I write. Even the villains. Not that I write many villains. I know every character’s motivations and desires and fantasies and foibles. I can’t know all of that without caring, and conversely If I don’t give a shit about a character, I can’t write them.
As a writer I could not agree with Messud more strongly.
As a reader, well, I do occasionally wish some of my favourite literary characters were my friends. Not as much as I used to when I was a kid and desperately wished Anne of Green Gables and I were besties but, well, as I read Chimamanda Adichie’s Americanah I strarted to feel like I was friends with Ifemelu. When I finished the book I was bummed we weren’t hanging out anymore.
II. No one agrees on which characters are “likeable” and which aren’t.
So much of this debate assumes that we’re all on the same page about who is likeable and who isn’t. What a ludicrous assumption. There are readers who hate, hate, hate Anne of Green Gables.9
In fact, no matter who your favourite character is someone somewhere hates them.
Rochester from Jane Eyre and Heathcliff from Wuthering Heights are held up as romantic heroes. I can’t stand them. More than that I don’t see what is the slightest bit romantic about them. Rochester locked up his first wife and I’m pretty sure he was violent towards her. Meanwhile he’s wooing an employee and proposes marriage even though he’s already married. Violent, immoral and a bigamist. Ewww. Where’s the romance? Do not get me started on Heathcliff.
I also hear many people talking about [redacted] from that recent YA mega hit and how everyone loves [redacted]. I didn’t. I wanted [redacted] to die. Yes, I am a very bad person.
On the other hand, everyone seems to really hate [redacted] from recent YA mega hit and I kinda love [redacted]. Like, I really don’t understand how anyone could wish harm upon [redacted].
III. Most of the characters deemed “unlikeable” are female.
I’m not going to say much about this here. I feel like it’s been covered. Goreadallthesearticles. I even wrote a blog post on the subject and there are many others out there. If you feel I’ve missed some excellent ones please mention them in the comments.
IV. This seems to be more of a thing in YA than in other genres.
I have no conclusive evidence to prove this, it’s more of a feeling. But one I’m not alone in having. As I mentioned in my recent post on writers’ intentions, we YA authors are often asked to write morally uplifting work. Many of us are resistant to that. As Malinda Lo said when we were discussing the idea of likeability on Twitter:
I think a lot of YA and kidlit is also expected to have likable protags. Sometimes for annoying lesson teaching reasons.
There’s a lot of pressure from certain parents, teachers etc. for characters to act as models for behavior.
I have had parents ask me why I can’t write nicer characters. Which annoys me because many of the characters I’ve written are perfectly lovely. Any parent should be proud to have them as their teenagers. When I’m asked that question they’re always talking about Micah from Liar. No, she’s not particularly nice—whatever that means—but she sure is interesting.
Look, I don’t buy the whole you-can’t-write-an-interesting-book-about-a-nice-character argument. However, writing a character, who makes all the right decisions, and never make mistakes is really hard and does not generate much plot. Troubled characters, who make bad decisions, are easier to write about because they generate loads of conflict and conflict makes plot. And in my kind of novel writing plot is good.
Frankly, as a writer and as a human being, I am uninterested in perfection. Part of why I write about teenagers is that they’re still open to learning and changing and figuring out who they are in the world. I find flaws interesting so that’s what I write about.
The idea that the more perfect a character is the more likeable they are is, well, I have grave doubts.
If you were to propose a list of the most liked characters in literature I doubt you’d find many role models or much perfection on that list.
V. Why Would I Read About Characters I Don’t Like?
See II: No One Agrees On What’s Likeable. You might find the characters unpleasant and vile and have no desire to read about sulky Anne and her irritating uncle and aunt in their stupid green gabled house. Or her dolt of an admirer Gilbert. But some of us love them all dearly.
I am a huge Patricia Highsmith fan. I do not wish ever, under any circumstances, to spend time with any of her characters.10 They would probably kill me. I want to live.
So, yes, there are many books I love, which are about vile people. Or from the point of view of someone vile. Nabokov’s Lolita really is a brilliant book. I’ve read it many times and learned something more about writing with each reading. But Humbert Humbert likeable? EWWWW!!!! No, he is not.
Sometimes I enjoy reading about bad people doing bad things. Sometimes I do not. I’m not about to judge anyone else’s reading habits. You don’t want to read about characters you deem unlikeable? I support your decision.
VI: “Likeable” or “likable” is a really ugly word and there seems to be no agreement about the spelling yet.
What can I say? Spelling, like the notion of likeability, is very weird.
This post was inspired by Twitter discussions of Roxane Gay’s article on the subject with folks like Malinda Lo. But I have talked about these issues over the years with too many YA writers to name. Some of whom, like Holly Black and Sarah Rees Brennan, have written very thoughtfully on the subject. [↩]
As noted it’s not just me noticing it. Here’s Seanan McGuire on the same subject. [↩]
Yes, I’m being sarcastic. There is no mystery. The answer is: because sexism. [↩]
Though that could just be because I’m in the YA field and thus that’s what I hear the most about. [↩]
It seems to be another the Commonwealth spells it one way and the USA the other thing. However, there also seems to be a lot variation within all those countries. Thank you Grammarist. [↩]
Which sadly they always will: every book bores someone somewhere. [↩]
There are many other writers this is true of. But Highsmith is my favourite example. [↩]
I asked because I have tried to do so and I have always failed. I wanted to know how Daniel had managed to do it.
I also asked because I write YA, and like most of us who write children’s or YA, the request to produce moral, uplifting fiction is frequent.1 I often wonder how many authors of adult fiction are asked what the moral of their stories are and whether it teaches the “correct” lessons.2 My suspicion is that very few of them have to deal with that particular set of questions.3
The discussion on Twitter swiftly went off in the direction of political writing and how there’s some wonderful moral and political writing, that not all of it is didactic and dry. All very true.4 But it left behind the discussion about a writer’s intentions. Which was what I wanted to talk about because, as ever, the process of writing fascinates me. I continued that discussion with Tayari Jones as we both agreed that it’s impossible to deduce a writer’s intentions from the published text.5
Readers6 often assume that they know what a writer’s intentions were. But unless they’ve shared those intentions—In this book I intend to teach that one should only marry for love. Regards, Jane Austen7—do we really?
I recently finished Chimamanda Ngozi Adichie’s brilliant Americanah which is very much a book about race and how it plays out differently in the USA and Nigeria (and the UK). It is a profoundly political and moral book. However, I have no idea if that is what Adichie intended. It’s clear watching her wonderfulTED talks and readinginterviewswithher, that she thinks about all of those issues a great deal, but that is not the same thing as sitting down, and intending to write a book about race and politics and justice.
When you publish a novel the question you are asked most often is some variant of “Where did your novel come from?” or “How did you get the idea?” In response we writers tell origin stories for our novels. Sometimes they are not entirely true.
The origin stories I give for mine change as I realise more about them from other people’s reactions. Sometimes I think I don’t understand my novels until after they’ve gone through multiple rewrites and been published and been read and reviewed and argued over. It’s only then that I understand the novel and get a better sense of where it came from.
However, that’s not the same thing as remembering what I was thinking at the moment I first sat down to write. The further I am from writing the novel, the harder it is to remember what I was thinking way back then. I’ve always assumed other writers are the same way, but if there’s one thing I’ve learned about writing it’s that you can never assume that.
Here’s what I can tell you about my intentions: none of my published fiction began with the desire to teach a lesson, or make a political point. My stories almost always begin with the main character. With a line of dialogue, or a stray thought, that feels like it comes out of nowhere.8
But that’s not entirely true either.
The Magic or Madness trilogy came out of my desire to write a fantasy where magic had grave costs. I have been an avid reader of fantasy since I was first able to read. I was sick to death of magic being used as a get-out-of-gaol-free card. No muss no fuss, no consequences! Ugh. Way to make what should have been a complex, meaty, wonderful immersive reading experience into a big old yawn. When I started my trilogy I was definitely not going to do that. Likewise with Liar I’d had the idea of writing a novel from the point of view of a pathological (or possibly compulsive) liar for ages.
However, those books were nothing but a few scribbled notes until the main characters came along and breathed life into those static ideas and turned them into story. That is the magical part of writing fiction. I have no idea how it happens.
How To Ditch Your Fairy and my forthcoming novel, Razorhurst, began with the main character’s voice. In both cases I’d been hard at work on another novel when those characters came along and I had to stop work on the deadline novel and start the new out-of-nowhere one. I had no idea what those books were about or where they were going until I completed the first draft.9
With How To Ditch Your Fairy, I realised that I had written a world without racism or sexism. A utopia! No, of course not. Inequality still exists. One of the things I like about HTDYF is that it’s a corrupt world but that’s not what the book is about. In the main character’s, Charlie’s, world the best athletes are the elites and, yes, some of them abuse that power. But she barely blinks at that. It’s something she has to deal with like bad weather. Yes, some readers were annoyed that Charlie does not fight the power. But that’s not what the book is about. There are glimpses of other characters who are fighting the good fight but How To Ditch Your Fairy is not their story. I wanted to tell Charlie’s story.
I still think HTDYF is a political book. But it’s usually not read that way. Nor did I set out to write a political book. I think if I had decided to write a book about how people survive within a corrupt system, how the frog does not notice the water boiling, I would not have written the novel or any novel. I do not write fiction to teach lessons.
In my discussion with Tayari Jones she said “it’s about starting with moral questions. Not moral ANSWERS.” I agree wholeheartedly and think Tayari’s wonderful books are powerful exemplars of just that.10 It probably looks like what I said above contradicts Tayari but I don’t think it does.
Most of us, writers or not, are thinking about moral questions all the time. I have thought long and hard about about how inequality operates, and about how so many of us are complicit, how we turn a blind eye because it’s easier, and because, let’s be honest, all too often it’s safer to do so. I’ve written about why so many don’t report harassment/assault/rape. There are many reasons to stay silent and one of those reasons is being so used to evil that you stop seeing it. It’s the way the world is.
Anyone who is thinking about these kinds of questions is going to write political books whether they intend to or not. Everyone is informed by their politics, their religion—or lack of religion—by who they are, and how they exist in the world. In that sense we all write political books and live political lives.
To go back to what Tayari Jones said, these moral questions shape our writing, but often we don’t realise that until we’ve written them. Novels can be a way for us to figure out what we think about a moral question. To run through the various different angles on a problem and see what the consequences are. Even when we don’t realise that’s what we’re doing.
This is different from setting out to write a story that tells a specific moral. Or as Tayari says it’s the difference between beginning with an answer or beginning with a question. Writers like Tayari and me prefer to do the latter.
To go back to the beginning of this post that’s not something a reader is going to know. Let’s face it, the vast majority of readers don’t turn to author’s blogs and twitter feeds and interviews to try and figure out what the author’s intentions were in writing their books. Most of us are happy to enjoy the book without much more engagement than that.11 Nor should they. The author is dead, yo. A reader’s experience of a book is their own. They get to read a book any way they please.12
The question of what a writer intended is probably of far more interest to writers than it is to readers. That’s why I asked Daniel if he’d ever started writing a story with the moral he wanted that story to teach. I hadn’t succeeded in doing that so I wanted to know if he had and, more importantly how he had.
I’d still love to know how writers manage to do that. If you’ve written anything you’re proud of starting with the lesson you’re teaching, do please share!
In conclusion: I have no conclusions I’m just thinking out loud.
Tl;dr: No one knows what an author intended with their work; except that author and they can be wrong. Besides the author’s dead. Or something.
As is the condemnation when our work is deemed to be immoral. [↩]
When people make that request of me I usually tell them that’s not how I write and suggest they try writing their own moral-teaching novels. I do it nicely. Honest. [↩]
But, on the other hand, their fans aren’t as lovely as our fans so it all evens out. [↩]
Lots of people read Nineteen Eighty-Four for the story, not for the condemnation of Stalinism. [↩]
I’m very grateful to Tayari, her conversation helped shape this post. [↩]
Yes, readers and writers are almost always one and the same. I don’t know any writers who don’t read. [↩]
No, I don’t think that’s what Jane Austen intended us to learn from her novels. Not even close. [↩]
That’s how it feels but obviously that’s not what happens. Everything comes from somewhere. [↩]
Which is not me saying that I wasn’t making all the choices that led to those novels becoming what they are. I’m a writer, not a taker of dictation. My characters are not real to me in any but a metaphorical sense. [↩]
Seriously if you haven’t read any of Tayari Jones’s novels you are missing out. Leaving Atlanta and The Silver Sparrow are my favourites but they’re all fabulous. [↩]
It’s a lot easier to write characters who are like us than it is to write characters who aren’t.1
Many writers, probably most writers, build whole careers on writing about their own milieu, their own people. That’s what F. Scott Fitzgerald, Federico García Lorca, and Virginia Woolf did, to name three famous examples.2
There is nothing at all wrong with writing what you know in the narrow sense of the place where you live and the people with whom you are most familiar. People are very complicated. There’s a lot to write about even with such a narrow lens. Think Jane Austen.
But if you look more closely you’ll see even those writers wrote characters unlike them. Lorca wrote heterosexual characters, Fitzgerald wrote women, and Woolf wrote men, not to mention creating Orlando who is both a woman and a man and also sort of immortal and all awesome.
Unless you’re going to write books that are populated by only people who are identical to you, called say, The Books of Clones, you’re going have to write someone who’s at least a different gender or age from you. And even if someone is the same class, race, gender, sexuality and age as you they’re still not you. There are still a vast amount of things about them that are different. I’m not just talking about the colour of their hair.
Think about it like this: you know many things about yourself that no one but you would know. For example, you always wear the same very low-key scent, sweetgrass hydrosol.3 because it smells how the rain you grew up with smelt, but very few people have ever noticed it, or asked you about it.
Or to give a different example, when you walk down a street, you have to alternate stepping on a crack, with not stepping on a crack, and you have to do this in such a way that no one notices that you’re walking oddly. You can’t break stride. Over the years that has meant you’ve developed a whole array of rules around what counts as a crack and what doesn’t. At this point those rules are almost canon law they’re so byzantine and detailed. But no one else has any idea of how much thought goes into every single step you take even as they walk beside you holding your hand.
Those are the kind of specific details that help characters come alive. And the kind of details that reveal how we are not all exactly like each other even when our fundamentals (gender, race, class etc) appear to be identical.
Some writers create characters by writing themselves but with some aspect of their life changed: if their parents had died, if they had been sent to boarding school, if their parents lost all their money. Invariably the resulting character is markedly different because those changes transform lives.
It’s an interesting exercise to try. Imagine for a moment how different your life would be if you were a different religion. Imagine being Mormon instead of Muslim. Or Buddhist rather than Baptist. How would your life differ if you had no religion? Or if you’re not religious how different would your life be if you were religious?
What about if you grew up in a different town? Or a different country? If you were a refugee? Or if your parents split up/stayed together? If you had siblings/no siblings. If you were a twin.
Can you see how incredibly different all those change would make your life? In some fundamental ways you wouldn’t be you.
Now imagine if you were a different class or race. For many that’s incredibly difficult to do. Particularly if you’re in the dominant category and have rarely been in a situation where you’ve had to think about your race or class because being you is the norm.
Being white and poor in NYC is a very different experience from being white and rich there. It’s also very different from being black and poor or rich and black in NYC. Or from being any of those things in Sydney. As would being rich and white or middle class and black. And so on.
But what kind of black? What kind of white? These are huge categories with many differences within them.
Leaving aside class, is your character an immigrant? Are they the child of immigrants? Are they or their parents from Nigeria or India or the UK or Cuba or Russia or Vietnam?4
Not to mention which part of those different countries are they from? There’s a lot of diversity within countries.5 Is English your character’s first language? Their second language? Third? Fourth? My Eastern European grandparents grew up speaking six different languages, which is very difficult for monolingual6 me to get my head around.
Not all black/white/Asian/European/etc people think the same, act the same, vote the same, or eat the same food. People are as diverse within racial/ethnic/class categories as they are across those categories. Often two people of different races, but of the same class, and working in the same industry, will have more in common with each other than with someone of the same race, but different class, working an entirely different job.
But then there are those moments of commonality that cut across those other differences. This has happened to me living overseas. Another Australian will instantly understand a reference to something back home despite us having only our Australian-ness in common.
