“Chick Lit” and Other Horror Stories: My Interview with SpareMin

First things first: I know.

I know it’s a random Wednesday at the end of October, and I know the air is chilly and the leaves are crunchy, and I know you’re probably halfway through a spreadsheet or a surgery or a stock… broking… maneuver.

I know.

But take a moment—right now if possible—and think back with me to this summer.

Remember June? June was warm, and sunny, and picnicky, depending on your chosen climate/hemisphere. June was pre-split for Brangelina, pre-Ghostbusters for those of us who saw and kind’ve liked it, pre-Olympics for the legendary Simone Biles, and pre-pussy-revelations for Trump. June was innocent, and hopeful, and naïve, like a first shot of tequila—a simpler, if not a better time, followed by an autumn that feels like a hangover.

I spent my June researching and writing an exhausted, exhausting, and (I hope) exhaustive post on Sexism in Classic Literature, something I come across all too frequently on The List. And then, because that was so depressing/distressing/discouraging, I added a post on Bookish Feminism a few weeks later.

Satisfied that I’d said my part, at least for the moment, I moved on with my summer.

So it came as a surprise when, in September, I was contacted by the founder of a new app called SpareMin. He had read my Sexism/Feminism posts and invited me to be part of a “mini-podcast” on the subject. The deal was that the SpareMin team would use the conversation to promote the app’s call-recording features, and I would get to talk about something I am passionate  fanatical maniacal about for 15 whole minutes.

And, last week, we did. Check out my talk with the lovely Abi Wurdeman here.

I’m including a transcript below—tidied up a little for clarity’s sake—to fill in any gaps in the audio, and to include all the appropriate links in all the appropriate places (huzzah!). Abi is in bold, and I am not, because I am incredibly modest and extraordinarily humble (if I do say so myself).

Happy listening!

…

Hello, this is Abi. Is this Jamie Leigh?

Yes, this is Jamie.

Hi, welcome! How are you?

I’m fine, thanks. I’m glad this worked.

Me too! Me too. Thanks so much for taking the time to speak with me today.

No problem. Just to warn you, someone got out a chainsaw in my neighbor’s apartment, like, ten minutes ago. So if you hear a lot of noise, that’s why.

Oh, OK.

I hope they’re doing construction.

Yeah! Yeah, I hope so, right? OK, so, just for listeners—just so they know who I’m speaking to—I’m speaking with Jamie Leigh, who is a reader and writer, and we’re speaking about the representation of women in the literary world. So, let’s start with the first general question: What attitudes do you notice in the literary world towards female authors and books with female protagonists?

Right. Well, we can start off with the fact that there’s a genre called “chick lit,” right, but no genre called, like, “dude lit.” I’m far from being the first person to point this out, but it’s like the industry’s way of saying that books written by and about men represent the sort of universal human experience, but books by and about women represent only the female experience—which, then, reinforces this idea that the male narrative is the default narrative.

And this starts really early on, right? Like, even in children’s books, there are more boys than girls in central roles. And we definitely, as a culture, you know, tolerate young boys’ contempt, I guess, for books about girls—or anything associated with girls, really. So we end up teaching boys from a really young age, without necessarily meaning to, that it’s OK to dismiss us, or to ridicule us.

So I guess the most common pattern I see is one of, you know, neglect, or of belittlement. I think a good example is Jodi Picoult. She writes these really—really, like, sober books, right? She’s written about school shootings, and mercy killings, and cancer, and suicide, and stem cell research. And still critics call her books “chick lit” and “beach reads.”

And then the opposite happens when a man starts writing in an area dominated by female authors. Like, this happened in YA, this happened in romance. You know, romance is one of the most ridiculed genres. But, of course, Nicholas Sparks comes along and he’s able to build a respected career for himself writing romance novels. I, uh, I hope—I hope he and all of his movie deals will be very happy together. But that’s bullshit.

