Abusive Relationships and Victim-Blaming in the Legend of Korra

[Content note: flashing gifs, abusive relationships, child abuse, sexual abuse, domestic violence, violence against children, dating violence, misogynistic slurs, misogyny, racism]

Remember that time Grey’s Anatomy made physical and emotional abuse seem totally okay, as long as it was aimed towards disabled people?

Well, now comes part 2! (Huzzah). Yes, everyone, it’s time to sit down, gird our loins and talk about that time a show primarily aimed at kids turned physical abuse into a hilarious joke.

I am talking, of course, about the second season of the Legend of Korra, and the relationship between Bolin and Eska.

Now, there’s been a lot of really screwed-up stuff going on in the second season of Legend of Korra. A total lack of female characters, the disappearance of really cool characters like Katara and Lin Bei Fong, the return of the terrible love triangle ( NO ONE CARES), inconsistent characterization, nonsensical sexism, plots that make absolutely no sense etc. etc. etc.

But right up there in the Hall of Horror with the sexism and the bad writing is the way the show turned a physically and emotionally abusive relationship into a “funny” punch-line.

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You may remember Bolin as one of Korra (the protagonist’s) best friends. In the first episode of season 2, Bolin becomes enamoured with Eska, Korra’s cousin. Eska decides Bolin’s cute, and hey presto, they’re dating.

Eska, Bolin, Legend of Korra

Eska on the left, Bolin on the right.

Ah, young love. Sweet, adorable and…

Wait, what’s this?

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Eska, Bolin, Korra, Legend of Korra, icebending, episode 2

… did Eska just use a wall of ice to physically drag Bolin away from Korra?
Did she seriously just physically prevent her boyfriend from touching one of his best friends?

DID THE SHOW JUST PLAY THAT MOMENT FOR LAUGHS?

Uh, not okay, Korra. What Eska did is the equivalent of physically grabbing and restraining Bolin. That. is. assault. It’s  a pretty major red flag for abuse. 

I wish I could say this moment in episode 2 was an isolated incident. Unfortunately, over the next few episodes, Eska becomes more and more abusive towards Bolin – and the show continues to portray the abuse as a joke.

In fact, given how the show has portrayed the relationship as *hilarious*, you may not even have realized all the gross, abusive shit that’s been happening!

Here’s a (shortened) recap:

A. Eska uses threats of violence and emotional abuse to force Bolin to stay in a relationship with her.

1. When Mako tells Bolin to”tell [Eska] you’re not into her anymore”, Bolin appears terrified, and says “”Oh no, no, no, I don’t think she’d like that.”

2. Then when Bolin takes Mako’s advice and tries to break up with Eska, she threatens to freeze him in a block of ice and feed him to dolphin piranhas. In case you think this is hyperbolic, let’s remember that this woman trapped Bolin in a block of ice when he hugged his  friend.

3. The next time he tries to break up with her, she forces him to accept a marriage proposal and drags him away. The image makes it clear that Bolin is in pain as she pulls him.

Eska and Bolin, abuse, dating violence, domestic abuse, Legend of Korra

4. When Bolin finally manages to get on a boat and escape the southern water tribe, Eska chases after him with on a massive water wave of doom, and it’s pretty clear that she’s prepared to use violence to get him back.
Eska, Waterbending,Bolin, domestic abuse, abuse, Legend of Korra,

B. Eska consistently humiliates Bolin, and enjoys watching him in pain.

1. At the beginning of episode 3, we see Bolin forced to carry Desna and Eska in their cart. He’s very obviously unhappy about it. When Eska makes a joke, she orders Bolin to “laugh at my humerous quip!” and we see him look terrified and laugh.
I feel like I have to make this clear: forcing your boyfriend to pull you in a cart and then laugh at your jokes is pretty fucking gross. And, in most contexts (including this one) pretty abusive.

2. Later in the season, Eska tells Bolin: “Boyfriend! Bow to me before I exit!” Looking, again, terrified, Bolin throws himself on the ground. Eska grins: “You are so sweet when you grovel.”

Bolin, Eska, Legend of Korra, humiliation, abuse

GDSH(#@HGSUDB:OSGKK

HILARIOUS! THIS IS SUPPOSED TO BE A HILARIOUS MOMENT! AS OPPOSED TO A “HOLY SHIT THIS RELATIONSHIP IS SO FUCKING ABUSIVE” MOMENT!

… sorry. I needed that.

3. When Eska forces Bolin to accept her marriage proposal, she does not even wait for him to say yes before she puts the betrothal necklace on his neck and drags him away, telling him he can “express his joy with tears.” Crying, Bolin says “[The necklace] is really tight”

Bolin, Eska, abuse, legend of korra, Bolin and Eska

And we’re expected to laugh at all of these scenes. We’re expected to laugh at someone being forced into a betrothal. We’re expected to laugh as their partner physically drags them away and they cry in pain. This is Legend of Korra‘s idea of a joke.

[There are, of course, relationships where physical violence and humiliation are okay: consensual BDSM relationships. But what's happening between Bolin and Eska is pretty clearly nonconsensual]

To recap: Eska (non-consensually) humiliates Bolin and enjoys watching him in pain. She controls his actions and his emotions. He’s not even allowed to talk without asking for Eska’s permission first. And she uses fear and abuse in order to prevent him from leaving the relationship.

Yup! That’s abusive! Almost any of these moments, taken in isolation, would be a red flag for abuse. Together, they’re a  Massive Abuse Warning Siren that screams: “BEWARE: HERE THERE BE REALLY GROSS ABUSE HAPPENING.”

Now, I don’t actually oppose showing abusive relationships in TV shows. Hell, I don’t even oppose showing abusive relationships in children’s TV shows.  What I oppose is showing abusive relationships as lighthearted and funny.

Legend of Korra isn’t trying to make a point about how gross abusive relationships are. They’re trying to make a joke.

I know this because the Avatar Universe (of which Korra is a part) has a history of portraying abusive relationship with nuance and sensitivity. I know what it looks like when an Avatar show portrays abuse with nuance and sensitivity: it looks like Zuko’s relationship with Ozai, his father.
Ozai is a horrific parent. He forces his thirteen-year-old son to duel against him when Zuko speaks out of turn. After Zuko refuses to duel his own father, Ozai burns his son’s face, permanently scarring him, and then banishes him from the Fire Kingdom. Later, he tries to kill Zuko when his son turns against him.

Zuko, Ozai, abusive parent, Avatar: The Last Airbender, Fire Lord, Flashing Gif

Avatar: the Last Airbender never turned Ozai’s actions into comedy. And it never allowed us to forget that Ozai is a terrifying, violent and manipulative parent.

In Legend of Korra, on the other hand, the relationship between Bolin and Eska is a non-stop, unrelenting joke.

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There are, I suspect, two forces at work in the “hilarity” of the Bolin/Eska relationship: first, the  myth that men can’t be abused (which means that domestic violence against men isn’t “serious”), and second, the “bitches be crazy” corollary (which means that women acting violent against men isn’t “serious” either).

In other words, Eska’s abuse of Bolin is hilarious because she’s a woman abusing a man.

Let’s parse these problems separately.

First, it’s pretty clear that no character in the Korra universe thinks Bolin is being abused. In fact, they blame him for his treatment at Eska’s hands.

When Bolin tells Korra and Mako that Eska threatened to freeze him in a block of ice and feed him to dolphin piranhas, they both shrug it off, and act annoyed that he’s ruining their date. Neither Korra nor Mako – Bolin’s brother –  seems the least bit worried that Eska told Bolin she would kill him if he tried to break up with her, even though they’ve already witnessed her being violent towards Bolin (when Eska traps him a block of ice to prevent him from hugging Korra)

Hey, what’s to worry about, am I right?

Bolin starts to hide in order to avoid Eska. His friend Asami tells him he should “stand up for himself” – and later, when she witnesses Eska ordering Bolin to bow, she says: “Don’t LET her treat you that way.”

Mako, Korra and Asami’s reactions put the blame for Eska’s abusive behavior squarely on Bolin. Bolin should have known better than to date Eska. Bolin should “stand up for himself.” Bolin is LETTING Eska treat him this way. It’s his fault his girlfriend is violent and abusive!

Not to put too fine a point on it, but those guys are the worst friends.

They’re also doing a superb job of reinforcing the idea that abuse just can’t happen to men. In this worldview, no matter how violent or how manipulative a man’s partner is, a man just cannot be abused. Their relationships are always under their own control – they can put an end to them at any time and “stand up for themselves” whenever they want to.

No wonder none of Bolin’s friends take his problems seriously. They know that what’s happening to him isn’t serious at all – after all, he’s a man!

It gets worse. When Eska forces Bolin to accept a marriage proposal, he rejoins his friends, wearing a traditional betrothal necklace.

Korra: “I’m pretty sure the guy is supposed to give the girl the betrothal necklace.”

It’s FUNNY because Eska has forced Bolin to take on a FEMALE role. HAHAHAHA… so gross. . It’s the other side to the “Men can’t be abused” coin: if men are abused, they are like women. They become feminized by their abuse.

And we could get into the misogyny that idea implies, but frankly, we have enough on our plate.

In most of the world – maleness is defined in opposition to victimhood. Men aren’t victims. They’re the aggressors, the winners. They’re strong, in control. Our definition of manhood, therefore, leaves no room for people who are victims, who are used and abused and wounded. After all, if you can’t protect yourself, you’re not a “real” man.

In this twisted logic, Bolin – and other men and boys in similar situations – aren’t experiencing abuse. And if they are, it is either because they choose to stay, or because they aren’t “real” men.

It’s pretty clear that the “joke” of Bolin’s abuse relies on the assumption that  Bolin’s relationship with Eska is totally under his control. If he were only able to stand up for himself, the abuse would just magically go away. It’s also “hilarious” because Bolin’s inability to stand up to Eska shows how incompetent he is as a man (“the guy is supposed to give the GIRL a proposal necklace”)

Moreover, if you take a wide view of the season, you’ll see that Eska isn’t the only woman who physically abuses her partner. For example, when Korra and her boyfriend, Mako, have an argument, Korra earthbends his desk into a wall. Which is pretty fucking threatening, in my opinion.  And if your partner is throwing things while you’re arguing?  Massively abusive.

When Lin Bei Fong, Mako’s boss, walks in the room and notices the torn-up wall and the broken desk, she asks Mako what happened. Mako tells her he broke up with Korra, and Lin smiles: “You got off easy. You should have seen Air Temple Island when Tenzin broke up with me.”

Oh, yeah, hilarious.

In both cases, we have women physically destroying things at their boyfriends. And as someone who has experienced people breaking things at me, I can tell you right now, it’s terrifying. It’s an obvious threat. I’ve been in cars with someone who starts driving really erratically when they get angry at me, and oh god, it does not make you want to make them angry ever again, because I was terrified we were going to drive straight into a tree. Which is exactly the point. It’s behavior that’s supposed to teach you not to go “out of line” again – or you’ll be next.

(As a note, abusers who throw or hit objects in when arguing with you almost always escalate to violence eventually)

All of these moments – Eska’s violence towards Bolin, Korra’s violence towards Mako, and Lin Bei Fong’s violence towards Tenzin – are meant to be comedic. Korra and Lin Bei Fong are both characters we’re supposed to like – I highly doubt the show wants us to read them as abusive, even though that’s exactly what they are, at least in these moments with their partners. It’s supposed to be funny that Lin Bei Fong destroyed Tenzin’s home when he broke up with her.

So what is with this trend of comic portrayals of abusive women?

That’s the second half of the Bolin/Eska joke – the “bitches be crazy” corollary.

This season has had a plethora of the “women are so hysterical and crazy in relationships” trope. Korra’s behavior this season with Mako is a  prime example – he can’t do anything without making her blow up. And that’s an incredibly misogynistic trope to begin with. But it also has really unpleasant consequences when you line it up with abuse, because it makes it seem like Korra, Eska and Lin’s violent behaviors are just “crazy” things women “naturally” do.

Because women, am I right? They’re just “crazy.” And men have to put up with it, because women, am I right?

This narrative transforms abuse from an aberration into something “natural” and comedic.

I think, moreover, that there’s something more than your average “bitches be crazy” trope going on in The Legend of Korra. I think the show is having a  hard time coping with their female protagonist.

You would not thing a strong female protagonist would be a problem for the writers of Korra, given that the previoous series, Avatar,  is full of strong, interesting women:  Katara, the waterbending master, Toph, one of the greatest earthbenders to ever live, Azula, who… I mean, how do you even talk about the powerhouse that is Azula? And Mai, Tai-Lee and Suki, three non-benders who could stand toe-to-toe with any bender and come out on top.

But in Avatar, unlike in Korra,  there was always one male character who was theoretically more powerful than any given woman:  Aang, by virtue of being the Avatar. In Legend of Korra, however, the protagonist is female. Aang is dead and Korra is the new Avatar – the most powerful person in the entire show. Once she’s fully trained, nothing will be able to stand against her. There is no male character more powerful than Korra.

People have… problems with that kind of female power. A whole lot of writers just have no idea how to deal with it, especially in the context of western patriarchy and western-prescribed gender roles (most of the characters of Avatar are POC, and the areas they live in correspond to asian and first nations locations, but the writers of the show are mainly from north america). There aren’t a whole lot of creators with the kind of talent and chutzpah to deal with a world where women and men are on equal footing – and where a woman is the “savior” of the world.

Which is where you get weird stuff like the Korra abuse narrative. The writers are unable to separate the world of Korra from western ideas about gender and patriarchal structures. More specifically, they’re unable to conceive of a world where the strength of women doesn’t come at the expense of the strength of men. They’ve moved beyond the patriarchy by flipping it.

Thus, in Korra, gender equality doesn’t mean that relationships will become healthier and more equitable. No – a gain in power by women must mean a loss in power by men, since we’re still stuck in gender hierarchies. Thus, if women are the “strong” ones – if women are captains of industry (Asami), police chiefs (Lin Bei Fong), Avatars (Korra) and incredibly powerful waterbenders (Eska) – then the men must be the “weak” ones. Thus, we get all the heterosexual relationships where the women are abusive and the men are passive.

Which, I should note, tells you a whole lot about how the writers conceive traditional male-female relationships. And a whole lot about how the writers conceive “strength.” They seem unable to conceive of a woman with stereotypically male attributes – like Korra, who is very physically strong, who acts first and think later, who is competitive and impulsive – without also making her borderline abusive. I don’t know if it’s because the writer’s vision of masculinity is so entwined with strength-as-abuse, or if it’s because they can’t help but see a character like Korra as an aberration, and thus infuse her with “bad” qualities. Whatever it is, it’s disturbing.

It’s also a pretty disturbing message about female strength. Women are only strong and in control, the narrative goes, because men have ceded the place to them. If men *wanted* to be in charge again, they could.

The other explanation for the woman-as-abuser and man-as-passively-accepting-abuse trope in Korra  is the narrative of men being “whipped” by their girlfriends. In a sentence: men allow women to walk all over them because they love/admire/desire the women so much – or because they’re just too lazy/stupid to exercise their male control over the relationship. This brings us straight back to the victim-blaming: Bolin and Mako are abused because they “let” the women abuse them. Moreover, it makes it seem like abuse is the price you pay for a woman’s love. Being in a relationship and having access to women’s bodies is worth the emotional and physical abuse – a storyline that plays directly into the stereotype of men being voracious, mindless, sex-pursuing velociraptors.

(okay, so I made that part about the velociraptors up).

Oh yeah. There’s a whole shitload of toxic stuff wrapped up in the “joke” of Eska abusing Bolin.

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Let’s be clear, finally, and explain exactly why the victim-blaming, misogyny and toxic masculinity at the root of the “comedy” of abuse is so disturbing:

Because abuse is a thing that happens in the real world.

And abuse is a thing that happens – in spite of the myths –  to men. Often it happens to them exactly how it happened to Bolin. And often, people will react exactly the way Bolin’s friends reacted to him – with laughter, with victim-blaming, with a complete lack of support.

According to the latest study by the CDC, approximately one in seven men have experienced some form of domestic violence (compared to one in four women). 1.4% of men have been raped, while 6% have experienced some form of sexual coercion. One in nineteen men have been stalked. One in seven men have experienced severe physical violence by an intimate partner.

Abuse happens to men. Abuse happens to men a lot. And just as  it’s socially unacceptable for women to talk about their experiences with rape, sexual violence, harassment and domestic violence, it’s also socially unacceptable for men to admit to being the victims of rape, harassment and domestic violence. Because we see those stories as funny.

Yes, men are threatened, stalked, hurt and emotionally manipulated, just as Bolin was on the show. It’s not funny when it happens to them. And it’s not funny when it happened to Bolin.

The abuse-as-comedy trope is particularly harmful because Korra is aimed at children and young adults. And guess who is most at risk of abuse?

That’s right! Kids.

More than one in four male victims of rape experience their first rape when they are ten years or younger. Of the men who have experienced stalking, 1/3 have been stalked before the age of 25. 53% of male victims of domestic violence experience their first incident before the age of 21.
Of the men who have experienced rape, stalking or physical abuse by an intimate partner, 15% had their first experience when they were between the ages of 11 and 17. 38.6% of them had their first experience between the ages of 18 to 24.

So when you turn abuse into a joke in a kid’s show, you’re basically teaching the most vulnerable male demographic (children and young adults) that abuse is funny, not serious, and to be expected in  romantic relationships. Right as they’re entering their first dating years – and the years where they’re most likely to experience abuse.

Great job, guys. No, seriously.

Here’s another important fact: Bolin is a man of color (as are Mako, Tenzin, and every other male character on Korra). Which is great! But dismissing the abuse of men of color as “funny” carries particularly damaging connotations, since men of color are much more likely to experience rape, stalking and domestic violence than white men. Approximately 1/5 of white men reported experiencing sexual violence, rape or domestic violence. In comparison, one third of multiracial men, one fourth of latino men, forty percent of black men and 43.5% of american native and alaskan native men reported experiencing rape, physical violence and/or stalking in their lifetimes.

To put it bluntly:  men of color are more likely to experience rape, sexual violence and/or stalking. So turning a man of color’s abuse into a joke? Is really not okay.

(this is not to say that 20% of white men experiencing abuse is in *any* way okay – it’s just that men of color experience higher rates of abuse)

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Is this the lesson we want to teach the young audience of Korra? For that matter, is this the lesson we want to teach the older audience of Korra? That abuse is acceptable? That abuse is funny? That abuse is the victim’s fault? That men can’t be abused? That abuse is to be expected in a romantic relationship? That abuse is a fair trade for romance, love and sex? That men should fear female strength because it leads to emotional and domestic abuse?

What a toxic message.

And what a disappointing narrative from Korra, a show that follows in the footsteps of the wonderfully progressive Avatar: the Last Airbender, where abuse was treated seriously, and gender hierarchies were ignored in favor of good storytelling.

Sure, it’s just a show. But if the writers of Korra didn’t want to shoulder the responsibility of treating abuse with nuance and sensitivity, they shouldn’t have brought it up in the first place. Because it’s not “just” abuse, not when it’s happening to one in seven men.

Since I started writing this post, the show has gotten, if possible, worse on abuse. Bolin has turned from abuse-victim into rape-culture perpetrator, when he kissed his co-star, Ginger, against her will, and then told her “I think you liked it too.”Ginger eventually goes out with Bolin, because he’s rich and famous – and women don’t mind sexual assault as long as it comes from a rich and famous dude! This, again, is played for laughs, because if there’s anything funnier than abuse, it’s sexual violence.
Then Eska and Bolin reunite, and it’s clear that Bolin still harbors feelings for Eska. Which I don’t have a problem with in and of itself (often, abuse victims remain emotionally attached to their abusers). But since the show keeps pretending Eska hasn’t abused Bolin, I have no reason to believe they’ll treat the romantic subplot with any kind of nuance or sensitivity. The writers have turned what used to be a joke subplot into an actual romantic subplot. With both narratives, they’ve ignored Eska’s abusive behavior.

So since the show won’t say it, let me, once again, emphatically explain: What Eska did to Bolin is abuse. It is physical and emotional abuse. What Korra, Mako and Asami did to Bolin is victim-blaming.

And none of it is fucking funny.

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Commenting guidelines:

1. Do not try to explain that Eska’s behavior is not abusive. It is.
2. Do not victim-blame Bolin (or any other victim of domestic violence)
3. Please don’t start blaming abuse on misandry.
If you engage in any of these three activities, I may just delete your comment, because LOL, I am not playing the “but physically dragging people around isn’t ABUSE” game.

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Resources:

1. CDC National Intimate Partner and Sexual Violence Survey: Executive Summary
2. CDC National Intimate Partner and Sexual Violence Survey: Full Report
3. Domestic violence red flags: one, two, three, four, five (includes red flags specific to men experiencing domestic violence)
4. One in Six: A group that helps male survivors of child sexual abuse
5. Male Survivor: Group for male survivors of abuse

Hotlines:

1. Domestic Abuse Helpline for Men and Women: 1-888-7HELPLINE
2. Gay Men’s Domestic Violence Project: 1-800-832-1901
3. National Teen Dating Abuse Hotline: 1-866-331-9474
4. National Sexual Assault Hotline: 1-800-656-4673
5. National Domestic Violence Hotline: 1-800-799-7233


Apparently, I’m Making Peter Capaldi Sad: Doctor Who and Exclusion

[Content note: misogyny, racism, whitewashing, transmisogyny, heterosexism, bad faith, flashing GIFS)] 

Okay. Let’s talk about Doctor Who, shall we?

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Doctor Who 12th Doctor

Doctor Who 12th Doctor

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(artist/writer: ponyscribbles on tumblr)

A month ago, the BBC announced that Peter Capaldi will play the Doctor in Doctor Who after Matt Smith steps down. He’ll be the twelfth regeneration of the doctor. And the twelfth white man to play the role.

I think most fans were pleased. Peter Capaldi apparently has quite a following in Great Britain (as an American, of course, the only time I’ve seen him was in the Doctor Who episode “The Fires of Pompeii”). He seems like a great actor, and a lovely person.

A large group of fans, however, were quite disappointed. I was among them. We’d hoped – against all odds – that this would be the regeneration where the Doctor was finally played by a POC and/or a woman. This was our chance. We’d been discussing it for years, but now – maybe now – it could finally happen. The BBC even put up a poll asking whether the 12th Doctor would be a man or a woman, thus acknowledging the possibility of a female Doctor.

[note: I use "we" a lot in this post. I use "we" not because we all share the same oppressions and marginalizations, but because we've all been erased by, and ignored by, Doctor Who (and other media). But I don't mean to conflate my identity with those of other marginalized people: as a white cisgendered woman, I'm relatively privileged, even when it comes to media representation]

We knew there wasn’t much of a chance.

But we hoped.

So yeah, a lot of us were majorly disappointed when it was another white guy.

And then, in the midst of my frustration, I saw the above comic. And lo, I saw the error of my ways, and stopped complaining about Peter Capaldi’s casting.

Cat and bath

Ahem.