This planet and the people who live on it are diverse and very complicated. We do our writing a disservice every time we forget that.
All novels are in some way about race and sexuality and class and gender, and all the other categories that make up who we are in the world, how able-bodied we are, how neurotypical, our height or weight, whether people we love have died or not. This is true even if we did not intend our book to be about any of those things. It makes our writing much more nuanced and convincing when we’ve thought about those categories and how they shape how we—and by extension our characters—exist in the world.
None of this is easy. But thinking about it, and reading as widely as you can, will make you a much better writer.
Though, let’s be honest, it’s also hard to write convincing 3D living characters who are exactly like you. Writing is not easy. How many times have you put a book down because you didn’t believe in the characters? Doesn’t matter if the author is exactly the same as the character they’re written, down to them both being left-handed, if the author can’t bring the character to life. [↩]
Obviously Fitzgerald was the more narrowly focussed of those three writers. But Woolf and Lorca mostly wrote about their own countries: England and Spain. [↩]
Thanks to Alyssa Harad for that particular detail. She responded to a tweet of mine asking whether there are any perfumes that smell like rain. Turns out there are. Also turns out that rain smells different depending on what it lands on. I already knew that but it was something I knew that I didn’t realise I knew until Alyssa pointed it out. [↩]
I am making an assumption here that your character is living in Australia or the USA. But Australians and USians also migrate. I’ve come across them living all over the world. [↩]
Most Russians are not, despite what Hollywood will tell you, gangsters. [↩]
One of the constant criticisms of politicians, or anyone, really, who steps up to speak against a common social ill, like misogyny, is that they themselves are flawed. How dare you get on your high horse, Julia Gillard, about sexism when members of your own party, like Mark Latham and Kevin Rudd, have been sexist, when you and your party are trying stop paying many single parents their benefit, when you don’t support marriage equality?
Yes, it’s true, Julia Gillard is not perfect. She’s not even close. But if only the perfect may speak out and criticise the status quo then, well, we will be living in a very silent world.
Julia Gillard had to make many deals and many compromises to become PM. Many deals and compromises were made for her to be deposed. Many were made for Tony Abbott to become our current prime minister.
It’s the nature of democracy. Every leader of every country anywhere in the world has done so. Perfect ideological purity—no matter what your ideology—does not allow you to be a leader in democratic societies. But good news: you can still be a dictator! Phew, eh?
If I was the world dictator, er, um, I mean, in my perfect world there would be no sexism or racism or homophobia or classism or any of the other ugly isms. There would be religious tolerance which includes the right to not be religious. There would be no smoking and no chocolate or coffee. Because a massive EWWWW to all three of those. Or grape fruit. No gin either. Gin is gross. Or tonic water. Uggh, I hate that stuff. Formal shorts would be gone as well as bubble skirts and crocs and safari suits and yacht shoes and pastel anything.
Now I’m going to take a bit of a punt here and guess: that’s not your perfect world, is it? You love chocolate or coffee or both and you think I’m crazy. You wear pastel formal shorts every day and want to know what the hell is wrong with me.
My extremely crudely made point is that no one’s perfect world is the same as anyone else’s, let alone everyone else’s. Even people who have many common beliefs, such as Christians, disagree on many issues: whether women can be priests, whether the Bible is the literal word of God, whether homosexuality is an abomination etc etc. Even within the various different kinds of Christianity . . . Well, you get my point.
I’m a feminist but there are many feminists I disagree with profoundly. And many who would never call themselves feminist who I am in strong agreement with.
Beyond all that I believe perfection is not attainable. There is nothing in this world without flaw.
I think that’s a good thing.
Which is not to say we shouldn’t strive for perfection, that we should all just give up. “Eh, I may be a raging egomaniac who breaks everyone’s heart and steals everything that isn’t nailed down and has no friends but at least I don’t kick puppies.” Um, no. We should all be striving to be the best people we can and to produce the best work we can.
But, wow, can striving for perfection get in the way. I know people who have been working on the one book for years and years and years without ever allowing anyone to see it because they don’t think it’s perfect yet.
Newsflash: no book is ever perfect.
They could all be better.1 You’ve got to stop some time and let other people look at your work. And move on to write other not-perfect things.
This is especially true of novels. My favourite definition of a novel is that it is a long piece of prose that has something wrong with it.2 Every novel ever published fits that definition.
Keep on writing, everyone, especially you NaNoWriMoers, do not let perfection get in your way!
I adore Jane Austen but she rushed her endings. All her books end way too fast. [↩]
Can’t remember who first said that. Feel free to do my research for me. [↩]
On the evening of 6 November 2012, while enjoying a pre-election party drink with Scott, we shared a laugh about all the right wingers who’d been claiming they’d move to Canada or Australia if Barack Obama was re-elected. I pulled out my phone and tweeted:1
For those saying “if Obama wins I’m going to Australia” our PM is a single atheist woman & we have universal health care & mandatory voting.
It took a bit of juggling to get it all to fit. Curse the 140 character limit! I had to change “living in sin” to “unmarried” and then to “single”. (Oh, how I wish I’d thought to say “unwed”. Even fewer characters! Though it would have been best if I’d found a way to get “living in sin” to fit.) I also had to delete the bit about Australia also having strict gun control as well as turning the “and”s into ampersands.
I then put the phone down and went back to chatting with Scott before heading to the election party. By the time we got there that tweet had already been retweeted several thousand times. It went on to be tweeted more than 11,000 times. My mentions were more crowded than they’ve ever been.
Exciting, huh? My previous biggest retweet had been a matter of hundreds, not thousands. I was thrilled. And so retweeted and answered many of the responses I got.
But as the next few days unfolded my mentions remained clogged with people responding. Most were polite saying things like “go you” and “this.” Some shared drop bear jokes and agreed that Australia is indeed awesome compared to the USA. But all too many others felt compelled to explain to me that Gillard has a partner and is not single. I know! Or to yell at me not to diss atheism/universal healthcare/mandatory voting/Australia/the USA/Christianity/puppies. Um, what?
Many people, mostly Australians, decided to school me on the many things that are wrong with Australia. Um, youse lot? I AM AUSTRALIAN. I am aware. I was also called “a sexist bitch.” What on Earth? And some much worse things.
This went on for an entire week. Making it really hard to respond to the usual folks in my mentions because they kept zipping by lost in the maelstrom of all those people responding to that one damn tweet. Yes, I was very tempted to delete it.
At least when one of my blog posts goes viral I can control the comments. It’s much harder with mentions. I wound up blocking many people. Which is not ideal and I suspect some of those people were not being particularly offensive. I was just over being yelled at by random strangers every few seconds.
A year later and I think I would have handled it differently. Possibly by staying off Twitter for a week.
It really makes me wonder how those with tens of thousands of followers cope. How on earth can you keep up with that many mentions flooding back at you from your gazillion followers? How is dialogue possible?
I follow several people who talk about how hard it is to deal with their mentions. Most of them have followers of 6,000 or more and most of them tweet about politics and social justice. Their mentions are frequently a sewer of sexist and racist hatred. I really don’t know how they cope.
The sad fact is that the more popular you are the more hated you are. As more people know who you are, more people have opinions, and not all those opinions are favourable. Compounding that is the sexist, racist world we live in. If you are female you attract more vitriol than if you are male. If you are a person of colour you attract more hatred that if you are white. And if you tweet about social justice while female and of colour you get the most hate of all.
My tiny little experience of the random hatred of strangers made me even more aware of how awful it is to deal with that bullshit every single day. It made me even more appreciative of the bravery and strength of those bloggers and tweeters who continue to speak out about social justice even while bands of trolls yell at them to shut up already.
It made me more determined to keep on tweeting and blogging and speaking out and supporting those who get attacked for doing the same. But also more understanding of those who delete their social media accounts and walk away.
I’ve also stopped tweeting at people I don’t know or who don’t follow me unless they tweet at me first, or it’s part of a conversation with other people that do follow me/I know personally. I now know what it feels like to have many strangers tweeting/yelling at me. I don’t want to add to that noise or be part of what makes good people walk away from social media.
We are in the very early days of negotiating these brand new ways of communicating. It’s fascinating and wonderful but pretty bloody scary too.
Would love to hear some of the wisdoms you’ve all learned about it.
Julia Gillard is no longer Australia’s female, atheist, living in sin Prime Minister. But I remain proud that she once was and that Australia has universal health care (no matter how imperfect), strict gun control and mandatory voting. [↩]
Today I was able to watch the live stream of bell hooks and Melissa Harris Perry in conversation. It was erudite, moving, and flat-out brilliant with many wonderful flashes of wit. Particularly from hooks who said at the beginning of the Q&A: “Ask your question quickly because with buddhist compassion I will tell you not to give that speech.” And the audience cheered!1
When I was an undergraduate studying literature and language and semiotics, and thinking about feminism, and being introduced to a wide-range of theory for the very time, bell hooks was one of a handful of theorists who spoke to me. I found her language clear and inspiring and meaningful.
That last part is important. Many of the other feminist theorists I was reading for the first time back then I struggled to make meaning from. I bounced off the likes of Kristeva so hard it hurt. It seemed to me that they were writing about women in the abstract, that they were writing as if all women were the same.
bell hooks did not do that. In her first book, Ain’t I a Woman?, she discussed the real, material effects on real women in the real world. She talked about how black women and poor white women had been left out of mainstream feminism, that who counted as a woman for feminism was far narrower than the totality of all women.
Even this middle class white women could see that was true. All I had to do was look around me.
If you’re interested in a much more encompassing feminism, in intersectionality, in social justice, in simply understanding how the world works you should read bell hooks. If you’ve not read her before you could start with hooks’ recent critique of Sheryl Sandberg’s Lean In
An even better place to start is the conversation with Melissa Harris Perry which covers a great deal of ground and shows how generous, thoughtful and really, really razor sharp smart those two women are. Warning though it could make you cry. There are some particularly powerful moments during the Q&A.
And then you should read all of bell hooks’ books.
Though of course one question came from someone who would not be stopped in giving that speech. [↩]
It’s Banned Books Week and today I discovered via Texas ACLU’s annual banned book report that mine and Holly Black‘s Zombies versus Unicorns has been banned there. I immediately tweeted about it. Proudly because also on the list is one of the best writers of all time: Shirley Jackson. Also I have many Texas connections, including a husband, so I kind of feel like an honorary Texan. Not to mention: I adore Texan librarians. They are seriously the best.
The responses I got were divided between Woo hoos! and people worried that the people of Texas could no longer get hold of the books on the list. So here are my quick responses.
As far as I know states in the USA no longer ban books. Nor does the government of the USA. This list of the top ten banned books in Texas is of those removed from schools in Texas. It’s also not just a top ten list it’s the list of all books that were banned in Texas in 2012-13. That’s right only ten were banned. Book bannings are actually going down in Texas. ZvU was only banned from one school. See how misleading my headline for this post is?
Don’t get me wrong though even one book banned is one book too many.
Throughout the USA I have only had my books banned from a handful of schools and from a juvenile detention centre. That I know of.
The “that I know of” is the key part. Books are banned from schools all the time in the USA but often we never hear about it. I only know about ZvU being banned because of Texas ACLU’s report on it. It’s the reason we have Banned Books Week so that the fact that books are being banned in this day and age is known about, so that we can fight back.
There’s a common misapprehension that a book being banned is a license to print money. Au contraire. A book being banned is a loss of sales. It means that book is not being stocked in that school’s library or taught at that school. So there are no sales of that book to that school.
Mostly when a book is banned it quietly disappears from the shelves without so much as a murmur. And even when a book’s banning is widely publicised it doesn’t necessarily lead to increased sales. Many of my author friends have had books banned with loads of publicity and yet they all report the banning of their books had little or no impact on sales.
So while we authors joke about wishing we were banned the sad truth is all we get out of it is disappeared books and dubious bragging rights.
One of the best things you can do to fight back is to go out and buy or borrow one of those banned books. Talk about the banning of books with your friends. Kick up a stink when you hear about a book being banned from your school.
women have been in SFF from the very beginning. We might not always have been visible, hidden away behind initials and masculine-sounding pseudonyms, quietly running the conventions at which men ran around pinching women’s bottoms, but we were there.
I would go further than that. Not only have women always been in SFF1, there have always been women (and some men) critiquing the misogyny and sexism of the genre. We have always been fighting this fight. As Jemisin says “memories in SFF are short, and the misconceptions vast and deep.”
As research for that book I spent years reading science fiction magazines from the 1920s through to the 1970s. I particularly paid close attention to the letter columns wherein I found gems like the ones featured here which argue about whether women have a place in science fiction. Here’s Mary Evelyn Byers in 1938 arguing against teenage sf fans, Isaac Asimov and David McIlwain (who went on to be the science fiction write Charles Eric Maine):
To [Asimov’s] plea for less hooey I give my whole-hearted support, but less hooey does not mean less women; it means a difference in the way they are introduced into the story and the part they play. Let Mr. Asimov turn the pages of a good history book and see how many times mankind has held progress back; let him also take notice that any changes wrought by women have been more or less permanent, and that these changes were usually made against the prejudice and illogical arguments of men, and feel himself chastened.
I found many such discussions and arguments. Arguing about the place of women and sex in science fiction turned out to be one of the continuing themes of science fiction, which is what Battle of the Sexes is about. We have always been having these arguments and fighting these fights. Our rebuttals have gotten a lot more inclusive and nuanced but those arguing for sexism and misogyny? They’re playing the same old song. Read Asimov and McIlwain’s 1938 letters if you don’t believe me.
The biggest difference is that in the 1930s women like Mary Evelyn Byers were far rarer than they are now. And the men supporting them were even rarer. There are more of us now and we have more allies than ever before. Things have gotten better.
N K Jemisin also observes:
[P]eople of color have been in SFF from the very beginning, hiding behind the racial anonymity of names and pseudonyms—and sometimes forcibly prevented from publishing our work by well-meaning editors, lest SFF audiences be troubled by the sight of a brown person in the protagonist’s role.
I did not find letters from people of colour, or many arguments about race in those letter columns,2 but a) I wasn’t looking for them, I was looking for arguments about sex and gender and b) how would I know? As Nora points out, in print racial anonymity is easy. Also, judging by the rude, patronising, idiotic responses brave letter writers such as Mary Evelyn Byers got to their arguments that women are human too, any such letter writer would have gotten an even worse response.
Those letter columns were hostile spaces for women who didn’t want to play the role of good girl fan. Hell, there are enough online spaces right now that are still hostile to women who speak out about pretty much anything. What would those letter columns of the 1930s, 40s, 50s, have been like for a person of colour wondering where all the sf stories about the civil rights movement are? It’s bad enough when similar questions are asked now.
Which is why I fully endorse N. K. Jemisin’s call for reconciliation:
It is time that we all recognized the real history of this genre, and acknowledged the breadth and diversity of its contributors. It’s time we acknowledged the debt we owe to those who got us here — all of them. It’s time we made note of what ground we’ve trodden upon, and the wrongs we’ve done to those who trod it first. And it’s time we took steps—some symbolic, some substantive—to try and correct those errors. I do not mean a simple removal of the barriers that currently exist within the genre and its fandom, though doing that’s certainly the first step. I mean we must now make an active, conscious effort to establish a literature of the imagination which truly belongs to everyone.
Jemisin is so very right that learning the history of this genre and acknowledging that we have always been fighting these fights is a crucial first step.
NB: I have not done any research in this area for more than a decade. Someone else may have found such letters and fanzines. If anyone knows of such research it would be lovely if you could share in the comments.
The abbreviation is for science fiction and fantasy. [↩]
There were many stories in the old magazines dealing with questions of race. Almost all of which were very, very racist. One of the stories I discuss in Battle, “The Feminine Metamorphosis” by David H. Keller, is about uppity white women using Chinese gonads to turn themselves into men and rule the world. The gonads turn out to be syphilitic and the women all go mad as the hero lectures them on bucking God’s plan for them to be “loving wives and wonderful mothers.” No, I’m not making this up. The story was first published in 1929. [↩]
So ages back @MalindaLo requested that I “blog about twitter etiquette: the good, the bad, the ugly.”
Best. Request. Ever. Especially as there are so many other people who are so much more qualified than I to impart such advice. Like, for example, the YA queen of Twitter, Maureen Johnson, who has about as many followers on Twitter as, like, a genuinely famous person, not a mere writer. Amazing, huh?
