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October 2014
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October 2014
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thegeekyblonde:

welcome to the FEMINIST CULT, today we’ll talk about terrifying topics such as BEING NICE TO YOURSELF and PROPER SEX EDUCATION

#feminism   
October 2014
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Anonymous asked

but doesn't the 'teenage girls are the victim' card get annoying? like, yes, they will be crushed. but they will be crushed by other things in real life. :(

genderqueenstyles:

Um, no??? People accuse girls of having no brains and put them down to being emotional little nothings who shouldn’t have an opinion and when they do it’s dismissed. They have feelings, but apparantly people like to act like it’s nothing. “It’s just a joke!!! Why don’t you have any sense of humour!!” can be said over many hurtful things. Just like when my dad used to tease me when I was younger, my mom would say “it’s just a joke!! He’s just teasing you!” though somehow I never saw what was so fucking funny.

People won’t get crushed if they open their mouths and speak up for themselves or do something to make a change. Staying quiet and taking your oppression at all times can lead to you getting nowhere in life. I hope you don’t allow people to beat you down just because of this so called “victim card” as you put it. 

October 2014
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divalocity:

HARPER’S BAZAAR’S 2014 WOMEN WHO DARE: 

MO’NE DAVIS

The girl who’s a big-league baller.

Photos: Albert Watson

October 2014
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thepeacockangel:

prokopetz:

theconcealedweapon:

billybatsonandjameshowlettsbro:

What you see here is the classic self depreciating “nice guy” how dare a woman and her friends dress up all nice and go out to have fun with their friends without giving you, a complete stranger, any play. How dare women dress up and have a good time for themselves and not dress up and slink around for your enjoyment. “Its to feel fucking superior” Well I know its surprising, but chicks don’t always go out clubbing in the hopes of getting sexual action. Maybe they are not attracted to the opposite sex? But that doesn’t matter to you because you think that if you go up to a woman and ask her to dance like “a gentleman” then she is required to grind on you like there is no tomorrow. 

valid reasons for a woman to dress up and go out but reject you:

1. She already has a partner, and just wants to have fun with her friends.

2. She just broke up with her partner and doesn’t want to meet anyone right now.

3. She’s lesbian, asexual, or otherwise not attracted to men.

4. She enjoys fucking random strangers, but not you.

5. She enjoys meeting new people, but you’re a total creep.

6. Literally anything else.

Plus, just think about the reasoning on display in that image. The fact that she spent a lot of money on her outfit and makeup establishes that she owes you something? That’s like arguing that an artist ought to pay you because you looked at her work. It’s Bizarro World logic. I’m not being hyperbolic there; that is literally how logic works on Bizarro World.

The fact that men think women get dolled up only to attract their attention is such nonsense.  Like ever heard of homosocial bonding?  What about homosocial status seeking?  Like crushing a beer can on your head isn’t generally going to impress ladies but you do it to get status with your dude friends.

October 2014
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reinaescarlata:

i’ve decided that the worst physical feature in a guy is a goatee

literally nothing is worse

………other than being a sexist racist misogynistic serial killer obviously

October 2014
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October 2014
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hiistorical:

History Meme →  [1/10] Moments; The misogyny speech

The misogyny speech was delivered by the then Australian Prime Minister Julia Gillard on the 9th of October 2012 in reaction to sexism from opposition leader Tony Abbott. Tony Abbott had risen in parliament with a motion to have Peter Slipper removed as speaker over sexist comments he was alleged to have made. Julia Gillard refused to back the move and proceeded to link Abbott’s remarks to those made in the recent Alan Jones shame controversy. Gillard said that “everyday in every way” Abbott was sexist and misogynist.  [x]

October 2014
07
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reachmouse:gracklesong:dogplanet:

look at jonathan franzen 
Yeah, literary fiction is Much More Serious Territory, all right.

reachmouse:gracklesong:dogplanet:

look at jonathan franzen 

Yeah, literary fiction is Much More Serious Territory, all right.

October 2014
04
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In a study of children aged 2-5, parents interrupted their daughters more than their sons, and fathers were more likely to talk simultaneously with their children than mothers were. Jennifer Coates says: “It seems that fathers try to control conversation more than mothers… and both parents try to control conversation more with daughters than with sons. The implicit message to girls is that they are more interruptible and that their right to speak is less than that of boys.”