Yeah. It’s true, it’s true. It always makes me think of—I mean, as you said, there are a gazillion examples of this happening. The one that I always think of is—and this is a movie review that I believe was in Variety, about Wild, which you know, of course, was a book first—but the reviewer, a male reviewer, actually said—was letting everyone know—this is a cool movie for guys to watch, too. And the line that he used in it was, “It’s—this isn’t—” it was something like, “This isn’t a woman’s story; this is a human story.” 

Oh, for God’s sake. Thank you for, yes, defining women as human. Yeah.

Right, right. And the title of that was “Wild Is Actually Macho.” He talked about how—his focus was “It’s a macho—it’s something that guys can get, too, because the emotions she expresses aren’t just lady emotions. It’s crazy! It’s nuts!” 

I actually—so, the person who did that screenplay was Nick Hornby, and I saw him speak a couple of years ago in New York. And he—someone asked him about—well, actually I think he was telling a story about someone who’d asked him how he was able to kind of “get inside the mind of a woman.” And he was like, “…She wrote a memoir. I read her book, and I adapted her book to the movie…” Yeah. Not that hard.

Yeah. It’s crazy. So then, I guess you kind of addressed this, the next question, of the differences that you notice between the ways that the publishing industry markets books written by men versus by women. Is there anything else—any other points on that you want to make before we move on?

Yeah, um, a couple things. So, I guess one of the most obvious differences is book covers. You know, women’s book covers have a lot of flowers, and horizons, and makeup, and hearts, and wedding dresses, and pink. Basically anything stereotypically feminine. You know, things that imply that they’re not worth taking seriously, in a lot of cases.

And then men’s book covers are usually darker and edgier. Less cluttered. Less domestic. Less frivolous. And this is important, right? Because a book’s cover contributes to our perception of its quality, along with other things like the blurbs, and the comparisons to other novels, and where we shelve it in a store, and that kind of thing. 

So, yeah, I think book covers are a big one. Oh, I just read this article about a woman who wrote a memoir about the years that she spent working as a war photographer in Afghanistan. And her publisher—I think it was Random House—changed the title, without asking her, to Shutterbabe—

Ew.

I know. Ew, right? And then their initial design for the cover was a naked cartoon torso with the camera covering the crotch, all set against a pink background. Yeah, her war photographer memoir, right?

Wow.

So she had to explain to Random House that it is “usually her eye behind the camera, and not her vagina.”

Isn’t that how they work?

Yeah. Oh, she also said that almost all of the publications that reviewed her book—which wasn’t very many, even though this went on to become a bestseller and has been taught in journalism schools—almost all of those reviews called her a stay-at-home mom. Like, when is the last time a male author was called a stay-at-home dad? That never—that never happens.

Wow. No. 

So book reviews are also a problem. I’ve heard it’s getting better, so that’s good news, but still I think most of the major review publications have mostly male reviewers, and the reviewees are less likely to be women. So, basically, what ends up happening is that men are the kind of “literary gatekeepers,” and then they’re more likely to open the gates to other men.

Which doesn’t actually make a lot of sense if you look at book sales. There was an, I think it was an Atlantic article, out maybe this summer, that pointed out that women buy more books than men, and we read more fiction. And, in the U.S., there are more women than men who have degrees in literature. So, if anything, we should probably be considered the default readers. Like, we are the greater part of the literary audience. Women are not a niche market.

Yeah. So, now, let’s talk about—I guess this actually branches off on what you were saying earlier about children’s books, and what we learn about how to value female stories and male stories and female authors and male authors when we’re young. And you and I had spoken a little bit—I talked about, I mentioned to you how I, as I got older, I realized that I sort of internalized these ideas accidentally, that male literature is insightful and says powerful things, and female literature tends to be more niche. So let’s talk about the classics, and required reading in high school. Of the classics that are frequently assigned to high school students, where are overlooked instances of sexism or misogyny in those stories?