But I don’t care that I’m not qualified to dispense advice. I will do it anyway!
In my heart of hearts I have always longed to be an agony aunt. Yes, I wish I was Captain Awkward dispensing good advice and making the world a better place. But, you know, Captain Awkward is so amazing at it and her advice is such genius that I think I will leave the throne to her.
Besides which she never gives bad advice and I have a sick need to dole out hideous advice as well as good.1
NB: All my advice is for people with public not-anonymous twitter accounts who want to engage with people they don’t know. You private types chatting to your mates: as you were.
Here’s my main rule of Twitter etiquette:
Never tweet anything if you would freak out if your parent or grandmother or employer or publisher or agent or editor or spouse or partner or child or whoever-it-is-that-you-wish-to-continue-respecting-you read it.
And, really, that should be your rule for everything you put online even if it’s a comment on your friend’s locked blog. I have friends who won’t say anything in email or private IM chats that they would not stand by in public. That is very wise but much harder to stick to. Our online indiscretions will bite all of us in the arse eventually. It’s just a matter of when, and how far the teeth sink in, and whether the bite becomes infected.2
At the other end of the spectrum:
Twitter is not the place to be arranging a dinner date, or where to meet for a concert, or lunch, or whatever.3
Text each other already. No one who follows you both needs to know the minutiae of your social calendar. Either you’ll be boring those who aren’t involved—nothing is less interesting than being a witness to other people organising a get together—or you’ll be making them very cranky because they’re not invited too, you mean excluding poo head!
Or, worse still, you just told the stalker you didn’t know you had where you’re going to be. Paranoid, I know, but it could be TRUE and what if they have BAD INTENTIONS? Not all stalkers are the bumbling-but-sweet kind from romantic comedies.4
Do not start tweeting until you’ve hung out on Twitter for awhile and found some interesting people to follow
Obvious, I know. I had an account for ages before my first actual tweet. I lurked. And then when I started tweeting I still stuffed it up. I had no idea that if I tweeted directly at someone only they and the people who followed them AND me could see it.
This was a problem because I invited my followers to ask me writing questions and then responded to those questions directly. The result: hardly anyone was seeing my responses.
Rookie mistake! So. Embarrassing.
To make what I am saying clearer, in the following conversation the first tweet by Garth can be seen by all his followers. However, the two tweets after it can only be seen by people who follow both Garth AND me:
I was just teasing Garth so I saw no need to make it visible to more of my followers by putting a character like “.” in front of Garth’s twitter handle.
You don’t have to follow everyone who follows you
Though Meg Cabot seems to do that. Because she is all that is good and wise and generous and kind.
For starters quite a few of your precious followers are going to turn out to be bots. I know, I know. But these bots are not at all like the ones from Blade Runner.5
Follow who you want to follow. Unfollow if they annoy or bore you. On Twitter you are free as a bird!
Also the mute button is awesome. I frequently mute people when they are live tweeting shows I haven’t seen yet or are on a rant. Often I catch up on the rant later. But sometimes I just want Twitter niceness and silliness to float by and don’t want to know about all the bad things in the world.
I very frequently go on rants on Twitter. By all means mute me! You can also mute annoying and/or spoilery and/or upsetting #hashtags.
If you follow someone and they do not follow you back it does not mean they hate you
I have heaps of in real life friends who do not follow me on Twitter and vice versa. The reasons for this are varied. Some of my friends are not on Twitter. Shocking I know but there it is. Some tweet for work reasons and only follow people in their area. Or they really really hate anything to do with sport or Eurovision and know that to follow me is to be hit with tweets on those sacred subjects.
Sometimes they did follow me and I did follow them. But bloody Twitter for some random reason randomly unfollowed on our behalf. Grrr!
Sometimes I don’t follow friends because they only tweet about stuff I’m not interested in. Or I think they tweet too much or are too cranky. Or they only tweet about stuff that sends me into a spiral of despair.
It’s okay that we don’t follow each other. We’re friends. We’ll stay friends. Despite my propensity to tweet about cricket. And theirs to live tweet Glee.
If someone doesn’t respond to your tweeting them it doesn’t mean they hate you
I do not check my twitter feed every day. I tend to check it when I’m bored. I tweet a lot while waiting for stuff. Or while I’m procrastinating. I tweet not at all when I’m really busy. If I didn’t respond to your tweeting at me? I probably didn’t see it. I assume others are the same way.
Tweet what you care about
Other than that Twitter is whatever you want to make it. Personally I love to have long conversations with fellow women’s basketball and cricket and Olympics and sports obsessives.
It really is a wonderful way to find the people who love the same things that you love and then to bond over it. Is Seimone Augustus awesome? Why, yes, yes she is.
I also love to rant about ALL THE THINGS THAT ARE WRONG IN THE WORLD. OMG WHY IS THE WORLD SUCH TOTAL CRAP? I.e. ranting about issues around social justice and politics and shitty TV shows. It can be very cathartic to share your outrage and horror. Though it can also be super depressing. So be careful if you’re prone to that.
It’s also fun to crap on about all that is good and wonderful in the world, like, my fingerlime is flowering and tiny little fingerlimes are appearing on it and ISN’T THAT THE MOST AMAZING THING IN THE ENTIRE UNIVERSE?
Well, except that I wrote the above paragraph months ago and none of the tiny fingerlime fruits survived and ISN’T THAT THE WORST THING IN THE WORLD?6
IF YOU WANT PEOPLE TO KNOW SOMETHING IS TRUE USE ALL CAPS
This is probably the only rule of Twitter that everyone follows. WHICH IS LOVELY BECAUSE FINALLY THERE’S A PLACE WHERE YOU CAN’T OVERUSE CAPS. PHEW, EH?!
BENEDICT CUMBERBATCH IS OVERRATED. BUT, WOW, DOES HE HAVE THE BEST NAME EVER.
They allow you to take part in very important discussions such as:
#ComoComenzarUnaDiscusión That’s right people in the wonderful land that is Twitter start discussions in languages that aren’t always English. Why just last night the top ten trending topics world wide were in Spanish, Portuguese, English, and Turkish. Cool, huh?
#AusPol is the hashtag used in Australia for discussions of Australian politics. It frequently drives me to drink. Exercise caution when approaching it.
Then there’s lots of sporting ones for those of us who like to follow ball kicking, hitting, throwing, bouncing etc.
Then there’s ones for your favourite shows #TVD #Scandal #MKR #Nashville etc. These are best avoided if you are not watching in real time because, wow, does Twitter love to spoil the beginning, middle, ending, and all cool bits of every show ever.
Fortunately you can also make up your own hashtags. #thereis2anIinTeiam Actually, that’s probably not a good one.
I recently had a fun conversation about how books are evil with @LisaYee. Sadly we neglected to hashtag it as #booksareevil Thus our incredibly silly convo is now hard to track down. #weareslack
Hmmm, so this post turned out to not so much be about Twitter etiquette so much as it is about how much I love Twitter. Quite a lot really. #isfun AND EVERYTHING WRIT ON IT IS TRUE.
Let it be noted that often what I consider to be the most awesomest advice ever can also be terrible advice. It’s all about context. Everyone is different. For some people adding zombies to all their stories does not work out. Go figure. [↩]
What? I can take the metaphor as far as I want to, thank you very much. [↩]
And this one really, really doesn’t apply to those private accounts. [↩]
I suspect that kind of stalker only exists in romantic comedies. [↩]
Um, actually, not sure I’d want them following me either. Scary! [↩]
Other than all the truly awful things in the world, I mean. [↩]
One of the most insidious myths about writing is that of the Tormented Genius.1 I blame the Romantics: Byron, Wordsworth, Shelley, that lot. Who were all:
[i]f you have not suffered, if you have not had your soul embiggened by your torment and anguish and substance abuse—preferably opium, but, hey, alcohol will totally do in a pinch—then you cannot write a single soulful sentence! If you are neurotypical2 and have managed to live past forty? Totally not a proper writer!3
Obviously this is one hundred per cent true because think of all those famous writers: F. Scott Fitzgerald, Sylvia Plath, Virginia Woolf, Anne Sexton, etc. etc. Tormented, alcoholic, suicidal, didn’t live particularly long. It couldn’t be that we know their life stories better because they fit into our expectations of what a writer’s life should be, could it?
Yes, it totally could.
But you’d never know it given how pervasive the myth is. I’m frequently asked by young wannabe writers whether they have any chance at being a writer given that they’ve never had a breakdown or a substance abuse problem or suffered anything worse than the occasional unjust grade.
Yes, you can!
Anyone can write no matter how addiction free.4 And seriously don’t sweat not having suffered. Trust me, you will. Oh, yes, you will.
Here’s the thing, well, actually here’s several things:
The vast majority of professional writers, i.e. writers for whom writing is a big ole chunk of their income, if not all of it, have to meet deadlines. They have to write regularly, not just when the muse strikes, or when their soul is on fire, or they are in a manic phase. It’s their job, not a hobby. If they don’t do it or only do it under the right circumstances they could wind up not being paid and not being able to cover their rent or buy food.
The kind of life that the F. Scott Fitzgeralds of this world lived made writing harder. Old Scott was constantly broke and blowing the money and then having to write more despite being drunk and/or hungover. It was hellish. You do not want that life.
The idea that being off your face, or in pain, or can’t-roll-out-of-bed-depressed, is necessary to writing is absurd.
Frankly, it is so much harder to write when we’re in pain—physical or mental, when we’re drunk, or off our faces, or depressed. None of those states are helpful to the way most professionals write. It makes writing harder.
I have written while in physical pain because I had to. I have written while in mental pain for the same reason. That writing was not my best writing. Not even close.5 I flat out can’t write if I’ve imbibed so much as a glass of wine.6
The idea that suffering is an intrinsic part of the writing life is crap.
Again, I am not saying that writers can’t and don’t suffer. Just that it’s not a requirement.
You don’t have to live in a garret to be a proper writer, you don’t have to have a mental illness, or a substance abuse problem. Yes, there are writers who are poor—many of us. Many of us have a mental illness. Which is hardly surprising given that mental illness is very, very common for everyone.
Aside: I would love to live in a world in which mental illness was normalised. I read somewhere that depression is almost as common as the common cold. That pretty much everyone has been depressed at some point in their life.7 I’ve certainly been depressed. And yet judging by our mainstream media you’d think mental illness was as rare as hen’s teeth. It’s hardly ever talked about except for when someone commits a terrible crime and then it’s blamed on their illness even when the perpetrator has no history of mental illness and no diagnosis other than the media’s speculations. The vast majority of mentally ill people are not violent. They’re way more likely to have violence committed against them than to commit it themselves.
You may have a mental illness. If you don’t you certainly know people who do. I have several friends who are bipolar. I had no idea until they trusted me enough—after years of friendship—to confide in me. Because mental illness? So much stigma. And, you know what? Most of the time my bipolar friends are indistinguishable from the people I know who aren’t bipolar. End of grumpy aside.
So, yes, there are writers who are bipolar, depressive, anorexic etc. I am sure their writing is fueled by their illness. How could it not be? I’m also sure it’s fuelled by countless other aspects of who they are and what they’ve experienced. Mine is fuelled by everything that has ever happened to me, including bouts of depression. It’s what writers do: take our experiences of being in the world and turn it into story.
But having a mental illness is not a prerequisite for being a writer. Nor is being poor.8
Nor is suffering. Sure, all the writers I know have suffered in one way or another. But, seriously, how many people do you know who haven’t suffered? It’s not essential for becoming a writer; it’s a by product of being alive.
At some point in your life, no matter how privileged your existence, or how sheltered you are from the worst the world can throw at you, someone you love will die, your heart will be broken, you will be in an accident, you will be ill.
Bad things happen to all of us.
I think part of the problem is the conflation between what fuels our writing and the writing itself.
My novel, Liar, was partly fuelled by the death of close friends. But I wrote the book many, many years after those deaths. In the depths of my grief I was incapable of coherent thought, let alone writing.
I wrote Liar during a happy time of my life. In fact, all my published novels have been written while I was happy.9 That’s because writing makes me happy. And the fact that I can make a living writing, and have been able to do so since 2003? That makes me ecstatic.
Does that mean those novels were easy to write from start to finish?
But part of what makes me so happy about writing is that it’s not always easy. If it was easy all the time I’d be bored out of my mind.
Writing is challenging, and stimulating, and sometimes it makes me scream, and sometimes I think there is no way I’ll ever figure out how to finish/fix this novel. Sometimes I can’t. But mostly I can. And that gives me joy.
That’s why I think most writers are happy. Even when they’re screaming all over the intramanets about how hard writing is.
That’s why I think exercises like National Novel Writing Month (NaNoWriMo) are so wonderful. NaNoWriMo demonstrates that anyone, yes, even all us non-tortured geniuses, can write a novel. The folks doing it tend to discover it’s not as easy as they thought it would be. But plenty also discover that it’s not as hard, that writing a novel can be a huge amount of fun, not to mention addictive.
Addictive in a most excellent not-going-to-kill-you way. Yay, writing!
To sum up: You don’t have to be tormented to be a writer. You just need to write.
Which is a myth that applies to all creativity but I’ll focus on writing cause that’s what I know best. [↩]
They totally would too have used that word. Also I’m not sure I’ve met anyone who is neurotypical. [↩]
Yesterday the prime minister of Australia, Julia Gillard, gave a stirring, passionate and inspiring speech about misogyny and sexism in the Australian parliament and in particular the misogyny and sexism of the leader of the opposition, Tony Abbott: Continue reading →
When I was a littlie I hated PE1 with every fibre of my being. I hated the way the PE teachers yelled at us and made us do things we mostly didn’t want to do. I hated being made to compete against the other kids in my class. In PE I would almost always come last the second anything was turned into a race or a competition. I would make no effort because competing stressed me out. I would get out of PE as much as I could. I would conveniently have my period or a note from home explaining why I couldn’t take part.
I was also made to feel from a very early age that I was not good at sport. The kids who showed talent were immediately fallen upon with glee: “A future Aussie Olympic medalist! Let us get them to the Australian Institute of Sport, stat!”2 Those of us who did not show instant aptitude for throwing, kicking, catching or thwacking balls, for running or jumping, or lifting heavy things, or moving through the water quickly, learned that there was little point in us trying because we were crap.
It wasn’t until I left high school that I discovered I, in fact, love many different sports.3 And that while I would never have been professional or Olympic level at anything I was not, in fact, crap. I have decent hand eye co-ordination and I am quite good at picking up physical instruction.
I started with fencing, then there was rowing (briefly), climbing, swimming, tennis, and most recently, boxing, and through all of it weight training and working out in gyms. I discovered that I really enjoy learning how to do physical things and that I particularly enjoy learning technique. I love that I can progress from rubbish to competent with practice.
Dear Readers, I love practising, I love training. My first day on the speed ball I was total rubbish. Have you seen Girlfight?4 They do an excellent learning-the-speed ball montage. Like Michelle at first I could not get it to do anything I wanted it to do. The speed ball annoyed and frustrated me. I wanted to kill the speed ball. STUPID SPEED BALL. But then, lo and behold, with a little bit of practice I got better. I got so I could do it really, really fast in an I AM A FEARSOME WARRIOR kind of way. At which point my trainer taught me a different technique and I was back to square one—maybe square two—and had to learn all over again. Every time I get decent at a particular way of thwacking the speed ball she teaches me a different way and I go back to being arhythmic and rubbish. LOVE IT!
I became fit. I discovered that being fit not only feels physically fantastic but helps my mental health as well. I am a much happier person when I’m exercising regularly. It’s also the only time that I can turn my brain off. When I’m intensely focussed on learning and perfecting (ha!) a new technique that’s all I’m thinking about. I’m not angsting about fixing my book or anything else I’m. Just. Boxing. It’s AWESOME.
I really hope that PE is taught differently these days. That kids are not made to feel like failures if they cannot instantly throw a ball accurately or run fast. That they are no longer taught that competing and winning are the be all and all. That the emphasis is now on being fit and enjoying various different sports and physical activities and not just one competing and winning.
I hope that PE teachers around the world have finally abandoned the idea that only the naturally gifted will excel at sport.
