"Gender, blah, blah, blah"
February 27, 2015 1:47 AM Subscribe
It’s happened to me several times at a literary event — sometimes one at which I’m reading or speaking — that a kindly, affable chap, after regaling me with a long account of his next book, smiles generously and asks me what I do at Penguin, or how long I’ve been working for the venue. When I say, Oh, actually I’m a writer, a spasm of embarrassment comes over his face. As it should. Not, of course, because of any career’s merit over another’s, but because he’s revealed his inability to see me as a writer. A flustered flash of insight has taken place.Katherine Angel on the problems of gender representation in literature.
Writer Shannon Hale noticed a related problem, when doing a school tour:
This was a small-ish school, and I spoke to the 3-8 grades. It wasn’t until I was partway into my presentation that I realized that the back rows of the older grades were all girls.Of course diversity starts with the reader and K. Tempest Bradford had an interesting challenge:
Later a teacher told me, “The administration only gave permission to the middle school girls to leave class for your assembly. I have a boy student who is a huge fan of SPIRIT ANIMALS. I got special permission for him to come, but he was too embarrassed.”
The “Reading Only X Writers For A Year” a challenge is one every person who loves to read (and who loves to write) should take. You could, like Lilit Marcus, read only books by women or, like Sunili Govinnage, read only books by people of color. Or you could choose a different axis to focus on: books by trans men and women, books by people from outside the U.S. or in translation, books by people with disabilities.Despite American Gods being used in the accompanying picture as an example of what not to read, Neil Gaiman supported the initiative, though for a great many other sf fans & writers this proposal was a bridge too far. Foz Meadows' took aim at some of the more common objections:
The idea that this approach is somehow inimical to having an interest in the content of a writer’s fiction is the exact opposite of what Bradford and Govinnage are positing: namely, that an author’s real-world identity and experiences are sometimes – though not always – reflected in their works, and that if we’ve defaulted to reading only or predominantly one type of author, then perhaps we’ve defaulted to only or predominantly reading one type of content, too. As such, if we are, as Resnick claims to be, sincerely interested in reading good stories, then ignoring the relationship between author and work – as though every book, like the goddess Athena, is cut fully-formed from the flesh of some oblivious, authorial Zeus – is something we should be wary of doing.
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