Girls and boys’ differing understanding of when to talk, when to be quiet, what is polite and so on, has a visible impact on the dynamics of the classroom. Just as men dominate the floor in business meetings, academic conferences and so on, so little boys dominate in the classroom - and little girls let them.

 - X   (via 9940km)
October 2014
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October 2014
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kittygoesnomnom:

what’s really amazing to me is that people are so afraid of body hair on women that even in a shaving commercial they won’t show a hairy leg. they demonstrate the razor by shaving a hairless leg. they show their product being completely useless instead of showing leg hair. it’s just crazy

September 2014
30
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imsirius:

Your character falls into the “friend zone” - Is this primarily a man’s problem, or are women put in the friend zone as well? x

September 2014
29
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On Poisoned Apples, the “Great YA Debate,” and the Death of the Patriarchy

anneursu:

My friend Christine Heppermann’s book POISONED APPLES: POEMS FOR YOU MY PRETTY released this week. This collection is an unabashedly feminist look at girls, body image, and eating disorders told through the lens of fairy tales, designed for young adults. 

The book is arriving at an interesting cultural moment; when the already ridiculous should-adults-read-YA conversation, has taken a bizarre turn. Did you know the patriarchy was dead? It must be true, as I learned that by reading it in an essay printed in the newsletter of the patriarchy.

For New York Times columnist A.O. Scott, the patriarchy’s demise is not even significant in and of itself; no, it symbolizes a greater issue: “The Death of Adulthood in American Culture.” Now, the equation of the death of the patriarchy and the death of adulthood is a problematic one at best, and if you’re expecting Scott to address the troubling implication here or at the very least explain himself, well, he won’t. Because apparently the fact that patriarchy=adulthood, too, is something we can all agree on.

Part of the essay takes on YA, of course, because apparently we have to do this again. Scott pats the head of everyone who gets offended when people put them down for reading YA, saying that of course they bristle; people don’t like it when someone else attacks, in his words, “the juvenile pleasures of empowered cultural consumers.” Scott also spends a lot of time talking about women in the arts, ascribing to them some kind of plucky-but-aimless adolescent rebellion:

 Why should boys be the only ones with the right to revolt? Not that the new girls are exactly Thelma and Louise. Just as the men passed through the stage of sincere rebellion to arrive at a stage of infantile refusal, so, too, have the women progressed by means of regression.

He later asserts that the predecessors of the “modern man-boy” had “something to fight for:”

…A moral or political impulse underlying their postures of revolt. The founding brothers in Philadelphia cut loose a king; Huck Finn exposed the dehumanizing lies of America slavery; Lenny Bruce battled censorship. When Marlon Brando’s Wild One was asked what he was rebelling against, his thrilling, nihilistic response was “Whaddaya got?” The modern equivalent would be “…”

Author Laura Ruby, in her response to this essay, says it well: "The implication that our art, our characters, our stories, represent nothing but a certain adolescent pleasure in bucking the system, that only white men can be truly serious in their subversion, is as laughable as it is enraging. "

Yes. Scott’s assertion is remarkable in so many ways, but I suppose if you’re going to argue that the patriarchy is dead then obviously women can’t be making conscious political actions, because whatever is there to fight about? Women, by nature, cannot be intentional in their art. It’s almost like he’s infantilizing them

Pulling up his own big leather armchair in Club Patriarchy is Christopher Beha, who wants us to know what he thinks of this whole conversation. In his New Yorker essay, “Henry James and the Great YA Debate,” Beha muses on what makes a book YA. “It does seem,” he writes, “that many books have the YA label slapped on them purely because of their subject matter. (After all, there is little cost to a publisher for labeling something YA if the label doesn’t put off adult readers.)”

This is a rather adorable conception of how publishing works, but, okay. He continues:

On the other hand, the label is sometimes wielded to make a real literary distinction. It is obviously possible to give a subject a treatment that is more appropriate for a young audience. For the most part, this involves simplifying things—first the diction and syntax, but finally the whole picture of life. There is nothing dishonorable about this simplification—it is a way to make material accessible to children.

Wow, thank you! Gosh, I’m so flattered! I don’t think your simplifications are dishonorable either.

Beha is speaking with a lot of confidence for someone doesn’t seem to have any exposure to YA, but part of having an endowed chair in Patriarchy HQ is no one asks you to question your assumptions much. Though apparently it’s perfectly fine to call yourself a completist and yet make blanket statements about a field for which you’re vaguely familiar with three books.