Here’s why: There’s a town in the UK where they keep producing Olympic level badminton players.5 This happened because a top badminton coach lived there and taught at the local school and opened a badminton centre that was available to interested locals 24/7. Those keen kids played there A LOT. The town developed a badminton culture and lo and behold many badminton champions. Few of whom, if tested in childhood, would have demonstrated any particular aptitude for badminton.
Talent helps, obviously. Usain Bolt would not be where he is today were he not a naturally fast runner. But he would also not be where he is today if he was too lazy to practise and train, which he has done relentlessly since he was knee high to a grasshopper. There is no world class athlete in the world today who hasn’t spent the vast majority of their life training until they puked.6
We spend way too much time obsessing about talent and not nearly enough time about hard work, practice, and training. Talent is nothing without hard work.
And, yes, all of this applies to writing too. It applies to pretty much everything. I have known many talented writers who have never gotten around to finishing a book. And many less talented writers with successful careers.7
Pretty much everyone I know is having babies. Or has them. Or is about to have more. Anyways there are babies everywhere in my life right now and I am often buying presents for people with babies. This has turned out to be a problem.
I don’t know if you have noticed but the clothes available for babies and littlies are AWFUL. As one friend said, “If I see another onesie with yellow ducks or blue boats I will scream!” And they’re almost always pastel. I HATE PASTELS. Or white. Or grey. Grey? What are they? Little prisoners in a dystopia? (Maybe. Don’t answer that.) Then there’s the whole girl clothes are mostly pink and boy clothes mostly blue thing. SERIOUSLY? What century is this?
So I am begging you, my faithful readers, do you know of anywhere that sells bold coloured onesies/rompers/whatever you call those little suits for babies in your culture? Where do I find Goth baby clothes? Anarchist baby clothes? Surreal baby clothes? Fun baby clothes? Hip baby clothes? Cool baby clothes? NOT PASTEL baby clothes?
The last three weddings I attended were heterosexual. At each hopes for marriage equality were expressed and the audience applauded.
In Australia pro marriage equality sentiments are polling at more than 60%. In the USA it’s now over 50%. It’s all happening much faster than I thought it would and I’m glad. There are many places in the world where same-sex marriage is legal. I truly did not think I would see that in my lifetime.
I want everyone to be able to marry if they want to. And just as importantly if they think marriage is an antiquated institution of social control then they should be able to say, “Hell, no! I don’t need no stinking government or church to control my love life!” Without anyone rolling their eyes and saying, “Whatever. You’re not even allowed to get married.”
Everyone, gay, lesbian or straight should be free to marry and also free to defy the pressure to get married, have kids, and all that jazz.
Me, I love being married. But I never wanted to be married. I just happened to fall for a foreigner and it was the only way we could be together.
The amount of privilege marriage affords you is ridiculous. I had no idea. I have seen newly weds taken more seriously than a defacto couple who have been together for more than twenty years and have children. What now?
As a married woman I am treated as more of a grown up than I ever was before. Sadly, I don’t think being married has made me any more mature. Fart jokes remain very, very funny.
What marriage does is smooth our path. No one ever questions me and my husband being together in almost any situation. Just saying the words “my husband” can get things happening in ways that “my boyfriend” or “I” never did. Oh, sexist world. *sigh*
Being married makes life easier.
So, yes, I believe in marriage equality. But I also believe civil unions should carry the same weight as marriage and have the same privileges. I would love it if we had a system where best friends or siblings who live together could also be legally recognised when it comes to all the major decisions that are covered by marriage.
For many of us our most enduring important bonds are not romantic ones. I’d love for the law and society to recognise that too.
I’d love it if we had rituals and ceremonies to recognise BFFs as well as couples. I love weddings. But I bet I would love a BFFs twentieth anniversary ceremony too.
Every time I’m at a wedding I’m sad about the lack of ceremony in our lives. Let’s make more of them!
At the moment I am loving this song, “Heart Killer”, by Gossling. A friend describes her voice as like P J Harvey on helium, which is about right. She has one of those very, very weird voices that people love or loathe. Kind of like Blossom Dearie, who I also adore. And, yet, Minnie Mouse singing does not make me happy.
Anyways, “Heart Killer” is a femme fatale song. A song from the point of view of the woman who is the breaker of hearts. The point of view bit is key because there are an ocean of songs about evil, mean, cold women1 who break poor innocent men’s hearts.2 So I find it very refreshing when a woman is singing with joy about scything also those hearts into tiny pieces.
Even though PRO TIP: setting out to break someone’s heart pretty much never goes well and will rebound on you and make your heart either explode or shrivel up into a tiny dry wizened husk.
I recently claimed that Femme Fatale songs were my favourite genre of pop song. I was then asked for a list of such songs and my brain froze. These are the only ones I could come up with.
Here’s Gossling’s “Heart Killer”:
Gershwin’s “Lorelei” sung by Ella Fitzgerald:
And lastly Blossom Dearie singing “Peel Me A Grape”. Okay, it’s not strictly a Femme Fatale song but, c’mon, anyone making these kinds of demands—Peel me a grape! French me a fry!—is clearly Up To No Good and would slink about in seductive manner.
I know there are other fabulous Femme Fatale songs but I’m deep in Sekrit Project rewrites and my brain will not cough up anything else. Do feel free to share some of your own suggestions. Ironically, Sekrit Project has a Femme Fatale in it. But for some reason this book wanted no music while I wrote.
Last thing: Yes, I know the vids don’t fit on my blog. Too much other work to do to figure out how to fix it now. Hopefully, the Mighty Mistress of All Things Digital who oversees this site will tell me what to do. She fixed it. Yay!
Often called things like “Devil Woman” or “Devil in Disguise” or “Cold as Ice” etc etc. [↩]
Many of them written by Chris Isaak—what a whinger! [↩]
I know a tiny handful of people who have not the tiniest speck of humility or modesty and—this is the important part—are not obnoxious. They are good people.
What they have is a sense of their own worth and talents that is directly proportional to those talents and worth. They do not sell themselves short, nor do they overestimate their abilities. They have the self confidence and belief to neither indulge in false modesty nor to be crippled by doubt. They know they would not be where they are if those talents had not been nurtured by others or if they had not worked hard.
It is remarkably refreshing and I envy them.
Humility and modesty are possibly the most annoying virtues. Too often the truly modest are neurotic, self-doubters who don’t know their own worth and I want to shake them. YES, YOU ARE TALENTED AND AMAZING! STOP SAYING YOU’RE NOT!
Undervaluing yourself is not a virtue. At its worst self doubt keeps people from doing what they are talented at. I can’t tell you how many brilliant writers I’ve known over the years who’ve never finished a novel because of their lack of self belief, because they are humble, and do not recognise their own talent. That’s a loss to every one of us who would love to read their work. A huge loss.
At the other end of the scale is false modesty: those who live by the humble brag.1 Those who’ve been told they mustn’t talk of their achievements nor blow their own horn, they must be humble and modest but they’re not so they try to disguise their longing to boast by saying, “Oh, this little thing.” “Oh, I don’t know why they wanted me to be the support act for Prince.” Blah blah blah.
Don’t know about you but I’d much rather they were all: “Look at my new dress! I made it! Isn’t it the best thing ever? I love it to death!” Or “OMG! I’m the support act for Prince! This is something I’ve worked towards my ENTIRE LIFE. And now it’s happening! I am so happy! YAY!”
You achieved something amazing. You get to tell people. You get to be excited. You get to jump up and down. Only mean-spirited poo brains would begrudge you your joy. Who cares what they think?
So those confident—but not obnoxious—folk I mentioned at the beginning of this post? All but one are USians. All white. Mostly from loving, supportive families. Mostly male. Mostly not working class. The one non-USian is from a wealthy Australian family. It is amazing how much confidence growing up loved and without the slightest bit of want can give you. Growing up with money does not, of course, guarantee that you’ll be confident. The love part is essential. Sometimes I think the worst start in life anyone can suffer is growing up unloved.
Growing up in Australia I learned that talking positively about your own achievements was one of the worst sins ever.2 “Don’t write tickets on yourself,” should be our national motto. Getting too big for your bootstraps is a national crime and leads to all sorts of contortions as far too many people fall over themselves to seem less smart, talented, and interesting than they are. Not a pretty sight. On the other hand it does lead to some gorgeously self-deprecating wit.
Meanwhile in my other country of citizenship they’re mostly being taught to boast their arses off. Truly, I do enjoy US confidence. It’s so refreshing compared to Australia. But, oh my, when that confidence is married to ignorance and stupidity and blind self belief? Things get very ugly indeed.
These are, of course, caricatures that are mightily affected by intersections of race, class, gender etc and how loving the families we grew up in were. Both countries have folks hiding their lights under bushels.3 They both have less talented folks under the sad delusion that they are The Most Talented People in the Entire Universe.
What we need is a mix of the two cultures so we wind up with the happy medium I started this post with. Nations of people who know their own value and feel neither the urge to constantly boast about it: I AM NUMBER ONE AT EVERYTHING EVER! Or to pretend that their ability to whip up a divine, multilayered, delicate-as-air, intricately decorated cake out of almost nothing is no big thing.
So I’ll end this post telling you something I’m proud of: I’m proud of the book I’m almost finished rewriting. It feels like a big step forward and that makes me happy and proud.4
Though quite a few of the tweets labelled “humble brags” aren’t. Many with big breasts do not find them so wonderful as the world imagines they do. I’ve known way too many big breasted women who’ve longed for smaller breasts. Not to mention several who’ve had breast reductions because the back and shoulder pain was unendurable. [↩]
Especially if you’re female or working class or not white—but the rule applies to everyone. [↩]
If I wasn’t out of keystrokes for the day I would so finally look that expression up. Where on earth does it come from? Lights? Bushels? So weird. [↩]
And this is me suppressing the urge to undercut that boast, er, I mean factual statement with a self-deprecating comment to indictate that I’m not really up myself and you shouldn’t hate me. Aargh. *sitting on my hands now* [↩]
It is almost impossible to avoid writing work that can be read as racist. If you’re writing about people, you’re writing about identity, and a huge part of identity is race.
We are all seen through the lens of race. We all see through the lens of race.1 Whether we’re conscious of it or not. If you’re a writer you really need to be conscious of it. Because if you don’t think you are writing about race, you can wind up writing things visible to your readers that are not visible to you.
Often that is a not good thing.
When our work is accused of racism we writers tend to curl up into foetal position and get defensive: I AM NOT RACIST. I AM A GOOD PERSON. HOW CAN THEY SAY THAT?
First of all—no matter what the actual wording—it’s our work that’s being called racist, not us. The reviewer does not know us—only what we have written.
Secondly, we live in a racist, sexist, homophobic, transphobic, classist etc. world. The odds of none of that leaking in to our work is zero. No matter how good our intentions. Besides intentions don’t count for much. If it’s not there on the page how is any reader supposed to guess what was in your head? On the other hand, there is no way you can completely bulletproof your work against criticism. Nor should you want to. Criticism will make you a better writer.
Thirdly, it’s not about us. It’s about the reader/reviewer’s life and experiences, about what they bring to the text in order to make meaning. This is how we all read and this is why we all have such different views of the same texts. It’s why I think Moby Dick is the worst, most boring piece of crap I’ve ever endured and why many people, even some whose views I respect,2 think it is a work of genius.
We writers have to accept that despite due diligence, despite how careful we are, readers’ responses to our work are exactly that: their responses. They will not always read our carefully crafted, thoughtful words the way we want them to. Sometimes they will find meanings in our work we did not intend them to find.
What follows is a discussion of how I have dealt with having my last solo novel, Liar, criticised for racism and transphobia. If you have not read Liar there are spoilers, though I have kept them to a minimum. But here’s a cut anyway: Continue reading →
Yes, even if you think you don’t see a person’s race. [↩]
One of the things I have heard men say innumerable times over the years is that the only difference between a creeper and a regular guy is whether the woman calling the bloke a creeper finds him attractive or not.
I can’t speak for all women—well, okay, I could but that would be ridiculous cause last time I looked I was only one woman—a woman who has had the odd pass made at her, er, I mean me, over the years. And, you know what? The ones who take no for an answer? Not creepy. The ones who keep pursuing me, staring at me, talking to me when I’ve made it clear I don’t want to talk to them, the ones who call me a bitch behind my back while still pursuing me? The ones who follow me home?
Women have made passes but they’ve never engaged in creeper behaviour. When I said I was not interested that was the end of it. Now, that’s just my experience. I know there are women creepers out there, too, just not in any where near the same kinds of numbers. For one thing most women are much better socialised at taking no for an answer.
Let me repeat: what’s creepy is not that someone I’m not attracted to is attracted to me. That’s just life. It’s been the other way round often enough. Most of us have suffered from unrequited love/lust. It’s awful, but we all get over it, and move on to people who requite our feelings.
That’s not the creepy part. The creepy part is when the person who is attracted to you won’t take no for an answer.
Think of Pride and Prejudice and Mr Collins’ proposal to Lizzy. He doesn’t give a damn what she thinks or what she says. He wants what he wants. He’s appalling. Everything he says is about him not his object of desire.1 He doesn’t care about Lizzy. He can’t even see who Lizzy is. He repeatedly does not take no for an answer. It doesn’t fit with his narrative so it doesn’t compute.
That’s how I feel when some bloke won’t take my no for their answer. Like Mr Collins they can’t see me as an actual sentient human being with thoughts and feelings and desires of my own. They don’t care what I want. They only care about getting what they want.
So. Not. Sexy.
Also having to explain to a grown human being that they can’t always have what they desire? That just because they like someone doesn’t mean that someone is going to like them? Seriously? Aren’t we all supposed to understand that by the time we’re, like, three?
I would like to eat mangosteens every single day but I have learned to accept the fact that they are not in season every single day. That even when they are in season sometimes the weather means the crops are inadequate or destroyed. Sucks. And is clearly a major design flaw with how the world is. But, you know, that’s life. Full of disappointment.
Other things I want but cannot have: a sphynx cat,2, to be taller, to play WNBA-level basketball, everyone in the universe to read my books, world peace, a pony.3
In conclusion: Um, I forget. For some reason I have this overwhelming craving for a mangosteen . . .
The conversation about how to deal with harassment in the science fiction world continues apace.1 What’s fascinating is the complete inability of certain participants in the convo to take in a basic fact:
We cannot control how others perceive us.
The I’m-not-a-creeper crowd keeps going on about good intentions and how social awkwardness can be misunderstood and how people with Asperger’s struggle to learn social cues etc. etc. All of which is true but irrelevant.
Because, as Scalzi argued in detail, people are not always going to respond to you the way you want them to. No matter who you are. Even if you are Brad Pitt.2 Not everyone will like you. This has always been true and will always be true.3
If we keep talking to someone when they don’t want us to, if we keep touching them when they don’t want us to, I guarantee you they don’t care what our intentions are: they just want us to stop.
You know what the argument reminds me of?
We authors who struggle to get it through our thick, thick skulls that our books will be read in ways we did not intend.
That our books will be hated by some readers, will be considered total crap, offensive, racist, sexist, or some other kind of evil, that readers do not owe us anything. They do not have to know our books exist, or read them, or finish them if they start them. They do not have to be polite when reviewing them.
We authors have zero control over how people respond to the words we have written.
Just as we people cannot control how others respond to us, to what we say, and what we wear.
What we do have control over is ourselves.
If we’re struggling to make friends, are constantly rebuffed in our attempts to make conversation with strangers, then it’s time to change ourselves, to do what we can to stop that happening.
Because, as I may have mentioned, we can’t change other people, but we can change ourselves.
Maybe it’s as basic as hygiene.
I have a friend, who has a terrible sense of smell, and grew up in the kind of household where they were not taught the basic hygiene most people are taught: to wash our underarms, between toes, belly button etc etc. To wash the not-obvious places as well as the obvious ones, to wash every single day. This friend did not know that clothes also need to be clean. So they went to school stinking. Until a teacher sat them down and gave them the instructions they weren’t getting at home. Plus soap.
Some people are unaware they smell really bad and never received any kind teacherly intervention.
Then there’s the harder stuff to fix. Many of us are socially awkward to varying degrees. How to interact with other people without freaking them out is something we’ve all had to learn. For some of us it is a lot more difficult than for others.