Um, yeah, like—well, everywhere, first of all. Yeah, when we talked about this before—well, on my blog I’ve talked about how rape happens all the time in the classics. I don’t know about you, but I don’t remember ever having classroom discussions about male entitlement, and how that leads to sexual assault. Even though it’s this, like, meta-theme that ties a lot of the classics together. You know, English—English teachers love that shit, right?

I think part of the problem is how rarely we’re willing to call rape rape. Right? Anything to victim-blame, right? The example that shocked me the most, actually, was Lolita. Because it’s hailed as this, like, great love story, even though it’s, you know, it’s about a middle-aged man who kidnaps his twelve-year-old step-daughter and rapes her repeatedly over the next two years. Which is the complete opposite of a love story. And it’s not even ambiguous, even in the book. Nabokov says in the preface to the book that Humbert is a monster. He calls him a—he calls him a “moral leper.” And then I turn my book cover over—my book over to the back cover—and I see a quote from Vanity Fair that says that the book is “the only convincing love story of our century.”

Oh my God.

Isn’t that horrifying?

I just threw up a little bit.

Yeah. So rape is definitely one. But there are broader issues, too. I mean, in my experience, literary curriculum in general overlooks female authors and protagonists. I can—I can only think of three books assigned in my high school that were by or about women. I mean, out of dozens, right? Meaning I spent entire semesters—and even entire years—reading books by men about men. And that was just normal, right? But if I’d wanted to take a class that featured only female writers, I would’ve had to wait until college, and I would’ve had to sign up for some specialized class in the Women’s Studies Department. Again, as if we’re this, like, niche offering.

Yeah. Yeah.

And while—yeah. And it is true that, historically, men have dominated literary culture, but most of the novels that exist today have been written in the last couple of centuries. So there are plenty of women to choose from.

And I’m not sure that being a man has ever been an excuse to dismiss or exclude women. I’ve criticized Tolkien on my blog before for underrepresentation of women, and some guy was like, “Well, what do you expect? He was a conservative Catholic academic born in the 19th century.” And I was like, Tolstoy. Thackeray. Flaubert. Henry James, Lewis Carroll, Samuel Richardson, Thomas Hardy… All men. Some Catholic (probably). Some conservative (probably). All born well before Tolkien, and all of whom thought women were, at least, like, minimally interesting. Interesting enough to write novels about, apparently.

And yeah, the last thing I was going to say is that there are, um, I think there are a lot of missed opportunities for discussion around intersectional feminism in the classics—like, this idea that the various forms of oppression intersect. So, for example, a poor black woman is going to experience oppression differently than a rich white woman. I just finished Native Son in September. It’s this book, set in the ’40s, about this 20-year-old black boy who accidentally kills a white girl—who’s his boss’s daughter—and then deliberately murders his black girlfriend. But when he’s captured and put on trial, it’s only for killing the white girl—and the black girl’s body is brought in as evidence.

Whoa.

Yeah. Evidence of his, like, inclination toward violence. And as he’s sitting there, in court, he thinks to himself that even though she’s dead, and even though he killed her, he knows that she would resent her body being used that way. You know, in a way that essentially erases her personhood.

Yeah. Yeah. So what—yeah, sounds like an intense read. I have not read that one.

Yeah, it is an intense read for sure.

So what women authors or woman-centric books do you think should be added to high school curriculum to help teenagers now get the experiences and perspectives that you and I didn’t get when we were in high school?

Well, I guess in the case of my high school, like, any would be a good start. Because there were so few. I—I looked up a list recently of the most frequently assigned books in U.S. high schools, and it was all Shakespeare and the Greeks and Steinbeck. And, you know, us ladies, we get, like, The Scarlet Letter. Which is so boring we all wish it never existed in the first place, right? And it was written by a man.

But some of my favorites—and this is definitely subjective—but I would say of the books that actually do justice to female characters, probably Jane Eyre or anything by Jane Austen. Margaret Atwood’s books. Toni Morrison’s books. Edith Wharton and Virginia Woolf and Zora Neale Hurston all wrote wonderful, complex women. I know some high school curriculum does include some of their books, but mine definitely didn’t. I wasn’t assigned any of those authors, at least not until college. Which is such a shame.