But the real problem in this essay is Beha’s assumptions about the creation of these books—and here he uses Henry James to show where YA books fail. According to him, James makes for great reading because, “…there is always a governing intelligence at work behind the page. I missed this intelligence when I read novels by other writers, which so often gave me the enervating sense that things were happening for no reason except that it had occurred to the author to make them happen.”

To which I might suggest he read more children’s books, because our readers don’t have any patience for that masturbatory crap. But I digress. Beha continues:

What is being lost here [in the “Great YA Debate”] is a distinction that James himself insisted upon, between the artist’s subject matter and his treatment of that matter. In “The Art of Fiction, he noted, “Of course it is of execution that we are talking, that being the only point of a novel that is open to contention… it is in the execution that the fatal weakness is recorded. ”

So, Beha posits, the problem with YA novels is in execution and in a lack of governing intelligence, and that’s why it’s “strange” that adults read kids books. YA books are necessarily simpler, and therefore cannot possibly contain the same aesthetic or intellectual pleasures as reading literary adult books.

Here, he is tacitly agreeing with Scott; YA writers write without vision or intent—and Beha adds artistry on for good measure. We must—we’re infantile.

So, what makes a work adult, then? Beha gives us a pretty good clue:  “If we really are,” he writes, “living through the decline of the cultural authority of the straight white male, that seems like a rich and appropriate subject for a sophisticated work of narrative art.”

Ah, here we are. Appropriate subjects for sophisticated narrative art. A serious novel is about things these gentlemen find serious—like the decline of the cultural authority of the straight white male. It astonishes me how endlessly fascinating some men find themselves.

Both writers cite Leslie Fielder’s Love and Death in the American Novel, a work of literary criticism from 1960 that is in Beha’s words, “a long engagement with the fundamental childishness of American fiction. Fiedler saw Twain’s Huck Finn, Melville’s Ishmael, and countless other canonical American literary characters as boys who refused to be civilized, who preferred a perpetual, homosocial boyhood to the responsibilities of adulthood—in particular the responsibilities of mature heterosexual relationships.”

It’s funny (haha/hmmm) that they are basing their ideas on a book published in 1960, before post-structuralist/ postmodern/ feminist/ postcolonial critique, before people started getting all weirdly rebellious about this patriarchy thing. But, really, it was a simpler time back then, at least for some people.

(For further analysis, please see Sarah McCarry at The Rejectionist.)

According to Fielder classic American fiction is, in essence, not about adults either. Or, as Scott says, “…notwithstanding a few outliers like Henry James and Edith Wharton, we have a literature of boys’ adventures and female sentimentality. Or, to put it another way, all American fiction is young-adult fiction.”

And there it is. ”Boys adventures and female sentimentality” defines YA fiction. Because even though this book was written in 1960, we still use the phrase “female sentimentality” like it’s perfectly appropriate.

But apparently when describing YA fiction, it is.

Because this is the insidious undercurrent of all this head-shaking. YA literature, after all, is thought by anyone with a three-book-deep knowledge of the field to be the province of female authors and the silly teenage girls they write for. The books are simple, with simple world views, and they definitely do not address “appropriate subjects for sophisticated pieces of narrative art.” Because how could literature written for and about teenage girls be sophisticated pieces of narrative art?

If there’s one thing our culture tells us, again and again, there is no one sillier or less significant than a teenage girl.

We know the drill. Boys don’t read. Girls read. Boys certainly don’t read YA, because it’s all women writers writing about girls, and we absolutely cannot ask of boys that they read about girls, and we’re going to keep telling boys that they don’t do that in case they accidentally do.

 A piece ran in the London Times this year with the headline: “Are Boys Not Reading Because of All Those Women in Publishing?” The article, only half-available in its original form, but recapped here, is an extensive interview with children’s author Jonathan Emmett who asserts: “But there is a literacy gap – boys are underachieving, boys do not like books as much as girls. I am arguing that this is because the industry is dominated by female gatekeepers.”

And women, apparently, ruin everything.

Julia Donaldson, another children’s author agrees: “Emmett probably has got a point,” she says. “He wrote a book where there was some bad character who bashed up people, but a gentle female editor thought we couldn’t even show someone bad doing bad things or doing destructive things.”

Gentle female editors? She sounds like she’s arguing that women shouldn’t have the vote. 