Fortunately, we now have the internet, which has lots of advice on how to learn those social skills. I am especially fond of Captain Awkward in this regard.
As for us authors:
If many readers are criticising our books for something that we didn’t intend—such as being sexist or racist—perhaps it’s time to listen. Maybe there’s something to what they’re saying?
Time to take a good look at the criticism. What exactly are they seeing in our books that we didn’t mean to be there? Read those bits again. Painful, I know. Is there anything to what they’re saying?
I know it’s hard to find yourself in the middle of a long-running conversation that you’d never heard of before. We’ve all been there. The only thing you can do is play catch up. Nisi Shawl and Cynthia Ward’s book Writing the Other and the Feminism 101 blog are great places to start.
It’s key that we start internalising that none of us can control what other people think of us. We can’t make them like our books, nor can we make them like us.
All we can control is our words and ourselves.
Honestly? That’s more than enough to be going on with.
It’s also going on in other communities. But that’s where I’ve been following it. [↩]
The you-wouldn’t-mind-if-it-was-Brad-Pitt-harassing-you argument drives me nuts. Not everyone thinks Brad Pitt is hot. I don’t. Besides which if it’s harassment it is definitionally something you don’t want. And, yes, good looking people can harass. Because a) as noted not everyone agrees on what constitutes “good looking” b) being good-looking does not automatically mean the whole world finds you attractive c) being good-looking can also mean that you are not used to hearing the word “no” and kind of lose it when your advances are unwanted. [↩]
Yes, that’s a split infinitive. No, there’s no such thing in English. It’s a stupid grammar rule foisted on us by people who do not understand how English functions. [↩]
During the course of my PhD research for the book that became The Battle of the Sexes in Science Fiction I had to learn a lot about ye olden day beliefs about sex and sexuality, including conception. For instance I came across this in Thomas Laqueur’s book Making Sex:
Samuel Farr, in the first legal-medicine text to be written in English (1785), argued that “without an excitation of lust, or enjoyment in the venereal act, no conception can probably take place.” Whatever a woman might claim to have felt or whatever resistance she might have put up, conception in itself betrayed desire or at least a sufficient measure of acquiescence for her to enjoy the venereal act. This is a very old argument. Soranus had said in second-century Rome that “if some women who were forced to have intercourse conceived . . . the emotion of sexual appetite existed in them too, but was obscured by mental resolve,” and no one before the second half of the eighteenth century or early nineteenth century question the physiological basis of this judgement. The 1756 edition of Burn’s Justice of the Peace, the standard guide for English magistrates, cites authorities back to the Institutes of Justinian to the effect that “a woman can not conceive unless she doth consent.” It does, however, go on to point out that as matter of law, if not of biology, this doctrine is dubious. Another writer argued that pregnancy ought to be taken as proof of acquiescence since the fear, terror, and aversion that accompany a true rape would prevent an orgasm from occurring and thus make conception unlikely.
I have been called an expat because I have lived in New York City on and off since 1999. The off time was spent living here in Sydney. I live in two countries and I am not an expat.
When someone in Australia calls me that they’re usually saying I don’t have the authority to comment on what’s happening here because I’ve been away too long. People like Germaine Greer1 and Clive James are called expats. Often with a sneer.
I am not an expat.
I am not an expat in the sense that Australians use it: “Someone who has abandoned Australia and has no clue about it anymore.”
I have never lived outside Australia for more than a year.
I am not an expat in the sense that many others use it either.
I have no Australian friends in NYC. I do not go to Australia clubs to hang out with the other Australians. I don’t eat at Australian restaurants. To me that is expat behaviour. To go to another country and try to live there as much as you can like you were still back home.
Now, part of my not seeking out other Australians in NYC is because I also live in Sydney and there are quite a few Australians here. When we’re in Sydney we’re with our Sydney friends, most of whom are Australian. In NYC we’re with our New Yorker friends, none of whom are originally Australian.
I admit I’m puzzled by people who want to live in another country but once there only hang out with people from their own country. Why not stay home?
Yet, that is what my grandparents did.
But they were refugees. They ran from the Nazis and landed in Australia.2 They did learn English, but it took a long time, and they were never comfortable speaking it.3 All their friends were East European refugees like them. They weren’t wild about Australian food. Sometimes I got the feeling they weren’t too impressed by Australians either.
But, you know what, they lost almost their entire families, almost everyone they’d ever known or loved. They were forced to leave their home. Refugees get a pass.
And their children and their children’s children are very much Australians.
Refugees can’t be expats. To be an expat you have to have chosen to leave your home country; not be fleeing certain persecution.
Those who move to another country to live, who engage with that country, rather than perch on top of it, are migrants, not expats.
I’m a migrant, not an expat. Some of us migrants go back home. A lot. Some of us live in more than one country.
Ever since I started living in two different countries I’ve met more and more people who do the same. I’ve met even more people who would love to do that but simply can’t afford it.4 The old path of migration meaning you left your country forever and ever amen is not the only path.
I have a friend in NYC, originally from Guatemala, who goes back there for a few months every year. I’ve met many Mexican-Americans who go back and forth between Mexico and the US. And Indonesian-Australians who go back and forth between Indonesia and Australia. The closer your country is to the other country you live in the easier it is. Not that I’m jealous . . .
I know loads of mixed national couples like me and Scott who alternate what country they live in. Even couples with kids who do that. Though they tend to do years-long chunks in each country. The Belgian/Australian couple I met recently have just spent five years here and now are moving there with their two children where the kids will be attending a trilingual school.
In conclusion: do not call me an expat! Or something . . .
I don’t think I’ll ever understand why Germaine Greer is so hated here. Mostly by men. I love her. She’s hilarious and has been amazingly important to feminism. Yes, she can be wrong. Yes, I disagree with her as often as I agree. So? She’s a possum stirrer. Always has been. It’s a noble pursuit. Though it sure does seem to be more admired in men than women. [↩]
They would have preferred Argentina but the Australian visas came through first. [↩]
However, let us not forget the incredible boost that the home country advantage gives you in the Olympics.
At the Sydney Olympics in 2000 Australia came 4th overall with 16 gold medals, 25 silver, 17 bronze, 58 in total.
For Great Britain to have surpassed Australia’s efforts at our home olympics they needed to do three times as well as we did, given that they have three times our population. We are the 52nd most populous country in the world.
They needed 48 gold, 75 silver, and 51 bronze.
What did they get? 29 gold, 17 silver, 19 bronze.
I’m sorry, Great Britain. Great effort but not quite good enough. I feel quite sure that you’ll get much closer to that total at your next home Olympics.
In all seriousness: I think the true “victors” of the Olympics are all the countries who were able to have people compete despite having to get to London on the smell of an oily rag. And the women who competed despite insane pressures not to. Such as Wojdan Shaherkani and Sarah Attar of Saudia Arabia.
Or arithmetic. Whatever. Numbers. I talked about numbers. [↩]
When I talk with women friends about sexual harassment it turns out that we’ve all experienced it at some point. But almost none of us have ever reported it. I have never been raped but I have friends who have been. None of them reported it.
The women who do report their rapes often say that it was like being raped all over. They were made to feel like they were the criminal, interrogated about what they wore, how they behaved, how they “provoked” the attack. Somehow the assault must have been their fault. Many say that if they could have a do over they would not report it.
Many of us no longer go to certain places—night clubs, friend’s places, science fiction conventions etc. etc., way too many places to list them all—because we don’t feel safe. Our best friend’s husband/brother/friend/nephew always finds a way to touch us in ways that creep us out. The bouncer at our favourite night club stands too close and won’t take no for an answer. The big name writer/fan/artist keeps following us around and no one will believe us when we complain. We’ve quit jobs to get away from harassers and stalkers.
Some of us have tried to report it and been silenced. “That’s not real harassment.” “You should learn to relax.” “He was just being friendly.” Or even worse, “Look, I know he’s an arsehole but he’s such a big name if we did something about him it would be disastrous.”
The punishment for women who report their harassers is ferocious. I know women who’ve lost their jobs, their health, their confidence, had to move cities. Who because they were brave enough to report the man who harassed them have suffered far more than the man they reported.
So most women don’t report it. We tell each other who the gropers and creepers are. For years women fans warned other fans to stay away from Isaac Asimov’s groping hands. Stories are still told about him. Humorous stories. Because ha ha that loveable Asimov and his wandering hands. What a silly duffer flirt! Harmless, of course. Didn’t mean anything by it.
Almost every job we’ve ever had we’ve been warned about someone. Almost every convention we’ve been to we’ve heard the rumours about who to avoid.
Bummer for the women who aren’t warned and don’t know who to stay away from.
If only these men were punished for making women’s lives a misery. Then we wouldn’t have to rely on gossip to stay safe. If only they were the ones who were fired and not invited back to conventions etc.
That’s why so few women report their harassers and rapists.
Because we live in a culture of apologists. We live in a culture that looks everywhere: at a woman’s clothes, body, behaviour, her being in the wrong place at the wrong time, as the reason for why harassment, abuse, rape take place. Everywhere, that is, except at the perpetrator and the culture that enables him.
The culture that teaches the harasser, the rapist, that women’s bodies are up for grabs. Look at how she’s dressed! She’s totally asking for it! Teaches him that a woman who says no to him doesn’t really mean it or is a lesbian or frigid or a bitch and thus deserves whatever happens to her. That a woman who says yes and changes her mind is a tease. That a woman who says yes is a whore and doesn’t deserve her wishes and desires respected beyond that yes. That sex workers can never say no and mean it and so can never be raped and always get what they deserve.
I have heard people make these arguments who I thought were my friends. Who I thought were smarter and better than that. Who I thought shared my values and politics. They did not get those ideas out of nowhere. They are in the air we breathe. Every bit of culture we consume.
How the hell do we change this shithouse world we live in? This world where women’s and children’s word on sexual harassment and abuse is ALWAYS doubted.
Every time we’re brave enough to report our harassers and stalkers and rapists we’re standing up to rape culture. We’re making the world a tiny bit safer. But it is UNBELIEVABLY HARD to do so. I’ve never been brave enough.
We need men to do the reporting too. Men witness their friends harassing women. They need to STOP THEM. They have to speak up when other men make rape jokes. They have to stop laughing when their mates tells a story about sleeping with an unconscious woman or otherwise coercing a woman into sex when she clearly didn’t want it.
I know men who do fight back against rape culture. There need to be more of them. So many more.
I have also seen men change their behaviour. I’ve seen them realise that what they’d been doing was not okay. Despite the fact that their mates and their bosses and their culture said it was. Who realise that the advice they’d been given that “women like to be pursued” that “they don’t mean it when they say no” was crap and making the women they went after’s lives a misery. Not to mention their own lives.
Overwhelmingly it is women and children who are sexually harassed and assaulted and raped. But it does happen to men. Particularly in gaol. And because we live in such a misogynist world, where for a man to be in anyway aligned with a woman is the worst thing ever, those men who are raped are also largely silent and not taken seriously. Because, the twisted logic goes, if they were real men it never would have happened. Clearly they are effeminate and thus were asking for it. Misogyny doing what it does best: making everyone’s life wretched.
Yes, way too many people crawled out of the woodwork to explain away the harasser’s behaviour but far more people were moved to action. To support Genevieve and to demolish those stupid apologist arguments. Valentine has a couple of follow-ups on what’s been happening that are well worth reading.
I hate the world we live in. But I also love it. I do think things are getting better. But, oh, so very slowly. But at least we’re having this conversation. When my mother was a girl we weren’t. Hell, when I was a girl it wasn’t the loud and persistent conversation that it is now. That’s something. Not enough, but something.
Comments on this post: Any rape apologies, “harassers are misunderstood,” “why are you trying to ban flirting” etc. comments are going to be nuked. You’ve been warned.
I have decided to put this here voice recognition software to the test in the month of July by blogging every day.1 Yes, I will blog every single day of July 2012.
Tell Me What To Blog
If there’s anything you would like me to blog about please let me know! The comments are below in the manner of most blogs.2
I’ve had a few suggestions on Twitter:
@SirTessa wants me to write a complete post without correcting any of the voice recognition software mistakes. I WILL DEFINITELY DO THAT.
@WanderinDreamr wants me to write about Australian slang “the rest of the world is confused by”. My problem with that is, well, how am I supposed to know? Australian slang does not confuse me. Though I do love many of the words that are unique to these fine shores so I may just write about my favourite ones.
@ben_rosenbaum suggested I blog tongue twisters on account of the voice recognition software. I am ignoring him.
@nalohopkinson wanted me to “opine on bubble skirts”. How could I resist writing a horrors & joys of fashion post? Oh, bubble skirt, I shall SO opine about you.
I also recently got into a discussion on twitter—inspired by this Jennifer Crusie post—about the extent to which an editor can rewrite their authors. I think NOT AT ALL. Turns out that people mean different things by “rewriting”. I spluttered about on twitter in a way that I think was mostly confusing. A post is in order to clarify my thoughts. @pmattessi requested that I “mention things like whether eds should be credited? And also your thoughts on Carver’s editor.” He comes from the tv side of the writing world, which operates very differently from novel writing. I suspect my post will be about the writer/editor relationship with a little touch of the thankless work of the copyeditor.
Another interesting discussion concerned the way English-speaking cultures are so full of hatred for children & teenagers and how that is not the case in places like Spain, Italy, and Thailand.3
Many years ago I promised a post about writing dialogue. If any of you still want such a post I may attempt to finish it. It’s just that it’s hard because I’m not really sure how I write dialogue. You know, other than I type it and make sure there are quote marks around it. (And sometimes I use italics if it’s dialogue that’s not being directly said.)
Is challenging voice recognition software the only reason for blogging every day of July?
Nope. I really miss blogging. Not blogging hardly at all for such a long time has left me with many pent up THOUGHTS and FEELINGS that do not fit on twitter. I miss sharing them with you. But mostly I miss the wonderful crew of commenters who once hung out here. I miss your wit and your wisdom and your snark and your sincerity and your sarcasm and your silliness. I am hoping some of you will return. Even though blogs are so beginning-of-this-century and everyone’s on twitter and tumblr these days. I don’t care. I’m an old-fashioned girl. I still love them.
Also my newest book, Team Human, written with Sarah Rees Brennan, will be published on 2 July in Australia and New Zealand and 3 July in Canada and the USA. This means I will be doing a fair number of interviews and the like about said book all over the internets. But while I love TH dearly and am very proud of it and over the moon with joy that the early responses to the book have been so positive the idea of talking about it non-stop for a month makes me feel a bit tired. This will be my online respite.
It’s a bit ironic, isn’t it, that by the time a book is published and it’s time to publicise it we authors have spent so much time with the book that it’s the last thing in the world we want to talk about. When I’m really itching to talk about my books is during the drive towards the finish of the first draft—when I know I’m going to finish it and talking about it won’t jinx it and the book becomes the only thing in the world I want to talk about. And—most of all—during the first few rewrites when it has become the only thing in the world I can talk about.
Unfortunately that is when very few people have read it and they’re all bored with me asking them questions about what they thought of the world building or the main characters and whether they think I should get rid of the gilded-wings subplot or expand the diabolic-exploding-hairclip subplot. They are so over my book and, by extension me, in fact, that if I ring them they no longer pick up. And my emails to them start to bounce. Waaaaaahhhh!!!!!!!
Fortunately there’s Scott and my lovely agent Jill and my editor who are always happy to talk endlessly about my book during these times. Bless them!
In July I will blog a lot.
Update: @Marrije has also requested via Twitter that I “do a post on How To Find The Good Food In Any City? Isn’t this your superpower? Can you teach us?”
@MalindaLo has requested: “I blog about twitter etiquette: the good, the bad, the ugly.”
Except weekends. Cause, come on, no one is on the intramanets on the weekend. Scientific fact. [↩]
I thought about having them above but my web designer said no. [↩]
And I’m sure in many other places I’ve not been to. [↩]
Since a few of you expressed mild interest in the speech I gave at Sirens in October last year I thought I would share it with you. The theme was monsters and my speech involved me showing many monstrous images. Yes, that’s my disclaimer, I wrote this to be spoken to a real life audience with funny pictures and the funny may not work so well without the kind and appreciative live audience. Or something. *cough*
Here it is:
Monsters I Have Loved
Ideas = Brain Monkeys According to Maureen Johnson
Like every other writer ever I get asked “where do you get your ideas” a lot. Today I thought instead of answering that question in the Q & A at the end, I’d show you.
