Oh, I’m not a feminist…

I recently answered a bunch of questions for the 2012 Australian Spec Fic Snapshot project, a semi-regular interview series that surveys the Australian SF scene and presents the interviews in a week-long flurry. I don’t know if my particular snapshot will be online by the time this post goes up, but it’s coming and in one of my answers I mention the rise in feminist discourse taking place within SF over the last few years and how happy I am to see that happening despite the fact that my engagement with feminism is haphazard at best.

And I’ve been thinking about that phrase, a lot, since I sent off my snapshot response.

My initial intention with that phrase was to acknowledge that I’m basically white, male, university educated, and middle class. I am white male privileged incarnate and get to play life on the lowest possible difficulty setting, and even as someone who tries to be aware of that, even as someone who sometimes gets *seriously fucking angry* about displays of privileged and misogyny, I’m going to have blind-spots a mile wide and a history of not-getting-it as long as any ant-feminist idiot on the internet.

Worse, I’m a geek. I spent my teenage years feeling white, male, middle-class, smarter than the average person,  and utterly dis-empowered by both feminism and conventional notions of masculinity, even if that wasn’t really the case. I was a gamer and a comic-book fan and a reader of trashy fantasy novels, and all of these are mediums that have a spotty history of accepting feminism and equality. Many, indeed, are jealously guarded bastions of privileged where fans are passionately loud and stupid when accusations of sexism are thrown their way.

I like to think I’ve gotten better, and in a lot of ways I have, but if you work through my narrative history there is still a steady stream of female antagonists who serve as manic pixie girls to transform the lives of their male partners, or women rendered voiceless, and even female protagonists who are routinely critiqued as sounding male. The male gaze is terribly prominent in my fiction, and you’d be hard pressed to find anything I write that passes the Bechdel test. On the occasions when I weigh into discussions about gender and feminism on the internet, I’m always surprised when people don’t point that sort of thing out.

I understand feminism. I agree with it. I can engage in discussions about cultural constructions of gender and male privilege and the inherently gendered reading positions we use to judge the quality of fiction, and I can generally do so without looking like a complete idiot. I’ve read a lot, and talked about things a lot, and generally maintained an interest in feminism for the better part of a decade. On an intellectual level, I’m all for it. On an emotional level, a subconscious level, the pace where gut impulses and, apparently, fiction drafts, come from, there’s still a core of privilege and misogyny that I’m still trying to sort out. Intellectually I’m all in. Instinctual, I’m not.

I can still remember the day I realised that Feminism was something I wanted to understand. I was twenty-five, teaching a writing class at university, and if you’d asked me I would have told you that I knew a lot about feminism and considered myself one. In truth, what I understood were the broad strokes. I was running a tutorial about Michael Chabon’s Wonderboys and the topic of gender came up, largely because one of the students had some issues with other students referring to a drag queen as “she.” So we got into discussions about gender discussion, and feminism, and I assembled an explanation based on the bits of feminist theory I’d picked up from literary theory and discussions with other post-graduate students who knew far more than I did.

Then one of the male students busted out an argument familiar to anyone whose had a feminism 101 discussion:

If women wanted to run the world, all they need to do is to stop having sex with men until the men do what they’re told.

It was greeted with the kind of silence you’d expect from the class. I knew what he’d said was wrong, as did every other student there, but I didn’t know enough to articulate why he was being an idiot, and there was no-one around to do it for me. He got to sit there looking smug ’cause I didn’t know enough, and that left me feeling unbelievably pissed off and angry at myself.

So I started reading, started having discussions, started trying to understand feminist issues in a far more complex way than the lip-service I’d paid the concept during my early twenties. And somewhere along the way I realised that my strident belief that I’d been a feminist at twenty-five was largely just bullshit, since my own understanding was only somewhat more advanced than the guy in my class who argued that the sexuality is the only power women need.

There’s this poster-thing that’s going around facebook at the moment that captures my feelings on feminism pretty closely. The tagline goes something like “If someone says, ‘oh, I’m not a feminist,’ I ask, ‘Why? What’s your problem?”

My problem is that I’m white, male, middle class. My problem is years of privilege. My problem is when I thought I was a feminist, it was pretty clear that I did a very shoddy job. That when I did start to understand feminism better, the bits that always interested me were the bits that could be liberated to talk about portrayals of masculinity and theories that could help me understand the confusion and anger I felt growing up.

Oh, I’m not a feminist, but I’m trying to do better, and I never want to be so comfortable discussing issues of gender that I feel certain I know what I’m talking about.

“There’s so much I could’a done if they’d let me”

Today, because I’m in such a cheerful mood, I’m mainlining Nick Cave’s Murder Ballads album. Somewhere in my CD collection I’ve got a copy of his b-sides and rarities triple-disc thingy, which includes a four-part, extended thirty-minute long version of O’Malley’s Bar. That’s going on next, ’cause sometimes, misogyny be damned, you just need a series of songs about killing every mother-fucker in the room in an unrelenting and utterly debauched fashion.

This is my alternative to curling up on the floor of my bedroom and having a temper tantrum, ’cause really the closest I’m getting to articulating my mood these days is the ability to randomly shout “Hate! Hate! Hate!” at the top of my lungs. There are very few things in my life that aren’t filling me with loathing at the moment, from my less-interesting dayjob (which puts Fight Club into all kinds of interesting new perspectives for me) to my more interesting dayjob (which I hate, primarily, because it’s kinda awesome and not my primary dayjob, which just makes the other dayjob even worse) to my neighbor (seriously, *turn down your fucking stereo at 4 AM*) to myself (which, really, is a let me count the ways kind of thing).