Yeah. My best friend from college, I always really envied. We had a few—we would have, like, maybe two female authors a year when I was in high school, so there was a little bit. But my best friend in college went to an all-girls Catholic school, and the nuns very deliberately made sure that fifty percent of the authors they read were women. And I was so jealous when I first met her—I was like, “I’ve gotta catch up to you!” Cuz there were these books I didn’t even really know existed, or had a vague sense of—but no one was saying, “You need to go out and read these,” so I didn’t prioritize them.

Right. Right. So, like, for example, why did I have to read both 1984 and Brave New World, but didn’t get to read The Handmaid’s Tale in school—you know? And why did I have to read everything Shakespeare ever wrote, but I had to find Jane Austen and Toni Morrison on my own? There’s just such a huge imbalance.

Yeah. Yeah, definitely. Well, thank you so much for speaking with me today. This was a great conversation.

Thank you so much.

Have a good day. 

Thanks, Abi.

Bye.

…

In listening to this after the fact, I realized I did not reciprocate Abi’s initial “How are you?”—like some kind of mannerless monster—and I did not wish her a good day in parting. Normally both are reflexes, so the evidence of this wanton incivility on my part fills me with shame. My only defense is that I was distracted by setting up the call, preparing my notes, checking the time (the call was set to cut off automatically after 15 minutes), and, of course, tuning out the roar of my neighbor’s chainsaw.

Anyway, there you have it. This probably isn’t the last you’ll hear from me on this topic, but it’s probably the last you’ll hear from me about it today. Feel free to return to your spreadsheet, or your surgery, or your stocks, as the case may be. I’ll be here, as always—reading and writing and banging my head against the wall on behalf of women everywhere.

Bookish Feminism

A few weeks ago, I brought up a topic that routinely pisses me off: sexism in books (and, especially, in the classics). The post was as depressing to research and write as the experience of daily life in a world subtly (and overtly) hostile to women.

So, this week, I decided to hunt through my Quote Collection for outstanding examples of literary push-back against sexism. The classics are far from having their fair share of feminist passages, so I tracked down empowering words from all kinds of literary sources.

Let’s start making them the rule instead of the exception, K? K.

Happy reading!

…

Here’s James Baldwin telling it like it is, maybe on a mountain, in Go Tell It on the Mountain:

With the birth of Gabriel, which occurred when she was five, her future was swallowed up. There was only one future in that house, and it was Gabriel’s—to which, since Gabriel was a manchild, all else must be sacrificed. Her mother did not, indeed, think of it as sacrifice, but as logic: Florence was a girl, and would by and by be married, and have children of her own, and all the duties of a woman; and this being so, her life in the cabin was the best possible preparation for her future life. But Gabriel was a man; he would go out one day into the world to do a man’s work, and he needed, therefore, meat, when there was any in the house, and clothes, whenever clothes could be bought, and the strong indulgence of his womenfolk, so that he would know how to be with women when he had a wife. And he needed the education that Florence desired far more than he, and that she might have got if he had not been born.

…

Here’s Margaret Mitchell calling out #WomenAgainstFeminism, and all likeminded she-idiots, in Gone With the Wind:

How closely women clutch the very chains that bind them!

…

Next up is a magnificent pair of feminist rants from Wilkie Collins’ The Woman in White:

Who cares for his causes for complaint? Are you to break your heart to set his mind at ease? No man in heaven deserves these sacrifices from us women. Men! They are the enemies of our innocence and our peace—they drag us away from our parents’ love and our sisters’ friendship—they take us body and soul to themselves, and fasten our helpless lives to theirs as they chain up a dog to his kennel.