Here’s how I got the idea for the speech I’m about to give, which is very similar to how I get ideas for the novels I write.
Excellently recursive, yes?
I knew I had to write a speech for Sirens more than a year ago. For many, many many months I didn’t think about it at all because, you know, other deadlines, basketball games to watch, old movies to pillage for info about the early 1930s, issues of Vampires & Rosario to read. But in the deepest darkest recesses of my brain those monkeys were juggling the nouns associated with this year’s Sirens: feminism, YA, monsters.
Then one day in July, or possibly August, I was walking around New York City with my headphones on listening to music. That’s unusual for me. Usually I walk around listening to podcasts from Australia when I wander about the city. But on this particular day I’d run out. So I was listening to one of my favourite playlists. And for some reason I started writing this speech in my head. When I got to my office I immediately wrote everything down. It flowed out of me like magic.
Nah, not really.
When I got to the office I gossiped with the doorman on the way in, and answered a phone call from my agent on the stairs on the way up (how fancy am I?), and then gossiped with the receptionist. By the time I took off my walking-around-the-city-listening-to-podcasts-and-sometimes-music headphones and donned my-talking-to-the-voice-recognition-software headset I’d forgotten everything I’d thought of on the walk over except this:
Feminism + Young Adult Literature + Monsters = Elvis
Am I right?
I can tell long-term readers of my blog—both of you—knew where I was going with that.
Hmmm, looks like I may have to explain myself a bit more.
Me and Elvis
My parents are anthropologists/sociologists. (I always understood the difference to be that anthropologists studied people with a different skin colour to them and sociologists study those with the same skin colour. That may perhaps be a tad unfair.) When I was little my family lived for a time on two different Aboriginal settlements in the Northern Territory: Ngukurr in Arnhem Land and Djemberra (now called Jilkminggan) not far from the predominately white town of Mataranka. It is the part of my childhood I remember most vividly. For many reasons.
The red dot up top is Jilkminggan. The purple dot is Sydney. For scale: Australia is roughly the same size as mainland USA.
I remember the hard red earth, the heat making everything in the distance shimmer, towering termite nests, brolgas, eating food that had been hunted or found that day: kangaroo, emu, goanna, crayfish, turtle eggs, wild honey, fruits and tubers I don’t remember the names of and have never seen or (more sadly) eaten since.
I remember being allowed to run wild with a pack of kids (and dogs) of assorted ages and skin colours (though none so pale as me), swimming in the Roper River, playing games like red rover for hours. I remember learning that I was white and what that could mean, and that the Aboriginal kinship system my family had been adopted into meant that I could have many more mothers and fathers, brothers and sisters, aunts and uncles and cousines and grandparents than the bare handful I’d been born with. I became fluent in a whole other language, of which only two words remain: “baba” meaning brother or sister, and “gammon” meaning bullshit (sort of).
Yes, um, that is a smaller me. I am being extremely helpful getting the fire hot enough for them to brand cattle. EXTREMELY helpful! Thanks for the photo, Dad.
(I’m making it sound more romantic than it was. I’m forgetting the flies—more flies than I’ve ever seen before in my life. So many you soon stop waving them away because there’s no point. Many of those kids had cataracts. And, yeah, we kids ran together and the dogs were always underfoot, but they were so underfoot that when the numbers got too big—authorities—mostly white—would come in and shoot them.)
I was a city child. I knew nothing about the outback. I was alien to those kids and those kids were alien to me. Until, after a few weeks, we weren’t.
That year changed me completely. Especially my thinking about race. I want to be clear, however, that I’m not saying those experiences made me magically understand what it is to be “The Other.” (And, ugh, to that term, by the way.) To my horror, when I’ve told these stories of my childhood in the Territory too many people have understood me to be saying “I lived with people who weren’t white so I know what it is to be oppressed.”
What I learned was that I was white. I had not thought about the colour of my skin or what it signified. I had not been aware of whiteness or what it meant.
What I learned was that race and racism exist. Which was something I’d had the privilege of not learning earlier because I was white growing up in a predominantly white country in predominantly white bits of that country. Spending time in a predominately black part of Australia made me aware of my whiteness before the majority of my white peers back in urban southern Australia did.3
It was also the year I discovered Elvis Presley.
My first Elvis memory is of the juke box in one of the pubs in the white town of Mataranka. There were only two pubs which in Australia means that it was a very, very small town. The jukebox had records by Slim Dusty and Elvis Presley and no-one else. When Slim Dusty played it caused the child-me physical pain. As far as I was concerned it was noise, not music. But when Elvis played, well, that was heaven. The best music, the best voice I’d ever heard. For years I couldn’t stand Slim Dusty, but I’ve always loved Elvis.
I was not alone in this judgement, by the way, cause almost all the kids—and a fair number of the adults—of Jilkmingan liked Elvis too. Added bonus: my dad couldn’t stand him.
My second memory is of watching a 1968 Elvis movie, Stay Away Joe, on the outdoor basketball court at Ngukurr. The screen was hung over the hoop. We all crowded onto the court, restless (the last few movies had been total busts) and excited (there was always the hope this one wouldn’t suck), sitting in each others’ laps or on our haunches on the gravel. We’d pull each others’ hair, poke each other with fingers, elbows, feet and knees, throw handfuls of gravel at each other. The adults would laugh at us, or tell us to shut up or both.
This time the rowdiness only lasted through the opening credits. We settled down quick because we loved it. Stay Away Joe is set on a Native American reservation. Elvis plays an Indian. Everyone on the basketball court recognised what they were seeing up on screen.
Like the movie reservation, Ngukurr was full of crap cars, there were dogs everywhere, houses fell apart, and there was high unemployment. There was also a tonne of singing and dancing.4
Some of us kids really thought Elvis was Native American.5 I’m sure my parents disabused me of that notion pretty quickly, but for a long time I wasn’t quite sure who or what Elvis was. When I returned to southern Australia none of my school friends liked Elvis (if they’d heard of him). They thought I was weird. I associated Elvis with indigenous Australia, with the Territory, with stockmen & rodeos & outdoor crappy movie projectors.
The way I discovered Elvis made him seem racially fluid.
I have always thought that one day I would write a novel about that Elvis.
I also thought Elvis wrote all his songs and that he was the first person to sing them. Frankly, until I was ten or so I’m pretty sure I thought Elvis invented rock’n’roll, if not all music.
Then someone played the original recording of Hound Dog by Big Mama Thornton for me.
Turned out the song had been written for her by Leiber & Stoller and she recorded it in 1952. Her original version was number one on the billboard R&B charts for six weeks in 1953. There followed multiple cover versions, mostly by white bands. Elvis discovered the song, not through Thornton’s version, but through a white band, Freddie Bell and the Bellboys’s live version that he heard in Vegas. Freddie Bell and the Bellboys? (I for one cannot think of a sexier or more dangerous name for a group, can you? Don’t answer that.)
They changed the lyrics because they were considered too dirty for a white audience. “Snoopin’ round my door” was replaced with “cryin’ all the time,” and “You can wag your tail, but I ain’t gonna feed you no more” was replaced by “You ain’t never caught a rabbit, and you ain’t no friend of mine.”
Elvis’s recorded the Bellboy’s lyrics. The original lyricist, Jerry Leiber, was appalled, pointing out that the new lyrics made “no sense.” Which they really don’t. In Elvis’ version I had no idea what the hound dog wanted or why it was a problem. Was the hound dog crying cause it couldn’t catch rabbits? Then why was Elvis so unsympathetic?
Here’s Elvis’ version for comparison:
I’ve never liked Elvis’ version as much since.
Listening to Big Mama Thornton’s version exploded the song for me. It didn’t mean what I thought it meant. It was bigger and sexier and BETTER.
Elvis was not an orginator. He was a borrower. He was a remaker of existing things. He didn’t write songs. Those lyric changes to “Hound Dog” weren’t even his changes—that was Freddie Bell & the Bellboys. At the time I decided that meant he was no good. He could wag his tail but I was done.6
Then not too much later I read Angela Carter’s The Bloody Chamber and Tanith Lee’s Red as Blood, or Tales from the Sisters Grimmer. Their retellings of the fairy tales I grew up with changed those stories utterly: made them bigger, sexier, better. Elvis had made “Hound Dog” worse. Was that the difference?
Had Elvis appropriated Big Mama Thornton’s Houng Dog?
Was it appropriation because Elvis was white and Mama Thornton black? Because his version went to no. 1 on all three Billboard charts of the time: pop, c&w, and r&b. Whereas her version was limited to the R&B chart only? Because to this day his version is more famous than hers as he is more famous than she is?
Elvis’s success was monstrous. Both in scale—it’s more than thirty years since he died—and he’s still one of the most famous people in the world. I have bonded with people over Elvis in Indonesia, Argentina, Turkey & Hawaii. He’s everywhere.
But there’s also an argument that his career is a testament to the monstrous power of racism. He was the first white kid to do what dozens—if not more—black performers had done before him. (Especially Little Richard.) His success was dependent on an appropriation of black music, black style, black dancing, black attitude. He become famous for bringing black music to a white audience. But if Elvis had actually been black then I would not be talking about him right now.
I have often thought of writing a novel about that black Elvis. The black female Elvis. It would probably turn out that she was Big Mama Thornton.
Given my track record as a white writer who has written multiple novels with non-white protags, appropriation is, naturally, something I think about a lot.
My initial reaction to discovering that Elvis, not only didn’t write his own songs, but that sometimes the original versions were better than his, was horror. I had, like, many of you, I’m sure, grown up with the notion that originality is the thing.
Before the 1960s a popular singer was not looked at askance if they did not write their own songs. They were singers! Why would they write their own songs? Then came the sixties and the singer-song writer revolution and suddenly if all you could do was sing then you better join a band with someone who could write songs for you or you were screwed. And song writers WHO COULD NOT SING AT ALL started singing. Yes, Bob Dylan, you are one of the worst. True fact: Dylan songs are way better when sung by Elvis.7
In English classes through high school & university the highest praise given to a writer was originality. I remember asking a lecturer why there were no women writers on his post-modernism course.
He gave me a disdainful look and asked, “Who would you suggest?”
“Angela Carter?” he sneered. “Light weight! Completely unoriginal!”
He then spent the rest of the course carefully delineating the antecedents of all the boy writers we’d been assigned. Astonishingly none of them had stepped fully formed from a clam shell either. No originality anywhere! But somehow magically their penises protected them from lightweightness. Maybe penises are really heavy or something?
It’s a moment that’s stayed with me. Not just because of his why-are-you-wasting-my-time dismissal but because of the way everyone else in the room looked at me. There was much rolling of eyes. But two of the women in the room smiled. We became friends.
At the time I thought about writing a novel in which a white middle-aged male lecturer writes a novel about seducing all his female students to ease his mid-life crisis, which every publishing house in the entire universe passes on, so that he ends his days in a padded cell with only Angela Carter to read. But the thought of staying in his point of view long enough to write a whole novel was too depressing so I wrote a 13th century Cambodian epic instead.8
And my point? Right, as you all know: all art comes from somewhere. Nothing is truly original. If it was we’d have no way of making sense of it.
Octavia Butler and Angela Carter and Tanith Lee are three of the biggest influences on my writing. I see traces of them in every novel I have written.
But so is Elvis and my childhood experience on Aboriginal settlements in the Northern Territory and a million and one other things. People who know me, and sometimes strangers, point to other influences I hadn’t even thought about. I find that scarily often they’re correct. My writing is the sum total of everything that has ever happened to me, everything I have ever seen, or read, or tasted, or heard, or felt, or smelled.9 That’s how writing works.
I am no more original than Elvis.
Can Feminists Love Elvis?
But how can a feminist love Elvis? How can someone who believes in social justice and racial equality love Elvis?
He starred in a movie sympathetic to the confederate lets-keep-slaves cause, Love Me Tender, there’s a tonne of Elvis memoribilia out there which juxtaposes his name and/or face and the confederate flag. Good ole boy Southerners often adore Elvis. Every single one of his movies is jaw droppingly sexist. In Elvis movies all a woman wants is a man. All a man want is a good woman, lots of bad women, and to be a racing car driver. Correction: a singing, dancing racing car driver.
How can we love any number of cultural figures and artefacts that are sexist, racist, homophobic etc? Can I remain untainted by my Elvis love? (Or by my love of Georgette Heyer’s anti-semitic, classist, sexist regency romances?)
In loving something that’s monstruous do we become monstrous? Which gives me another idea for a novel. What if a girl falls in love with someone who she’s always been taught to believe was a monster? And vice versa. Hmmm. I have a nagging feeling that’s been done.
No! Yes! Um, maybe.
Yes, your typical, sparkly jumpsuit wearing, monstruous-sideburned US male.
Here’s one of Elvis’s more egregiously sexist recordings, US Male, and not coincidentally one of his sillier songs. Written and first recorded by Jerry Reed, who plays guitar on the track. It is a dreadful and very wrong song. And pretty much impossible to take seriously. I do not for a second believe that it was written with a straight face.
I adore it.
US Male owns woman if she’s wearing his ring. If another man is interested in said woman US Male will do him in. Woman has no agency in any of this, the song isn’t addressed to her, it’s for the perceived rival. So far so cave man-esque10.
Yet it’s so over the top. So absurd. The terrible puns! “Male” as in a bloke plus “mail” as in letters. “Don’t tamper with the property of the U.S. Male” and “I catch you ’round my woman, champ, I’m gonna leave your head ’bout the shape of a stamp,” “Through the rain and the heat and the sleet and the snow the U.S. Male is on his toes.” And the half-spoken, half-sung tough guy-ese delivery! It makes me laugh. It’s so freaking camp.
I start to imagine the U.S. Male’s woman sitting there chewing gum and rolling her eyes. “Yeah, yeah. You done? No, the waiter was not looking at my rack. Gonna give the poor guy a tip already? A big one. Bigger. Okay. Now, sing me a song.” I suspect eventually she would set him on fire though that would probably qualify as tampering with the US male.
You all make up stories that go with songs, right?
That’s how I feel about a lot of Georgette Heyer’s work not uncoincidentally. Makes me laugh it’s so freaking camp. And also witty and well written. (Pity about the anti-semitism.)
Heyer’s regencies have had a ridiculously big influence on YA today. You would not believe how many YA writers are also huge Georgette Heyer fans. It’s scary. Come to think of it most of her heroines are teenage girls . . . So they’re practically YA in the first place.
I have been meaning to write my own Heyereseque YA for ages. One in which the rake-ish hero is actually the villian and has syphillis from all that raking around.
But, Heyer kind of already did that with Cotillion in which the hero is a barely-in-the-closet gentleman, who is not in the petticoat line, but adores picking out excellent gowns for the heroine. (The villain is the bloke who in many of Heyer’s other books was the hero. His syphllis is clearly implied.) They get married. I imagine them having an awesome future of many shopping trips to Paris and fabulous dinner parties with assorted lovers and friends.
So now my Heyeresque YA is going to take place below stairs because I’m sick to death of the equivalence between the aristocracy and worthiness. I want a democratic regency romance! Where people earn what they get from hard work and not because of who their family is! Workers’ revolution! Solidarity forever!11
As I mentioned way back at the beginning of this speech the germ of it came to me while I listened to music while walking to my office. That day it was my 1960s Elvis playlist with super campy songs like US Male and the scary stalker song Slowly But Surely, those songs set this whole chain of thoughts—and this speech—in motion.
And led me to wondering how I have come to adore such monstruously misogynist songs. I mean apart from them being AWESOME. I guess I manage to set aside the monstruous parts and revel in the campy deliciousness. But it’s not just that: I am lucky enough to be in a position where I can critique the bad, take the good, and add whatever I want. That is a pretty accurate description of my novel writing process. And of my reading (in the broadest sense) process.
My fond hope is that every time I do that—every time we do that—the power of those monsters is eroded.
So I’d like to take this opportunity to thank all the worst monsters: the monsters of misogyny, of bigotry . . .
Most especially the monsters in my brain and under my bed because they are where I get my ideas.