Sorry about that. No, this is not going to be a post about how I finally learned to stop complaining and love oppression. And my sarcasm is probably also making poor Peter Capaldi cry. Sorry, Mr. Capaldi. You actually do seem lovely.

This comic isn’t some giant exception to the rule. Everywhere on the internet, you’ll find this idea that we’re being mean or unfair to Peter Capaldi by criticizing his casting.

So let’s talk about it, okay? *Really* talk about it.

Kangaroo, Ball, Gif,

I’m going to establish a few things upfront: I think I will really enjoy Peter Capaldi as the Doctor. I’m betting he will be a great Doctor. He seems, from everything I’ve seen of him on the interwebs in the past two weeks, to be a great actor. I’m also glad an older actor is playing the Doctor – it will make a nice change from Matt Smith and David Tennant.

I also love Doctor Who. I think it’s a great, beautiful, ridiculous, wonderful show. I would not bother to argue about it as much as I do  if I did not love it. I would not keep watching it if I did not truly believe in its promise and its potential. I would not be a fan if I did not believe it had a place for people like me.

We’ve gotten those things clear? Good.

Here’s the rub, my friendly readers: I’m also disappointed as fuck in Capaldi’s casting. I know! It’s so shocking. But it is, in fact, possible for me to feel more than one emotion about an event. I am a human being, and I can grasp complexity. I can be excited and disappointed at the same time.

Confused cat

SHOCKING!

Yes, I wanted the Doctor not to be a white man.

One of the most wonderful things about the Doctor is his (1) capacity for change. He constantly regenerates into completely different bodies. He is never static, never singular, always chaotic. He is simultaneously one and many. Everything about him is changeable, and changing.

So can you blame fans who want the Doctor’s various incarnations to reflect of the diversity of the world around him? To change races, genders, gender identities, ages, shapes, ability levels, sexualities, etc? In fact, it doesn’t make any sense for the Doctor to *not* change things like race and gender. To convince yourself that the Doctor should *always* be a white man, you’re ignoring the central tenant of his identity: nothing about him is unchangeable.

Except that some things are.

We’ve now had twelve doctors – with a recently revealed thirteenth (John Hurt) (2)- and they’ve all been white cisgendered men. Everything about the Doctor can change, apparently, except his race, gender and gender identity.

I cannot stress how incredibly depressing it is for people who are already erased, ignored and marginalized by the media to see a show like Doctor Who – which has a built-in excuse for being as diverse and inclusive as possible in their casting – just keep  casting white men. It’s almost deliberately cruel. “We could include you, but we choose not to. Let them eat the kyriarchy!”

So yeah, I’m pissed that Peter Capaldi was cast as the twelfth Doctor.

I’m pissed because there is absolutely zero evidence that showrunner Steven Moffat even considered casting anyone but a white man. Because, as Moffat put it, he had a shortlist of one: Peter Capaldi.

To everyone who has said: “Well, Capaldi was probably just the best actor for the part.” Really? How would Moffat even know that if he never bothered to audition anyone else? I mean, this isn’t a case of a white male actor legitimately beating out a bunch of actors of color and/or female actors through a stringent audition process. This is a case of a white man just being chosen, without anyone else getting a shot.

(If nothing else, it shows a shocking lack of imagination from Stephen Moffat. “I could only think of one person! So I cast him!”)

I’m pissed because Moffat has had three chances to cast a Doctor – Matt Smith, John Hurt and Peter Capaldi – and *all* of them have been thin white men. All of them. I have given up any notion that he gives a shit about inclusion. He’s had more chances than any modern Doctor Who showrunner to make the show more diverse, and he’s refused all of those chances.

I’m pissed because Moffat denigrated the very idea of a female Doctor. When asked about Helen Mirren’s call for a female Doctor, Moffat joked that the Queen should be played by a man next time.

Ellen Degeneres That's Gross GIF

Ellen Degeneres You Are Disgusting GIF

Which… wow. This simultaneously brings in transmisogyny (because there’s nothing more hilarious than drag queens and men who dress up as women, am I right?), a false equivalence, and stunning amount of bad faith. Having a woman play a traditionally male role is not the same as having a man playing a traditionally female role. Women are underrepresented in the media, so giving a woman a traditionally male role is being inclusive. Men are *already* well-represented in the media, so giving a man a traditionally female role only exacerbates the lack of inclusion.

And also:  bad faith. Queen Elizabeth should be played by a woman because the Queen is an actual historical figure who is female. The Doctor is not an actual historical figure. Moreover, the Doctor is a person whose identity constantly changes. Are you actually saying that being male is a constant part of the Doctor’s identity? That he can be anything – except that he must always be a man?

I’m pissed because of the message Moffat sends – and the show sends – by constantly casting white men. I’m pissed, because it it implies that gender and race are so *essential* to a person’s identity that they are the one thing an ever-changing alien can never change. It implies that those two things are so fucking fundamental that changing them would ruin the character.

Which is not at all a racist or sexist notion, no. Gender and racial essentialism, everyone!

I’m pissed because this casting is part of a long trend of the showrunners being oppressive and awful.  Doctor Who hasn’t had a female writer in three seasons. It hasn’t had a female director in two. It hasn’t had a writer or director of color in at least three seasons (3). It’s female characters get the wonderful privilege of participating in misogynistic storylines, including the mystical pregnancy trope, the “mothers are the most powerful people in the world because uteruses” trope, the “stalking is super romantic” trope and the “silly women and their obsession with their looks” trope. I’d be upset over the storylines surrounding major POC characters, but the truth is… there really haven’t been a lot of major characters of color in the past three years. And the ones I remember all die (like Rita in “The God Complex”). Moffat himself explains that he doesn’t bother with bisexual representation on Doctor Who because bisexuals are having “FAR TOO MUCH FUN. You probably don’t even watch because you’re so busy.” Asexual representation? Don’t even think about it – Moffat thinks asexuality is boring. 

I’m pissed because I see no signs that this is going to change anytime soon.

I’m pissed because whenever we bring this up, we’re being mean.

We’re being mean. We’ve been systematically ignored and erased on the show. People like us are denied representation, made fun of and stereotyped. We’ve gone through thirteen Doctors with no sign that we’re ever going to get representation – even though the show’s own rules mean it makes *no sense* for the Doctor to keep being white and male. We don’t have  representation in the writer’s room or the director’s chair.

Peter Capaldi and Stephen Moffat are powerful people. They have nice big salaries. They’re media creators. One of them is the head of one of the most successful franchises in the world, the other is about to be one of the most famous actors on the planet.

But we’re making them feel bad.

Nicole Beharie, Sleepy Hollow, Abbie, Slavery, You're offended,

… somehow, I kind of doubt it.

Comics like the one above are a silencing mechanism. They’re meant to make us feel bad for voicing our reality. For talking about the very real misogyny, heterosexism,  transmisogyny and racism displayed by Doctor Who and its showrunners. They’re meant to make it seem like *we’re* the ones who haven’t been inclusive, even though we’re the ones who have been systematically marginalized by the show and the showrunners. But we’re not inclusive. Because inclusive means no one ever feels bad. Especially not the poor, powerful white men who keep getting roles and jobs and representation.

Steve Colbert Oppressed White Male Alert GIF

Comics like the one above rewrite the narrative of Doctor Who. They rewrite our very real grievances, transforming marginalized people into a bunch of complainers who are trying to make Peter Capaldi and the Doctor feel bad.

Why isn’t our sadness ever depicted? Why is it always about the feelings of the most powerful people in the Doctor Who world? Why isn’t it ever about our feelings of exclusion, our feelings of marginalization, our anger at being erased and ignored? Why – even in a comic that is supposed to be about *us* complaining – why is it about Peter Capaldi?
Why aren’t we ever the protagonists of these stories?

***

… you know, on one level, this cartoon perfectly encapsulates the problem. Powerful white men in the Doctor Who world give other white men influence – as writers, directors and actors – while systematically ignoring the criticisms of those who feel excluded from the show. White men keep all the power for themselves, while making the people they’ve marginalized feel bad for complaining about it.  White men take the issue of system oppression and make it all about them.

Stephen Moffat hands the screwdriver over to Peter Capaldi, and then, when people point out they’ve never had a chance at that screwdriver, he berates them for making the new Doctor feel bad.

Frankly, everyone, I appreciate your concern for the Doctor, but seriously: the Doctor is a fictional character, and I can’t make him feel bad. So I’m not terribly worried about it. I’m not even worried about making Peter Capaldi feel bad: he’s got the job now, and he’s probably surrounded by wonderful people cheering his casting. And good for him! I don’t *want* him to feel bad. I don’t want him to feel bad, because it’s not his fault. He’s just the manifestation of a larger phenomenon.

The truth is, I don’t even think the comic writer above – and all the fans and creators who are trying to shut down complaints – care that much about Peter Capaldi’s feelings.

I think they want us to stop hurting *their* feelings. I think they want fans with legitimate grievances with the show to shut up.

Shut up, and let us enjoy Capaldi’s casting. Shut up and let us enjoy the show. Shut up and don’t remind us that some of this stuff is problematic. Shut up – I don’t want to feel guilty for enjoying the party. Shut up – I don’t want to think about the racism and the sexism while I’m watching my favorite show.
Please stop hurting my feelings. I don’t want to know about your problems.
I just want to enjoy the party. Why can’t you let me enjoy the party?

And I’m sorry to those people. I’m sorry that we’re making it harder for you to enjoy the Doctor Who party. But we’ve been left out of the party entirely, and we’d really like to come in. I’m sorry that when we press our noses up against the windows of the Doctor Who party, you feel bad. I’m sorry that we’re taking away from the glamour and excitement of the occasion, all bedraggled and locked-out as we are. But no one seems to be coming towards the door to let us in. And we’d really like to come in.

It’s not just that we’ve been locked out. We’re supposed to shut up about it. We’re simultaneously supposed to accept our outsider position – the constant attacks on our right to be fans of the show, and our right to see people like us represented in the show – while never complaining about it. The show can lock us out, and we should never ever complain about it. Because we’re the problem. The walls and the lock and the people who hold the key aren’t the problem. We’re the problem.

We’re always the problem.

I love the show. I’d love to come into the party and enjoy it with you. But I can’t.

It’s adorable that you think people like me have the power to bar Peter Capaldi from the party. But while he’s inside enjoying the celebration, most of us are still waiting for our invite.

I don't see how that's a party

It’s great if you can unreservedly enjoy the entrance of Capaldi into the canon. Hey – it’s also great if you’re part of a marginalized group and you can *still* enjoy the entrance of Capaldi without reservation.

But stop telling those of us who see it as the shutting of another door, the turning of another lock, the erection of a new barrier that we don’t get to talk about it. Remember that you can be a fan of problematic things. That liking something problematic doesn’t make you a bad person – but pretending something *isn’t* problematic does. Don’t silence the people who want an oppressive show to change. Don’t silence us.

Anita Sarkeesian, Feminist Frequency, Problematic Media,

Don’t watch the show bar the doors on its marginalized fans, and then accuse those same fans of not being inclusive enough.

Don’t lock us out of the party and then get angry when we make noise about it.

And maybe – just maybe – consider letting us in to party with you.

***

(1) I’m using male gender pronouns to refer to the Doctor because he’s only ever presented as male, and his latest incarnation is male

(2) It is unclear where John Hurt figures in continuity, or even whether he’s the Doctor. All we know is that he’s one of the Doctor’s regenerations.

(3) I went through each director and writer for the past three seasons and checked their race and gender. Obviously, this is a subjective process, since I’m one person, and there aren’t a billion pictures of all the writers. But I’m 95% sure that there have been no directors or writers of color in the past three seasons.

***

Commenting Policy: I’m going to make this explicit: this is a space to discuss the feelings and needs of marginalized fans of Doctor Who. It’s not a space for privileged fans to come in and say “well, this is what *I* want” or “I’m white and male, and I’m okay with the Doctor always being a white man!” That is welcome in almost every discussion on the internet. Not here.
Furthermore, if you want to argue that the Doctor should stay a white man, you’d better have a better argument than “because I like him that way.”
Because when the argument is “The Doctor’s static race and gender contributes to oppression and actively hurts already-marginalized people”
and your counterargument is “But I like him being a man!”
You sound like a fucking douchecanoe.

Again: This is a space to discuss the feelings and needs of marginalized fans of Doctor Who. Talking about the ways Doctor Who is oppressive is fine! Talking about general issues of oppression is fine! Talking about liking the show despite its problems is also okay! But this is a space that centers the needs of marginalized fans. Not privileged ones.


Female Creators in Science Fiction and Fantasy Television: The Stats

OH HAI EVERYONE. I’m back! After writing my senior thesis and then *dying* for a few weeks. I SHOULD BE BACK MORE REGULARLY. I will tell you all about my journey with Tiptree, Russ and Butler soon. Maybe. Feminist Science Fiction, yay!

(can you tell I’m still exhausted from the end of the semester?)

Anyways. Back to your regularly scheduled yelling and rants and statistics!

***

[Content Note: GIFs, misogyny, racism]

Whenever I explain about why I prefer television to movies, I throw one random line in: “Television is more friendly to women.”

Don’t ask me where I first got that idea. It’s one of those unexamined assumptions floating around my brain. But I’m not the only one who thinks this way. It seems like a broadly accepted truth that television is some kind of haven for women. Movies are aimed towards men. Videogames are aimed towards men. But more women watch television. Waaaay more women watch television. Network prime time television has 65-70% female viewership. Some stations, like the CW, go up to 70-75%.

With those kinds of numbers, television as a medium must be female friendly, right? It must have lots of female creators and female characters and female-friendly stories, right?

See, this is why I should always examine my unexamined assumptions.

Because: Nope.

Sure, women watch more TV. But according to the Geena Davis Institute on Gender in Media, only 38.9% of characters in prime-time programs are women (compared to a 60%-65% female viewership). Only 22% of prime time shows feature girls and women in roughly half of all speaking parts. And 20% of shows cast men or boys in 75% or more of speaking roles.

TV! The Land of Women Mostly Men!

(also, I swear to claude, if anyone responds “but there are more men on TV because women WANT to see more men because all women are attracted to men and only want to see men men men men and they hate women” I will throw things. LOTS OF THINGS)

So that’s what’s happening on-screen. But what about off-screen? Who is creating these shows? Who produces them, directs them, writes them?

Every year when the Oscars come around, feminists (including me) complain about how few female writers and directors are recognized by the academy. Movie directing and writing is still very much a boys-club.Given the high female viewership, would it be different for TV? Do female creators thrive in television?

Azula Avatar Dominate

(probably not, tho)

Two months ago – right before the hell of writing my honors thesis hit – I decided to find out. Given my interest in SF/F – and the time necessary to gather the stats (the numbers for one TV show takes about 15 minutes, which sounds fine… until you realize there are hundreds of prime-time shows) – I decided to concentrate on female creators in SF/F television. Plus, in SF/F fandom, we often talk about the number – and visibility – of female creators in books, in comics and in movies. The television stats, I thought, would make an interesting addition to the discussion, especially given how many big, influential SF/F shows there are on TV today.

The following statistics are very ad-hoc. Very ad-hoc. Which isn’t to say that they aren’t interesting, or that they don’t speak to the general state of female creators in SF/F television. But they were done by one overwhelmed blogger with a weird  methodology. They are not supposed to be the be-all, end-all of a discussion.

Thus: I made a list of as many SF/F shows that appeared in North America in 2012 and 2013 and that I could think of/find on the internet. I was pretty loose about the definition of SF/F, which is why you’ll see shows like Elementary and Drop Dead Diva (she is a GHOST) on the list. I only looked at one season of each show: for those shows that had more than one season, I chose whichever season was most current. So for Supernatural, I looked at Season 8 (the 2012-2013 season) as opposed to Season 7 (the 2011-2012 season), while for Eureka, I looked at the 2012 season (because that was the show’s last season).

The twenty six shows I covered are: Lost Girl, Eureka, Beauty and the Beast, Being Human (US), Alcatraz, Arrow, Touch, Fringe, The Neighbors, Last Resort, Revolution, Vampire Diaries, True Blood, Once Upon A Time, Person of Interest, Drop Dead Diva, The Walking Dead, Alphas, Warehouse 13, Supernatural, Game of Thrones, Elementary, Grimm, Falling Skies, Teen Wolf and Doctor Who.

I only took stats on episodes that had already aired, which would have been a great idea if I hadn’t let two months go by between gathering the stats and writing up this post. This is why, for example, I looked at Game of Thrones season 2, instead of Game of Thrones season 3 – season 3 hadn’t started when I gathered the stats. Like I said: this stats gathering is wonky. WONKY. I thought about redoing the stats for shows that aired more episodes, but it took me twelve hours of work to gather stats the first time and I’m lazy. So, fair warning.

(Fun experiment: if you were really dedicated, you could use these stats to figure out the exact date when All The Shit Hit The Fan and I had to abandon my blog for three months)

Once I had the 26 shows, I calculated the gender breakdown for

1. The Executive Producers (colloquially known as the showrunners)
2. The episode directors
3. The episode writers
4. How many episodes were written by men v. women. As I quickly realized, sometimes a show can have a fair number of female writers… while most of the episodes are still written by men.

The results were… interesting. And by interesting, I mean “depressing.”

In 77% percent of SF/F shows, less than half the writers were female. 77%. Twenty out of twenty six.

Twenty three percent of shows – 6 shows –  had 50% or more female writers. Out of those 6 shows, only three had a majority of female writers (three shows were exactly gender-balanced). So basically, 77% of shows are majority-male written, 11.5% are majority-female written, and 11.5% are perfectly gender-balanced.

On average, 68.2% of writers for SF/F shows were men, while 31.5% of them were women.

I want to go deeper in those numbers, because there might be an instinct to go “well, there are some shows where men dominate, and some shows where women dominate, and it all evens out.” Which: no.There are 77% of shows where men dominate, and 11.5% of shows where women dominate, so it’s clearly NOT evening out. But even in those shows where women “dominate,” they don’t dominate in the same ways men do. Numbers, please!

Joan Watson, Elementary

The highest percentage of female writers on a show is 57%. The highest percentage of male writers is 100% (in fact, there are two shows – Doctor Who and Teen Wolf – where all the writers are male). The lowest percentage of male writers is 43%. The lowest percentage of female writers is 0%. In other words, while there are shows with no female writers, there are no shows that do not have male writers. There is always male representation, and the lowest male representation is 43%… for two out of twenty six shows.

In 31% of SF/F shows, less than one fourth of the writers were female. Most shows – 46% – employ between 25% and 49% percent female writers. 11.5% employ exactly the same number of men and women, and 11.5% employ a higher number of  women (between 51-57%).

Do women thrive as SF/F television writers? I don’t know about you, but I would not call that “thriving.”

If you think the numbers for female writers are depressing, you might want to take a second before we move on to the statistics for female directors. Trust me, we haven’t even gotten to the best worst part.

Out of twenty six shows, absolutely NONE had 50% or more female directors. Zero. Zip. Nada.

David Tennant Doctor Who What?

Ten of the twenty six shows – Thirty eight percent –  had ZERO female directors. A whooping 96% of the shows  had 75% or more male directors.

Let me rephrase that: in twenty five out of twenty six SF/F shows, less than one fourth of the directors were female. Only one show had more than 25% female directors.

On average, 89.9% of directors for SF/F shows were men, while 10.9% of them were women. Men aren’t just a majority of directors. They’re an overwhelming majority. Women barely have any presence at all.

So that’s the cursory overview state of women in the marvelously female-friendly land of television.

Unexamined assumptions, huh? Really worth examining.

Here’s the complete breakdown for writers, directors and executive producers for all twenty six shows. I put them in order of highest-to-lowest percentage of female writers (which yields results both obvious – Game of Thrones is #21 – and surprising: Elementary is #22).

