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Bad Feminist — Roxane Gay



When I heard that Roxane Gay was releasing a book called Bad Feminist, I flipped. I was familiar enough with her nonfiction to know it was going to rock. I couldn’t wait for it. I was thrilled to wake up one morning to an email from Goodreads congratulating me on winning an advance copy of the book back in May. 


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A review of Bad Feminist.

Introducing the 10th annual summer mix.

(Source: Spotify)

“Every time it is the same. We start out for the front plain soldiers, either cheerful or gloomy: then come the first gun-emplacements and every word of our speech has a new ring.
“When Kat stands in front of the hut and says: ‘There’ll be a bombardment,’ that is merely his own opinion; but if he says it here, then the sentence has the sharpness of a bayonet in the moonlight”

—   Erich Maria Remarque, All Quiet on the Western Front

“Why still remember the eleventh of November? Why commemorate the nearly ten million military dead of 1914-18 when twenty million across the world lost their loves in road accidents between 1898 and 1998 and over thirty million in the influenza pandemic of 1918-19? …. it was a cataclysm of a special kind, a man-made catastrophe produced by political acts, and as such can still a century later both raise powerful emotions and prompt disturbing questions as a portent”

—   David Stevenson, Cataclysm

“When the Great War broke out, it came to me not as a superlative tragedy, but as an interruption of the most exasperating kind to my personal plans”

—   The amazing first line of Vera Brittain’s Testament of Youth

“It is, I think, this glamour, this magic, this incomparable keying up of the spirit in a time of mortal conflict, which constitute the pacifists’ real problem—a problem still incompletely imagined, and still quite unsolved. The causes of war are always falsely represented; its honour is dishonest and its glory meretricious, but the challenge to spiritual endurance, the intense sharpening of all the senses, the / vitalizing consciousness of common peril for a common end, remain to allure those boys and girls who have just reached the age when love and friendship and adventure call more persistently than at any later time. (291-2)”

—   Vera Brittain, Testament of Youth

““Since those years it has often been said by pacifists—as in a brave, lop-sided pamphlet which I read only the other day—that war creates more criminals than heroes; that, far from developing noble qualities in those who take part in it, it brings out only the worst. If this were altogether true, the pacifist’s aim would be, I think, much nearer of attainment than it is. Looking back upon the psychological processes of us who were very young sixteen years ago, it seems to me that his task—our task—is infinitely complicated / by the fact that war, while it lasts, does produce heroism to a far greater extent than it brutalises” (369-70)”

—   Vera Brittain, Testament of Youth
I love these prickly invitations to try to talk across difference. 

Feeling UNCOMFORTABLE discussing race?
I mean, this is an intellectual setting.
It’s not taboo.
It’s starts with YOU and ME,
But discrimination ends with US!

I love these prickly invitations to try to talk across difference. 


Feeling UNCOMFORTABLE discussing race?


I mean, this is an intellectual setting.

It’s not taboo.

It’s starts with YOU and ME,

But discrimination ends with US!

William—An Englishman by Cicely Hamilton (1919)

William—An Englishman is a pitiless book. “Pitiless” is not a word I often use, but it came to me when reading this tale of a couple of ordinary bourgeois bohemians on honeymoon in Belgium in August 1914. Hoping for a quiet three weeks, they avoid the papers until it is too late: the War breaks out and William of the title and his bride are caught behind German lines. It’s the first Persephone Book and remains a bestseller for them.

William and Griselda’s first encounters with violence are pitiless and painful to read. The young couple are so appealing, so naïve, so idiotic, and so very like many of us who have never experienced war. It’s an uncomfortable reading experience, and I oscillated between thinking that this discomfort was a gimmick and thinking that it made the book deeply moving and effective as war literature.