At the Sirens conference everyone in the audience looked at me like I was a crazy person and insisted that no one on the planet thinks that Feminism + Young Adult Literature + Monsters = Elvis. I remain unconvinced. Plus I am on this planet, am I not? Don’t answer that. [↩]
I was going to have NO appear a thousand times but I think I can trust you all to imagine it. [↩]
Why do so many people read any statement, no matter how innocuous, as being about them? For example, I have mentioned my dislike of chocolate and people have gotten cranky. As if my chocolate hatred will somehow deprive them of it. Huh?
Every time I talk about my love of fashion someone says, “I just want comfortable clothes! Give me jeans and t-shirts!” Which always strikes me as deeply bizarre because a) no one has said a word against jeans and t-shirts, b) t-shirts and jeans are items of fashion, c) having a desire for a ballgown does not mean that person doesn’t also wear jeans and t-shirts. (For the record I am wearing jeans and a New York Liberty t-shirt as I type this. Though I wish I were in my even-more-comfortable pjs, but guests are arriving shortly.)
Colour me puzzled.
I thought everyone understood that people are not all the same. We have different tastes and interests and desires. And hallelujah for that—if we were all the same the world would be a truly boring place.
Why do people keep being affronted by other people caring about something they don’t care about? If it doesn’t interest you, don’t engage. Why the need to tell the world that you hate and/or are bored by it? Why do people read a long post in which someone sets forth their love of antelopes as saying that everyone must like antelopes. You are free to hate antelopes! Go forth and hate antelopes!1 But, you know, don’t bore the person who just spent time and energy waxing eloquent about their love of antelopes. You can take it as read that their interest in your antelope hatred is zero.
I love a good ballgown. I would never make anyone else wear a ballgown.2 I truly loathe chocolate. I have given chocolate as a present to many people. I have even made chocolate cake for a friend. I don’t get why they like it since it tastes like death to me but, you know, it seems to make them happy so good for them.
I suspect that what I’m really asking is why do so many people think everything is about them? I know the ego is a powerful thing. Hey, I’ve got one too. And yet . . .
Let me put this in terms of writing: if you’re unable to empathise or understand people who are not like you, who have different tastes and aspirations, it’s going to be really hard for you to write about anyone but yourself. Only writing about yourself is going to limit the appeal of your writing considerably.3
Thus endeth the rant.
I’d be really interested to hear your theories on this perplexing matter.4
Due to boring circumstances beyond my control, I will not be online much for awhile. Fortunately I’ve been able to line up a number of stellar guests to fill in for me. Most are writers, but I also thought it would be fun to get some publishing types to explain what it is they do, teach you some more about the industry, and answer your questions, as well as one or two bloggers.
I first came across Courtney Milan when she very intelligently defended my honour on her blog. Turned out everything on her blog is witty and/or smart. Then Sarah Rees Brennan, my guide to romance, started raving about her writing. I commend both to you.1 You can also follow her on twitter.
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Courtney Milan writes historical romances for adults. She has been lucky enough to hold two jobs she did not need to tell lies to get, and one job that she lied to get and then loved. Her website is at courtneymilan.com.
In Defense of Lying
The heroine of my debut novel, Proof by Seduction, is a liar. Not a compulsive liar like Justine’s Micah. No; Jenny Keeble (that’s her real name, although she never admits it) is a liar who pretends that she can tell the future, so that people will give her filthy lucre. And while this may seem a little dishonest, believe it or not, we all do it.
I happen to be thinking about lying because a friend of mine has an important job interview next week, and today I was helping her practice. Here’s the problem: She wants to get the job. She wants to get the job very badly, because as you may have noticed, the economy sucks, and at six months of unemployment, one starts to become antsy about things such as paychecks and the like. She does not, however, feel very excited about the prospect of actually doing the job. You understand how these things go. And so she has two options. She can go to the interview and tell the truth—and inevitably not get the job. Or she can lie.
This is actually a really common problem, whether the economy is good or bad. At some point in any job interview, someone will ask you this question: “Why do you want to work for us?” It doesn’t matter whether the job is flipping hamburgers at McDonalds or if you’re auditioning to be the next CEO of Proctor and Gamble. They’re going to ask the question. And they never want to hear the truth. The truth is something closer to this: “Because Burger King isn’t hiring, and my parents told me I had to get a job.” Or, the high-end version: “Your parachute is so golden that when you fire me in thirteen months, I won’t have to work for another two years.” No; nobody ever wants to hear the truth.
But, fickle and undependable as people are, they also don’t want to hear obvious lies. And so what you have to do, as an interviewee, is learn how to lie effectively. Why do you want to work for McDonalds? They don’t really want to know why you want to work for them, because the truth is too crass. The question they are really asking is this: “Why am I great? Please pay me several compliments, because I am feeling surprisingly needy and insecure.” So you think of all the reasons why McDonalds will think they are a good employer. And you then lie. “My friend Jill works for you, and I’ve heard you’re a really fair manager in dividing up shifts.” There you are. True. Believable. And also, a complete fabrication.
Good liars recognize that most people will only ask you three or four real questions. One of them, I’ve already told you—“please pay me several compliments.” But there are also questions that are like this: “I don’t have anything to say, and I’m afraid if I sit here in silence you will think I am an idiot, so can you please fill the time?” And: “Hey, does this question make me look smart?” And finally: “Do you think everything’s going to be okay?”
Good liars ignore the question that people actually ask, and answer the deep down question instead. “Hey, you’re pretty cool. No, you’re not an idiot. Dang, that question makes you look pretty smart.” And the best liars . . . they figure out how to answer that deep-down question, while still telling the truth. And that makes them very, very scary people.
Courtney’s writing and her blog, I mean. Not SRB. Not that I’m not commending SRB to you—she is wonderful—just on this occasion I am saving my commendations for Courtney Milan. [↩]
Due to boring circumstances beyond my control, I will not be online much for awhile. Fortunately I’ve been able to line up a number of stellar guests to fill in for me. Most are writers, but I also thought it would be fun to get some publishing types to explain what it is they do, teach you some more about the industry, and answer your questions, as well as one or two bloggers.
Alaya Dawn Johnson is a wonderful writer, whose short story in Zombies v Unicorns, “Love Will Tear Us Apart” is jaw-droppingly good. Her next novel, Moonshine, out in May is my fave New York City vampire novel. I love it so much that it’s been killing me waiting for it to come out because I’ve been dying to rave about Moonshine to youse lot. Trust me, you want this book.
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Alaya Dawn Johnson dated a zombie once in high school, but it didn’t stick. Her first novel was Racing the Dark, the first in a trilogy she decided to call The Spirit Binders once her publisher told her trilogies needed names. The second book, The Burning City, is due out in June. She is also looking forward to the May 11 publication of Moonshine, her 1920s vampire novel set in the Lower East Side of New York City.
What My Dad Said
When I first showed my dad the new paperback cover of Racing the Dark, I was pretty proud of it. I thought that it evoked the book and was fairly striking. I won’t lie, I pretty much expected him to pat me on the head and say, “Looks great, honey.”
Instead, he picked it up and turned it over a few times. His face took on that serious, thinking expression I recognized meant he was considering how to phrase something important.
“Alaya,” he said, “the art is lovely. The image and everything is great. But are you sure you want to limit yourself like that with this cover?”
“Limit myself?” I asked.
“White people are going to be way less likely to pick up a book with a cover featuring a brown person. That’s just the way the world works.”
I told my dad (with some annoyance) that I didn’t think that was true, and anyway, my book is about a brown person, so these hypothetical white people would just have to suck it up.
Cut to this past Christmas, when my Dad, my sister, my brother and I were all last-minute shopping at the local mall. Like we do every Christmas, we all tromped through the local Borders, looking for presents. This time I was especially excited, because the store claimed to have a copy of my book.
My dad and I searched all through the fantasy section, just so I could experience hasn’t-gotten-old-yet zing of seeing my own work in a bookstore. But Racing the Dark wasn’t there. Finally, we went back to the computers to look for it again.
And we saw what we had missed the first time: though Racing the Dark is clearly labeled “fantasy” on its spine, the powers that be at Borders, in their infinite wisdom, had decided to shelve me in the “African American” section.
At least I was in good company. On the shelves surrounding my book were works by Octavia Butler, Zora Neale Hurston and Toni Morrison. I’ve looked through this peculiar hybrid section before, and I’ve always been bewildered by the mish-mash of genres and writers all sandwiched together on two narrow shelves. Would someone like to tell me what on earth Zane and Toni Morrison have to do with each other?
Dad and I stared at the book in dismay. “I can’t believe they did this,” I said.
“Honey, I told you,” he said. “You should have had a more generic cover.”
I couldn’t really disagree with him, at that point.
So Dad picked up the book and we physically marched it over to the Fantasy section, where we left it, cover side out.
“Alaya,” my Dad said, later that day, over dinner, “you have to understand that you live in the world. You can’t mess around with the way you wish things would be. You have to deal with the way that they are. A black woman writing a book with a cover like that is going to get shoved in a category you might not want to be in.”
Considering that we had just seen the physical evidence of my being shoved into that category, I just nodded and went back to my food.
It stuck with me, though. And I realized that my dad’s point of view hasn’t really been in much of the ongoing discussion about cover art and whitewashing.
In a lot of discussions about race, my Dad and I suffer from a pretty profound generational gap. My dad is of the Old School, which we could call “determined pragmatism.” As far as my dad is concerned, he grew up in a world where he couldn’t sit down at half the lunch counters in Richmond, where he had to sit in the balcony of the theater, drink from labeled water fountains and sit on the black side of the court house.
Now, in his sixties, my dad owns a business that actually works with the same governments that supported Jim Crow laws. He’s moved into that small percentage of the black upper-middle class, and as far as he’s concerned, race is something you deal with and move on. If you have to change something because white people don’t like overt blackness, then you do that. It’s not that my dad doesn’t understand my points about how frustrating and degrading it can be to always have non-whiteness relegated to this unwanted subcategory (or, even worse, an exoticized one). He does. He just feels that if the world works this way and if I’m just a writer struggling to make a living, then I ought to find a way to help myself within that existing power structure.
Now, I still don’t think he’s right. I still like my cover and I’m still very happy that it very clearly features my non-white main character.
But I will say that it felt like a gut punch to see Racing the Dark shelved—with such a contemptuous lack of care for its content or its audience—in the African American section of Borders.
Due to boring circumstances beyond my control, I will not be online much for awhile. Fortunately I’ve been able to line up a number of stellar guests to fill in for me. Most are writers, but I also thought it would be fun to get some publishing types to explain what it is they do, teach you some more about the industry, and answer your questions, as well as one or two bloggers.
Ron Bradfield Jnr blogs as Belongum. I discovered his wonderful blog via Cellobella, another fabulous WA blogger, who I met at the Perth Writers Festival last year. See sometimes you can discover fabulous blogs via real life. Amazing, innit?
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Ron Bradfield Jnr is a contemporary Bardi man because he has to be. His mob come for the tip of Cape Leveque, north of Broome, Western Australia. He was born and brought up, away from his Country and worked extensively through remote and rural communities all up and down WA. He works with visual artists (via Artsource) and it’s been said many times before in his presence, that herding cats would be a darn sight simpler! In his spare time, he writes. Mostly that consists of blogging, although he is also guilty of publishing in various related work-related magazines as well. It all depends on the two little people in his house and their fantastic mother. Family always gets squashed in there somewhere. All in all, Ron loves what a good yarn can do. Sharing our respective cultures in respectful and healthy ways is the key. Poking people in the eye with it—just makes for a bad experiences all-round and has us remembering them for all the wrong reasons. Our respective cultures make us the richest species on the planet—yet we don’t celebrate this in any way that helps us connect well to each other. Ron’s crossing his fingers in the vain hope that it’s all not too late and that we continue to share. You can find out more about the world he lives in on his blog.
It’s All English to Me
You’ve undoubtedly heard . . .
. . . the phrase ‘lost in translation’. It’s a phrase I see confirmed on many levels here in Australia. All irony aside, most Australians born and living in our English speaking country, probably don’t realise the trap that our familiarity with the English language brings: it leads us to assume certain things, based upon particular meanings. It fails to acknowledge other associated depths to a word—spoken or written—especially those relevant to other cultures. Most particularly—mine!
I am of two worlds. I have a foot in two culture camps here in Oz: that of the Aboriginal peoples (Bardi Mob in particular) of this country and that of the Irish who were brought, or settled here. I have lived a pretty varied life so far; it has seen me fail my early ‘schooling’; learn and work in my trade; sport two military uniforms for this country; work extensively with isolated and damaged young people; assist Aboriginal communities and now—I get to yarn with some of Western Australia’s most amazing visual artists.
My journey into the arts has allowed a fantasy of mine to come true: it’s given me a perfect excuse to write. I’ve always wanted to—I was just never allowed to explore this kind of opportunity as a kid. In general, our education system didn’t invest much in Aboriginal kids when I was young. It was just the way it was here in
Australia in the early 80’s. Thankfully though; at an early age, I discovered books.
They took me places my education couldn’t and allowed me sneak-peaks at worlds I didn’t believe existed. They showed me very early in life that words had an amazing power and they raised questions in me—I was reading of other people’s experiences—but none of them were mine.
Let me correct that some; none of them, were of my Mob. Not too many of these wonderful books brought me the Aboriginal meanings I had come to associate with certain English words. I recognized similar notions in other cultures that weren’t English based and only because the depth associated with the word was often accompanied by descriptions that took my mind along other paths to build the picture I needed. Rather than tell me a concept, my favourite writers showed me. In doing so, I was allowed the room to let MY cultural notion of the words exist without constraint. My understandings of these words were included and—as most people of another Culture in this country already knew—this was a rare experience indeed.
A simple example? Well, in my Mob (and for that of most Australian Aboriginal and Islander peoples) we call all our birth mother’s sisters, ‘Mum’. This is the translation in English of course, although each of the differing nations or language groups have their own term for this, but essentially—the notion of the word ‘Mum’ or ‘Mother’ in English—tends to fit. It’s not as limited in its use within our communities though. We don’t have only ONE Mum—we have many. Yep, I know, we’re just greedy that way.
The English word ‘Aunty’ just doesn’t fit here either and, should it be used (as it often is in other Aboriginal and Islander communities more impacted upon by our backward past policies of taking our children away), it’s used as the word’s actual meaning defines it—but the underlying cultural context—tells you a completely different thing entirely. Past government policies have managed to break our families apart, exterminate so many of our languages and cultures and almost rendered us lost to today’s Australian society—but it has NEVER squashed our own sense, of ourselves.
I know this to be true, simply because when I use the words Culture and Country—they take on a completely different meaning for us, than it does for the vast majority of those who live here. Please understand that I don’t say this to NOT include you dear readers; just to highlight a point. If anything I believe that if you call this Country your home – than you should understand these concepts as part of your own Australian heritage (despite what some people will tell you—you’re actually welcome to do so) and culture. Country is where I come from, what I’m
connected to and it defines who I am (to others). Culture is what connects me there; it feeds my centre and keeps me whole. I can’t explain it any simpler than that. It’s something I’d need to show you—as it can’t be captured completely in English.
English Dictionaries will tell you a completely different thing and that is an absolute shame. The English language is a tool. It shouldn’t govern the meaning you place upon your written words to the N’th degree—not like that. You—or should I say WE—as writers have a huge responsibility placed upon our shoulders. We have to convey actual meaning (real living and breathing meaning) to our readers and we have such a limited language with which to do it.
Think I’m exaggerating?
Ask those who have already contributed here their thoughts on how the English language constrains the notion of other people’s Culture. It’s a mark of their skill (and yours) as writers that they can bring their world into this one—the one you’re reading right now—the world of English.
My hat’s off to you all and I mean that sincerely, because achieving that, is no mean feat!
Coda: A Few Words on the Word ‘Mob’
Mob. There has been a tendency to use the word Tribe when describing each of the different language groups that exist in Aboriginal and Islander peoples cultures across Australia. This is actually incorrect. If anything we more closely represent family Clans (not all that different to Celtic and Gaelic ones). Language groups in distinct areas—broken further down to smaller family clans—better able to survive across harsh country—coming together at set times in the year—to trade goods and marry. Or at least this was the case a long time ago—when it was
Instead of the word Clan, we tend to use the word Mob. Aboriginal and Islander people will say “Which Mob?” or “Who your Mob?” when trying to narrow down who you belong too. It’s an important question—it tells another Aboriginal or Islander person where you come from and who you’re likely to be related too. This determines how you should be addressed and who might be responsible for you—laying down the groundwork for a complex protocol system that nearly all Aboriginal and Islander children know backwards by the time they are 5 years old.