As for girls, according to an unnamed editor in a breathtakingly sexist 2011 New York Times essay by YA writer Robert Lipsyte, they want “to read about mean girls, gossip girls, frenemies, and vampires.” Lipsyte juxtaposes this assertion with a quote from a male librarian that says that boys want to read books that invite them “to reflect upon the kind of man they want to become.”

Unlike girls, see, boys want serious, important stuff.

 As for the authors (the ones who aren’t him), Lipsyte says:

The current surge in children’s literature has been fueled by talented young female novelists fresh from MFA 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.

Can we just stop and unpack this one for a second? Why are these women destined to be mid list? Is it their female sentimentality? Is it their inherent lack of artistry? Is it just that women can’t write important books? 

So, anyway, girls read YA and write YA, and no one is doing the serious work of taking care of boys. Everyone knows this. Never mind that eight out of ten current NYT YA bestsellers are male authors, or that the last four Printz winners have been men and the last five have had male protagonists. That’s irrelevant when truthiness in on the line.

It’s remarkable how both of these articles end with the authors talking about their own work, which is exactly what boys like, and their own struggles with publication as proof of their theses— that this oppressively matriarchal system is to blame for not just ruining boys in general, but keeping them from having the success they deserve. What does that sound like to you?

Now, all of these arguments are equally offensive to boys, but no one making them seems to realize it—it might interfere with their own self-promotion. And to the outside world none of it matters—YA is written by women, for girls. And with its sparkly vampires and “female sentimentality” it can’t matter because it’s not doing the important, serious work of telling male stories.

I heard a teacher joke that forcing boys to read Pride and Prejudice in high school was turning them off from books for life. And, haha, hilarious. It’s an important work and gives students plenty to analyze. But we just can’t expect boys to appreciate the merits of the book, to engage with it, to grow as readers, because, girl book. We cannot ask boys to think outside themselves. They won’t do it, say these particular men who refuse to think outside themselves.

The girls, though, everybody believes the girls should read Huck Finn and Heart of Darkness and Lord of the Flies and The Old Man and the Sea, because those books are Literature. They are Serious and Canonical, and a book becomes Canonical simply by objective worth, certainly not by a system of biases that keeps self-perpetuating like an undead Ouroboros. And the girls, they’re all right. They’re reading. We don’t have to worry about them.

Except the girls aren’t all right. Not at all.

According to the National Association of Anorexia Nervosa and Assorted Disorders, 91% of women surveyed on a college campus had attempted to control their weight by dieting, 22% dieted “often” or “always,” and 25% of college-aged women binge and purge as a way of controlling diet. 1% of female adolescents are anorexic, and 20% of anorexics die from complications of their eating disorder. Hospitals are now reporting cases of anorexia in girls younger than ten.

Girls are told in ways large and small, that they are silly, that they do not matter, that their job is to become invisible. And so they become invisible.

The way women get treated in the media, on the internet, casually, is, among many other things, a serious failure of empathy in our society. Women who speak out, who dare to exist and have opinions, get rape and death threats, get slut-shamed, get pictures of their bodies leaked on the internet. The failure of empathy gets repeated, again and again, by organizations and institutions that see rape threats (or actual rape) as a cost of doing business and nothing worth acting upon. 

You don’t matter, these institutions say.

And girls hear the message, again and again.

The girls are not all right. They wage wars on their own bodies, and should they dare to speak out about something, people will wage war against them. 

Books for girls matter. Books for kids, teenagers matter. And that’s why we write them.

That’s why we tend to bristle when people come in to eruditely piss in our sandbox. It never occurs to people like Scott and Beha that we might be choosing to write for young readers for reasons other than money or our own mediocre skills. (Or as some kind of female hobby, like pianoforte and needlepoint.) But, see, to those of us who write for children and young adults, men and women, this isn’t a market. These are people. We are writing for someone. And they deserve the best we can give them of ourselves.

We write for young readers because we care deeply about our readers. We work hard because we give a damn. We pick our words and sentences and forms to serve our stories in the best way we can—not to talk down to readers, but to talk up to them.

Me, I find the idea of writing for someone to be much more adult than wistfully sighing about how much more grown-up you are than everyone else. Though I suppose this idea of taking care of children is, to the glass clinkers in that particular corner of Patriarchy HQ, women’s work. Separate spheres and all. And, so not really that adult, if you know what I mean.