1. Lost Girl (Season 3) 

Episodes: 7
Executive Producers: 3 (2 men, 1 woman) 33% women, 67% men 
Director: 6 (5 men, 1 woman) 16% women, 84% men 
Writers: 7 (3 men, 4 women) 57% women, 43% men
-episodes written only by women: 4 (57%)
-episodes written only by men: 3 (43%)

2. Eureka (season 5) 

Episodes: 13
Executive producers: 2 (1 woman, 2 men) 33% women, 67% men 
Directors: 8 (3 women, 5 men) 37.5% women, 62.5% men 
Writers: 14 (8 women, 6 men) 57% women, 43% men 
- Episodes written only by men: 3 (23%) 
- Episodes written only by women: 4 (30%) 
- Episodes written by both: 6 (46%) 

3. Beauty and the Beast (Season 1) 

Episodes: 14
Executive producers: 11 (3 men, 8 women) 27% women, 73% men
Director: 12 (11 men, 1 woman) 8% women, 92% men 
Writer: 11 (6 women, 5 man) 54% women, 46% men 
- written only by men: 4 (28.5%) 
- written only by women: 6 (43%)
- written by both: 4 (28.5%) 

4.  Being Human (season 3) 

Episodes: 7
Executive producers: 2 (1 man, 1 woman) 50% men, 50% women
Directors: 4 (3 men, 1 woman) 75% men, 25% women 
Writers: 8 (4 men, 4 women) 50% men, 50% women 
- Episodes written only by men: 3 (43%) 
- Episodes written only by women: 3 (43%) 
- Episodes written by both: 1 (14%) 

5.  Alcatraz (season 1) 

Episodes: 13
Executive Producers: 5 (4 men, 1 woman) 20% women, 80% men 
Directors: 8 – all men (100% men) 
Writers: 10 (5 men, 5 women) (50% women, 50% men) 
- Episodes written only by men: 4 (31%)
- Episodes written only by women: 4 (31%) 
- Episodes written by both: 5 (38%) 

6.  Arrow (Season 1) 

Episodes: 16
Executive Producers: 4 (all men) 100% 
Directors: 13 (12 men, 1 woman) 8% women, 92% men 
Writer: 10 (5 men, 5 women) 50% men, 50% women 
- Episodes written only by men: 7 (44%) 
- Episodes written only by women: 3 (19%) 
- Episodes written by both: 6 (37%)  

7. Touch (season 2) 

Episodes: 5
Executive producers: 7 (3 women, 4 men) 43% women, 57% men 
Directors: 4 (all men) 100% men 
Writers: 5 (2 women, 3 men) 40% women, 60% men
- episodes written only by men: 3 (60%) 
- episodes written only by women: 2 (40%) 
- episode written by both: 0

8. Fringe (Season 5) 

Episodes : 13
Executive producers: 1 man (100% male)
Directors: 12, all men (100% male) 
Writers: 5 (3 men, 2 women) 40% women, 60% men 
- 9 episodes written by only men (69%) 
- 4 episodes written by only women (31%) 
- 0 written by both

9. The Neighbors (season 1) 

Episode: 18
Executive producers: 4 (all men) 100% men 
Directors: 7 (all men) 100% men 
Writers: 10 (4 women, 6 men) 40% women, 60% men 
- Episodes written only by men: 9 (50%) 
- Episodes written only by women: 4 (22%) 
- Episodes written by both: 5 (27%) 

10. Last Resort (season 3) 

Episode: 13
Executive Producers: 4, all men 100% men 
Directors: 10 (8 men, 2 women) (20% women, 80% men) 
Writers: 11 (3 women, 8 men) (37.5% women, 62.5% men )
- Episodes written only by men: 9 (70%) 
- Episodes written only by women: 4 (30%) 
- Episodes written by both: 0 (0%) 

11.  Revolution (season 1) 

Episodes: 10
Executive Producers: 3 (all men) 100% men 
Directors: 8 (all men) 100% men 
Writers: 8 (3 women, 5 men) 37.5% women, 62.5% men 
- Episodes written only by men: 6  (60%) 
- Episodes written only by women: 2 (20%) 
- Episodes written by both: 2 (20%) 

12. Vampire Diaries (season four) 

Episodes: 15
Executive Producers: 4 (2 men, 2 women ) - 50% men, 50% women 
Directors: 12 (11 men, 1 woman) - 91% men, 9% women 
Writers: 11 (4 women, 7 men) - 36% women, 64% men 
- 6 episodes written only by men (40%) 
- 5 episodes written only by women (34%) 
- 4 episodes written by both (26%) 

13. True Blood (Season 5) 

Episodes: 12
Executive producer: 2 (both men) 100% men 
Directors: 9 (8 men, 1 woman) 11% women, 89% women 
Writers: 6 (2 women, 4 men) 33% women, 67% men 
- Episodes written only by men: 8 (67%) 
- Episodes written only by women: 4 (37%) 
- Both: 0 (0%) 

 14. Once Upon a Time (Season 2) 

Episodes: 15
Executive Producers: 2 (both men) 100% men 
Directors: 10 (9 men, 1 woman) 90% men, 10% women 
Writers: 10 (3 women, 7 men) 70% men, 30% women 
-10 episodes written by only men (67%)
- 4 episode written by only women (27%) 
- 1 episode written by both (6%) 

15. Person of Interest (season 2)

Episodes: 16
Executive Producers: 5, all men (100% male
Directors: 11 (10 men, 1 woman) 9% women, 91% men 
Writers: 13 (4 women, 9 men) 30% women, 70% men 
- 9 episodes written only by men (60%)
- 3 episodes written only by women (15%)
- 3 episodes written by both (15%)  

16. Drop Dead Diva (Season 4) 

Episodes: 13
Executive Producers: 5 (all men) 100% men 
Directors: 9 (8 men, 1 woman) 11% women, 89% men 
Writers: 11 (3 women, 8 men) 27% women, 73% men 
- Episodes written only by men: 9 (69%) 
- Episodes written only by women: 1 (8%) 
- Episodes written by both: 3 (27%) 

17. The Walking Dead (Season 3) 

Episodes: 12
Executive producers: 2 (both men) 100%
Directors: 9 (2 women, 7 men) 22% women, 78% men 
Writers: 8 (2 women, 6 men) 25% women, 75% men 
- Episodes written only by men: 8 (67%) 
- Episodes written only by women: 4 (33%) 
- Episodes written by both: 0 (0%) 

18. Alphas (season 2) 

Episodes: 13
Executive Producers: 6 (all men) 100% men 
Directors: 8 (6 men, 2 women) 25% women, 75% men 
Writers: 11 (8 men, 3 women) 27% women, 73% men 
- Episodes written only by men: 9 (69%) 
- Episodes written only by women: 1 (8%) 
- Episodes written by both: 3 (27%)

19. Warehouse 13 (season 4) 

Episodes: 10
Executive Producers; 3 (all men) 100% men 
Directors: 6 (all men) 100% men 
Writers: 9 (2 women, 7 men) (22% women, 78% men) 
- Episodes written only by men: 6 (60%) 
- Episodes written only by women: 4 (40%) 
- Episodes written by both: 0

20. Supernatural (season 8) 

Episodes: 16
Executive Producers: 1 (male)
Directors: 14 (14 men)  100% men 
Writers: 9 (7 men, 2 women) - 22% women, 78% men 
- 12 episodes written only by men (81%) 
- 1 episode written only by women (6%) 
- 3 episodes written by both (13%) 

21. Game of Thrones (season 2) 

Episodes: 10
Executive producers: 2 (both men) 100% men 
Directors: 5 (all men) 100% men
Writers: 5 (4 men, 1 woman) 20% women, 80% men 
- episodes written by only men: 8 (80%) 
- episodes written by only women: 2 (20%) 
- episodes written by both: 0

22. Elementary (Season 1) 

Episodes: 17
Executive producers: 4 (3 male, 1 female) – 25% women, 75% men  
Directors: 14 (11 male, 3 female) - 20% women, 80% men 
Writers: 12 (2 women, 10 men) – 16% women, 84% men 
- 13 episodes written only by men: 76% 
- 2 episodes written only by women: 12% 
- 2 episodes written by both: 12% 

23. Grimm (season 2) 

Episodes: 12
Executive Producers: 5 (all men) 100% 
Directors: 12 (2  women, 10 men) 17% women, 83% men 
Writers: 10 (1 woman, 9 men) 10% women, 90% men 
- Episodes written only by men: 9  (90%) 
- Episodes written only by women: 1 (10%) 
- Episodes written by both: 0

24. Falling Skies (season 2) 

Episodes: 10
Executive Producer: 1 (male) 100% men 
Directors: 7 (6 men, 1 woman) 14% women, 86% men 
Writers :7 (6 men, 1 woman) 14% women, 86% men 
- episodes written only by men: 8 (80%) 
- episodes written only by women: 2 (20%) 

25. Teen Wolf (Season 2) 

Episodes: 12
Executive Producers: 6 (5 men, 1 woman) 16% women, 84% men 
Directors: 2 (all men) 100% men 
Writers: 6 (all men) 100% men 

26. Doctor Who (series 7) 

Episodes: 6
Executive Producers: 1 (man) 100% men 
Directors: 4 (all men) 100% men 
Writers: 3 (all men) 100% men 

(note: the executive producer stats are BY FAR the most fuzzy. With some shows, it’s really hard to tell WHO the showrunner is. So take those stats with a MASSIVE grain of salt, and correct me if I’m wrong)

****

A few weeks after I took these statistics, articles began to pop up about Steven Moffat, Doctor Who’s showrunner. Apparently, people figured out that he hadn’t had a  female writer on the show during his entire tenure as showrunner.

I will not lie! My initial reaction was: “Damn, they got the drop on me. This is why you publish blog posts EARLY, girl.”

Anyways – people were understandably mad at Stephen Moffat.  Doctor Who is a very popular Sci-Fi show – more importantly, it’s a show that is very popular with women. Steven Moffat has had thirty two episodes to work with. You’re telling me he can’t find one female writer he wants on the show? Over thirty two episodes? Not a single one?

Yeah, it’s pretty terrible.

Martha Jones GIF Oh Do You Think

It’s also worth noting that Steven Moffat has had zero female directors and zero female writers on the other show he runs, Sherlock. And he hasn’t had a female director on Doctor Who in two series (twenty four episodes). So it’s a pretty obvious pattern.

But here’s the thing. Steven Moffat is not a glaring exception from the norm. Steven Moffat is the norm. A slightly more extreme version, yes. But only slightly.

And listen, I do not like Steven Moffat. At all. My boyfriend and I recently watched all of Doctor Who, and it’s pretty striking how quickly our attitude went from “yay, another Doctor Who episode to watch!” to “… I guess we should watch the next episode of Doctor Who, huh? Blurrrgh” when Moffat took over as showrunner.

(Aside from anything else, he’s not a good writer. Example: WHY THE FUCK DID THE TARDIS BLOW UP? Are we ever going to find out? WHY DID THE SILENCE NEED RIVER SONG IN THE FIRST PLACE, if the spacesuit was CONTROLLING THE PERSON INSIDE IT?) Plus Steven Moffat is terrible to female characters. Like, painfully terrible. I have so many rants stored up about his treatment of Amy Pond, River Song and Clara Oswin.

… sorry, that rant was supposed to be shorter. Point being: I do not like Steven Moffat. I do not want to defend Steven Moffat.  But he is not alone in his show’s lack of female creators. So if we’re going to call him out for his lack of female writers, we  should also call out all the other shows with few – or zero – female writers and directors.

And that’s basically all of them.

Put it this way: I’m worried we’re turning Steven Moffat into the bogeyman. He’s terrible to female characters! He’s terrible to female creators! He says the most despicable shit in interviews (as a bisexual woman, I particularly enjoyed his comment that he doesn’t put bisexuals on his shows because “[bisexuals] are too busy having fun” to care about representation. Thanks. No, seriously). So we (correctly) get outraged and yell at him a lot, and call him out etc.

But meanwhile, we don’t even notice that, say, Elementary’s writers are 80% male, and its directors are 84% male. Elementary  is a great show for female representation. It’s a great show for POC representation. It includes all kinds of feminist  concepts like boundaries, consent, good treatment of abuse victims, gaslighting etc. But behind the scenes? It’s only a tiny bit better than Doctor Who.

How about Once Upon A Time, a show where the hero, the villain and a whole lot of the main supporting characters are all female? Where there are a lot of kick-ass, interesting, complex women?  Where women are portrayed in a variety of ways (not just the Strong Female Character TM?) Ninety percent of their directors are men. Seventy percent of their writers are men.
(and it’s a show that tends to fail pretty hard on female characters of color).

So why does it matter? If a show is doing well in terms of female representation, why should we care if their writing staff and directorial pool is filled with men?

That argument – the “good representation in one area negates bad representation in another” argument – is, I submit to you, poppycock.

Elementary GIF sherlock poppycock

Having more women writing, producing and directing TV shows is good in and of itself. Not just because it might bring about better female representation – as we’ve seen, men are capable of writing good female characters, and of avoiding sexist narratives. Better female representation might be a side effect of more female writers, producers and directors, but it’s not the only reason to push for it.

Both Elementary and Once Upon A Time do a better job with female characters than Doctor Who. A way better job. Hell, I would go so far as to say that even Game of Thrones does a better job with female characters (when it’s not busy adding more sexism to the source material). But it’s not just how you write the female characters in your show. It’s not just how you incorporate feminist concepts into your script. It’s also who you think is good enough to CREATE that show. To  create those worlds. To tell those stories.

For most SF/F shows, the people they think are good enough to create those shows and tell those stories are – men. Sure, there are a few women thrown in there. But mostly, it’s men.

And not having good representation of female creators isn’t just an implicit commentary on who you think is good enough to create a show. It also has economic consequences.

Having more female creators on TV shows is important because it means women are getting paid. I don’t know how to spell it out more clearly: these are jobs. These are jobs for which people are getting paid. And women are not getting paid to do these jobs, because women are not getting these jobs. It’s part of the reason I thought the sexism on American Idol in the last two seasons was particularly terrible – by denying women a chance to compete in the higher ranks of Idol, you’re denying them a higher paycheck. And that matters. On a basic,  fundamental level, this is about money and jobs. Money and jobs that women cannot get, even on shows that are supposed to be catering to women (like the Vampire Diaries or True Blood). We need to support women economically just as much as we need to support women creatively.

And yes, representation offscreen is also important because it’s about supporting women creatively. As the stats show, women are not allowed to write, create, or direct their own stories. Even in shows that are ostensibly about women (Once Upon A Time, True Blood etc.) and that are ostensibly aimed towards a female audience, men are the ones creating, crafting and writing women’s stories. We don’t get control over our own narratives. Which is problematic because women are a marginalized group. The right to self-definition is one we rarely have – we are the other, not the self. The Self – men – get to define us. And part of breaking down oppression and marginalization is gaining the ability to define ourselves – to write ourselves, to tell our own stories.

(This is not an argument that no man should ever write about women. It’s an institutional problem, not an individual one, which we can change by getting *more* women into the industry.  Nor is it an argument that women are obligated to write about women – it’s important women be able to write about men, particularly since many people still think women are restricted to writing about their own experiences)

Moreover, most showrunners – the people who create those new shows, new mythologies, new characters, new stories – start off as TV directors or TV writers. If we want more showrunners to be women, we need to give them access to writing and directing jobs.

In other words, when we think about women in the television industry, we need to remember that both women’s representation onscreen and women’s representation offscreen matters. We shouldn’t write off bad representation behind the scenes just because a show has good female characters onscreen; a show can do well in one respect and fail in the other. And both sorts of representation (or lack of representation) have consequences.

For example, consider a girl who loves Doctor Who. She loves Amy Pond (one of the Doctor’s recent companions) so much that she decides to become a writer, just like Amy. And since she enjoys SF/F TV so much, she decides to become a television writer. Maybe she’ll even get a job on Doctor Who!

The problem is, given the current state of SF/F television (and Doctor Who) – she would probably have a really hard time getting work.

There are consequences to not promoting female creators offscreen.

***

These statistics, unfortunately, are fundamentally flawed. They only look at one axis of marginalization (sexism), and they do so with no real intersectionality. It is undoubtably the case that women of color have an even harder time getting jobs writing or directing SF/F TV shows. It’s almost certainly true that there are very few POC (men or women) writing or directing network television. That I didn’t look at these statistics means that my conclusions are inherently flawed – I can tell you that women are less likely to be hired, but I can’t tell you if certain kinds of women (white women, straight women, abled women) have an easier time, or if women are more likely to be hired than POC. Partially, these flaws come from the fact that it’s much easier to tell how many women v. men write a show – you can just count names (ah, the convenience of gendered names). I also tried to figure out number of POC writing for certain shows, and felt really gross, as a white woman, trying to guess who was a POC and who wasn’t from pictures (when I couldn’t find any self-identification).

But I do think the information I didn’t gather – information on race etc. –  is crucial to understanding who exactly is allowed to create SF/F television.

For example, in taking a second look at Elementary, I realized that even if Elementary doesn’t do a great job with female writers and directors, it does do a pretty good job in terms of Directors of Color. They had at least two WOC and three MOC directing episodes (out of twenty four episodes). Which isn’t perfect, but it’s a lot better than most shows. While that doesn’t negate Elementary’s lack of women, it does provide an extra dimension to consider (and gives me hope that they’re *trying*)

Here are some broad, if incomplete, statistics to add to my numbers. According to the Writers Guild of America West, 87.3% of television screenwriters are white (while only 63.7% of the US population is non-hispanic white/european American). And 55 shows in the 2011-2012 television year hired no writers of  color. Those shows include Game of Thrones and Once Upon A Time.

I mean, again: even shows that are good about representation onscreen can be terrible about representation behind the scenes (not that either Game of Thrones or Once Upon A Time is good about POC representation onscreen). And it’s important to document and publicize those aspects of representation.

****

On a final note, these statistics are important because they belie the idea that creators and narratives respond to the audience – as opposed to the patriarchy. One of the most common (misogynistic) arguments you’ll hear when you talk about lack of female creators in literature or in movies or in comic books is that the audience for those mediums is mostly male. Therefore, the creators are mostly male, because they’re best suited to respond to male desires. So it’s not misogyny! It’s just Reflecting the Audience.

This is a bullshit, victim-blaming argument to begin with, but it’s pretty much completely disproven if you look at the television statistics. Women watch way more television than men. Women watch way more network television than men. And yet women are still in the minority – often in the overwhelming minority – when it comes to creating television. It’s an important reminder that institutions don’t primarily respond to the makeup of their audience. They respond to the patriarchy. Comic books are often sexist not because they are aimed towards men, but because they are part of the patriarchy. The movie industry is often sexist not because its products are aimed towards men, but because it is responding to the patriarchy. The solution is not just for more women to watch shows/read comics etc. The solution is to dismantle institutional sexism.  

Is it easy? Nope.

Do I know how to do it (except by complaining online a lot and trying to raise awareness)? Nope

Is it worth doing? Absolutely.

Because this is just ridiculous.

Donna Noble Doctor Who Yelling GIF

Donna Noble I Can Try Doctor Who GIF

#Personal Hero

(I miss Donna)

(also, as I mentioned, these statistics are super ad-hoc, so if you find errors, or if you want to add information, that would be very welcome! More info/getting a broader picture is always welcome)

(on the other hand, explaining why I am super-wrong and a bad statistics gatherer when I explain UPFRONT the problems with my methodology and *why* I didn’t have the capacity to do better is… not welcome. PRE-EMPTIVE WARNING)


Right-Before-The-Deadline-Hugo-Nominations

[okay, apparently wordpress published this post... and then unpublished it. I don't even know. If you're getting an update twice, let me know?] 

Oh, hi everyone! Enjoying the beginning of March? (SNOW, URGH, PLEASE STOP)

Hey, what day are we? The tenth?

Why does that sound ominous?

OH CLAUDE, THE HUGO NOMINATIONS ARE DUE MARCH 10TH! TODAY! TODAY! TODAY!

Now would be a good time to panic!

MAYDAY! MAYDAY! MAYDAY!

I meant to put my recommendations up, oh… weeks before? But I’ve been having blog troubles (and real life troubles, which tend to lead to blog troubles), so you’re getting these much later than I would like. But hey, if you’re seeing this post, it means I managed to get my nominations written up before the deadline!

At this point, that’s a pretty major victory for me.

(we’re just going to forget the fact that it’s FOURTEEN HOURS before the deadline, okay? MAJOR VICTORY OVER DEPRESSION = forgetting how close the call was)

So! First things first! If you have no idea what these bloody awards are, let me explain!
The Hugo are arguably the most prestigious speculative fiction awards in the world. Sure, it says “Science Fiction Awards” on the tin, but let’s face it, these awards are as much for Fantasy as they are for SF, or authors like Neil Gaiman, NK Jemisin and Catherynne Valente would never be nominated.

(I do think it’s harder for fantasy material to win the Hugos, but that’s another post).

Here’s the crucial bit: the Hugos are a fan award, which means that Random Fans can, in theory, influence the process.

… Hey! Are you a fan? Do you care about awards? Do you complain about nominations for days after they’ve been announced? Consider voting (and nominating for the Hugos)! More voters = better.

Details! Important details! You need to be a member of WorldCon to nominate and vote . And the way you become a member is by paying $60.

No joke, $60 is a pretty hefty sum for the privilege of voting. At least it is for me, your friendly neighborhood feminist batwoman student blogger. There are, however, some benefits that offset the cost. As a Hugo Voter, you get the voting packet, which contains almost all the novels, short stories, novellas, movies, shows, fanzines etc. nominated for the Hugo awards. It would cost you a shitload more than $60 to get all those books/movies/novellas etc. on your own.

Another fun fact! If you buy a membership for a WorldCon, you get to nominate for the next year’s Hugos. I was a member of last year’s WorldCon (ChiCon), so I get to nominate this year, even though I haven’t bought a membership for 2013 yet.

Reminder to any fellow ChiCon members: if you paid to nominate/vote last year, or if you paid to go to ChiCon, YOU CAN NOMINATE THIS YEAR. You can’t vote without a new membership, but you can nominate. So nominate! In the next fourteen hours! Because you only have until 11:59 EST.

For everyone else – it’s too late to sign up to nominate, but if you are interested in voting this year, there’s more information on how to sign up here.

Okay! Now, without further ado, the fun part: MY super-last-minute nominations for the Hugos.

(note: not all categories are filled out, because I am just one woman, and I have not read/watched everything in the SF/F field. I’ve tried to restrict my recommendations to fields that I actually know something about).

Novel: 

1. The Killing Moon by NK Jemisin

At first, I thought I only had one nominee in the novel category because I just hadn’t read enough 2012 books. But looking back over my reading log… nope. I actually have read quite a few 2012 books. I just haven’t been impressed by very many of them (oh, BURN) (sorry, China Mielville and Elizabeth Bear. Better luck next time!)

There was one (okay, two) notable exception.

NK Jemisin’s The Killing Moon, and the sequel, The Shadowed Sun.

The Killing Moon NK Jemisin

Honestly, if NK Jemisin’s The Killing Moon doesn’t make it onto the ballot, I will side-eye fandom forever. For my money (if I had any money), it’s not only the best book Jemisin’s ever written, it’s the best novel published in SF/F last year. Jemisin’s worldbuilding and magical systems have never been better. And the plot. GAAAAH, THE PLOT.

A digression here: I think there’s a big difference between a book that should win the Hugo, and a book that CAN win the Hugo. Two years ago, I thought that Feed (Mira Grant) and The Hundred Thousand Kingdoms (NK Jemisin) SHOULD have won the Hugo over Blackout/All Clear. But I didn’t think The Hundred Thousand Kingdoms COULD win the Hugo (too much sex! Plus, politics).
Moreover, a someone fairly engaged in social justice, I’m always interested in seeing books nominated that deconstruct, or challenge the more conservative aspects of the SF/F genre. At the same time, I recognize that those books aren’t likely to win, precisely BECAUSE they challenge conservative (and popular) aspects of the genre.

The point of the digression? I think The Killing Moon is one of those rare books that both SHOULD and COULD win the Hugo Award for best novel.

Whenever I think about The Killing Moon, I keep coming back to one word: tight. The plot is tight. The worldbuilding is tight. The characters are tight. The prose is tight. Everything is crafted with such skill that I think the more challenging aspects of the book can just – slide by, unnoticed. Jemisin’s first book, The Hundred Thousand Kingdoms was a much more obvious confrontation and reconstruction of the epic fantasy genre, which is why I think it was so controversial. Don’t get me wrong – Jemisin’s Dreamblood books are just as engaged in challenging the epic fantasy genre. But it’s – quieter. The progressive politics of The Killing Moon can probably slide by more conservative voters in a way the politics of The Hundred Thousand Kingdoms could not.

It’s sneakily political.

The second book in the duology, The Shadowed Sun was also published in 2012 (and I also loved it), but NK Jemisin specifically asked that fans nominate The Killing Moon (so her books aren’t in competition with one another), and I’m following her wishes.

I would also be very interested in seeing Catherynne Valente’s The Girl Who Fell Beneath Fairyland and Led the Revels There and/or Frances Hardinge’s A Face Like Glass on the nomination ballot. I have not read either book, although I enjoy both authors and I’ve heard good things from people I trust about these particular works.

I’d like to see one of them on the ballot because they’re young adult fantasy novels written by women. While young adult novels occasionally make it onto the ballot (and win), it’s my impression that those Chosen Few tend to be by men (e.g. Neil Gaiman’s The Graveyard Book). Again, this is just a theory, but I think there’s a tendency to assume that young adult novels written by men can still be Serious Literature, while young adult novels written by women cannot, even if those women have written Serious Literature in the past.

Thus, I would not be surprised if China Mielville’s foray into YA, Railsea, made it onto the ballot, but I think Valente or Hardinge’s novel would be far more interesting choices.

Best Fan Writer:

Wait, that’s not the category after Best Novel!

…Except for me. Because Best Fan Writer is the category I care about the most.  I love cultural criticism. YOU MAY HAVE NOTICED… since I started an entire blog for just that purpose.

Best Fan Writer is also a category that I’ve found drearily boring in past years – the same writers are usually nominated year after year after year. And, to the surprise of no one, the nominations tends to be dominated by white men (it’s been six years since the final ballot included more than one woman).