If I only had the privileges of a man, I would order out Sir Percival’s best horse instantly, and tear away on a night-gallop, eastward, to meet the rising sun—a long, hard, heavy, ceaseless gallop of hours and hours, like the famous highwayman’s ride to York. Being, however, nothing but a woman, condemned to patience, propriety, and petticoats for life, I must respect the house-keeper’s opinions, and try to compose myself in some feeble and feminine way.

…

And then there’s this haunting passage from William Faulkner’s Absalom, Absalom!:

I waited not for light but for that doom which we call female victory which is: endure and then endure, without rhyme or reason or hope of reward—and then endure.

…

We also have Doris Lessing in The Golden Notebook reminding us that words have the power to construct our reality:

The other day you were talking about how you fought, with your American friends, about the way language degraded sex—you described yourself as the original puritan, Saul Galahad to the defence, but you talk about getting laid, you never say a woman, you say a broad, a lay, a baby, a doll, a bird, you talk about butts and boobs, every time you mention a woman I see her either as a sort of window-dresser’s dummy or as a heap of dismembered parts, breasts, or legs or buttocks.

…

And we have Kate Chopin’s The Awakening deconstructing traditional notions of woman- and motherhood:

They were women who idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels.

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Next we can turn to Henry James, in The Portrait of a Lady, for an exercise in freedom:

“You are too fond of your liberty.”
“Yes, I think I am very fond of it. But I always want to know the things one shouldn’t do.”
“So as to do them?” asked her aunt.
“So as to choose,” said Isabel.

…

And to the peerless Toni Morrison, in Sula and Beloved, for an exercise in self-love:

“When you gone to get married? You need to have some babies. It’ll settle you.”
“I don’t want to make somebody else. I want to make myself.”

You your best thing, Sethe. You are.

…

We wouldn’t dare leave out Úrsula Iguarán, the indestructible matriarch of the Buendía family in Gabriel García Márquez’s One Hundred Years of Solitude:

“You have taken this horrible game very seriously and you have done well because you are doing your duty,” she told the members of the court. “But don’t forget that as long as God gives us life we will still be mothers and no matter how revolutionary you may be, we have the right to pull down your pants and give you a whipping at the first sign of disrespect.”

…

And, moving into the 21st century, we can give a collective cheer for Patrick Ness’s The Knife of Never Letting Go:

“The army your girl’s been talking about has been spotted marching down the river road,” Doctor Snow says. “One of our scouts just reported them as less than an hour away.”
“Oh, no,” I hear Viola whisper.
“She ain’t my girl,” I say, low.
“What?” Doctor Snow says.
“What?” Viola says.
“She’s her own girl,” I say. “She don’t belong to anyone.”

…

Before we leave off, we’re obliged to acknowledge the viscerally satisfying and, now, infamous “Cool Girl” dismantling in Gillian Flynn’s Gone Girl:

Men always say that as the defining compliment, don’t they? She’s a cool girl. Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she’s hosting the world’s biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl.

Men actually think this girl exists. Maybe they’re fooled because so many women are willing to pretend to be this girl. For a long time Cool Girl offended me. I used to see men—friends, coworkers, strangers—giddy over these awful pretender women, and I’d want to sit these men down and calmly say: You are not dating a woman, you are dating a woman who has watched too many movies written by socially awkward men who’d like to believe that this kind of woman exists and might kiss them. I’d want to grab the poor guy by his lapels or messenger bag and say: The bitch doesn’t really love chili dogs that much—no one loves chili dogs that much! And the Cool Girls are even more pathetic: They’re not even pretending to be the woman they want to be, they’re pretending to be the woman a man wants them to be. Oh, and if you’re not a Cool Girl, I beg you not to believe that your man doesn’t want the Cool Girl. It may be a slightly different version—maybe he’s a vegetarian, so Cool Girl loves seitan and is great with dogs; or maybe he’s a hipster artist, so Cool Girl is a tattooed, bespectacled nerd who loves comics. There are variations to the window dressing, but believe me, he wants Cool Girl, who is basically the girl who likes every fucking thing he likes and doesn’t ever complain.