 Scott and Beha are advocating a certain literary solipsism as “adult,” while proudly demonstrating an incuriosity about an entire field of books. I don’t believe I could give them or their very grown-up friends a single children’s or YA book that would change their minds about the field, but I also don’t think that has anything to do with the books. And I can’t help but think that people who can’t find a single YA or children’s book worth their time also have serious issues with empathy.

Isn’t this really the marker of adulthood? Learning to look beyond yourself to others? Isn’t a marker of intelligence a hunger to see the world outside your own experience? Isn’t that maybe why so many people outside of traditional power structures are draw to this lit in the first place? Everyone who insults reading these books is not just denigrating the quality of the books themselves, but of the very act of using your time to give a crap about kids and the things they give a crap about.

And here, from inside the HQ, C.S. Lewis turns around in his swivel chair, clinks his glass, and tells everyone in that particular corner that they are full of crap:

Critics who treat adult as a term of approval, instead of as a merely descriptive term, cannot be adult themselves. To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence. … But to carry on into middle life or even into early manhood this concern about being adult is a mark of really arrested development. When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.

                                 -“On Three Ways of Writing for Children”

We do not fear childishness, and so we write for children. We write with intention. We write with awareness. We write with artistry. And sometimes we write about girls. And in this culture, as the essays above prove, writing about girls is a political act.

I wish every single teen and adult in this country would read Brandy Colbert’s Pointe and Meg Medina’s Yaqui Delgado Wants to Kick Your Ass. Both books do an exquisite job of letting the reader live in the bodies of girls who are getting told again and again how worthless they are, and both meticulously demonstrate how girls might come to feel that way. They do the work of art. Pointe shows how girls are taught to internalize shame over abuse, Yaqui Delgado unflinchingly demonstrates how bullying can destroy a girl’s sense of self. I suppose some people might call this “female sentimentality;” I call it giving a damn.

Now that the patriarchy is dead, Poisoned Apples might seem out of date to someone, since, you know, there’s no beauty myth anymore, no sexual shaming, no more eating disorders. It might seem small to someone of Scott and Beha’s, as its concern is teenage girls, and infantile, because it uses fairy tales. Personally, I think it’s one of the most adult works of art I’ve ever seen.

 Like her peers, Christine Heppermann has decided that the best way to be a grown-up is to help those who are just about to become grown-ups—to give them emotional vocabulary for so many unnamable things. (And, with fairy tales, she allows them the ability to live in metaphor.) It’s challenging to write narratives of eating disorders in a way that isn’t seductive to a disordered mind, but by using the language of fairy tales Heppermann can engage with the compulsions while at the same time laying bare their brutality.

 From Poisoned Apples, reprinted with permission from the author:

Blow Your House In

She used to be a house of bricks,
point guard on the JV team, walling out
defenders who could only huff and puff
and watch the layups roll in.

She traded for a house of sticks,
kindling in Converse high-tops and a red Adidas tent.
At lunch she swirled a teeny spoon in yogurt
that never touched her lips and said
she’d decided to quit chasing a stupid ball.

Now she’s building herself out of straw
as light as the needle swimming in her bathroom scale.
The smaller the number, the closer to gold,
the tighter her face, afire with the zeal of a wolf
who has one house left to destroy.

 Girls matter. Books like Pointe, Yaqui Delgado, Poisoned Apples tell the young female reader: I see you, I see what’s happening to you, I see how you feel, but it does not have to be this way. Let me show you.

I would buy every middle and high school library and classroom a copy of this book if I could. It deserves to be read, studied, discussed. By girls, yes—given them a space to converse about the issues this brings up freely. But boys too.

Just as we can tell girls that they are worth poetry, we can tell boys that they are worth our faith in their empathy. We can give them credit for the ability to step outside themselves and their own concerns. We can show them not just that we expect them to care about issues other than their own, but that we believe they’ll want to. They are worth that.

It matters, that boys read about girls, that they engage closely with books that speak to what it is to be a girl today. It matters that they understand how it feels to be catcalled, to be touched in a way you don’t want to be touched. And that they understand how it feels to wake up every morning desperate to be skinnier, having that desire consume you like fire. How it feels to get by on 1000 calories a day, 500, 100. How it feels to schedule your whole day around exercise, or around eating meals and then throwing them up. It matters that they engage deeply with the forces in society that might cause a girl to feel this way. This is a human issue.