Point being: there are tons of brilliant, diverse, interesting writers talking about SF/F. More of them should be recognized.

1. Foz Meadows.

I want to be Foz Meadows when my blog grows up. Her work on racism, sexism, and other forms of oppression in SF/F is unparalleled. She’s articulate, passionate, and thorough: her arguments are brilliant, her research is impecable.

Oh, and she’s extraordinarily entertaining.

Examples: PSA: Your Default Narrative Settings Are Not Apolitical, Politics, YA and Narrative, Racism, Revealing Eden and STGRB, Rape Culture in Gaming

2. Mark Oshiro of MarkReads and MarkWatches

When someone suggested Mark Oshiro for this category, I went “Oh duh, why didn’t I think of him?”

How do you even describe Mark? He’s been reading – and watching – lots of the most important shows and books in SF/F for his two sites, MarkReads and MarkWatches. His reviews are simultaneously insightful and hilarious. He’s perpetually unprepared for plot twists, and perpetually prepared to fall madly in love with new books.

You have not lived until you’ve read – or watched – a Mark Oshiro review.

I can’t tell you how much I love him. He just brings such JOY to his work (while also calling out problematic shit!)

It’s a rare writer who can critique a genre while simultaneously reminding you of why you’re in love with it.

Examples: Mark Reads Revealing Eden (if you want to see Mark dying over terrible writing and racism), Mark Watches Doctor Who: The Angels Take Manhattan, Mark Watches The Legend of Korra: The Revelation, Mark Reads Wild Magic Chapter 3

3. Ana Mardoll of Ana Mardoll’s Ramblings

Ana Mardoll’s website is filled with smart, thorough deconstructions of important genre books – Twilight, the Narnia Books, Buffy, The Hunger Games etc. Her coverage of disability in SF/F is particularly interesting. Like Mark Oshiro, she’s incredibly thorough with her analysis – her deconstructions often go chapter by chapter, and each post can go well over 2000 words.

I suspect she’s overlooked by the SF/F community because she doesn’t fit our model of a fan writer – she’s a feminist/social justice blogger who writes about genre fiction a lot. And that’s part of the reason I’d like to see her and Mark Oshiro on the ballot – their very presence would expand what we see as “fan writing.”
Plus, I am personally a fan of bloggers like Ana Mardoll, who talk about genre fiction in one post, feminism in the next, and the wives of Henry VIII in the third. Because fuck, that’s the kind of blogger I want to be – so I do love seeing it done well.

Examples: “L” is for Madonna-Whore Complex (deconstructing an article about Twilight that is, if possible, EVEN MORE problematic than Twilight), Twilight: Carried in the Arms of Assholes (fascinating exploration of the appropriation of disability in the Twilight series), Buffy: Freebird (talks the character of Joyce and emotional abuse, and WHOA, I DID NOT SEE IT BEFORE, BUT NOW I DO), The Hunger Games: A Question of Agency

4. Catherynne Valente

I am a huge fan of Catherynne Valente as a fiction writer – but I am, if possible, an even bigger fan of her as a non-fiction writer. No joke, I’ve re-read her Guest of Honor speech for MythCon… five times?

Valente is particularly important as a commentator on fandom and fan writing itself. Yes, very meta of me! Christopher Priest ranted about the Clarke Awards; Catherynne Valente looked at the fan reaction to his post, and turned it into an entire discussion of sexism in fandom. Her post on the Readercon debacle reminded us that Genevieve Valentine’s experience was actually workplace harassment. And when people attacked Valente for refusing to repudiate Requires Hate, Valente wrote a post that simultaneously explored her own problematic behavior (cultural appropriation), and discussed a wider fandom problem. 

Valente does not write often, but when she does, she is on fire.

Other examples: Girl Grit: Feminism, Westerns, Sherlock and Erasure

5. NK Jemisin:

I almost didn’t put NK Jemisin on my final ballot, because I didn’t want more than two professional authors in the fanwriter category. And then I was all “What are you even doing, Suzanne?” because Jemisin’s voice is so critical to the way I think about the field. She, like Valente, has some of the best commentary on fandom on the interwebs. Her posts on sexism, racism and oppression in fan spaces are brilliant and provocative (example discussing racism in fandom)

She also wrote smart posts about video games, on why magic doesn’t need to make sense, and on the use of  sexual violence in her own books.

Yes, it’s frustrating that Jemisin can simultaneously be both a brilliant fiction writer, and a brilliant fan writer. But she is, so I must recognize her.

Honorable Mentions: I read so many people who deserve a nomination, and sadly, not all of them can end up on my final ballot.

Tansy Rayner Roberts, for her discussions of Domesticity in Doctor Who, her series on Women in Comic Books, her Xena posts, and her article on Historically Authentic Sexism in Fantasy.

Liz Bourke, for her series Sleeps With Monsters on Tor.com (The Smurfette Principle is a good example of the series)

Abigail Nussbaum, for being the essayist and reviewer I wish I were, and for her spectacular, worldview-changing article Women and Horses, which asks: “Why are we, on the one hand, outraged by the deaths of horses on the set of Luck, and on the other, casually accepting of the potential mistreatment of human women on the set of Game of Thrones?” (particularly when those women are underage).

Best Related Work: 

Chicks Dig Comics edited by Lynne M. Thomas and Sigrid Ellis. Has lots of very fun, very smart articles, and is responsible for introducing me to Kelly Sue Deconnick, Amanda Connor, Greg Rucka and Marjorie Liu.

Best Graphic Story:

1. Saga, Volume 1 by Brian K. Vaughn and Fiona Staples

Saga is… strangely unepic, for a story named “Saga” that opens with a tale of star-crossed lovers from warring civilizations. Rather than aiming for obvious epic themes, Vaughn makes the comic an intimate, almost domestic, story about an odd couple escaping from the forces that want them dead… all while trying to take care of their newborn (urgh, diapers!)
The plot is weird and brutal. The worldbuilding is ridiculous, and I mean that as a compliment. Staples and Vaughn’s worldbuilding strategy seems to consist of throwing random stuff at the wall, and seeing what sticks – but they’re talented enough that it works out beautifully. And the characters are both atypical and compelling.

2. Nimona by Noelle Stevenson

A ridiculously fun, well-drawn webcomic I stumbled on a few weeks ago. It chronicles how the adventures of Lord Balister Blackheart, the biggest name in Supervillainy, go terribly wrong when he takes on a sidekick: Nimona, a shapechanging teenager.

It’s hilarious and it has lots of fun meta-commentary about superheroes, epic fantasy and villains. I’m in internet love.

Also, Sir Ambrosius Goldenlion (Lord Ballister Blackheart’s greatest enemy) has The Best Hair. Nomination for that alone, quite frankly.

Best Dramatic Presentation, Long Form: 

I’m not going to talk about my reasons for these, because they’re not strikingly different from what I’ve seen on other lists.

1. The Hunger Games
2. The Avengers
3. The Dark Knight Rises
4. Brave
5. The Legend of Korra, Season One.

Okay, about the last: I had some SERIOUS problems with the first season of The Legend of Korra (LOK). In fact, I just finished it last night, and spent a good hour ranting at my boyfriend. But I still think the series had incredible animation, some brilliant plots (alongside less-than-brilliant-ones) and wonderful characters (Tenzin! Chief Bei Fong! Korra! Asami!)
Is it perfect?
No.
But I would like to see it on the ballot. 

Best Dramatic Presentation, Short Form: 

I have zero nominations here, because I am so not caught up on current SF/F television. I will say that I would be very happy to see episodes that AREN’T from Doctor Who on this list. Have you considered The Legend of Korra, My Little Pony, Community or Fringe for nominations? You should!

Best Professional Artist: 

Listen, I’m not an expert on art, and usually, I wouldn’t care about this category. But because I am a professional misandrist and I hate all men* – and also because very few women are ever nominated in this category – I wanted to find women artists who deserved a nomination.

And yes, this is rather necessary. From my cursory research, I don’t think a single woman has been nominated for this category in the last DECADE.

*(May Not Be A Factual Statement)

1. Julie Dillon (AKA: Why The Hell Hasn’t She Been Nominated)

I regularly use her art as wallpaper for my computer. Can you blame me?

Julie Dillon breaking through

Breaking Through

The Dala Horse (Julie Dillon)

The Dala Horse (Julie Dillon)

2. Fiona Staples

Stapes is responsible for both the interior illustrations, and the covers for Saga. I don’t usually notice the art in comic books, but Staples’ work is so richly, gloriously bizarre that I can’t NOT notice.

Saga Issue one cover fiona staples

Saga, issue one

Saga Chapter 3 Fiona Staples

Saga chapter 3

Saga Fiona Staples

The Stalk (Saga)

3. Kathleen Jennings 

I’m a huge fan of Jennings’ lovely, whimsical book covers – I particularly love how she uses wraparound effects. Her illustrations for Eclipse Online are also wonderful.

Kat Jennings

The Memcordist by Lavie Tidhar, illustrated by Kat Jennings

Stranger Things Happen by Kelly Link

Cover and Dustjacket for Stranger Things Happen by Kelly Link

4. Amy Reeder 

I’ve been a fan of Amy Reeder’s for a very long time – even though I wasn’t aware of it. My wordpress icon? The Batwoman picture?

Amy Reeder Batwoman

Batwoman by Amy Reeder

Yep! Drawn by Amy Reeder.

Although the Batwoman franchise tends to be known for JH Williams’ artwork, some of the most iconic covers come from Reeder’s pen (I am using one of them as my wallpaper right now). And her artwork on the creator-owned Halloween Eve is stunning. I wish I’d known I was a fan of hers before!

Amy Reeder Halloween Eve

Halloween Eve

Batwoman Amy Reeder

Batwoman, Issue 9 by Amy Reeder

5. Ana Juan

Hat Tip to The Book Smugglers for this recommendation – I was trying to find a fifth nominee, to no avail, when their post on Hugo nominations came out. I’ve loved the artwork in Catherynne Valente’s Fairyland books, but I never looked up the artist. Juan’s work is beautiful, whimsical, and a bit off-kilter.

Fairyland Ana Juan

Ana Juan

The Girl Who Fell Beneath Fairyland And Led The Revels There by Catherynne Valente

Best Fan Artist 

1. Kathleen Jennings, for all her daleks on her blog – and specifically, for drawing Daleks into all of our favorite books and movies.

2. Noelle Stevenson for Nimona (not a professional work – she’s not, as far as I can tell, getting paid). Because her work is fun and beautiful and witty, and reminds me of nothing so much as Kate Beaton

Nimona by Noelle Stevenson

Best Semi-Prozine: 

The Mary Sue: A guide to geek girl culture. I love The Mary Sue, and they serve my primary source of SF/F news. The writers are funny and incisive, the coverage is wide-ranging, the politics are feminist and progressive.

Best Fanzine: The Book Smugglers: I am counting The Book Smugglers as a fanzine rather than as fan writers, because there are TWO writers on The Book Smugglers. And they deserve a nomination for all the work they do. My god, they publish a post a day, and although Ana and Thea don’t cover speculative fiction exclusively, they do write a whole lot about the genre. Their book reviews are wonderful and incisive, and their genre commentary is always on-point.

Ana and Thea also host an annual blog event called Smugglivus, when they invite authors and bloggers to talk about the year past. It is responsible for introducing me to waaaaaaay too many good books.

Best Fancast: 

Galactic Suburbia (and not just because they put me on their award honors list!)

Galactic Suburbia is a feminist podcast, and thus I am contractually obligated to love them. Fortunately, they make it easy on me, by being perpetually wonderful, and funny, and outraged. Plus, they keep me up to date with all of the Australian Speculative Fiction news (important, since I am a provincial USian).

Last year, I said I was nominating them “because they are awesome. And they make me read ALL the good books.”

And they are still awesome, and making me read all the good books. I really hope they make the ballot again this year.

****

PHEW.

And with that, my friends, my Hugo Nominations are in!

*****

A couple brief announcements, for those of you who haven’t fallen asleep yet!

1. For the purposes of me not getting super-confused ALL THE TIME, I’m now going by the name I use in non-internet life (Suzanne). I get SUPER-CONFUSED whenever anyone uses the name “CD” to refer to me. And although this is a pseudonymous blog, I don’t think using my real name will cause anyone to figure out my ultra-secret identity.
So yes, from now on, I am Suzanne (and my preferred pronoun is “she”).

Of course, you are also welcome to refer to the blog name, full stop (Culturally Disoriented), or to call me The Feminist Batwoman (even though I am NOT the Feminist Batwoman. LET’S BE CLEAR).

2. I have a tumblr! Which has absolutely zero original content. I just reblog a lot of kittens and GIFS. But if you’re interested, I’m over at Feminist Batwoman (although, again, I AM NOT THE FEMINIST BATWOMAN).

3. Content has been slow here! For lots of reasons. Mostly, but not solely medical. I switched antidepressants over winter break, and unfortunately, the new medications caused some pretty brutal side effects. So I am now OFF those antidepressants, which means I am off antidepressants completely, and the transition has been… rough. I also ended up at the ER twice for totally unrelated reasons, because my body hates me right now.
Anyway, content is likely to REMAIN slow for a bit. But I am still here, so bear with me! There’s a GIANT POST OF DOOM coming up. It has lots and lots of statistics! About women in SF/F television! IT IS GIANT! The research is DONE. So it is ALMOST READY.


Galactic Suburbia put out their Annual Award… and I’m on the Honors List

I had a medical procedure yesterday – nothing serious, but rather painful. And I’ve spent the last 24 hours “enjoying” the cramps and stabbing feelings, and making copious use of naps/painkillers.

I woke up from my nap an hour ago, rather dazed, and checked my inbox.

… And apparently this blog is on the honours for the Galactic Suburbia Award.

Kristen Bell sloth GIF

The first response from me, upon opening Alex’s email, was: “WHAT JUST HAPPENED IN MY INBOX?”

Then I fell back onto the bed, convinced that the painkillers were giving me hallucinations.

Followed by me listening to the latest Galactic Suburbia podcast in full, and realizing that no – this was definitely not a hallucination.

And then I fell on the bed again.

Stitch fake death GIF lilo and stitch

GUYS. WOMEN. PEOPLE OF ALL GENDERS.

DO YOU KNOW
HOW MUCH
I LOVE
GALACTIC SUBURBIA?
(as evidenced by my explosion of SQUEE when they were nominated for the Hugos last year)

I’m being calm about this. So: Galactic Suburbia is a feminist speculative fiction podcast. A Hugo-nominated feminist speculative fiction podcast, to be precise!

They have a yearly award for activism and communication that advances the feminist conversation in the field of speculative fiction in 2012.  

… and I am on the honors list.

Barney's Head Explodes GIF

Barney’s Head Explodes HIMYM

Clearly I have not yet gotten to the “acceptance” phase of the process.

I remember hearing Galactic Suburbia calling for nominations for the award in their last episode. And my reaction was something along the lines of: ” I hope that in a couple years, I’m producing commentary good/interesting enough to be considered for the shortlist.”

Manny Modern Family GIF

THIS BLOG IS NOT EVEN ONE YEAR OLD. I’m a college student rambling on the internet when I should be sleeping/doing homework.

…I’m speechless.

Here is the full Award, with the Winner and the Honours list:

Winner: Elizabeth Lhuede for the Australian Women Writers Challenge. Lhuede created the Australian Women’s Writers Challenge to respond to the inequity in women’s work being read, reviewed and treated seriously in Australia. In the lead up to 2012, Australia’s National Year of Reading, Lhuede decided to do something to help redress this imbalance and raise awareness of Australian Women’s Writing. Lhuede created the AWW to encourage people to examine their reading habits, and commit to reading and reviewing more books by Australian women throughout 2012.

Honours List: 

Kirstyn McDermott, for the creation of the female stick figure in an episode of her podcast, the Writer and the Critic (episode 19). McDermott pointed out that the standard stick figure is not inherently male nor female, and so created a female stick figure – which looks exactly like the male stick figure, but with a female stick figure after it – bringing attention to the idea of the male as default.

Julia Rios for her podcasts and discussions about moving beyond the 101 – feminism 101, sexuality 101 etc.

Genevieve Valentine for starting the discussion about sexual harassment at SF/F conventions. Specifically, for blogging about how the Readercon Board ignored its zero-tolerance harassment policy when she reported being sexually harassed by a Big Name Fan. As Alisa Krasnostein on Galactic Suburbia put it, the conversation led to enormous fallout, but as a result, policies for conventions have changed, and people have started looking at what we want SF/F fandom to be like, in terms of safety

The phenomenon of (and the arguments AGAINST) the Fake Geek Girl - specifically, for the spectacular responses to (mostly) men complaining about Fake Geek Girls. There were too many posts and responses to choose just one for the shortlist, but the discussion around whether women can be “real geeks” has been fascinating conversations on the internet.

Jim Hines (returning nominee!) for his modeling of how SF/F covers portray women in unrealistic ways. Hines brings attention to the issue by trying to replicate the poses himself – and recently used his posing to raise lots and lots of money for the Aicardi syndrome foundation. Humor and fundraising and feminist social issues, all at once!

Anita Sarkeesian for her TEDx talk, where she discusses her experience of the internet harassment she experienced as a result of her kickstarter project Tropes v. Women in Video Games.

The Hawkeye Initiative - a tumblr that brings attention to the way women are portrayed in comic book art. In the Hawkeye Initiative, people redraw comic art that depicts women in horrible ways… with Hawkeye – thus transposing the pose from the female body to the male body, and showing how ridiculous the poses are in the first place.

Seanan McGuire for her blog post Thing I Will Not Do to my Characters, in which she discusses why she will never write her female characters being raped. This was a response to a fan saying that if McGuire doesn’t depict her female characters getting raped, it wouldn’t be realisitc.

Liz Bourke for her Sleeps With Monsters column on Tor.com.

The Girl Who Wrote a Letter to Hasbro about how if she picked a female character in Guess Who, it was really easy for her opponent to win because there were many more male characters than female characters on the board. Led to some really important conversations about gender issues in board games for children.

Geena Davis for her activism and analysis in the field of children’s television, and more specifically for a speech on gender equality in children’s television.

An honorary mention for the Australian Prime Minister, Julia Gillard, for her speech against misogyny in parliament this year. 

Oh, and, er… me.

The more I listened to Alex, Tansy and Alisa talking about the Award list on the podcast, the more my brain exploded. I’m on an honours list with Seanan McGuire and Jim C. Hines and Genevieve Valentine and Anita Sarkeesian and Liz Bourke and Julia Rios and Elizabeth Lhuede and Kirstyn McDermott.

Mulan tea pouring GIF

Martha Jones GIF

Like I said earlier, this blog has been running for less than a year. And I can’t… quite express how amazing it is that Galactic Suburbia think my work belongs on a list with these people, who have done so much inspiring, brilliant work on issues of  gender in the world of speculative fiction and fandom.

I feel extraordinarily honored to be on this list, with these people (and the Hawkeye Initiative/the Fake Geek Girl Discussion!). Thank you so much to Galactic Suburbia for including me. And thank you to Celia Powell, who I believe nominated me).

Steven Colbert GIF
Now if you’ll excuse me, I think I need to indulge in some celebratory SQUEEEING.
… and get more painkillers.

****

(Galactic Suburbia’s full episode is here)

(I will update the blog with the exact descriptions of the winner and honors list just as soon as they are out).

(Also, if you’re not listening to Galactic Suburbia, and you’re interested in gender issues and/or SF/F… you should consider listening. They’re delightful and inspiring and they make my walk to campus much more enjoyable)


The Friendship that Dares Not Speak its Name: Female Friendship in Science Fiction and Fantasy.

Xena Warrior Princess Lucy Lawless Angry

“Is anyone here going to be my friend? Anyone? I have a shiny sword!”

[Content note: This is another one of my giant tl;dr posts of doom. Be forewarned before you venture into the abyss]

I’ve decided that I don’t want to be a Sci-Fi/Fantasy hero. Sure, the armor/spacesuits/dresses would be cool. And I’d like to fight a glorious battle. Or meet an alien. Or turn into a dragon. Or turn into a dragon while I meet an alien and wear a cool spacesuit dress.

But.

I’ve been noticing something weird about SF/F heroes. Specifically the female ones.

They don’t have a lot of friendships with other women.

Hell, there are some SF/F movies/books/etc. where the women barely speak to each other at all.

Is it just me, or does it sometimes feel like all those heroines have been cursed by a horrific spell? A spell that prevents them from making friends with other women without dying instantaneously?

Or do they just all have allergies to other women?

Because something’s going on. And I’d like to know what.

Sci-Fi/Fantasy has quite a few iconic male friendships – you’d be hard-pressed to find a book, tv series or movie that didn’t have a prominent friendship between two men.

Frodo and Sam. Spock and Kirk. Han Solo and Luke Skywalker. Ender Wiggin and Bean. Hugo and Charlie on Lost. Saul Tigh and Bill Adama in Battlestar Galactica. Magneto and Professor Xavier.

But iconic female friendships?

I can’t think of many.

And lest you ask, I’ve been thinking about this a lot. When I first got the idea for this post, I went through my reading lists for the past three years. I scoured the web. I look through my bookshelves. I looked through my brother’s bookshelves. I lurked around Amazon.com for three hours.

After a good week of research, I concluded that not only were there very few Sci-Fi/Fantasy narratives where female friendships featured prominently, there were very few Sci-Fi/Fantasy narratives where female friendships featured at all.

Black Widow Scarlett Johansson

” Look, it’s not that I don’t want to be friends with women, it’s just that for some reason, I’m never allowed to talk to them onscreen.”

Part of the problem, I suspect, is that women are still underrepresented as characters in Sci-Fi/Fantasy. We’re still stuck in the “lone woman” or “exceptional woman” phase of gender equality. Consider all the movies/books/comic books etc. where there is exactly one major female character. Black Widow in The Avengers.* Trinity in The Matrix. Wonder Woman in the early years of The Justice League. Petra in Ender’s Game. Molly Million in Neuromancer. Eowyn in The Lord of the Rings. 

[*Emphasis on major. I liked Maria Hill and Pepper Potts as much as anyone else, but they weren't on the same level of importance to the narrative as Thor, or Black Widow, or even Nick Fury]

Hell, Mulan in Mulan, while we’re at it. Even feminist narratives often have “lone women,” because so many of them tell stories of the first woman to join the army/become a knight/become a scientist/fly to the moon/play professional foozball. And, don’t get me wrong, stories about how women overcome the odds to join male-dominated professions are important.

But what about the stories after that one? What about the one where there are finally two female superheroes? What about the one where the science lab has a 50-50% gender distribution? What about the one where the army has an entire squadron of female knights?

Where are the stories about women mentoring other women? Where are the stories of women who have been best friends since childhood? Where are the stories where two wacky women are thrown together on an intergalactic adventure? Where’s my female Sherlock Holmes and Watson duo?

Where are my stories of epic sromances (rather than bromances) where the (female) hero would cut through entire armies to save their (female) friend?

[By the way, I fully purloined the term "sromance" from a blog post written by the fabulous Karen Healey]

Mulan Sword reflection

“Touch my BFF, and I will cut you.”

Those stories are a lot rarer.

We’re not that interested, it seems to me, in telling stories where there are many women, not just one. We’re not that interested in portraying worlds where women are the norm rather than the exception. We’re still stuck on the “lone women” phase of gender equality.

We’re not that interested in portraying relationships between women. We’re still stuck on how women relate to men.

***

Even when there are multiple women in an SF/F narrative [HALLELUJAH], they rarely ever meet. Or speak. Or have any kind of relationship. Maria Hill and Black Widow in The Avengers? Never say one word to each other. Eowyn and Arwen in The Lord of the Rings? They’re in love with the same man, they’re fighting the same enemy… they never speak. In the Game of Thrones series, there are several important female characters, but they’re rarely in a room together. And if they are, they’re not friends. They’re enemies.

You would think women in Sci-Fi/Fantasy narratives would have something to say to one another. Even if it’s along the lines of:

“So, what’s it like to be the only woman in a group of superheroes?”
“Oh, you know. It’s not bad. Reminds me of that time I was stuck in an airport in France…”

Or:

“Hey, you know where I can get some tampons in the middle of this god-forsaken wilderness?”

Or just a plain, normal, non-gendered conversation like:

“Wow, we’re about to get eaten by a dragon.”
“That’s a problem.”
“We should run.”
“I agree. RUN!”

But no, apparently not. Apparently women just can’t talk to each other in SF/F.

It’s very bizarre. Because – and I hope SF/F authors and scriptwriters know this – there are a lot of women in the world.

It is practically impossible for a woman to go through her life without having a conversation with another woman. It is practically impossible for a woman to go through a single day without talking to another woman. Women are everywhere. Heck, I’ve even  heard they make up 50% of the earth’s population.

Given these parameters, it makes absolutely no sense that the majority of female SF/F characters almost never talk to women. The only way they could pull it off is if they were actively avoiding talking to other women.

This is why I suspect that female heroes of SF/F are all under some terrible curse that prevents them from speaking to other women. It’s the only logical explanation.

[[It's either that, or most authors are doing a terrible job of representing women's reality... and since authors have never historically struggle with representing female experiences, I think we can safely rule this explanation out. Right?]]

So. There’s a curse.

And if there is, I must be honest with you: I don’t think I want to be an SF/F hero anymore.

Because I wouldn’t want to live a life without female friends.

It would be horrible. Are you kidding me?

For one thing, how the hell am I supposed to go into battle and save the world without my female friends by my side?

Don’t get me wrong. I have friends who are guys. I would not want to give up those friendships either; some of my best friends are men. But women are friends with men in SF/F narratives, so that’s not really an issue.

[I feel like all my guy friends who read this are going to go: "You don't love me? " and run away. So, pre-emptively: "NOOOO, guy friends! I do love you! Don't leave me!"]

But frankly, most of my closest, most important friendships have been with other women.

The friends who know my deep, dark secrets? Mostly women. The friends who know that I spent a year of my life breaking into my house through a window instead of telling my parents I’d lost the keys? Mostly women. The friends who have survived my propensity for seven hour walks? Mostly women. The friends who put up with my social anxiety, my inability to answer emails and phone calls? Mostly women. The friends who tortured me with high-school drama? Mostly women. The friends who listen to me rant about stuff they’re completely uninterested in? Mostly women.

The friend I have epic conversations with when we pull simultaneous all-nighters? A woman. The friend who talked me through my academic insecurities? A woman. The friend who rearranged my work schedule when she realized I was exhausted – even though it meant she was picking up extra hours? A woman. The friend I went camping for (I hate camping)? A woman. The friend I went running for (I hate running)? A woman. The friend I stopped writing a paper for so that I could help her find her cat? A woman. The friend who turned me into a compulsive biker? A woman.

If I were an SF/F heroine, I would want these women on my team. I’m just saying.

That’s, I think, why the lack of female friendships in SF/F is so striking to me. When I look at the friends I would walk through fire for, the friends I would fight armies for, the friends who I cannot imagine life without – most of those friends are women. And when I look around me at women I know, I see that yes, in fact, these women too, have friends who are female.

Women are friends with women. Imagine that.

Female friendships aren’t an urban legend. They aren’t a statistical anomaly. They’re not all hiding in the forests like werewolves. Unless the nine places I’ve lived in my life have been exceptions to the norm, female friends are a fairly common phenomenon.

Elizabeth Swann Pirates of the Caribbean Keira Knightley

“Where the frack are all the other women in this blasted movie? Did they get eaten by the Kraken?

So just for the sake of realism, there should be a few more female friendships in SF/F.

Not to mention the fact that female friendships are interesting.
They’re fun. Exciting. Dramatic. Low-key. Tense. Anguished. Tortured. Competitive. Sweet. Bizarre. Twisted. Cool. Captivating. Multifaceted.

If you’re not writing about female friendships because you think they’re boring? You’re not too clever. And if you’re not reading books with female friendships because you think they’re boring? You’re missing out.

Isn’t it sad that we can imagine faster -than-light-travel, fire-breathing dragons and cyborgs, but we can’t imagine two women talking to each other?

Is there really a curse? A curse that says: two women can’t be friends in SF/F? Two women can’t speak in SF/F? Women can only relate to men, and to no one else?

Well, if there is, I’m sick of it. I want to see as many awesome female friendships in SF/F as there are awesome male friendships.

I’m breaking out the curse-breaking equipment, people. I’m compiling a list. A list of SF/F narratives that do have awesome female friendships.

Because it’s time to end the darn curse.

Here, in no particular order, are nine SF/F narratives with prominent female friendships. Seven books; one TV show; one Comic Book series.

I know these are not the only SF/F narratives with prominent female friendships. I have not read everything. I have not seen everything. Heck, I haven’t even ever seen Star Trek (I’m working on it!). So this list is not meant to be comprehensive. I’m sure I’m missing things – and I’d love to hear suggestions!

Curse-breakers, unite!

[And now I feel like I'm either in Pirates of the Caribbean or a Tomb Raider movie. For the record: if this curse-breaking turns into an epic quest where we all become living skeletons and have to pour the blood of Orlando Bloom on a giant pile of gold to end the terrible curse... my apologies]

****

1. Trickster’s Choice and Trickster’s Queen by Tamora Pierce

Trickster's Queen cover Tamora Pierce

This was a tough one, because Tamora Pierce always does a fantastic job with female friendships. Keladry and Lalasa. Keladry, Yuki and Shinko. Alanna, Thayet and Buri. Alanna and Daine. Sandry, Tris and Daja. Beka Cooper and Clara Goodwin.

Pierce’s female friendships are all the more impressive because most of Tamora Pierce’s protagonists are women entering male-dominated professions. Two of her series (Song of the Lioness and The Protector of the Small) follow the journeys of the first women to train for Knighthood. Yet even though Alanna and Kel are surrounded by men (and make friends with men) they managed to be friends with women too. Female friendships are the norm in Pierce’s writing, not the exception.

The Trickster duology, however, probably has more friendships between women than any of Pierce’s other series.

After being kidnapped and sold into slavery in the Copper Isles, Aly discovers that the Raka natives are finally ready to throw their luarin overlords. And they need a spymaster. Aly, through bad luck, trickery and manipulation, gets herself that job.

The Raka rebellion aims to put a Queen, not a King, on the throne of the Isles. It’s quite a gender-equal revolution: women and men both act as warrior, spies, mages and leaders. Not surprisingly, Aly cultivates quite a few important friendships and alliances with other women, from her cautious loyalty to Duchess Winnamine (the stepmother to the potential heiress), her easy camaraderie with Chenaol (Aly’s first friend in the Copper Isles and the rebellion’s weaponmaster), her wary “please-don’t-hit-me” friendships with Ochubo (head of the Raka mage network) and Junai (her bodyguard) and her long-distance friendship with Daine.

Aly’s most important friendship, however, is with Dovesary Balitang, a clever and wise thirteen-year-old half-Raka noblewoman. The rebels believe Dove’s older sister, Sarai, is the prophesied twice-royal Queen. Aly’s relationship with Dove is arguably the most important relationship in the book, full stop – the two women’s admiration, wariness and respect for one another is fascinating to watch. And their evolving friendship becomes integral to the rebellion’s success.

It’s a genuine sromance. And it always makes me tear up.

“I don’t need a maid,” Dove said. “I need a friend.” [...]
“I will be your friend till the end of time,” Aly told the younger girl.

2. Beauty Queens by Libba Bray

Beauty Queens Libba Bray Cover

Friends don’t let friends wear Maybelline

Picture this: a plane full of teen beauty queens crash-lands on a desert island. They must survive. They must practice their pageant walks for the Miss Teen Dream pageant. They must keep exfoliating. And they must foil the plans of an evil organization of evil people hidden in a giant evil volcano at the center of the island. [ Yes, this is speculative fiction. It's a dystopia. Don't argue with me]

And there are explosions.

I know you just ran away from the computer screaming “WHY HAVEN’T I READ THIS YET?” I know. I feel your pain.

This novel is a high-wire act. It would have been so easy for Bray to spend the story making fun of the teen pageant queens and their silliness. But no. Beauty Queens is a satire, yes, but not of the teen girls themselves. It’s a satire of everything in our society that constrains them, that dis-empowers them, that puts them in competition with one another, that forces them to conform to silly gender norms.

Instead of being a “let’s make fun of the silly girls who parade around in swimsuits and sashes,” book, Beauty Queens is about how all these women – the dumb ones, the blonde ones, the silly ones, the mean ones, the women-hating ones, the ones with trays stuck in their head, the ones who love lipstick and the ones who love swordfighting – are actually awesome. It’s a book that’s incredibly supportive of girls and their friendships and their culture. It’s a book that’s also incredibly good at portraying a diversity of female experiences – we have, among others, a transwoman, several women of color, a lesbian character, a deaf girl, a die-hard beauty Queen and a girl who hates beauty pageant (among others). And it’s a book that manages to be critical of oppressive gender norms all while being fantastically optimistic about the potential for making those gender norms explode (and the potential to live fulfilling lives in spite of them).

As the book goes on, the teen beauty queens stop being wary acquaintances playing their prescribed pageant roles and learn to respect and like one another as real people. These developing friendships allow the teen beauty queens to unravel the secrets of the island – and the secrets of their own identity. They discover who they are outside their beauty queens personas. And then they blow things up.

Empowerment and blowing things up.

You want to read this. Trust me.

Mary Lou: “Maybe girls need an island to find themselves. Maybe they need a place where no one’s watching them so they can be who they really are.”

3. Power and Majesty by Tansy Rayner Roberts

Tansy Rayner Roberts Power and Majesty

In Power and Majesty, the first book of the Creature Court trilogy, Velody, a dressmaker, discovers that she is the potential new King of the Creature Court, a group of magicians who defend the city of Aufleur during the night. The Courtiers are almost all men; the King has always been a man. Should she become King, Velody would be the first woman to ascend to the throne.

Power and Majesty is one of the rare books where a woman enters a male-dominated profession yet still manages to maintain her old female friendships. She beats the curse! Whoo!

Velody lives with her two best friends: Rhian, a former rich girl whose family disowned her for going into business, and Delphine, a florist recovering from an old trauma. Rhian and Delphine are as important in Velody’s journey as the beautifully dangerous men of the Creature Court.

Rayner Roberts’ portrayal of Velody, Rhian and Delphine’s love and loyalty for one another is beautiful, smart and insightful.When Velody enters the Creature Court, her first priority is protecting her friends. She battles other Courtiers to keep them from hurting Rhian and Delphine.  When Rhian and Delphine discover that Velody’s the (potential) new King, their first priority is protecting her. They enter into the dark world of the night to support their friend (as best friends do).  They enter into the world of the Creature Court, I should add, almost completely defenseless, since Rhian and Delphine, unlike Velody, have no magic. But they want to protect their friend, and they find ways to do it. Because that’s what you do for your best friends. You go into the night and you fight the bad guys and you find ways to protect them. No matter what.

And it proves that yes, stories about women entering male-dominated fields are not incompatible with stories about powerful female relationships. It’s sad that more writers haven’t realized this.

I haven’t read the next two books in The Creature Court trilogy because they are only available in North America via kindle, and my kindle is down for the count (if anyone knows where I lost my power cord, please tell me!) But reviews assure me that the Rhian/Velody/Delphine relationship remains a huge part of the series. I can’t wait.

“From that day forwards, Delphine pretended she had intended to take the ribboning apprenticeship all along, and neither Velody nor Rhian every challenged her on it.
That was what friends did.

4. Air by Geoff Ryman

Air Geoff Ryman cover

I’ve talked about Air before, in my “Eight Great Books of Science Fiction for Women” post. Possibly because I love it madly.

Chung Mae lives in Kizuldah, a small village in the fictional country of Karzistan. One day, the authorities conduct a world-test of a new technology called Air. Air is like the internet – in your head. The villagers, who don’t own computers or television, are thrown into a panic by this test. One person dies.

Chung Mae, who is nothing if not resourceful, realizes that the village needs to adapt quickly if the villagers are going to survive the full implementation of Air. She launches a large-scale campaign of preparation. And the people she recruits for her campaign?
Other women.

The women are the engines of change in Kizuldah; it is through their relationships, their ambition and their pragmatism that the town survives. Chung Mae and her friend Wing Kwan, for example, use the television to set up a fashion business selling traditional clothes to fashion houses in the USA. Chung Mae and her friends – and rivals – fight and bicker. They create alliances and friendships; they hide their activities from men; they roam out in the world; they help one another protect their families. It’s one of the most realistic portrayals of female friendship I’ve ever read. These relationships are familiar to me. The women are  real people, and their friendships ring true – intense, fulfilling, and sometimes destructive.

“Kwan looked sober. “We’ve been through a lot together.”
“Oh! You could say that ten times and it would still not be enough.”
“But we came through.”
“We came through.”
Kwan hugged her. “You can stay, you know.”
Mae touched her arm. “I really do not know what I would have done if my friend Wing Kwan had not been so kind. There would have been nowhere else for me to go.”

5.The Freedom Maze by Delia Sherman

delia Sherman freedom maze cover

I don’t think it’s a coincidence that three of the nine things I’m recommending are young adult novels (The Trickster series, Beauty Queens and The Freedom Maze) Young Adult SF/F tends to do a lot better in the female friendships department. Perhaps because YA has a wide female readership and authorship, and female friendships have become an established YA trope.

The Freedom Maze is a very recent read of mine, and I can’t recommend it enough. Sophie, a teenager living in 1960s Louisiana is spending a long, boring summer at Oak Cottage while her mother takes accounting classes in the city. One day, Sophie wanders into the garden maze. When she comes back out, she’s been transported to 1860 – the adventure-story-loving Sophie assumes this is the start of a grand time-travel trip.

But things go wrong very quickly: the Martineau family mistakes Sophie for a slave because of her tanned skin, and put her straight to work.

Sophie begins to form friendships with her fellow slaves – specifically with Africa, a smart, strong hoodoo practitioner who helps protect other slaves from their white owners, and with Antigua, Africa’s headstrong daughter. As she becomes closer to these two women, Sophie moves deeper into the reality of slavery. Like Kindred (another time-travel slave-narrative), The Freedom Maze pulls no punches in its depiction of slavery. Sophie’s experiences as a slave are horrific, a far cry from the “Gone with the Wind”-esque picture of happy darkies she’s been taught.Her allegiance to her old ideas of racial politics, her family (the Martineaus) – and even the time period of her birth – begin to fade away. Instead, Sophie relies on Africa and Antigua’s help to survive – and in return, helps devise a plot to save Antigua from being sold downriver to New Orleans.

The novel is very much concerned with the similarities (and disparities) of women’s experiences across races and time periods. It’s also a brilliant portrayal of the way black women’s friendships and relationships helped slaves survive, and even gain agency, under horrific conditions.

“Come with me then,” Antigua turned to her, eyes glinting in the lamplight. “Come take the boat with me, we be free together.”

6. The Female Man by Joanna Russ

The Female Man Joanna Russ

The Female Man is one of the most important SF/F works of the 20th century. It a difficult, confrontational, knotty novel that will chew up your brain and spit it back out. And it’s almost entirely centered around women’s relationships with other women.

The story follows four women on four parallel worlds. Joanna lives in a world much like ours. Jeannine lives in a world where the Great Depression never ended and Adolf Hitler died in 1936. Janet comes from Whileaway, an all-woman planet where the men died in a plague eight hundred years ago. Jael’s world, meanwhile, is a dystopia where men and women are engaged in a literal “battle of the sexes.”

Near the beginning of the novel, Janet mysteriously shows up in Jeannine’s world, then manages to drag Jeannine to Joanna’s world (our world). Eventually all three women end up on Jael’s world. The four women become friends and allies (with varying degrees of success) as they try to understand their predicament. The novel is, essentially, an incisive and moving examination of how women relate to other women. Who are these women to one another? What are their experiences of womanhood? Can they understand one another across these vast cultural differences?

Complex interpersonal relationships between four women who are essentially the same woman (they share the same genes)? Parallel worlds? Feminist utopias?
Count me in.

7. Yoko Tsuno by Roger Leloup

Yoko Tsuno On the Edge of Life Cover Roger Leloup

I almost didn’t include Yoko Tsuno -  though it includes some of the most interesting and intense female friendships I’ve encountered in Science Fiction – because it’s a french comic book series.

And I didn’t think there were any English translations.

BUT THERE ARE.

Two of Yoko’s alien adventures have been translated as “The Adventures of Yoko, Vic and Paul.” Six of her other books have English translations – The Frontier of Life, The Time Spiral, The Prey and the Ghost, Daughter of the Wind, The Dragon of Hong Kong and The Morning of the World. Most of these are out of print, but you may be able to get them at libraries or amazon (I saw some cheap copies). I don’t know if the translations are any good, so this isn’t a ringing endorsement… but I’ll try to find out.

Anyways. Back to the point. The series, which served simultaneously as my introduction to science fiction and as my introduction to comic books, follows Yoko Tsuno, an electrical engineer  who has a propensity for getting herself involved in epic adventures. It’s an action series, and a science fiction series. But it’s also a series which, at it’s core, is about friendship. Yes, Yoko has her constant traveling companions, Vic and Paul. But Vic and Paul are a background noise; they’re not central to the series. Yoko’s most important friendships are with women: of the 23 books I’ve read, 18 feature a prominent friendship between Yoko and another woman.Indeed, most of Yoko’s adventures come about because she’s trying to help a friend.

And instead she ends up in the middle of a volcanic eruption.

Yoko is deeply, fiercely, uncritically loyal to the women she becomes friends with. It does not matter if you’re a criminal, an heiress, a time-traveler, an alien, an assassin or a rogue scientist: if Yoko likes you, she’ll be friends with you. And once she is, she will walk through fire for you. Or travel to a galaxy a hundred light-years away for you. Or fight the devil for you (this is an actual plot; I am not even kidding). Or time-travel for you.

Honestly, Yoko is a bit like James Bond. Every movie, Bond has a different girl he sleeps with; every book, Yoko has a different woman she become friends with. Unlike Bond, however, Yoko stays close to these friends, who remain important characters throughout the series. Her navigation of her complex relationships with a diverse group of women is a highlight of comic books.

James Bond. Except with less sleeping around. And more awesome.

Yoko Tsuno Khany Roger Leloup

Yoko and her friend Khany, the leader of Vinea

Eva: “Careful! Do you always drive this fast?”
Yoko: “Yes – when I think I’m about to find a friend.”

8. The Orphan’s Tales by Catherynne Valente

Catherynne Valente The Orphan's Tales In the Night Garden Cover

Someday, I will stop raving about Catherynne Valente’s Orphan’s Tales, and everyone will breathe a sigh of relief. But today is not this day.

Yes, on top of being a feminist retelling of A Thousand and One Nights, The Orphan’s Tales features women who talk to other women. Lots of women who talk to other women, in point of fact. There are many tales, and there are many female friendships. There are also many male friendships and many male-female friendships, all of which are rendered exquisitely by Valente’s  storytelling.

Listing the many female friendships in this series would take far, far too long. So I’ll just focus on the crew of the Maidenhead.
The Maidenhead is an all-female ship: the Captain, the navigators, the deckhands – all of them are women. All of them are also monsters – satyrs, three-breasted women, fox-women etc. They go around the world, rescuing other monstrous women and welcoming them into their ranks. They mentor one another – one of the most important friendships is the one between Tomomo, the Maidenhead’s first Captain, and Saint Sigrid, the Maidenhead’s second Captain. And they become renown the world over… before disappearing mysteriously in the deep blue sea.

Sigrid, an old woman who worships Saint Sigrid (and who used to be a bear), befriends Snow, a white-haired orphan. The two of them go on an epic quest to discover the location of the Maidenhead; they eventually get themselves swallowed by the same giant whale who swallowed the Maidenhead a few hundred years ago.

This is an epic, “fight-armies-for-you,” “get-swallowed-by-a-whale-for-you,” group of awesome, loyal, sromantic female friends. The kind I always look for in my fiction.  And it is glorious.

“Of course we’ll take you,” The Saint said. “Tommy bade us never turn away a recruit. We are a family of monsters, and the birth of new beasts is a cause for joy.”

9. Xena: Warrior Princess

Xena and Gabrielle

Don’t mess with success

I couldn’t make this list without putting Xena: Warrior Princess on it. Xena and Gabrielle are perhaps the only truly iconic female friendship in SF/F culture.* They’re our Kirk and Spock, our Frodo and Sam, our Holmes and Watson.

{when I say “iconic,” what I mean is: everyone knows about them}

And yes, I know. They’re sleeping together. We all know they’re sleeping together. It’s a truth universally acknowledged in Xena fandom that Xena and Gabrielle are a couple.

But despite all the queer subtext, the two women never have a relationship on-screen. As far as the show is concerned, they’re just very close friends. Very, very close friends. So  I think it’s safe to call them friends for the purpose of this list.

Besides, they started as friends.

Xena: Warrior Princess follows the travels of Xena and her companion, Gabrielle, as Xena tries to make up for her dark past as a warlord by saving the helpless. There are a lot of explosions. And swordfighting.

The two women are constant companions. Gabrielle is initially a naive farmgirl who joined Xena to have adventures (and avoid an arranged marriage), while Xena is… a formerly evil warlord. Many of the individual stories involve Xena saving Gabrielle (or Gabrielle saving Xena). And the major emotional arcs in the series center around Xena and Garbrielle’s friendship.

They’ve died for each other. They’ve fought armies for each other. They’ve saved – and killed – each other’s children. They’ve gone to heaven and hell together. They were crucified together. They raised a daughter (Hope) together. The show calls them “soul mates.” They’re reincarnated together.

They’ve got the most epic friendship of all times, is what I’m saying. As far as I’m concerned, Kirk and Spock, Frodo and Sam and Holmes and Watson can all go take a hike. It’s Xena and Gabrielle all the way for me.