…

And, by that same token, we can high-five Sheila Heti for busting out the truth in How Should a Person Be?:

I’m through with being the perfect girlfriend, just through with it. Then if he’s sore with me, let him dump my ass. That will just give me more time to be a genius.

…

The entirety of Chimamanda Ngozi Adichie’s We Should All Be Feminists could make an appearance here. But for purposes of time and space, a summary will have to do:

But by far the worst thing we do to males—by making them feel they have to be hard—is that we leave them with very fragile egos. The harder a man feels compelled to be, the weaker his ego is. And then we do a much greater disservice to girls, because we raise them to cater to the fragile egos of males.

Some men feel threatened by the idea of feminism. This comes, I think, from the insecurity triggered by how boys are brought up, how their sense of self-worth is diminished if they are not “naturally” in charge as men.

Culture does not make people. People make culture. If it is true that the full humanity of women is not our culture, then we can and must make it our culture.

…

All hail Gloria E. Anzaldúa for finding her voice in Borderlands/La Frontera:

I will have my voice: Indian, Spanish, white. I will have my serpent’s tongue—my woman’s voice, my sexual voice, my poet’s voice. I will overcome the tradition of silence.

…

And, of course, Lindy West, for the body politics wake-up call that is Shrill:

Women matter. Women are half of us. When you raise every woman to believe that we are insignificant, that we are broken, that we are sick, that the only cure is starvation and restraint and smallness; when you pit women against one another, keep us shackled by shame and hunger, obsessing over our flaws rather than our power and potential; when you leverage all of that to sap our money and our time—that moves the rudder of the world. It steers humanity toward conservatism and walls and the narrow interests of men, and it keeps us adrift in waters where women’s safety and humanity are secondary to men’s pleasure and convenience.

…

With the very last word on bookish feminism, here’s Caitlin Moran in How to Be a Woman:

I want women to have more of the world, not just because it would be fairer, but because it would be better.

…

And, on that note, let’s go make the world better.

The Nine Circles of Feminist Hell (Washington Post)

 

Guys: Today is a good day.

Today, I got a raise, and successfully argued for an extra 20% off some pants, and didn’t have to make lunch thanks to a VERY solid leftovers game, and wore my favorite socks because L’Oréal says I’M WORTH IT.

But that’s not all. Because, in the midst of an already good day, I also found this article on the Nine Circles of Feminist Hell. 

For me, this article is a kind of holy grail hidden deep within the cesspit we call The Internet: 2016 Edition. It touches on the holy trinity of All the Things I Care About Most: Literature, Pop Culture, and Feminism. It’s also funny, in a snarky sort of way. And isn’t snark our very best weapon against the evils of patriarchy? Besides, like, discerning politicians, quality education, and—apparently—Emma Watson?

My favorite Circles of Feminist Hell, in Alexandra Petri‘s rendering, include:

• Women Who Don’t Appreciate Beyoncé
• “Cool Girls”
• Women Who Enjoyed “Blurred Lines”
• Women Who Judged Other Women For Working/Not Working/Having Kids/Not Having Kids
• Women Who Used Too Many Exclamation Points In An Email

And, of course:

• Women Who Leaned In, But Not Far Enough

Each of these Feminist Sins is met, in true Dantean spirit, with a punishment as just as it is grotesque. For example, Women Who Did Not Pursue STEM Careers are doomed to spend eternity apologizing, then apologizing for having apologized, then apologizing for having apologized for having apologized. And the Women Who Didn’t Help Other Women? Well, I won’t spoil it for you, but let’s just say they have a Special Place in Feminist Hell.

So thank you, Ms. Petri, for being the cherry on top of my day. Consider this my virtual high-five for a job well done. And even if it seems like every woman will be condemned, sooner or later, to Feminist Hell, let’s never, ever Abandon All Hope.

Because, if nothing else, we still have snark.