No one will fail to support my right to exist unmolested

Science fiction fandom doesn’t have the best of reputations when it comes to providing safe spaces, so it’s heartening to hear about when a convention gets it right. When twistpeach got harassed, the Arisia concon took her complaints seriously and made sure her harasser was banned (which, it turned out, he was already) and once it became clear that this wasn’t a one-off incident, other cons were warned about him and several followed Arisia’s lead and banned him too. Twistpeach credits Arisia for having created a place in which she felt secure enough to come forward:

I was confident that I was in a safe place, surrounded by people who I could rely upon to back me up. No one will fail to support my right to exist unmolested in space and time, displacing the room for entitled jerks to have free reign. So I don’t have to be afraid. I am not alone. And yes. I have a right to be here.

I have these things because of activists against rape culture, movements against harassment at conventions in general, Arisia’s policy and personnel particularly, feminism, supportive friends, and a culture that has been significantly altered by them. I am so grateful that somebody told me that I have a right to be here. My community supports that right and it is because of them that I have the conviction to stand up for myself. Thank you to all of you who have made me strong enough to be a warrior.

All of this is excellent news, to see that sf conventions can get it right, that anti harassment policies can and do work and that problem individuals can be identified and do have to take the responsibility for their actions. In an ideal world this shouldn’t have been remarkable or newsworthy, but publicising such positive outcomes help both to restore confidence in sf fandom to clean up its own house as well as make clear fandom doesn’t tolerate harassment. Kudos to Twistpeach as well for being confident enough to write about her experiences so honestly.

Exclusion in comics

So Frank Santoro and Sean T. Collin discuss comics criticism, mentioning in passing the lack of women in this, prompting Heidi MacDonald to write a piece arguing that actually, they and the Comics Journal were part of the problem, in turn inspiring Annie Murphy to talk about what bothers her about the Journal’s culture:

So I’m saying, all this relates to the environment of comics at large, the confidence of women artists, and the inclusion of people besides just straight white men. Groth’s comment about what is ‘good’ or not is the rule, not the exception. I cannot tell you how many women, queers, people of color have told me that they used to draw but stopped completely after someone told them their drawing was not ‘good’, because it did not look like what the straight white men were drawing. I’ve heard this from dozens and dozens and dozens.

What Annie Murphy talks about here struck me as not too dissimilar from what we’ve seen in science fiction fandom, gaming or the skeptics community in the past couple of years, which is not too surprising as these all share the same DNA, the same makeup. These are or were all male dominated spaces, where women (and everybody not white and male) have always been treated with a certain hostility, tolerated if they fit in and pretended to be one of the boys. Some of this is done consciously, by the more meatheaded parts of comics fandom, but much of it is systemic and built into how the industry and the critical community are established and operate.

There’s a lot of unexamined privilege, a lot of systemic racism and sexism at work in the comics industry and not just at the big, commercial publishers; people who point that out are not always welcomed with open arms. In science fiction fandom similar problems are slowly being addressed, but I feel that comics fandom and the comics industry are years behind at this point

To get back to the Journal specifically, it’s culture has always been aggressive, from the Blood & Thunder lettercolumn to the famous Groth editorials. It’s an environment that punishes mistakes harshly and where people take pride in their toughness, again not dissimilar to e.g. programming culture, where it’s long know that this contributes to the lack of diversity within programming.

is comics culture to blame for harassment?

So it turned out there were quite a few incidents of (sexual) harassment at the New York Comic-Con, one part of which was the ad campaign ran by the con’s sponsor, Arizona Ice Tea, with their ” I love Big Cans” hur hur innuendo. Though that sort of pseudo tittilation couldn’t have helped the atmosphere at the con, but Ulises Farinas calls out the much deeper link between comics culture itself and harassment:

There’s arguments about cosplay not being consent, which is such a broken debate because it takes place in a space where half the images being costumed are of characters that’s only existence depends on being a sexual object. SLAVE Leias and Wonder Women who’s only armor is a fucking bracelet. How can i expect any dude to understand some complex shit like white male privilege, when they prefer to spend their whole lives in echo chambers of caveboy spandex. Where every “strong female character” is just another fanboy fantasy with guns strapped on. All the elaborate justifications in the world can’t change the fact that Black Widow was introduced to us tied up, that despite years of slash fiction online and in zines, we’ll see plenty of lesbian witches but never one gay Captain America. That Uhura is an even less important character in Star Trek today, than yesterday. That because we loved pacific rim so much, we had to ignore the fact that it fails the bechdel test like every other movie, and…well..uhhh…lets just call it the Miyako test instead now. Fuck that shit.