There are over a hundred language groups still surviving in our country. All of us have different cultural bases—yet all of us are similar in particular ways. This website doesn’t do a bad business of explaining this further—as my explanations are very simple.
Due to boring circumstances beyond my control, I will not be online much for awhile. Fortunately I’ve been able to line up a number of stellar guests to fill in for me. Most are writers, but I also thought it would be fun to get some publishing types to explain what it is they do, teach you some more about the industry, and answer your questions, as well as one or two bloggers.
Today’s guest, Carol Cooper, is one of an increasingly rare breed, a working journalist. I have known her for many, many years now. I suspect since my first visit to NYC back in 1993.1 She’s a wonderful writer and friend and knows what she’s talking about on many, many, many topics, but most especially journalism. All heed what she has to say.
As soon as our ever gracious host Justine offered me this guest spot, I started agonizing over how best to use it. I’m sure my concern is an occupational hazard, since the job of a freelance journalist is to pitch her editors the most compelling story of the moment . . . ideally before any other journalist has already written about it.
But . . . as you may have heard . . . rules and opportunities in the news game have, well, changed. Not long ago one of the papers I still sometimes work for ran a cover story they chose to illustrate with a little zombie paperboy dressed in Depression-era drag under the headline: “Print is Undead.” In a similar mood of gallows humor, the same publication also ran an education story which paraphrased the musical question: “I just graduated from J-school . . . what WAS I thinking?”
In the past few years the precipitous decline in print media advertising and circulation has forced even the most famous newspapers and magazines—like the New York Times and the Kirkus book review organ—to the brink of economic extinction. Established daily newspapers in big cities like Detroit, Chicago and San Francisco have already bitten the dust, and even online-only news and lifestyle publications continue to shrink and die due to staff cuts on a daily basis.
Now I don’t cover the war/politics/police-blotter/hard copy beats that normally put the “news” in newspapers . . . I’m a pop-culture reporter. And I’ve discovered it’s not really pop-culture reporting that suffers when printed publications vanish. What suffers—especially when online versions of respected newspapers fail to make any money by offering reportorial content on a daily basis, is a factual, archivable and informed analysis of economic and political events in real life as it happens.
Web-based information sources get plenty of traffic to sources of gossip, entertainment and opinion. But far fewer readers flock to .gov sites to read a thousand pages of a health care reform bill for pleasure. Even the less intimidating summary of such important information is harder to find and consume than the average Twitter feed or celebrity blog. The web makes it too easy to narrow our focus to only those subjects you already like or know about. And the web is a much greater time-gobbler than any print publication. What a good newspaper or magazine using a large diverse staff of writers is supposed to do is design a seductive, well-researched, and easily portable package of information providing insightful glimpses into every possible area of human interest.
The music, book, film, and nightlife reporting I like to do needs to be part of that larger package to have the kind of impact I want my work to have. Art, philosophy, and culture (to me) are innately political, and must be understood within the context of every other societal factor to be fully appreciated. When it comes to topical brain food, an all-candy diet is no better than an all-tuna or all-spinach diet if you want to live a long, healthy life.
So . . . while I continue to labor in an industry that appears to be burning down around me, I cling with giddy optimism to the fact that television didn’t kill radio; that YouTube hasn’t killed commercial TV; that video games have yet to replace the movies; and that old, seemingly obsolete media like vinyl singles and albums, remain collectible and are even being re-manufactured now as prestige items on the international scene. So—am I a paper chauvinist? I’d have to say ‘yes’ . . . even with one foot firmly planted on the other side of the digital divide!
I’ve been recruited to write for online sites since the early 1990s, and I still gotta say . . . paper is way better. Ever since some duplicitous staffer at the now defunct SonicNet e-zine put her own name on a great feature-review I wrote for them about Tupac Shakur, I don’t trust the online world to respect the integrity of my byline the same way “hard copy” does. Ah yes, the sweet sanctity of the byline. Honey, I’d go back to writing in cuniform on clay tablets if it would protect my byline!!!
Meanwhile, my being tempted to migrate into book-length fiction or historical biography in a world where the predictive quality of Orson Scott Card’s Ender series and the inspirational quality of Carolyn Burke’s bio of surrealist muse and photographer Lee Miller rival anything investigative journalism can do, is a strong possibility. If I resist the golden allure of series television,2 I might eventually abandon periodical literature to write those kinds of printed matter. But we’re still talking PRINTED matter here. And between recycled newsprint and paper made out of all kinds of sustainable non-arboreal sources (not to mention the sustainable soft-pine grown abundantly on my grandfather’s land in Texas) this NYC-based freelancer will defend the survival of print media until you pry her back-issues of The New Musical Express, The Negro Digest, and Locus from her cold, dead hands.
Momentary pause while Justine contemplates the weirdness and fastness of time. It is, indeed, a peculiar item. [↩]
Due to boring circumstances beyond my control, I will not be online much in February. Fortunately I’ve been able to line up a number of stellar guests to fill in for me. Most are writers, but I also thought it would be fun to get some publishing types to explain what it is they do, teach you some more about the industry, and answer your questions, as well as one or two bloggers.
Malinda Lo debuted in 2009 with Ash, which has made an enormous splash, getting shorlisted for gazillions of prizes and being loved by readers all over. I have heard wonderful things about it.1 I invited Malinda to be a guest blogger because I have become a big fan of her blog and I’d like to encourage more of you to read it. *hint* *hint* Also Aussie & Kiwi readers take note: Ash will be published here next week!
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Malinda Lo is the author of Ash, a retelling of Cinderella with a lesbian twist. Published last fall in the U.S. and Canada, Ash comes out in the U.K., Australia, and New Zealand on 4 March. Ash was a finalist for the ALA’s 2010 William C. Morris Award and a Kirkus Best YA Book of 2009. Her next novel, Huntress, a companion to Ash, will be published in spring 2011. She lives in Northern California with her partner and their dog. Her website is www.malindalo.com.
Recently there has been a lot of discussion about race and representation in young adult books. Justine’s blog has become one of the centers for that discussion, and because of that, when she asked me to guest blog I jumped at the chance to share one of my experiences of encountering race in the pages of a book.
Many of the posts about this subject have focused on the importance of publishing books about people of color so that people of color can see themselves represented in print. Reading these posts made me remember my junior year in high school, when my favorite English teacher gave me a book to read because she thought I might identify with it. I am Chinese American; the book was The Woman Warrior by Maxine Hong Kingston, an autobiography subtitled “Memoirs of a Childhood Among Ghosts.”
She meant well, but the book made me feel like a total foreigner. I hated it.
It made me wonder: Was this the way white Americans saw my family? Did they really think that I came from a family that believed in ghosts and treated their daughters like property?
I remember being distinctly disturbed by the book, and when I decided to write this post, I went back and re-read the first chapter. In retrospect, I’m stunned that my teacher gave it to me, because that chapter alone includes sex, rape, misogyny, and suicide.
I was probably 16 years old when I read it, and while I’d like to think that my teacher thought I might be mature enough to handle the content, I wonder if it was simply the only book she knew of that involved a female Chinese American main character. I have to give her points for attempting to find me a book that mirrored my life, but the fact is, The Woman Warrior made me cringe.
It’s not that the book is poorly written. Reading through it again, I find much to enjoy in Kingston’s prose. It’s that the book seemed to have nothing to do with me or my background, and the idea that my teacher thought it did shocked me. I thought: Was this what being Chinese American was supposed to be like?
(Notably, the book has been criticized as much as it has been praised, with some Asian American writers arguing that Kingston uses Orientalist stereotypes to present an exoticized vision of Chinese America for white readers. Kingston herself has asked why she should be required to represent anyone but herself.)
I was born in China, but I moved to the U.S. with my family in 1978 when I was 3 years old. I come from a long line of intellectuals, and some of my family were persecuted for their political backgrounds by the Communist Party. In addition, my paternal grandmother was white. She was one of the few Westerners to actually live in China during the Cultural Revolution, and when she returned to the U.S., she wrote a memoir about it (In the Eye of the Typhoon by Ruth Earnshaw Lo).
Because of all this, I grew up thinking my family was special. I’m pretty sure it made me (as a teen) a bit self-important and defensive about all things related to China.
On the other hand, I also grew up as one of only four Asian American kids in my high school class. The four of us knew each other and we had overlapping friends, but we did not group together out of any shared “Asian American” identity. There were too few of us. Instead, I think we all tried to blend in as much as possible. We didn’t advertise our different cultural traditions; we didn’t speak foreign languages at school even if we did at home; we did our best to be normal—to be white.
But Woman Warrior—and the fact that my teacher gave it to me specifically—forced me to acknowledge that I was not like everyone else, and it was an awful feeling.
In high school, we have a lot of chains on our feet. The way you dress; the street you live on; the group you belong to. I didn’t want another one. I was happier ignoring the fact that other people perceived me as different.
It took many years for me to accept that other people will see me through their own preconceptions, regardless of my wishes.
I joined (and left) Asian American student groups at college. I majored in Chinese Studies, then got a master’s in East Asian Studies. I went back to China. I dated Asian Americans. I attempted to become part of the Asian American community. But I never felt like I really fit in. The ghost of Woman Warrior, I admit, has been difficult to dodge.
And then there’s the fact that I’m a lesbian. Being queer and Asian can be problematic, because many Asian American families are quite homophobic. There wasn’t much room for queerness in the Asian American community when I was coming out, and I felt as though I had to choose between identities.
Sometimes, it’s still a struggle, especially when meeting new people who only know what they see on my face. They see Asianness, but they don’t see my white ancestors. They see a feminine woman; they don’t understand how I could be gay. As recently as last fall, I’ve gotten the comment, “You speak English so well.”
For those of us who occupy the spaces between identities—because of our personalities or because we have a foot in more than one subgroup—finding representation anywhere, in any form of media, can be extremely rare. It can be tempting to hand a person a book and say, “This is where you fit in,” but in many, many cases, that won’t be true. It may end up alienating the person more than making them feel welcome.
I want to make sure to state that I wholeheartedly believe that it’s important to publish books that incorporate diverse characters and stories. In my experience, every book, TV show or film that includes difference makes a difference—even if I personally disliked it. Woman Warrior did not mirror my life, but it gave me something to reject, and that played a valuable role in the continuing evolution of my own identity.
I have always identified much more with Jo March or Anne Shirley than any of the people in Woman Warrior. But that doesn’t mean that I didn’t appreciate — eventually — my teacher’s suggestion that I read the book.
After all, twenty years later, I’m still thinking about it.
Yup, Ash is on my to be read list. My reading for my 1930s book means it’s taking me a long time to get to more recent books. [↩]
Due to boring circumstances beyond my control, I will not be online much in February. Fortunately I’ve been able to line up a number of stellar guests to fill in for me. Most are writers, but I also thought it would be fun to get some publishing types to explain what it is they do, teach you some more about the industry, and answer your questions, as well as one or two bloggers.
Today’s guest blogger is Baby Power Dyke whose blog I discovered last year and instantly fell in love with. She’s rude, smart and funny. We have shared crushes on Rachel Maddow and Melissa Harris-Lacewell. So, clearly, she has excellent tase. She is my kind of a gal.
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Baby Power Dyke is a smartass. She’s an actor in New York City who is terrible about auditions. She lives in Brooklyn with the love of her life, who is also an actor and is muchMUCH better about auditions. Nonprofitting supports her blogging and acting habits. She loves cheese. She was born on April Fool’s Day and thinks that because of that, she receives the best birthday presents ever. She’s terrible about mail. Her personal theme songs are “Voodoo Child” by Jimi Hendrix and “Don’t Rain on My Parade” by Barbra Streisand.
It is Black History Month and boy am I feeling the love.
Just yesterday Rush Limbaugh (or as I like to think of him, the Phantom Menace) derisively referred to the health care reform bill which is swimming its way upstream through Congress as a “civil rights bill” and “reparations.” To be clear, what he means by using “civil rights bill” and “reparations” as a pejorative is “this health care bill is another attempt by the lowly, lazy, complaining Black folk to take bread from the mouths of hard-working honest White Americans. First they took February, what’s next? March?.”
Last week the fine gentlemen of Pi Kappa Alpha decided to throw a party to “honor” Black History Month which included a very helpful how-to for the ladies so that they might properly comport themselves as “Ghetto chicks.”
Ghetto chicks usually have gold teeth, start fights and drama, and wear cheap clothes—they consider Baby Phat to be high class and expensive couture. They also have short, nappy hair, and usually wear cheap weave, usually in bad colors, such as purple or bright red. They look and act similar to Shenaynay, and speak very loudly, while rolling their neck, and waving their finger in your face. Ghetto chicks have a very limited vocabulary, and attempt to make up for it, by forming new words, such as “constipulated”, or simply cursing persistently, or using other types of vulgarities, and making noises, such as “hmmg!”, or smacking their lips, and making other angry noises,grunts, and faces.
But it was John Mayer (singer, songwriter, Poor Man’s Stevie Ray Vaughn) that got the month started off right with an interview that he did for Playboy where he proved that he doesn’t have the good sense (or graces) that God gave Kanye West.
MAYER: Star magazine at one point said I was writing a tell-all book for $10 million. On Star’s cover it said what a rat! My entire life I’ve tried to be a nice guy.
PLAYBOY: Do black women throw themselves at you?
MAYER: I don’t think I open myself to it. My dick is sort of like a white supremacist. I’ve got a Benetton heart and a fuckin’ David Duke cock. I’m going to start dating separately from my dick.
PLAYBOY: Let’s put some names out there. Let’s get specific.
MAYER: I always thought Holly Robinson Peete was gorgeous. Every white dude loved Hilary from The Fresh Prince of Bel-Air. And Kerry Washington. She’s superhot, and she’s also white-girl crazy. Kerry Washington would break your heart like a white girl. Just all of a sudden she’d be like, “Yeah, I sucked his dick. Whatever.” And you’d be like, “What? We weren’t talking about that.”
That’s an official Nice Guy FAIL.
These harbingers of Black History Month can get a girl a little down.
But not me. I am thankful that I have a partner who loves and cherishes me for the supreme delight that I am.
I am also thankful for the amazing strong black women (SBW) that I have in my life as role-models. Without my mother, Oprah Winfrey and Barbra Streisand, my confidence in my smokingness (both intellectual and physical) might have been dimmed by that young-man whose mother must be really ashamed of him right now and who is actually making me sympathize with that Jennifer Aniston person.
But lately I realize that I’ve been leaving out one deserving woman in my SBW list of might: RuPaul.
Nownownow, I know what you’re saying, “But BPD, RuPaul’s been around since forever how come it’s taken you so long?” Really, I have no excuse.
From the revelatory, Super Model, with its clarion cry that got me through many a grueling show choir rehearsal (damn you mirrored gym) to the present RuPaul’s Drag Race—which is not about cars1 —RuPaul has given me the balls to get through the tough times. RuPaul has made me the man I am today. And by man, I mean small black lesbian gay-dandy.2
When I’m about to do something that seems super important, I think, “You better work, bitch!” I chant, “It’s time to lip-synch for your life!” when it’s time for me to move mountains.
RuPaul is about knowing who you are and owning your fabulousness. RuPaul is about ripping people’s faces off with your fierceness and leaping in your stilettos over the shit. Most importantly RuPaul is not about some trifling mess of a boy that even Ghandi would slap.
With Ru and the other SBW in my life, I know my worth. I’m not even going to sweat it. Because I know, that despite how hurtful and how hateful what John Mayer said was, it’s not about me. It’s not about any other woman of color (or woman, frankly) in the world. It’s about him and the dick-shrivel that he is. I’m not waiting for the world to change. I am the change that I seek in the world. I am the light that I want to see. I am fabulous. I am fierce. I am magnificent.
Come for me, bitches.
But just . . . can we all agree that if RuPaul hosted a muscle car show with, say, Joan Rivers or Tina Turner—that pair would be a mother-fucking wig-off—that show would be ridiculously awesome. [↩]
2010 is the year of the bow-tie. Look out people! [↩]