A moment that struck me as particularly terrible is also one of the subtler moments of the book. William and his wife have been taken prisoner, forced to witness the assassination of several Belgians, and then separated. Forced to repair the railway lines, William breaks free during a moment of chaos and goes house to house in search of his wife. He finds her, terrified, cowering in the upper room of one of the village houses, a shadow of her formerly brave, suffragette self:

His heart cried out to him that she had struggled merely as a captive, had been restrained by brute force from escaping—but his own eyes had seen that she turned from him as if there was a barrier between them, as if there was something to hide that she yet wished him to know…

And suddenly, as Hamilton writes a few sentences later, seeing the effect of a sexual assault on his wife, the phrase “licentious soldiery” takes on meaning.

I cannot quite say, with Nicola Beauman (the publisher & author of the preface), that this is a masterpiece. I will say that it held my attention, disturbed me, made me think about war and how we talk about war from our safe home. The satire on Bloomsbury socialism and the way that suffragettes spoke of their struggle as a kind of Civil War is pretty devastating.

The book falls apart at the end. And yet, even there, William’s upsetting encounter with a traumatized soldier who must narrate all that frightens him about the air raid they must endure together is terrific and terrifying and claustrophobic in all the right ways.

Plus, the fact that Hamilton wrote this in her tent during war service (after a few years as a volunteer in a Scottish hospital, she became an organizer for concerts at the front) adds much to the book: I share Beauman’s sense that the book is full of an amazing, quiet intensity.

Some of the writing is very beautiful. All of it is strong—although I occasionally wished she would cease explaining and essaying, I almost never flinched at a misstep.

I do not know if I will teach it in the fall in my World War One class or not.


Aleta Day by Francis Marion Beynon (1919)

For a new course this fall on the Literature of World War One, I’m reading around, looking at chestnuts worth a fresh glance (and yes, I’m working my way through Vera Brittain’s Testament of Youth [1933] with great pleasure) and some less-well known texts that offer a new perspective on the war.

Yesterday and early this morning, I read Francis Marion Beynon’s Aleta Day (1919; Broadview Press). It’s an autobiographical novel about a pacifist woman’s experience of the war, set entirely in Winnipeg. The opening chapters about a prairie childhood with strict parents (and an abusive father) are really terrific, lovely spare prairie prose (like Munro or Cather or Mildred Walker). From the first page:

It is wonderful how early one can be made into a coward. I was one at five. I remember a golden summer morning when the milk pans were all about the kitchen and flies were buzzing between them and the window. Jean was tugging at my hair and I slapped her hands and said, “Darn you, stop that.”
Mother’s portly figure revolved until she was facing me.  “What did you say, Aleta?” she demanded sharply.

The scene goes on—it makes up the whole of the first chapter in this very short, many-chaptered book—to give an account of her beating and her false apology for saying “darn”: “I was still ashamed to meet the big wind when I went out to play, and I tried to show him I was not a coward by shaking my little fist at the house and shouting, ‘I’m not sorry, and I hate you—I hate you—I hate you.’”

About halfway through the book, the war breaks out, testing her blossoming romance with a fellow journalist, a Scotsman and a Tory. The writing is less good here, but the book is just as interesting, even as the plot shades into melodrama (McNair drinks; McNair has a wife from a youthful marriage; he enlists; he disapproves of her suffragism). What’s valuable, is the pains that Beynon goes to to give an account of the hounding and public shaming her heroine faces as a pacifist. (According to the too-brief preface, Beynon herself was forced to resign from the newspaper she worked for because of her views.) The preservation of the taunting rhymes and Aleta’s pained and sincere efforts to write to her lover, at the front, an explanation of why, though she loves him dearly, she must speak out against war, are terrific:

Said the Pacifist, ‘He only killed my brother, and Resistance isn’t right!”
Said the Pacifist, “He only kicked my mother, and it’s very wrong to fight!”
I think it’s wicked rather, to defend an aged father, for it might end in a quarrel.
If a Hun assaults your sister (said the gentle Pacifister), turn you other sister to him and be moral.

Isn’t that stunning? I’ve seen the scenes—in Downton Abbey, for a start—of women passing out white feathers, but this offensive little bit of doggerel captures something of the rage against the pacifists that I haven’t read much of, so steeped in Bloomsbury pacifism have I been.