Xena: “Gabrielle, the love that we have, it’s stronger than Heaven or Hell. It transcends good or evil. It’s an end in itself! Our souls are destined to be together.”

[Ares, upon discovering that Xena is pregnant]
Ares: “I didn’t know you were looking for a father.”
Xena: “I’m not.”
Ares: “Well then, someone clearly has the job.”
Xena: “Yeah, Gabrielle. “

Xena and Gabrielle Friends

Xena: “So… you’ll be my friend?”
Gabrielle: “Sure! I love a woman with a shiny sword.”
Xena: “HAHA, we’ve beaten the curse!”
Gabrielle: “The curse?”
Xena: “The curse that says no two women in SF/F can speak to each other without dying.”
Gabrielle: “Yeah, I’m pretty sure that’s a myth.”
Xena: “Uh, Gabrielle, we live in ancient Greece. One of our best friends is a Centaur. The other ones are Amazons and Gods. It’s quite mythic around here.”
Gabrielle: “Okay, so it’s not a myth. It’s an urban legend.”
Xena: “You’re an urban legend.”
Gabrielle: “Oh, ha-ha. You’re lucky I like your sword, or I’d go find a smarter friend.”

Edited To Add:

I’m keeping a running list of all the books/TV shows/whatever with prominent female friendships that I remembered AFTER writing the list. [I'm only adding things to the list that I've seen or read, just because it's the only way I can vouch for their...veracity. Doesn't mean I don't agree with other suggestions!]

1. Cold Magic and Cold Fire by Kate Elliot. How could I forget about this series? (which I love) Cat and Bee 4ever!

2. Sailor Moon. For obvious reasons.

Related Posts:

Why I Don’t Read Comic Books: A Call for Recommendations 

May Reading Roundup: Who Saw the Fantasy?

I Never Wanted to Be A Boy (A Tribute To Authors)

How the Power Rangers turned me into a Feminist


Why I Don’t Read Comics (A Call for Recommendations)

[This could be more accurately titled "Why I don't read American Superhero Comics"... but I'm lazy]

“So,” you ask. “Why don’t you read comics, C.D.? “

Me: “Because I hate fun, that’s why. I’m a fun-hating, humorless feminist who couldn’t recognize a good piece of work if she tried. And I live a miserable, miserable, funless existence. With no fun. Did I mention I hate fun? ‘Cause I do. I hates it with every fiber of my un-fun-having existence.”

You: “…well, yes, but that’s pretty obvious. Any other reason?”

Me: “You really want to know?”

You: “I really want to know. Why don’t you read comics, C.D.? My existence will be meaningless if you do not answer this question.”

Me: *Sigh* “This is going to be a complicated one. And  rage-filled one. Are you ready for the rage?”

Hulk rage Avengers Loki

And you wouldn’t like me when I’m rage-filled

You: “Hey, I read your American Idol coverage. I can handle the rage.”

Me: “Okay… you asked for it. It’s time for some serious epic-ranty writing: I’m turning on the Daft Punk-and-Xray Dog itunes playlist.

You: “NOOOO! NOT THE DAFT PUNK AND X-RAY DOG PLAYLIST!”

Me: “TOO LATE! *maniacal laughter*

***

This post has been a long time coming. I’ve basically been planning to write it since last summer… back before I had a blog. Heck, I’m not sure I didn’t get this blog just so I could write this post. So, you know. There’s some bottled-up rage coursing through the prose. And some bottled-up fangirl SQUEE too – but mostly rage.

Part 1: My (Sordid) History with Comic Books

At some point during DC’s reboot last summer (*shudder*), I thought: “I love superheroes with the fiery passion I usually reserve for flourless chocolate cake and the writings of Tamora Pierce. So why don’t I read comic books?”

And then I thought: “Wait. I do read comic books. I’ve been reading comic books my entire life. I remember reading comic books before I remember reading actual books.”

Well, frack me. I do read comic books.

And I love them.

Madly.

The thing is, I didn’t read typical American comic books. My family is french, and I spent a good part of my childhood in France. I also had access to my mother’s massive collection of french BD (Bandes Dessinee = “drawn strips”). So I wasn’t reading Captain America and Uncanny X-Men and Wonder Woman. I was reading Tintin and Lucky Luke and Asterix.

And I was reading Roger Leloup’s Yoko Tsuno.

Yoko Tsuno is quite possibly the best thing ever. Don’t quote me on that. The heroine, Yoko, is a japanese electrical engineer who comes to France looking for work, and who ends up having a series of very science fictional adventures (in the first book, for example, she discovers that aliens are living under the surface of the earth after having escaped their dying planet).

Yoko Tsuno Les Trois Soleil de Vinea Roger Leloup Cover

[Hey, look at that semi-realistic anatomy!]

Yoko is my go-to archetype for action heroes. She practices aikido and kyodu (japanese archery); she can shoot a gun and handle any alien weaponry you give her; she flies helicopters and gliders; she rides a motorcycle, and she can fix her darn coffee machine when it breaks. Despite her many martial talents, she prefers using compassion and intelligence to solve problems. She’s fiercely loyal to her friends. She’s also prideful, egocentric, dangerously curious and puts personal honor above everything else. Which gets her into immense amounts of trouble.

I love her, and I am so annoyed there aren’t English translations, because I think other people would love her madly too.

I was also reading Sailor Moon. [A japanese manga, not a french BD] Which: say what you want about the ridiculousness of the heroes’ outfits, but that was a well-drawn, fun, intelligent manga that portrayed a group of competent women saving the world. It had awesome female friendships, it had lots of weird-ass mythology (like Usagi’s future daughter traveling back in time. Fantastic WTFrackery.), it had a male hero who in no way took away from Usagi’s agency, all the female characters were different and interesting…

[Are you noting a theme? I'm noting a theme]

WITCH Cordelia Will

As I grew older, I started reading WITCH. Sure, WITCH would not win a “realistic portrayal of anatomy” award – I, for one, would like to know where the girls store their organs when they transform – but it was another group of cool, interesting young women saving the world. With SUPERPOWERS. And awesome clothes [fashion junkie. Can't help it]. I’ve got three giant piles of WITCH comics on the floor of my room because I’d collected so many of them that they broke the bookshelf.
I’m not even joking.

Oh, and then I discovered Les Passagers du Vent. Super-inappropriate for a ten year old to read (Rape! Sex! GRAPHICALLY PORTRAYED Sex! Really accurate depictions of torture and violence!). But also one of the best BD series of all time (yes, I am willing to go there). It takes place in the 18th century, and follows the adventures of Isa, a former noblewoman whose identity was stolen by her best friend. Isa is a bit like the count of Monte Cristo… if the Count of Monte Cristo was a bisexual, cross-dressing adventurer-turned-abolitionist. You don’t want to mess with her. She comes up with the most creative (and vicious) forms of revenge. Isa was my first introduction to the twisted, tortured action hero, and I never turned back.

Les Passagers du Vent La Fille Sous La Dunette Francois Bourgeon

Not to mention the artwork, which is stunning

So my introduction to comic books involved a whole lot of strong, competent female superheroes and action heroes. And a lot of female-led titles. And even though these women all fit pretty standard “beauty” norms (thin, young etc.),  they also weren’t overtly sexualized. They were smart, competent, interesting women who happened to be beautiful. They weren’t posed specifically to show off their “sex appeal.” They made things explode and they punched people and they were awesome. [Nothing induces hero-worship in a ten year old so much as someone who can make things explode

Catwoman zero cover

What? The Everloving? Frack?

When I came back to the States, I started watching the Batman TV show (whichever one was on in the 90s). And I loved that too. Because Bruce Wayne was all brooding and efficient, and he had the best theme music ever (Na Na Na Na Na BATMAN). Plus, he was great at making things explode. This led to my discovery of the X-men: Evolution TV show. I became a huge fan of the X-Men in general, and of Rogue in particular.

Part 2: The Rage

Now, here’s where we’re going to get away from the SQUEE portion of the post and into the RAGE portion.

I was informed by a helpful friend that the X-Men TV show was based on a comic series.

And that’s when all the trouble began.

First I tried reading the X-men comics. The problem was that at the time, they were running the “House of M” arc. Which is a terrible place for a newbie to come in. I spent the entire time going:

“Well, this is boring. Who are these people? And where the frack is Rogue? Where’s Rogue? Where’s Rogue? Where’s – “

But, you know, stuff like this happens. So I tried some other comics. And I inadvertently managed to land on a group of comic books with some real WTF posing and major sexualization of female characters. I honestly can’t remember what these comics were, because I was so appalled with what was happening that I blotted the whole thing out. I’m talking MAJOR costume fails (and when I say costume, what I really mean is: lack thereof), and enormous breasts on top of tiny, tiny women, and… yeah. I wish I could remember the name of the comic, because it’s begging for an Escher Girls post.

Let’s be clear: I’d spent years seeing naked women in the Passagers du Vent comics with no problems at all. But these comics were just – they were so ridiculous. I could not take the superheroines seriously. Who in their right mind would go fight the Big Bad Guy wearing four-inch spike heels and a bra? A bra, which, I might add, provided no breast support whatsoever (because the breasts were practically popping out). The men in the comics, on the other hand, were fully covered, and stood like normal human beings do.

I probably could have overlooked this if the female characters themselves were good, but TWO of them were killed off in the same issue. And the third one was completely incompetent.

I was done. I went straight back to my Yoko Tsuno and Les Passagers du Vent, and I stopped trying to get into American Comics.

Until last summer.

Last summer, I heard that DC – one of the two major comic book companies – was rebooting and revamping all of its monthly superhero books. “Well,” I thought. “That would be a great way to get into American superhero comics! I’m going to keep an eye on that and see how it evolves.”

[Terrible ideas. I have them all the time]

Anyone who is at all interested in comics and/or feminism knows what happened next.

First hint that things were not going to end well: People realized that DC was going from 12% female creators (terrible) to 1% (even MORE terrible). Out of 160 artists and writers… three were women.

Second hint: the de-paralyzing of Barbara Gordon, AKA Oracle. Barbara Gordon was once Batgirl, before she was shot by the Joker. She survived, but was paralyzed and started using a wheelchair. She then became an icon for the (real world) disabled community when she got back into crimefighting, wheelchair and all, as a member of the Birds of Prey team.
And the DC 52 reboot completely got rid of that history and turned her back into Batgirl.
People were not pleased.

[It should be noted that my understanding of the Barbara Gordon canon is... less than perfect. If you know more than I do, please call me out on my mistakes]

Third hint: the cancellation of major female-led titles like Power Girl. The disappearance of major female heroes like Huntress and Stephanie Brown.

Fourth hint: the really gruesome treatment of female fans at Comic-Con when one of them dared to ask DC creators: “where are all the women?”
Turned into a PR disaster, because the creators and execs were downright rude and insulting.

Fifth hint: the books come out. The Catwoman and Starfire comics were complete and utter debacles. See photo of Starfire below.

Starfire DC 52 reboot

Starfire… I don’t even know.

Let me put it this way: I went to three comic book panels at WisCon, and the panelists were all STILL MAD about the reboot. A year later.

To be absolutely fair, the DC reboot was thrown together in such a hurry that they can’t possibly have had time to pull together a misogynistic conspiracy to alienate and exclude female readers. It all just happened by accident! Imagine what they could have achieved if they had been trying!” (Andrew Wheeler at No More Mutants)

Seriously.

Look, I understand if I’m not DC’s primary market. I think it’s a stupid move, personally, because comic books are dying and DC could use new customers… and you know who isn’t reading comics? You know what vast untapped group of potential consumers might start reading comics if the industry made a decent effort to market to them? [Yes, that would be women]

But okay, if you don’t want to appeal to women directly, that’s your terrible business decision. I’m not asking you to suddenly start catering to my every desire. I’m just asking you to stop actively offending me. It’s really not that hard.

To quote Lara Hudson at the Comics Alliance:  “(I have long maintained that to bring in more female readers, superhero comics don’t even need to specifically target women as much as they need to not actively offend them. This is not an insanely hard to thing to do, and yet here we are.)

When you make no effort to hire female creators, you show that you don’t care about women. When you cancel popular titles led by female heroes, you show that you don’t care about women. When you treat female fans rudely – refusing to answer their questions, dismissing their concerns, making pseudo-excuses about how DC is the ‘most diverse’ comic book company – you show that you don’t care about women.

When you take comic books that women could easily get on board with – like Catwoman – and you spend the first two pages of the comic showing shots of Selina Kyle in her lingerie (mostly of her breasts and butt) while refusing to show her face -

You’re showing who you do care about.

And it’s not women.

Here’s the thing, Mr. Comic Book Executive/Business Guy/Whatever
When they tell you that your artistic depictions of female heroes are losing you customers, they are NOT JOKING.
When they tell you that turning your female characters into a giant fanservice for straight men turns women off…
They are not joking.
I know you don’t get it. But trust me. Most women don’t want to see themselves portrayed just as fanservice. They don’t want to see female characters depicted as pure objects of male desire.
I can hear what you’re thinking:”She’s just sexy! You must hate sexy! You hate sexy women because you’re jealous! And you hate sex! You’re a slut-shamer!”
*Deep breath* There is a major difference between a comic where the female character is smart, competent, powerful and also sexy… and comic book where the first priority, in all cases, is to show the female character as being sexy.
Natasha Romanov/ Black Widow in The Avengers movie is sexy, because she’s a sexy woman. But she’s not fanservice.
Batman, when he stands around looking all broody, is sexy. But he’s not fanservice. He’s not being posed for the sole purpose of being “sexy.” (here’s what that would look like)

Catwoman up there?
Is fanservice.

Women want to connect with characters.
And it’s pretty hard to connect with a character when all you see of her for three pages are her boobs. I mean, nothing against boobs, but they don’t do much for me.

The DC reboot was hell on wheels. The months of internet debate, the accusations, the “all you humorless feminists just need to get laid” (ad infinitum) etc. Watching DC rolling out their products, and seeing that yes, in point of fact, women were right to be mad, women were right to be afraid, because they really were screwing up…

I gave up.

I stopped trying to get back into superhero comics.

Because I couldn’t take it anymore. I honestly couldn’t. I couldn’t take loving a product that was explicitly marketing away from me. That dismissed me as a potential consumer. I couldn’t take being in a fandom where I was treated like a unicorn, like an exception. I couldn’t take being in a fandom where people said: “but no women read comics anyways, so it doesn’t matter.” I couldn’t take loving a medium that uses female characters solely to appeal to the desires of straight men. I couldn’t take loving a medium that doesn’t care about me, that treats women as windowdressing or as cheesecake. That throws good female characters overboard to motivate the “emotional journeys” of male characters.

I cannot even get into the bullshit of the “but women don’t read comic books” argument. First, it’s not true.

And second: Yeah, lots of women don’t read comic books.

And this is part of the reason why.

Mr. Comic Book Executive/Business Person/Whatever.
Here’s the thing: I would like to read comics. I would like to read comics very much.
I have money I would like to spend. And I would like to spend it on your product. And I think you would like that.

But I’m not going to spend it on a product that couldn’t give a rat’s ass about women.

You are driving female readers away. You drove me away, and I have a pretty high tolerance for this sort of stuff. I read Science Fiction. I participate in SF fandom. It’s not the most female-friendly place on the planet.

*deep breath*

Okay. I’m calming down.

I know I’m being unfair. I really do. I know that -  if I take time, if I do research, if I find like-minded fans – I can find superhero comics that aren’t offensive. That tell great stories without turning the female characters into window dressing. I know this because, as previously mentioned, I am a science fiction fan. I spend a lot of time dealing with friends and acquaintances who don’t understand my love for the genre because they think science fiction is a sexist medium.

But as a fan, I know science fiction isn’t inherently a sexist genre. It has a lot of really problematic stuff, yes. The vast majority of the big-name series are headlined by white men, yes. The genre has a problem with self-examination and with accepting female fans as equal to male ones, yes. But there is space in science fiction for women. It’s not “inherently” a man’s genre. There are many wonderful feminist science fiction books. There are many wonderful feminist science fiction fans.

And I’m sure that the same thing is true of comics. In fact, I know it is – most of the comics I read when I was young had positive portrayals of women. if I put the effort in, I’m sure I could find some wonderful feminist superhero comics.

Part of the problem, frankly, is exhaustion. There’s only so much I can do. Unlike a straight white male comic book fan, I do have to put significant effort in if I want to find series with protagonists who look like me. I have to put even more effort in to find female protagonists who are portrayed respectfully. And since I already spend a lot of time doing that in the science fiction field…

I’m sort of sick of it.

Because I want to read comics to have fun, darn it. I know I joked about being a humorless feminist at the top of the post, but a big part of the reason I avoid comics is because they’re not fun anymore.

I don’t want to be angry all the time. I don’t want to be dissecting gender roles all the time. I don’t want to post five thousand word rants about how black female heroes are portrayed as animals. I don’t want to have to spend hours on the internet, sifting through reviews to try to find the three non-offensive superhero titles.

I want to have fun. I want to pick up a random comic book and see a bunch of awesome people having awesome adventures. And see things explode. A straight white guy can pick up almost any comic book and find people like him – straight white men – portrayed in a respectful, intelligent fashion. But I can’t do that.

It’s not fair to continually ask female fans – or POC fans, or queer fans, or disabled fans – to put more effort in, and to deal with more BS. It’s just not.

It shouldn’t be this hard for potential fans to engage in comics. It shouldn’t be this painful. It shouldn’t be this rage-filled. Because yes, some female fans will put the effort in, but a whole lot of them (like me) will look at the industry and say “if it doesn’t respect me, why should I put the effort in?”

So.

That’s why, three thousand words later, I don’t read comics. Or rather, why I don’t read American Superhero comics. I still read my french stuff.

Part Three: A Call for Recommendations

Here’s where it changes.

In the past few months, I’ve decided that I would like to give comics another try. I’ve taken a careful stock of my patience – and my rage – and decided that yes, I can, for a short period of time, put in the requisite effort to find the good stuff. For a few months, I can handle the female-unfriendly comic book fandom. Just long enough to see if it’s worth it. To see if I can handle it full time.

Because I do love comics. I do. I wouldn’t put this much effort into a medium that I didn’t love with a mad passion. And I miss them. I keep hearing people talking about Batgirl and Oracle and Captain Marvel (Carol Danvers), and I want to read those books so much.

More importantly, I believe in comics. I know that they aren’t an inherently misogynistic medium. And I know that the way to change comics is to get involved. It’s to read the works. It’s to support the good ones, and recommend them to others. It’s to call out the problems and cheer on the solutions. Not everyone can. Not everyone has the capacity to do so.

But right here, right now, I do.

Plus, I just want to have fun. And see some things explode. And people get punched in the face. You know. The fun stuff.

Comics seem like a good way to go.

So. This is a call for recommendations. What should I read? Ideas? Advice? I really need it! I’m going in pretty cold, and although I have some leads (*cough* Gail Simone *cough*), I trust personal recommendations more than I trust the internet.

A couple things to note. I have access to a library with a fair collection of trade paperbacks, and I’m willing to invest a (small) amount of money into this venture. So nothing… super expensive, thanks.

Obviously, I am not interested in reading overtly misogynistic work. I’m also not interested in dealing with comics that have a huge amount of fanservice. Some is okay (particularly if it’s gender neutral, although I’m not holding my breath). I’m also not interested in reading anything that’s racist or homophobic. I have a very high tolerance for portrayals of sex and violence, so long as the sex isn’t pure fanservice.

If you’ve got a comic, on the other hand, that has hilariously bad portrayals of women… I probably wouldn’t mind reading one. Just so I can snark about it afterwards. I do read Escher girls, after all.

I will gladly read male-led titles. I’m going to try to read at least 50% female-led titles (since I am a feminist blogger, after all), but there are some great male superheroes, and I’d love to hear about good runs. Although I’m concentrating on American superhero comics, I will also gladly read non-superhero comics (huge fan of Alison Bechdel, for example), and non-American comics (mangas, BDs etc.) as long as they’re available either in english or french.

I honestly do not have a preference between DC and Marvel.

I would also love recommendations for any comics-related blogs that have a feminist spin (like DC Women Kicking Ass) – or that at least have an awareness of gender issues. Comics-related blogs that comment on issues of race, class, sexual orientation, disability etc. are also of interest to me!

And yes, I will be blogging about this. Hopefully, it’ll be more fangirl SQUEE and less HULK SMASH RAGE…but no guarantees.

Hulk Rage Mark Ruffalo

This is what I look like every morning after reading the feminist blogs…

All right. Here we go. The great comic experiment of 2012.

Girl your loins.

And send your recommendations.

*Turns off the Daft Punk and X-Ray Dog Playlist. Everyone else breaths a sigh of relief*


May Reading Roundup: Who saw the Fantasy?

This morning my brother and my stepsister woke up at five (am) to – and I quote – “work on their abs.” Because they’re going to a waterpark today, and they need to look good in their swimsuits.

Hedgehog Headdesk

**Headdesk**

I will refrain from comment. At least they didn’t wake me up. [Thank Maud for small mercies]

***

Anyways! Meanwhile, back at the ranch: Now that WisCon is over – and now that I’ve gotten a couple social-justice related rants out of the way – it’s time to move back to what really matters in life: giant lists of books.

Because why did I start blogging if not to inflict my bizarre reading taste on the public? [Let us ignore the fact that "the public" right now is my brother and a few devoted friends]

In spite of the fact that this month included: the return of the “four times a week” migraines (joy), a transnational move, a Feminist Science Fiction Convention and at least four gazillion doctor’s appointments (if one more person asks me for my family medical history, I’m going to throw myself off a cliff), I did manage to do some decent reading. HURRAH!

Twelve books! Woo! Five better than last month! (yes, yes in fact I am ridiculously competitive, why do you ask?)

Reviews follow the list:

1. A Local Habitation by Seanan McGuire
2. The Killing Moon by N.K. Jemisin
3. Discount Armageddon by Seanan McGuire
4. The Orphan’s Tales: In the Night Garden by Catherynne Valente
5. The Demon’s Lexicon by Sarah Rees Brennan
6. Shine, Coconut Moon by Neesha Meminger
7. The Orphans Tales: In the Cities of Coins and Spices by Catherynne Valente
8. The Cloud Roads by Martha Wells
9. Chicks Dig Time Lords ed. by Lynne M. Thomas and Tara O’Shea
10. Redwood and Wildfire by Andrea Hairston
11. The WisCon Chronicles Volume 6: Futures of Feminism and Fandom ed. by Alexis Lothian
12. Impolitic! by Andrea Hairston and Debbie Notkin

[Fair warning: the longer the summer goes on, the longer these lists are likely to get. I think my record last year was 22 books in a month]

This is a very WisCon inspired list – seven of the books (The Orphan’s Tales, Shine Coconut Moon, Chicks Dig Time Lords, Redwood and Wildfire, The WisCon Chronicles and Impolitic!) were read in anticipation of the convention.

I’ve talked about Redwood and Wildfire, The WisCon Chronicles and Impolitic! at other points during my WisCon recaps, so I won’t go over those again here. Because yes, I do take pity on my devoted readers. I will say that all three books are fantastic and well worth reading, particularly if you’re interested in WisCon, or the Tiptree Award.

WisCon also inspired a rare event at the House of Disorientation: two re-reads. Yes, in fact, I have already read both The Orphan’s Tales: The Night Garden and The Orphan’s Tales: In the Cities of Coins and Spices. But I presented a paper about the series at WisCon, so I needed to re-read them for research [I have over thirty pages of notes. Have mercy upon me]. If you’ve never read Catherynne Valente’s Orphan’s Tales, you really should. They’re some of the most beautiful and thought-provoking books I’ve read in the past few years. Plus, Valente is an incredible prose writer, and her style has never been better.It’s quite difficult to explain what the series is about, so I’m going to cop to the very-basic and somewhat-inaccurate description: it’s a feminist retelling of One Thousand and One Nights.

The Orphan’s Tales are also tailor-made to my interests – they explore gender, bodies, monstrosity, mythology, storytelling, and above all, the concept of belonging. And part of the reason I love them so much is that the books aren’t a critique of fairy tales – they’re a reconstruction of tales along feminist lines. The books show us how stories could be different – they’re rebuilding an entire tradition from the ground up – which I think is arguably harder than just deconstructing a genre.

And the last scene of the last book makes me cry every time. It’s – you know the last two scenes of Lost? When Jack walks into the church and sees all the castaways again, and he remembers? And if you’re me, you completely lose it? Yeah. It’s like that. *sniff*

Okay, let’s move onto a happier note, shall we? [Sorry - the final scene of Lost always gets to me]

Seanan McGuire! Seanan McGuire is always a happier note.

When I discovered Mira Grant’s work, I wanted to read all her books.  ALL her books. Unfortunately, there was only one them out at the time. Whoops. [There are now three books. Yay!] So I was thrilled to discover that Mira Grant was a pseudonym for author Seanan McGuire, who had published LOTS of books.

After reading the first book of McGuire’s popular October Daye urban fantasy series, Rosemary and Rue, however, I was… underwhelmed. It was good, sure. But it didn’t quite work for me.

And then I read the second book, A Local Habitation.

A Local Habitation Cover Seanan McGuire

(great covers, by the way)

HOLY FREAKING MAUD I MUST READ ALL THE BOOKS NOW! NOW! WHERE ARE THEY? WHEREEEE???? I NEED THEM NOW! NOW! NOW! NOW! I MUST HAVE THEM OR I WILL -

Hem. I, uh, really liked the second book. As in: forgoing food and sleep in order to finish reading it. As in: reading it on the plane (which is a terrible idea, since I get motion sickness). As in – okay, I need to stop with the fangirl SQUEE. Calm down, C.D. Remember that people read this thing. It’s public. Get a grip.

Okay.

So, er, plot summary. Yes. I can write cogent thoughts.

The October Daye series centers on October “Toby” Daye, the only changeling (half-human, half-faery) to have earned Knighthood. She’s also a faery detective operating out of San Francisco. In A Local Habitation, Toby’s liege lord, Sylvester, sends her to the County of Tames Lightning (Fremont,CA), to check on his niece, the CEO of a computer games company.

And after Toby arrives, the county is suddenly cut off from other Fae domains, and employees begin to die, one by one.

I love these sort of tense, psychological, edge-of-your-seat narratives, and McGuire writes them like none other. Her characters are fantastic – Toby alone is a masterclass of a character, one of the best urban fantasy heroines I’ve ever encountered.  Add to that McGuire’s portrayal of Faery politics, her exploration of the Faery world, and the computer-science-magic that emerges near the end (a dryad uploaded into a computer, for example), and A Local Habitation is sheer, frackin’ brilliance.

Oh, and it’s terrifying.

Love. It.

Also, as your resident Literature student nerd, I should point out that all the titles of the October Daye series are taken from Shakespeare’s Plays.

Rosemary and Rue – Hamlet
An Artificial Habitation – A Midsummer Night’s Dream

Literature nerd alert, everyone!

I also read Discount Armageddon, the first book of Seanan McGuire’s new urban fantasy series (Incryptid).

Discount Armageddon cover Seanan McGuire
The protagonist, Verity Price, comes from a long line of cryptozoologists  – people who study and protect creatures whose existence has not yet been proven (also known as monsters). But Verity only wants to do one thing in life: dance. So she moves to New York to pursue a ballroom dancing career.

But don’t let the sequins and the high heels fool you. Anyone who can high kick over their head is someone you don’t want to mess with. Verity straps guns and daggers under her dance costume, and she knows enough about the lifecycle of unicorns to scare off a ghoul.

So when a professional monster-hunter shows up in the city and monsters begin to disappear, Verity is ready.

And the result is awesome. Discount Armageddon is the most entertaining of McGuire’s work so far – it’s sheer, ridiculous fun.

One of McGuire’s best traits as a writer – both as Seanan McGuire, and as Mira Grant – is her humor, which laces throughout all her work. In Armageddon, McGuire’s humor isn’t a sidenote, it’s front and center. I could not stop laughing.

“When in doubt, play dead. Well, unless you might be dealing with a ghoul, or a basilisk, or something else that likes its meat a little ripe. Actually, when in doubt, just start shooting.” (44)

“I really don’t think you should put your hand inside the manticore, dear. You don’t know where it’s been” (1)

“Mother nature is a freaky lady who probably created pot so she could spend all her time smoking it.”

Verdict? Fantastic. Like Buffy the Vampire slayer on steroids – if Buffy were protecting the vampires. Can’t wait for the next book.

One of my most anticipated reads of the month was The Killing Moon, the first book of N.K. Jemisin’s new series (Dreamblood).

N.K. Jemisin The Killing Moon Cover

Orbit does the best covers. Seriously.

I  became an instant fan of NK Jemisin after reading The Hundred Thousand Kingdoms last year, and I’m convinced that the Inheritance series is one of the most best and most original epic fantasy trilogies to come out in the past ten years. So naturally, when I saw The Killing Moon was available a few days earlier than expected in my local bookstore, I bought it.*

(and by “bought it,” I mean “I started caressing it and murmuring “my precious” over and over, until security asked what was wrong”)

Needless to say, I had very high expectations.

Blown. Out. The. Park.

Seriously, I need to start reading some bad books, or people are going to be convinced that I love everything. I really don’t.

But equally seriously: The Killing Moon is incredible. It’s quite different from the Inheritance trilogy, which is good – I do eventually get bored with authors who are too one-note.

[Spoiler: Ninja Priests. Ninja Priests in the city-state of Gujareeh, on a world with two moons]

In Gujareeh, peace is the highest law. The city worships Hananja, the goddess of dreams. The magic-system is based on dreams, which citizens tithe to the priests of the Hetawa. The priests, in turn, use these dreams to heal, to guide, to soothe and sometimes, to kill.  Gatherers – the aforementioned Ninja Priests – bring death to those who are on the verge of dying – but also to those judged corrupt. You don’t die in your sleep in Gujareeh. You are Gathered.

But when Ehiru, a powerful, faithful Gatherer, is sent to Gather Sunnandi, a diplomat from Kisua, he discovers a corruption that taints everything from in Gujareeh.

The world N.K. Jemisin has created is so different, so rich, so well-thought-out, so vibrant and internally consistent, that it feels genuine. Alive. Real. There’s almost no suspension of disbelief necessary, Jemisin’s work is so thorough. And her world is one that isn’t, unlike 90% of epic fantasy secondary worlds, based on a pseudo-european-medieval setting. And hey, I love european-medieval epic fantasy, but damn if it’s not refreshing to see something else for a change. And damn if it’s not refreshing to see something so fantastically well-constructed. We’re so used to medieval settings, we stop noticing how flimsy a lot of the world-building is. Jemisin’s is so superior that it highlights the fault lines in other works. With this book, I have little hesitation in saying that Jemisin is the most original world-builder we have working currently. She’s also one of the most original writers of magic we have working currently – an entire system built on dreams and dream theory? Really? Whoa.

The characters and their trials are equally well-depicted. Although I don’t have space to discuss these in great detail, I would like to briefly highlight what for me was the heart of the book: the relationship between Ehiru and his gatherer-apprentice Nijiri. Although the two are deeply loyal to one another, there are dark elements to the relationship. Ehiru starts to lose control of his magic about halfway through the book, and asks Nijiri to Gather him – to kill him – before Ehiru himself becomes corrupt. Meanwhile, Nijiri is in love with Ehiru. Ehiru is aware of this, and relies on Nijiri’s love, despite not being able to reciprocate it (Gatherers are celibate). That Ehiru uses Nijiri’s love for him to (try) to convince Nijiri to kill him is a fascinating, and repelling, dynamic. This is one of the book’s great strengths – the characters (and the city’s) ambiguous, complex morality.

I’ll leave the final word to my brother, who read the book right after I did.

“God, I love N.K. Jemisin so much!”

(Indeed).

This seems to be my month for fantasy – now that I’m looking over the list, it’s evident that I read almost no science fiction. The Cloud Roads is sort of science fiction, if you squint and look at it sideways. But everything else is fantasy (or just literary). With the possible exception of Chicks Dig Time Lords, which is about science fiction (although it’s nonfictional).

Chicks Dig Time Lords Cover

Chicks Dig Time Lords: A Celebration of Doctor Who by the Women Who Love It is a collection of interviews, essays and cartoons written by female fans of Doctor Who. The contributors examine their relationship with fandom, and their love of the series.

Now, I’ve never watched Doctor Who (I know, I know. It’s on the to-do list). And I still found this book immensely entertaining and insightful. As a fan, I love watching other fans indulge in SQUEE. As a female fan, I’m always interested in seeing how women engage with fandoms that are typically viewed as “male.” And as a science fiction fan, I always like looking at analysis of science fiction shows! So I was quite pleased. SQUEE, science fiction and gender analysis all wrapped up in one shiny package: it’s like my birthday came early.

The book is extremely well-edited – it varies in both tone and content, so it never feels repetitive or one-note. There are essays that are pure fannish SQUEE. There are essays that address the specific trials and tribulations of female fans. There are essays dissecting particularly Doctor Who companions. There are near-academic essays. There are fun stories. There are sad stories. There are interviews with Who Actresses and writers. There’s a discussion of costuming at Doctor Who conventions. There’s even a comic (from the creators of Torchwood Babiez)

Chicks Dig Time Lords won a Hugo Award last year – and now that I’ve read it, all I can say is: Well deserved.

Before I close, a quick shoutout to the books I’m not reviewing in depth, but that I still loved: Sarah Rees Brennan’s The Demon’s Lexicon (great, snarky, dark YA; fantastic narrator; cannot wait to read the next book) and Martha Wells’ The Cloud Roads (old-fashioned fantasy in the best possible way; wonderful prose; interesting social dynamics)

And that’s it for May! I’m already well into June reading, and I’ve tentatively titled this “The Month of All The Incest” – because seriously, three books, all with incest. What’s going on?
But the books are good, so there’s that!

Finally, my self-policing statistics (for gender and race):

12 books

14 authors (or editors)

14 women (I swear, this was not intentional).

10 white editors/authors
4 People of Color editors/Authors
(better than last month)

Related Posts:

I Never Wanted to be a Boy: A tribute to Authors

Please Don’t Tame the Shrew: WisCon 36 Wrap-Up

April Reads are Trapped in Heiddeger’s Hermeunetic Circle

March Monthly Reading Roundup is Winning the Alliteration Award

 


I Never Wanted to be a Boy (A Tribute to Authors)

[This post is a companion piece of sorts to my "How Power Rangers Made Me a Feminist" post, although you don't need to have read that post to read this one. In the Power Rangers post, I discussed how sexism in TV shows had a negative effect on me growing up, while in this post, I discuss how the awesome books I read when I was a kid had a good effect on me as I grew up. You see, I don't hate everything! Just the terrible stuff]

***

I never wanted to be a boy.

And it turns out, that’s somewhat of an unusual experience.

***

Back during my finals season (*shudder*), a series of interrelated blog posts penned by female speculative fiction authors went up. First it was Stina Leicht. Then Kate Elliot. Then Kirstyn McDermott. and N.K. Jemisin. There are probably more I missed.  I was, of course, dying of finals, so I couldn’t do anything more than gather links. But there was something so powerful, and so disturbing, about these women’s stories, that I kept on going back to them.

Let’s see if you can spot the common thread, shall we?

Stina Leicht: “[Girls] are barraged with the knowledge that the world is a dangerous place for them specifically at an early age. I have memories of such information filtering down to me at age eight through ten. So much so, that I went through a phase of denial. I took on male behaviors, thinking that would make me safe. (I was a tomboy.) I also went through a phase of not wanting to be female (…) because I was beginning to understand what was ahead and that the world did not like females.”

Kirstyn McDermott: “I was a tomboy for most of my childhood. Thankfully, I have a wonderful mother who I can’t ever remember saying that I couldn’t/shouldn’t do something or like something or be something just because I was a girl [...] I do remember being told such things by lots of other people, though — including some male relatives. Although I didn’t think I ever consciously took that on board when I was a kid . . .  I reckon it did manage to seep in. And I reckon I reacted to it just the way Stina Leicht did, by rebelling against everything girlish[...] Because being a girl isn’t safe.”

Kate Elliot (guest-posting at The Fantasy Book Cafe): “What I saw was that the things I yearned for–adventure, travel, sword fights, the excitement engaged in by characters in the fiction I loved to read–and the things I had–ambition to strive for lofty goals, an inner drive, a questing mind that wanted to discover–were things that society and literature and film told me were reserved for boys. When I was in 7th grade and twelve years old,  my Language Arts teacher [...]  gave us a questionnaire of “fill in the blank” questions meant, I suppose, to make us think about our selves and our lives [...] The last question was the most open-ended one: “I wish . . . ”
I wrote: I wish I was a boy.
What it meant to me was that it wasn’t worth being a girl.
Being a girl was second-class, even in some ways shameful. Boys got the good things, they were clearly seen to be better, it was obviously better to be a boy, and furthermore, the dreams I had and the desires and hopes were boy dreams, not girl dreams.”

N.K. Jemisin (guest posting at The Fantasy Book Cafe): “I did what I could to reject the GIRL box whenever I could. To that end I’d started reading science fiction — but never fantasy, because fantasy was girly [...] Fantasy was full of women in scraps of stupid-looking armor, being rescued or having relationships or healing people or something. Science fiction was full of men going places and doing things [...] Then I clearly remember thinking, but I’m a girl. And that was it. It wasn’t an especially shocking realization, but it was a profound one. In that moment I began to understand: the problem wasn’t that some books were infested with girl cooties; the real problem was my irrational fear of girliness. And myself.”

Did you spot it?

It’s fairly obvious, but I’ll paraphrase it for practicality’s sake. When they were young, these women all went through a period where they wanted to be a boy and/or they hated being a girl.

[Cue Sigmund Freud jumping out and yelling "PENIS ENVY" at the top of his lungs. Calm down, Freud]

I don’t know about other people, but I find these stories very hard to read. To me, they show how, from a very young age, we teach girls to hate themselves, to think of themselves as second class, as worthless, as unsafe. Even smart, strong, successful women like Kate Elliot, N.K. Jemisin, Stina Leicht and Kirstyn McDermott – women who I might (stupidly) expect to have been unaffected by the negative effects of sexism (again, very stupid assumption) – had to go through a long, sometimes painful, phase where they reconciled themselves to their status as women.

And no one should have to reconcile themselves to their gender.

[Quick side-note: Obviously this particular "I want to be a boy" phenomenon is quite different from transgendered people, whose gender identity does not match their birth sex. But transgendered people shouldn't have to reconcile themselves to their birth sex either; they should be able to safely live as the gender they identify with.//End side note//]

But this phenomenon is not restricted to the four women listed above. If I take a moment to think about it, I can list at least two or three close female friends who have admitted to going through “boy” phases. I can certainly think of more who have deliberately rejected anything “girly.” And then, when I talked to my mother about these stories, she said she’d felt exactly the same way when she was a kid. She’d gone through a phase where she decided she didn’t like being a girl, so she dressed like a boy, talked like a boy and adopted “boy” mannerisms [I saw the pictures. There is proof]. Which shocked the hell out of me, because I’ve always thought my mother was extraordinarily comfortable in the way she expressed her gender identity.

When I think about it, it’s staggeringly common, this desire to be a boy. And on an intellectual level, I completely understand it. Being a girl in our society means not being safe. Being a girl means being judged according to norms which, for all the changes in the past fifty years, are still very traditional. Being a girl means your body is public property. Being a girl means that your rights are a political ping-pong ball; a”hot-button issue.” Being a girl means people feel free to tell you to shut up, sit down and make them a sandwich.

Wanting to be a boy – or at least, not wanting to be a girl – makes total sense.

So why didn’t I ever want to be one?

Because I never did. I’ve thought about this a lot in the past couple weeks, and I cannot, for the life of me, think of any period in my life where I wanted to be a boy. I can’t even think of a period when I really rejected “femininity” (whatever that means) [ Sure, I went through a phase where I decapitated my barbie dolls and buried them in the backyard... but I was always a morbid child]. I have a lot of moments where I wish I were as free as a boy, or where I wish I could walk at night and be safe like a boy, or where I wish that women were paid the same amount as men. But I never wanted to be a boy.

Which is strange. When I was a kid, I read tons of science fiction and epic fantasy – traditionally “male” genres. For years, my greatest ambition was to be – I kid you not – a warrior. I spent hours practicing side kicks against an tree in our backyard. I still have a big heavy stick in my room I used to practice “staff fighting.” Somewhere in my house ( I will not reveal where) is a diary where I recorded my “training” sessions (Hey, don’t judge me, okay? At least I wasn’t plotting the nuclear apocalypse). I wasn’t quite a tomboy, but I was pretty close.

So given how much of my identity was “male” oriented, why didn’t I ever want to be a boy?

On some level, I think I knew, even from a young age, that girls could do anything they wanted to, and the problem wasn’t with girls, it was with people and institutions who didn’t get that. So yes, I could read science fiction as a girl, and yes, I could beat a tree to a pulp as a girl, and there wasn’t anything wrong with me.

But I don’t think this belief came because I was smarter or wiser or better educated than girls who did go through a “I want to be a boy” phase.

I think it was because of books.

Kate Elliot: “After that, at the tender age of 15, I decided I had had enough of there not being anyone like me even in my own stories. I decided to write about girls, about women–about men, too–but women in equal space and equal importance to the story. This was not a small decision. It went against what I saw when I read; it went against received wisdom, especially in adventure stories [...] I realized that in my own small way I might help overturn this diminishment of female lives not only by portraying women in diverse ways that allowed women a full range of personalities, occupations, roles, and stories, but also by respecting the centrality and importance of the women’s work so often considered (often by women) trivial, demeaning, and lesser.”

Tamora Pierce: “Why do I write so many strong female characters? When I was a kid, 7-8 books out of all books written for kids through teens had boy heroes. Those that had girl heroes showed them at “feminine” pursuits, or if they were a little feisty, a male hero had to bail them out by book’s end (…) When I encountered fantasy, I had the same problem: virtually no girl heroes. The ones I found, adult women all, settled down, hated other women, or died. I didn’t understand why there were no girls (or those that existed were severely compromised) in the adventure books, so I began to write what I wanted to read: adventure books with girl heroes.”

Kate Elliot and Tamora Pierce didn’t see female characters, so they started writing them. You know who else did that? Joanna Russ, James Tiptree Jr., Patricia Wrede, Louise Fitzhugh, N.K. Jemisin, Gail Carson Levine, Robin McKinley, Seanan McGuire, Nancy Farmer – the list goes on. And on. There are droves of female authors who grew up reading books with almost no female protagonists, and who turned around and said: “Screw that. I’m writing about chicks.”

And guess who grew up reading those books?

I did.

I read Tamora Pierce. I read Robin McKinley. I read Madeleine L’Engle. I read Harriet the Spy and Ella Enchanted and Dealing with Dragons. I read The Babysitter’s Club (yes, The Babysitter’s Club, you gotta problem with that?). I read Nancy Farmer. I devoured Sailor Moon and Yoko Tsuno. I read Hope was Here and Born Confused.

In these books girls were the heroes – all kinds of heroes. They were knights and policewomen, spies and politicians, ordinary students and fashion experts, electricians and caterers, waitresses and magic girls, aliens and historians – oh my!

So if I didn’t see my girlhood as limiting me, it was because in the world of my reading, there were no limits to what a girl could be, or to how she could save the day.

You know why I wanted to be a warrior when I was a kid? Because I was reading Tamora Pierce. You know why I didn’t see being a warrior as a “male” pursuit? Because Tamora Pierce’s warriors were female. Even in the Alanna series, when Alanna was the only female knight, there were other women warriors [Thayet and Buri, to name a few]. So when I was pounding that tree into a pulp, I was doing it in the grand tradition of Keladry of Mindelan, Buriram Tourakom, Alanna the Lioness and Daja Kisubo (although I’m sure none of them would be silly enough to practice kicking on a tree).

Eventually, my warrior ways (god, this is embarrassing. I’m so glad this blog is under a pseudonym) – prompted me to take Tae-Kwon-Do lessons. Which was lovely, except for the fact that the instructors would always try to goad male students by saying:

“Are you going to get a girl beat you?”

[Spoiler warning: Yes]

Or: “You hit like a girl!”

[No shit, Sherlock. I am a girl]

But you know what? Even though that bothered the hell out of me (and it went straight into my growing realization that “Wow, people are kind of sexist”) – I knew better. I knew no one could joust like Keladry of Mindelan or swordfight better than Alanna the Lioness. I knew no one was stealthier than Harriet the Spy or braver than Usagi (AKA: Sailor Moon) or more loyal than Dimple Lala. I knew no one was cleverer than Ella and no one was smarter than Yoko Tsuno.

I knew that there was nothing shameful with being “like a girl.”

And someday, everyone else was going to figure it out.

So to all those authors who grew up wishing to be boys. Who grew up knowing that being a girl was unsafe, that being a girl made you “lesser than.” To all of you who then turned around and said: “Screw this, I’m writing about chicks.” Who said “girl can be the heroes.” Who were brave enough, and strong enough, and determined enough, to fight the good fight. Who told the people who thought there was no market for girl heroes “You’re wrong” and who got those books published anyways.

To all those authors, in short, who made it possible for me to have a shelf upon shelf of fantastic books with smart, strong, independent women as heroes.

Thank you.

I have never wanted to be a boy. I have always been happy to be a girl. And it’s because you showed me that being a girl was great.

Thank you.

And to all those people who say “but it’s just a book/a video game/ a comic book. It’s not real. Everyone knows it’s not real. So it doesn’t affect you. Now stop complaining about the lack of female/queer/people of color/ disabled/etc. characters and go make me a sandwich.”

I say: “You’re wrong. And go make yourself that sandwich. Git.”

The End

[Giant disclaimer: the state of fiction is nowhere near equitable enough, either when it comes to female characters, or to other marginalized character s(queer, people of color, trans, disabled etc.). In fact, even though I read a lot of books with female protagonists as a child, I still read more books with male protagonists (and that was with me actively trying to FIND books with female protagonists). We're not there yet. But the fight is worth it.]

Related Posts:

How Power Rangers turned me into a Feminist

Eight Great Books of Science Fiction for Women (an Alternative List)

WisCon 36 Wrapup: Please Don’t Tame the Shrew

The Return of the Secret Feminist Cabal


WisCon 36 Wrapup: Please Don’t Tame the Shrew

This is the fourth and final part of my Epic WisCon recap. But before I get there, I have to announce some bad political news:

Scott Walker won the Wisconsin recall.

I have one reaction to this, and one reaction alone:

Cersei Game of Thrones Wine

That is all.

[Oh wait... I can't actually drink wine without getting a migraine, so I must find another way to drown my sorrows. Ideas?]

In silver lining news, Democrats retook the Wisconsin senate. And Madison (my hometown) had over 80% turnout. In Dane County (where Madison is located), only 30% of voters chose Walker (I’m sure the percentage is lower in Madison proper).

So at least I’m living with good company.

Madison is a bastion of left wing progressivism (we have actual marxists and socialists here). Since Wisconsin proper (excepting Milwaukee) is not a bastion of left-wing progressivism, the joke/insult about Madison is that it’s “Seventy two square miles surrounded by reality.”

In light of the fact that Walker won 52% of the vote, I vote we change the joke to: Madison is seventy two square miles surrounded by catastrophe.

Because Walker is a reality I refuse to believe in.

Now, I don’t know about you, but I need a pick-me-up after contemplating the horrors of modern politics. Hey, look! A fanvid! A fanvid that premiered at WisCon! A fanvid about women in science fiction! IT IS PERFECT!

And it is entitled: Space Girls (my mother told me never to watch Science Fiction but I did)

Okay, now that we’re all feeling better… MOVING ON. For life must continue on, and feminist bloggers gotta blog.

Space Babe Tiptree WisCon

And Space Babe’s gotta fight outdated gender roles in speculative fiction.

This the fourth and final part of my epic attempt to chronicle my experiences at WisCon 36, the feminist Science Fiction convention. Here are the links to parts one, two and three. This section covers Monday at the Convention, and my final thoughts about this year’s WisCon (they are deeply philosophical).

I started off Monday with an 8:30 panel.

I know. I am a madwoman, and I must be stopped.

The Great Divide: Are Women and Men Really Different?

From the panel description: “A number of pop science books have asserted large innate differences between the male and the female brain. A recent book by Columbia Professor Rebecca Jordan-Young, Brain Storm, points out the large flaws in the underlying research used by these books. This panel will discuss the science and philosophy behind the difference – or lack of difference – between men and women.”

Again, a subject that is of particular interest of me. One of my pet peeves is non-scientists using science to try to “prove” an innate difference between men and women. Most people who are “interpreting” the scientific data have absolutely no business doing so (and I include myself in this category) because they don’t have the tools to correctly evaluate the validity of research and experiments. I wrote an entire angry rant about this very problem when Roger Ebert decided that the Bestest Idea Ever was to claim that women were better than men (because: science! And evolution!)

But I think it’s fascinating that we as a culture are obsessed with finding scientific “proof” that men and women are fundamentally different. Anytime any kind of scientific study comes out about gender differences, the media jumps on it like my dog jumps on cheese [she loves cheese]. As usual, I’m more interested in the cultural reaction to the science than in the science itself.

What is our obsession with “proving” gender differences? Nancy Jane Moore (who was on the panel) made a great point – “The idea that men and women might not be that different frightens most people.” We – and I include myself in this category – are deeply, fundamentally, and often unconsciously, invested in our current system of gender differences.

Nancy Jane Moore started the panel by saying: “I do have an emotional reaction to the subject…”
Moderator: “Well, you have a female brain.”

Ah, feminist humor. How I love it.

The panelists recapped some of the particularly egregious science used to explain gender differences. As an example, Louann Brizendine, a neuropsychiatrist who argues that there is a wide difference between men and women, uses what Janet M. Lafler called “bad graduate student tactics. She cites references that don’t actually support her point, and she also cites herself.

Now, I’m not a scientist, BUT… I’m pretty sure that’s not the way you do science.

There was also an extensive discussion of “Stereotype threat” which is a concept I’d heard of, but never really understood before. And now that I do, I’m obsessed with it.

What is the stereotype threat? Glad you asked:

Stereotype threat refers to being at risk of confirming as self-characteristic, a negative stereotype about one’s group. It has been shown to reduce the performance of individuals who belong to negatively stereotypes groups. For example, if you remind a woman that she is a woman (a group considered to be “bad at math”) right before she takes a math test, she will do significantly worse than if she is reminded she is a woman after she takes the test.

Yes, in fact, there have been studies that show that if groups are reminded of the stereotypes about their group right before they do a task, they tend to do less well on those tasks. The example above comes from a real study where men and women took a math test and participants were asked to identify themselves by gender either right before or right after the test. Women who were reminded of their gender right before the test began did significantly worse than women who were reminded of their gender after the test was over. There was no noticeable difference in men’s scores either way.

Other examples – and there are hundreds – include the 1990s study where African American and European American students took a test measuring verbal ability. African Americans performed less well. But when the researchers changed the instructions on the test so that participants no longer believed that the test accurately measured intellectual performance, the performance gap reduced drastically. In another experiment, women who took a mathematics exam along with two other women got 70% of the answers right; while those doing the same exam in the presence of two men got an average score of 55%.

In other words: cultural stereotyping affects the way people think about their abilities, and thus the abilities themselves. If you tell a girl that women are bad at math, she is more likely to be bad at math.

David Peterson also cited a really interesting study (I wish I’d taken down the reference) that found that if you introduce games and forms of play (like legos!) that teach spatial skills early enough, there is no noticeable difference between girls and boys’ spatial ability by the time they enter elementary school. [How to solve gender inequality 101]

A great deal of the panel involved book recommendations, or resources for further research, which I really appreciate (being from an academic background). AND, one of the panelists (David Peterson) is a scientist himself, so… these are probably pretty decent [Feel free to skip this part, since it's just a giant pile of books - but I thought some people would find this interesting]

Nancy Jane Moore’s “Bad Science: The Flawed Research into Gender Differences in the Brain” is a really good starting point (since it recaps a lot of the good (and bad) books about gender science). You download it here.

All the panelists recommended Rebecca Jordan Young’s book Brain Storm: The Flaws in the Science of Sex Difference, which is a very dense, highly academic text that systematically dismantles most of the recent pop-science “proof” of gender differences.

Lise Eliot’s Pink Brain, Blue Brain: How Small Differences Grow into Troublesome Gaps – and What We Can Do About It was another panel favorite. According to Peterson, Eliot( a professor of neuroscience) argues that there is little physical difference in the brains of boys and girls, and the differences that arise in time (for example, in math performances) are mostly the restu lfo a matrix of environmental and cultural effects.

Nancy Jane Moore called Cordelia Fine’s Delusions of Gender – How our Minds, Society and Neurosexism Create Difference the book to “give all your feminist friends.” It’s quite short, and clever, witty and filled with solid science. And I love the title.

David Peterson highly recommended Vivienne Parry’s The Truth About Hormones: What’s Going on when we’re Tetchy, Spotty, Fearful, Tearful or Just Plain Awful?  – but only if you can get your hands on it. There are very few copies in the USA. I’m determined to find this book based on the following excerpt alone:

“Some 70% of mothers will experience the blues during the first ten days after delivery (…) it has been suggested that this is all about hormones, particularly the catastrophic drop in progesterone. While it is true that those most likely to be severely affected will have suffered the steepest drop in progesterone (…) I remain to be convinced that the baby blues is simply about hormones. Try keeping a man awake for twenty-four hours while subjecting him to intense pain from a life-changing event. Then see what his mood is like when he is deprived of sleep, made to leak from every orfice, while imposing on him all the relatives you’ve ever known who arrive at your home expecting you to be nice to them.” (PREACH!)

Finally, David Peterson recommended a plethora of books that deal with gender equity issues, particularly in technology and science:

Women Don’t Ask: Negotiation and the Gender Divide by Linda Babcock and Sara Laschever (“Highly Recommended. Everyone Should read this book”)

Ask for it: How Women Can use the Power of Negotiation to Get What They Really Want by Linda Babcock and Sara Laschever (“Once Again, everyone should read this”)

Opting Out?: Why Women Really Quit Careers and Head Home by Pamela Stone. The boiled down message is (not surprisingly) that more women would stay in their jobs if they could get accommodation for the family demands that are a part of their lives AND if they were not marginalized in their jobs as a result of this acommodation.

The Mathematics of Sex: How Biology and Society Conspire to Limit Talented Women and Girls by Stephen J. Ceci and Wendy M. Williams. Apparently the best book on the subject David Peterson has read since the classic Gender Differences in Mathematics.

Oh, and now I know what the Morris Water Maze is. What is a Morris Water Maze? Ask me at the next Feminist Party!

Degaying and Whitewashing: What Publishing Trends Mean for Writers

I full meant to go to the “Feminism, SF and Fandom in the Academy: An Open Mentoring Session”… but I was too scared. Because actually talking to people scares me. Which is a problem since I am planning to go into graduate school for science fiction, and meeting academics with similar interests would be very helpful.

Anyways. We shall save my problems with social anxiety for another day, shan’t we?

[Actually, there's a whole discussion of that coming up. So by "another day," what I really mean is "at the end of the recap"]

Skipping that panel meant I did get to attend the “degaying and whitewashing in YA panel,” which made me infinitely happy, because it was a fantastic panel. From the description: “Can radically feminist and anti-racist works survive the “gatekeeping” process? (…_) Articles about the “degaying” and whitewashing of YA literature have raised people’s ire and ignited a volleying of retorts from writers and reviewers/agents/editors. Let’s talk about some of these perceptions in publishing and what they might mean for writers, particularly those who want to challenge commonly held notions and beliefs.”

This was also my panel to oggle The Famous People ™. The panelists included:

1. Mary Ann Mohanraj, the founder and former editor of Strange Horizons, and the author of Bodies in Motion (which I love, and highly recommend)

2. Andrea Hairston, the WisCon Guest of Honor, Tiptree Award Winner and author of Redwood and Wildfire (I’ve recapped my love of Andrea Hairston in other places, so I won’t do it again. But I will mention that she’s the owner of the most awesome fringe/glitter coat ever)

3. Liz Gorinsky, a Hugo nominated editor at Tor, who has edited Cheri Priest’s Boneshaker, Mary Robinette Kowal’s Shades of Milk and Honey and Catherynne Valente’s Deathless (which means I will love her forever).

4. Neesha Meminger, author of Shine Coconut Moon and Jazz in L0ve (both fantastic)

and

5. Malinda Lo, former editor of afterellen.com, and author of the lesbian cinderella story Ash and it’s companion novel, Huntress. My brother is currently writing a book report on Ash, and I so regret not dragging him along to this panel. He loves Malinda Lo (as do I).

ALL the famous people.

And the fact that the panel was made up of authors and editors (and particularly queer authors and authors of color) meant they could speak from personal experience.

Malinda Lo, for example, said she wanted to be on the panel because: “the number one question I get asked is: Did you have trouble getting published because your books are so gay?”

One author described her current struggle to publish a YA fantasy series. The first book has a straight protagonist, the second book, which she has not yet written, has a lesbian protagonist. Her agent has told her that if she proceeds with her plans to have a lesbian protagonist, he will refuse to sell the books, because he thinks there’s no point in even trying.

Interestingly, the agent would have been fine with the book if it had been about the protagonist coming out. Which implies that in publishing, queerness needs to be the problem, or else it has no place in the story.

The panelists brought up a shocking statistic: according to the Children’s Book Council, less than .05% of young adult novels have either an author of color or a protagonist of color. That’s miniscule. It’s also particularly horrifying when you consider that as of this year, there are more people of color born in the US than white people. Are these kids going to grow up with absolutely no characters in books who look like them?

Malinda Lo actually had a very good publishing experience – no one tried to get her to change her lesbian protagonist, and her book has been quite successful. But, as she and other people pointed out, this is less due to luck than to the wealth of people who have worked very hard to change the situation, from small presses to self publishing to reviewers and critics and authors. Andrea Hairston called luck “The serendipity of the universe… after all the hard work. Luck looks really effortless at the moment itself, but all the history of publishing from George Eliot to Aqueduct Press is behind it.”

Malinda Lo also attributed part of her success to the fact that she used to be the editor of afterellen.com – so she knew that there was an audience for fiction with lesbian protagonists.

Lo: “When people say there is no audience, I could say: “no, you are wrong. There is an audience.” So keep at it. Tell them there is an audience.”

Liz Gorinsky talked about selling queer books, and marketing them so they’ll get through the gatekeepers: “I don’t usually go to my eighty year old straight male boss and say “I’m really excited about the gay male romance in this book…” but I can say that to my friends in the WisCon community.”

Mary Ann Mohanraj pointed out that one of the institutional barriers to publishing YA books with gay protagonists is the fact that “there are whole swaths of libraries that won’t buy YA with gay protagonists.”
Which is really obvious when you think about it, but still. Shoot.

The panelists also talked about the difficulties of having this conversation, because people tend to take the subject as an accusation. As Andrea Hairston put it: “It’s not about blame, it’s about having a discussion.”

Or, (Hairston again): “I’m not mad at you…I’m just mad.”

Some of the big strategies recommended were systematic analysis – making sure to keep the subject prominent, doing the statistics, writing criticism etc. – and talking about those books that do exist. Because the enemy of publishing success is obscurity.

Or: “Buy them. Read them. Talk about them.”

And, if you’re my brother, write your book report about them.

Volunteering

After the final panel, Myriad and I went to volunteer at the art show. Of course, we nearly keeled over during the aforementioned art show, because neither of us had eaten correctly (whoops). Cue emergency trip to the ConSuite (bagels and bananas!)

So yes. We may have sold you art. We also let someone steal the stapler (whooooops). And then we helped take down the art show, which was fun (good thing we’d eaten by then).

By the way, if you’re thinking of going to WisCon in future years and you want to volunteer: I highly recommend just showing up. This year, there was a giant board next to the registration desk where volunteering opportunities were recorded. Show up at the location; say you want to help. Works quite well!

Post-Mortem

From the panel description: “Discussion of what worked for WisCon 36, what did not, and how we can make it better next year.”

Now, I have a deep and abiding love for procedural stuff and for knowing all the gritty behind-the-details information, so I love the WisCon postmortem. Knowing about hotel problems, bad conventioneer behavior, past convention gossip etc. is my idea of fun. Other people’s mileage may vary.

I also deeply appreciate the postmortem because it shows how committed WisCon is to improving. I don’t know whether other conventions have postmortems, but WisCon’s is particularly great. The ConCom members are receptive; people willingly discuss issues; there’s a real sense that we’re trying to solve problems rather than place blame. For example, WisCon has safety people (NOT security people), but several people at the postmortem pointed out that we didn’t know who they were or how to find them. At the same time,  other WisCon attendees pointed out that it’s important for safety people to be relatively unobtrusive. By the end of the postmortem, the group decided the best solution might be to put signs explaining the safety team at the registration desk (since everyone walks by it seventy times a day).

Oh, and if you want to rile up a relatively zen group of WisCon-goers, do one of two things:

1. Suggest that the rule against taking photographs is a matter of “preference” rather than “safety” (BAD IDEA)

2. Suggest that WisCon’s Safer Space for People of Color should be used for other things as well (Given the great amount of fighting/arguing it took for the space to exist in the first place… yeah, no. Although for the record, I think the Safer Space should exist as long as POC Con-goers find value in it).

Oh, and the post-mortem included a bundt pan. Which was awesome in and of itself, but which also led to this funny exchange:

A Con-goer mentioned that she’d heard that some people had been rude to the hotel staff. There was a collective gasp of horror, and one of the ConCom members said: “If I start frothing, throw the Bundt pan at my head.”

(Future WisCon attendees. Do not be rude to the Hotel Staff. It will make us sad. It will make us angry. And you don’t want us to be angry. We have bundt pans).

And that is… the end of my recap. *Gasp*

Yes, you can leave now! But if you want to stay… I do have two more things I want to (briefly) mention:

1. Accountability at WisCon

Which fits in nicely after the postmortem, don’t you think?

WisCon is not just any science fiction convention. It’s a feminist science fiction convention. Which means that WisCon isn’t just about appreciating speculative fiction and fandom; it’s also always been about social justice. About making the world a better place. And that’s why I love WisCon, and that’s why I’m planning on returning to it forever and ever and ever (ad infinitum).

My (admittedly limited) experience at WisCon is that the convention and it’s members are deeply committed to enacting social justice not just in theory, but within the Con itself. The Convention works hard to make the convention accessible to people of all ability levels. There’s lots of work being done on accessibility. In the past few years, there’s been a commitment to helping more people of color attend WisCon, with scholarships and work with the Carl Brandon society. After much debate, WisCon also created a Safer Space for People of Color. The Convention tries to make attendance as financially accessible as possible, with low registration rates, scholarships, and the ConSuite. There’s subsidized childcare ($1 a day) so people with children can more easily attend.

WisCon even has a wonderful (and recent) tradition called The WisCon Chronicles. Each year, Aqueduct Press puts out a book filled with essays, recaps, stories etc. from the prior WisCon. Obviously there are a lot of recaps in the Chronicles, but they also contain a great deal of criticism. When things don’t work at WisCon – when panelists say problematic things, when the ConCom makes mistakes, when attendees screw up – the Chronicles talk about them. I see this aspect of the Chronicles as a major part of WisCon’s commitment to accountability and social justice.

This year’s Chronicles (edited by Alexis Lothian, and entitled Futures of Feminism and Fandom) is particularly heavy, because it recaps the Thing-That-Almost-Broke-WisCon: MoonFail.

Last year, the ConCom decided to revoke Elizabeth Moon’s Guest of Honor status due to her comments about immigration and islam. I did not know about this at the time, because I did not even know WisCon existed. Nevertheless, the six weeks between Elizabeth Moon’s now-infamous blog post and the revoking of her GoH status were a hotbed of drama, both on and off the internet. Or, as I like to put it: The Internet EXPLODED.

As per it’s usual.

[If you want to know WHY the Internet exploded, find Elizabeth Moon's post. It's not hard. Here, I'll give you a link: http://e-moon60.livejournal.com/335480.html. Read all of it - the first part is quite boring, but it gets... worse]

The sections within the WisCon Chronicles that deal with Moonfail and its fallout are very hard to read. There are several blog posts from the “heart of the storm” – when all the shit was going down, and they are not easy reading. Because in the heart of the storm, WisCon was screwing up, and screwing up hard, and it was entirely possible that it would…break.

In other conventions, inviting a guest of honor who had said, or done, offensive things would not be as big a deal. Because we don’t expect better from WorldCon, or World Fantasy, or wherever. But we expect better things from WisCon.

Which is why the chronicles are sometimes challenging read. Because I expect better things from WisCon. But at the same time, I recognize that the Chronicles themselves are one of those “better things.” They show a commitment to accountability and to self-policing. They are a recognition that WisCon is always striving, always trying to be better and to grow.

[I am not, by the way, implying that WisCon is perfect in all ways. It still has a lot of growth to do. I fully recognize that there are many areas of improvement]

WisCon is a place of joy, conviviality, excitement and appreciation. It’s a place where we come together to appreciate our fandom and our community. But it can also be a frightening place, because to be a true WisCon attendee – in my opinion -requires a commitment to growth. To paraphrase WisCon ConCom member Victor Raymond, WisCon requires change. It requires always striving for something better. And there’s joy in that too, because it means that WisCon is alive. It’s not a static institution. It grows and changes, and it’s members grow and change.

Moonfail too, caused growth. The resulting convention had a great deal of panels dealing with race and racism, which if nothing else, made an enormous difference to my understanding of, and my personal commitment to, anti-racism. And it led to WisCon creating a statement of principles, which enshrined that WisCon is more than just a place to have fun – it’s a space that is committed to social justice in all of it’s forms.

From the (newly minted) statement of principles:

“WisCon’s focus on science fiction has played an important role in the exploration of feminist futures: futures where people of all colors and backgrounds flourish, where women’s rights and women’s contributions are valued, where gender is not limited to one of two options, where no one is erased out of convenience, hidden discrimination or outright bigotry.”

So yes. A good ending to that particular subplot. The story of WisCon is ongoing; however, and I’m sure Moonfail will rear it’s head again (as all subplots do).

Speaking of Accountability – if I’m going to demand that WisCon attendees commit to growth, I should probably account for myself too!

2. Achievements/Personal Areas of Improvement:

First, I should say that in spite of all the freakouts, I was very, very glad that I presented a paper at WisCon. If you’re going to present a paper anywhere, WisCon is where it’s at. And I got to write about feminist fantasy, which is something I never do in my “Real” Academic life.

Second, I was very glad to have dragged my brother along. He loved it (I knew he was going to, but I had some last minute freakouts). I loved having him there. It was wonderful. I had to drag him away kicking and screaming.

Now, onto the important stuff… Regrets!

Social anxiety! I have it. And most of my regrets are social anxiety related. There are awesome people at WisCon, and I would like to meet more of them. That is basically my regret/goal for next year.

I didn’t go to the Academic Mentoring Session because of social anxiety (and imposter syndrome); I didn’t go to any of the parties because I didn’t know anyone (booo!); I didn’t go to the signout because famous people scare me (in a nice moment of parallelism: last year I jumped into a stairwell rather than meet Catherynne Valente. This year I jumped out of a stairwell rather than meet Mary Anne Mohanraj. Whoops!)

So yes. Goals for next year: Go to the first time dinner again (that’s how I met the most people my first year). Go to the sign-out. Ask the Awesome People to sign your books, even if you’re scared. Go to the parties. It’s, er, good for you.

Oh, and dress up for the Guest of Honor speech, if you possibly can. I have ordered it so, and you must listen to me.

Space Babe Tiptree WisCon

Space Babe has ordered it too!

And this, my friends… marks the end of my epic quest to chronicle EVERYTHING that happened to Me at WisCon 36. I’ve written well over 15,000 words. You’re probably sick of it. I’m probably sick of it. So I’m just going to stop right now while I’m ahead -

Actually, no, because! A FINAL SHOUTOUT to an incredible T-shirt I saw at WisCon. It said: “Please Don’t Tame the Shrew.” I loved it madly (Shakespeare reference and Feminism = Literature student joy), but now I cannot find it anywhere on the interwebs. If anyone knows where to get it, I would be grateful.

[And yes, that is what I am referring to in the title of the post]

So that was WisCon 36. It was awesome. Can’t wait till WisCon 37.

Space Babes out.

[No, really, this time I mean it]

Related Posts:

The Return of the Secret Feminist Cabal: Part 3 of WisCon 36

What Happens at WisCon stays at WisCon: Part 2 of WisCon 36

A Disoriented Con Reporter at Large: Part 1 of WisCon 36


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