It matters, greatly, that we all engage with literature that treats girls like people, so perhaps we can we actually can celebrate some small crumbling of the patriarchy some day, so more boys are equipped to take on the rampant misogyny in the world, so that everyone understand a feminist critique of, say, video games, isn’t designed to threaten anybody, but to better us all.

It matters greatly that YA literature exists, that books like Poisoned Apples exist, that girls and boys and even some enlightened grown-ups read them.  

 Then, maybe, we can all be better adults.

September 2014
29
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asidrawmylastbreath:bronzedragon:onionjulius:typingsdrawings:deskgirl:pyrositshere:internetgoose:

I’m gonna depress the hell out of all of you. ready? ok go

so, that “stop devaluing feminized work post”

nice idea and all

but the thing is, as soon as a decent number of women enter any field, it becomes “feminized”, and it becomes devalued.

as women enter a field in greater number, people become less willing to pay for it, the respect for it drops, and it’s seen as less of a big deal. it’s not about the job- it’s about the number of women in the job.

observe what happened with biology. it’s STEM, sure, but anyone in a male-dominated science will sneer at the idea of it being ‘for real,’ nevermind that everyone sure took it more seriously when it was a male dominated field. so has happened with scores of other areas; nursing comes to mind

so the thing is, it’s not the work or the job that has to be uplifted and seen as more respectable. it will never work out, until people start seeing women as respectable

but there’s a doozy and who the fuck knows if it’s ever happening in my life time

"observe what happened with biology. it’s STEM, sure, but anyone in a male-dominated science will sneer at the idea of it being ‘for real,’ nevermind that everyone sure took it more seriously when it was a male dominated field."

Personal anecdote time!  I’m in a biology graduate program.  An acquaintance wanted to introduce some guy to me because his son was thinking about becoming an undergrad science major.  When he found out I was in the biology department, he grinned and said, “Well, I guess that’s kind of related to science.”

I gave him what I hope was an icy look and said, “Isn’t it strange how men outside the field started saying that right around the time biology majors shifted from mostly male to mostly female?”

The guy got this look on his face like he was about to play the “just a joke” card, and then an older woman who had been standing nearby, talking to someone else, turned to me and said, “The same thing happened with real estate.”  She went on to explain that, over the course of the career, the male-to-female ratio among real estate agents had dropped, and the pay and “prestige factor” of that job dropped along with it.

Same thing happened to literature. Used to be poetry was the medium of educated men, and novels were “the trashy, unprofessional writings” of women. The more poetry women wrote, the less esteemed it became, and the more men wrote novels, the more value novels had. Now YA novels are frowned on, and also considered women’s territory. If I could find it, I read a few months ago the personal experiences of a female scifi writer and the bias there. Women are expected to write “less intelligent” soft scifi while hard scifi is for men and considered superior. One is valued more than the other based on the genders that tended to write them, and now men and women are pigeon-holed into those genres and disrespected if they don’t adhere to them.

This is probably like 90% of the reason for the backlash of “Anti-gamers” when it comes to women in nerd culture. Nerd culture isn’t really respected anyway and even though it originated as a massive boys AND girls club (really more a girls club since the first ever sci-fi nerd convention was created by women for their love of star trek) but there’s probably a subconscious knowledge that whatever respect they do have (and it’s getting more respect right now too thanks to nerds growing up into people with money and making movies) that it’ll be “lost” if taken over by women because we’ve been taught over and over again that women ruin everything.

NO GURLZ ALLOWED!!!

Why? Because we live in a society that has been hard wired for centuries that to BE a woman is weak so anything women excel at must be also weak and of no value, hence why we try to keep women out of EVERYTHING and then once they get in people scoff and go “yeah well it wasn’t that hard to begin with that’s the only reason you got in at all…”

God all of this is so true. People always change the rules and change the goal posts and it is fucking frustrating as hell.

I had a pharmacy school professor who would go on and on about how it was SUCH a SHAME that women had entered the profession in such numbers, that we would ruin the profession and that our presence would devalue the profession — that women in pharmacy drag down salaries, make the profession less respected, and basically be the Ruin of Pharmacy As We Know It.

The thing that really grates, though? He didn’t hate the societal attiudes that caused this — he hated women for entering his profession, because the drop in salary, devaluing of the profession, etc., would be *our* fault for entering it — not the fault of people who automatically devalue any profession that has a large percentage of women working in the field.

Also teaching in general, linguistics, fashion and cooking being art only when dudes do it etc, etc.