I think she’s got a point, in that the immature sexual pandering and sexism in much of mainstream comics feeds into the mindset that thinks cosplayers are there to be groped. But this doesn’t mean it’s pointless for comics conventions to take measures against it. And while “white male privilege” may be “complex shit”, keeping your fucking hands to yourself and showing some minimum of respect to everybody at a con, fan or professional, isn’t above the reach of even the average fanboy.

I also think that the rise of cosplay, as an important, separate thread in comics fandom is a good thing. Cosplay isn’t new of course, but its popularity is and the amount of creativity and sheer craft put in it is amazing. It’s easy to dismiss it all as “slave Leias”, but the fact that this is a part of fandom in which women are in the lead, removes some of that “boy club” feeling lingering in comics fandom.

The Great American Novel: women need not apply

This is such a great takedown of a certain kind of self important American novel(ist) that it had me giggling at work:

“Often the protagonist of an Important Novel of the Latter Half of The 20th Century is male, and is a thinly veiled version of the author. So thin of a veil. A veil so thin is it possible to discern whether the author was circumcised. Also, he often displays a particular stomach-turning combination. He regards women as, one the one hand a mere necessary evil, not things one would be inclined to befriend or discuss life with, and on the other hand, beings of terrible power that make one very angry indeed.”

Who knew Belle Waring could be so sarky? Timely too, what with the writer David Gilmour (no, not that one) attempting to take a break from a well earned obscurity by saying stupid stuff about not wanting to teach about women writers:

I’m not interested in teaching books by women. Virginia Woolf is the only writer that interests me as a woman writer, so I do teach one of her short stories. But once again, when I was given this job I said I would only teach the people that I truly, truly love. Unfortunately, none of those happen to be Chinese, or women. Except for Virginia Woolf. And when I tried to teach Virginia Woolf, she’s too sophisticated, even for a third-year class. Usually at the beginning of the semester a hand shoots up and someone asks why there aren’t any women writers in the course. I say I don’t love women writers enough to teach them, if you want women writers go down the hall. What I teach is guys. Serious heterosexual guys. F. Scott Fitzgerald, Chekhov, Tolstoy. Real guy-guys. Henry Miller. Philip Roth.

Then saying he was misquoted and that “It was a careless choice of words. I’m not a politician, I’m a writer.” Gee.

“The Only Woman Caricaturist”

Kate Carew caricature of herself interviewing the Wright Brothers

I’d never heard of Kate Carew until The Comics Journal wrote about her:

A woman. Traveled across country (alone?) to the biggest, most vital city in the world at the time. Got a job on a paper run and staffed by men. Cartooned. She did all this in the 1880s through the early teens. American women got the right to vote in 1920. Got it? Okay, let’s go on.

Mary Williams adopted the name “Kate Carew” and wrote candid, witty interviews with luminaries of the day, including Mark Twain, Pablo Picasso, and the Wright Brothers. She adorned her interviews with her unique “Carewatures,” and often drew herself into the scene. Imagine Oprah Winfrey as a liberated woman caricaturist-interviewer in 1900 and you have an idea of who Kate Carew was.

But she turns out to have been amazing, a cartoonist who in the 1900s and 1910s interviewed all the celebrities of her day. The Wright Brothers! Jack Johnson! (Q: was he “anxious to undermine the supremacy of the Caucasian race” with his boxing? A: No) Picasso! She even tricked Mark Twain into an interview.

In a 1904 Person’s Magazine feature, she talked about how she got her start:

Kate Carew

I was a comparatively harmless painter person who had set up a studio in New York with a single eye to serious work-art with a capital “A,” you know–and in a mischievous moment I inked over some grotesque sketches of an actor which I had made on the margin of a theatre programme, and sent them to a newspaper, hardly expecting ever to hear of them again.

But lo! I did, and the sequel throws a light on the hunger for novelty which is the ruling passion of the bright young editors trained up by Mr. Joseph Pulitzer, proprietor of the New York World. It was to the World that I had sent my sketches. They fell into the hands of an editor whose hunger for novelty was especially poignant, and within two days I was engaged at what to a lowly painter of portraits seemed a ridiculously handsome figure, to supply the paper twice a week with two columns of theatrical caricature seasoned with frivolous comment. I awoke to find myself pseudonymously famous. The alias with which I had signed the sketches–I had selected it a random–shouted at me from advertisements and posters, and “The Only Woman Caricaturist” was flaunted before the public with a persistence which made me thank my stars I had not signed my real name.

Kate Carew also worked in comics, which was why she was mentioned in that TCJ review in the first place, with her best known comic being Angel Child:

An Angel Child strip by Kate Carew

All of which is enough for an independent movie company to make a documentary about her: