“[Q]uit treating women like secondary appendages. Quit treating women’s art like it’s a niche, novelty creation only for girls. Quit teaching boys to fear the feminine, quit insisting that it’s a hardship for men to have to relate to anything that doesn’t specifically cater to them….If you want to fix the male literary crisis, here’s your solution: Become a feminist.”—
There’s much that’s wrong with Lipsyte’s screed about gendered stories—starting with the fact that insisting that readers occupy a gender binary leaves no room for transgendered and gender neutral readers, or readers struggling with gender identity—but the most inherently offensive to me, as a…
“In the end, The Help is not a story about the millions of hardworking and dignified black women who labored in white homes to support their families and communities. Rather, it is the coming-of-age story of a white protagonist, who uses myths about the lives of black women to make sense of her own. The Association of Black Women Historians finds it unacceptable for either this book or this film to strip black women’s lives of historical accuracy for the sake of entertainment.”—The Association of Black Women Historians issues an awesome statement about The Help. Whole statement here. Fuck, yeah.
At the 2007 A.L.A. conference, a Harper executive said at least three-quarters of her target audience were girls, and they wanted to read about mean girls, gossip girls, frenemies and vampires.
Naturally, authors are writing for this ready group. The current surge in children’s literature has been fueled by talented young female novelists fresh from M.F.A. programs who in earlier times would have been writing midlist adult fiction. Their novels are bought by female editors, stocked by female librarians and taught by female teachers. It’s a cliché but mostly true that while teenage girls will read books about boys, teenage boys will rarely read books with predominately female characters.
To me and I think to many prospective readers, today’s books for boys — supernatural space-and-sword epics that read like video game manuals and sports novels with preachy moral messages — often seem like cynical appeals to the lowest common denominator. Boys prefer video games and ESPN to book versions of them. These knockoffs also lack the tough, edgy story lines that allow boys a private place to reflect on the inner fears of failure and humiliation they try so hard to brush over. Editors who ask writers of books for boys to include girl characters — for commercial reasons — further blunt the edges.
”—Your most recent “BUT WHERE ARE THE BOOKS FOR BOYS” article brought to you by wtfuckery AND The New York Times. Head nearly exploded this morning reading this article which is full of condescending crap, false data and stereotypical assumptions. The Rejectionist wrote a fab reply as usual.
“Right after Frank Darabont was seen singing the praises/promoting his highly successful AMC series The Walking Dead at San Diego Comic Con, it was announced that he was leaving the show. That seemed odd at the time, what with the whole “He was just promoting that show at Comic Con and seemed pretty psyched about it” thing. It seemed odd for good reason — Darabont didn’t leave the show. He was fired. By AMC. The people who put him up on stage to promote the show from which they were about to fire him. AMC — a network afraid of its own success. Or just unable to understand it.”—From The Mary Sue . Wonder what will happen to the show now.
“For years, I had people praising Lost to death, and now they say: ‘I’m so pissed at you for the end of Lost.’ I think a lot of people who were upset with the ending, were just upset that it ended. And I’ve not yet heard the pitch of what the ending should have been. I’ve just heard: ‘That sucked.’”—JJ Abrams being predictably douchey in an interview with The Guardian, via i09. (It’s called THE INTERNET, JJ)