None of this is particularly new – anger has probably been my default state since I was thirteen or fourteen – but I usually have a better grip on it than I do right now. I can cobble together a mask that more or less resembles a civilized human being and go out and function in civilized society. Normally I can swallow anger and work at it rationally, figuring out solutions, or I can vent at the things that are making me less than pleased through the medium of fiction. Or I’ll catch up with friends and rant at them until the anger burns itself out and I’ve overused the words fuck, at which point I’m more clear-headed and able to behave myself a little better.

The anger’s rarely directed at specific people, except for myself, since it’s really just a general pissed-offness at the world. I’d actually be more worried if I woke up and I wasn’t pissed off about something, because the world is a terminally unfair place and I continue to exist in it, which means I’m going to keep finding things that make me angry.

For all that it’s got a reputation as a negative emotion, I actually think anger is important.

Anger is, after all, where writing comes from.

It’s possible this isn’t a universal thing for all writers, but I’m pretty sure it’s not just me. I vaguely remember Ray Bradbury talking about stories coming from a place of anger in his Zen and the Art of Writing collection of essays, and there’s any number of writers with overtly angry or political stances being displayed in their fiction. The artistic myth of the angry young man is almost as predominant as the artist driven crazy by the muse, and of the two I find the angry young man more palatable (at least, once man is switched out for person). At least the AYM/W is in control of his/her artistic practice, rather than sacrificing it to some unnameable entity and refusing to take responsibility for what they do.

Really, that’s all window dressing. The real reason fiction comes from a place of anger is this: all stories are revolutions.

It’s one of those ideas that’s ingrained in the very structure of the story – whether you spend a thousands words, five thousand words, an entire novel, or a three-book trilogy – you are building towards a climax. One of the best descriptions of the climax came from a film lecturerer I worked with a few years back, who described it as point where the most important moral decision of the book is made, the one that changes the character’s world forever. The good are rewarded, the evil are punished. As a writer you establish a new status quo, correcting whatever flaw in the world existed in the opening of the story, and so there’s a series of political decisions being made about what’s incorrect and what isn’t*.

And really, if you’re not angry about something, why bother going to the trouble? Whenever I’m stuck on a story, or I look back on something I’ve written and don’t really feel satsified by it, it’s invariably because the anger isn’t there. Whether it was never ther, or if I simply lost it, is occasionally unclear, but it’s certainly gone in that particular reading.

*Want an example? Lets take, say, Star Wars. For all that the original Star Wars ends with a bang at its climax, the actual destruction of the Death Star actually pales next to the two big decisions made just prior – Luke Skywalker turning off his computer, rejecting the technology (which, in Star Wars, is the tool of the Empire since they’ve got the big death machine) and embracing the spirituality of the Force, and the sudden return of the Millennium Falcon to save the day and align the morally gray Han Solo with the white hats from there forward. Destroying the Death Star is really just the reward for those decisions. Destroying the Death Star is a physical victory, but the emotional victory of these two moments

The Great Bookshelf Reorganising of 2011

Reorganised Bookshelf

On Saturday night, around 4 am, I started reorganising bookshelves. It seemed like the thing to do, since I’d been studiously not-sleeping for five hours after going to bed.

Bookcases are one of the places where mess accumulates in my flat, largely because there’s so many of the damn things and I’ve developed a bad habit of taking things down, reading a couple of paragraphs, then putting them back somewhere else. What starts as a workable system quickly devolves over time, and every couple of years I have to start from scratch and reorganize the entire system.

The whole process tends to start around 4 AM, ’cause insomnia is my response to doing to much and thinking too much and generally feeling like things are out of control. Reordering shelves is my way of figuring out what is and isn’t important in my life, and everything goes on from there. It’s a mental reset, fighting back against my natural tendency towards entropy.

So far I’ve got two shelves down. There are many, many more to go.

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I mention this primarily because my friend Alan, and possibly my dad, were interested in knowing when the issue of Weird Tales with my story in it was available. And it now seems as though Weird Tales #357 is out in the world, and when all your friends are Lovecraft geeks this is about as cool as it gets.

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This has been doing the rounds of twitter and facebook recently, but for those behind the curve: a guy tries to sell “a story to topple Star Wars and Harry Potter” on ebay with a starting bid of $3,000,000.

There’s also a pretty good take-down of his sales pitch over at Bleeding Cool, but essentially what’s going on  is a new iteration of an old conversation that goes something along the lines of “oh, wow, you’re a writer? I’ve got a great idea, let me sell it to you and we can split the money it earns once you’ve written it.”

For those of you out there with a great idea: please don’t do this. It irritates writers and perpetuates the myth that ideas are somehow all it takes, rather than work and persistence and the occasional stroke of luck

Most writers will reply with something along the lines of “ah-huh, great, but I’m a little busy right now,” after which the writer walks away and mock you with their writer-friends, who understand that ideas are the cheap part of the equation and worth very little until someone builds a book/movie around them.

When you try to sell your idea on ebay for large sums of money, it just means you’ll be mocked in public. The internets are like that, sometimes. So are writers, really. I suspect we’re subconsciously bitter about the fact that our career is so frequently undervalued, both socially and monetarily, that the three million asking price is like a red cape to a bull.

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I tweeted this a little earlier this morning, largely ’cause I suspect there’s more gamers following my twitter/facebook feeds than there are following this blog, but just in case I’m wrong: RPGnow is raising funds for the NZ Earthquake victims. Folks who donate $20 get a bundle of over $320 RPG/gaming  ebooks donated by gaming publishers.

This is, as they say, a good cause worth supporting and the RPG ebook community has been very successful with such things in the past (and a tip of the hat to Melinda, who comments here occasionally, for giving me the heads up).