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To sisters, mine especially.
And in memory of Sara Burns, Sarah Smith, Michael Elliott and Ed Victor.
Charles: The Heart of a King
Amortality: The Perils and Pleasures of Living Agelessly
If we were socially ambisexual, if men and women were completely and genuinely equal in their social roles, equal legally and economically, equal in freedom, in responsibility, and in ‘self esteem’, then society would be a very different thing. What our problems might be, God knows. I only know we would have them. But it seems likely that our central problem would not be the one it is now: the problem of exploitation – exploitation of the woman, of the weak, of the earth.
URSULA LE GUIN
‘Is Gender Necessary?’, The Language of the Night: Essays on Fantasy and Science Fiction, 1976.
Contents
Introduction: The Shoulders of Giants
Chapter One: Gate-crashing the club
Chapter Six: What really shocks me
Chapter Eight: This should be everyone’s business
Chapter Ten: Adam and Eve and Apple
Chapter Eleven: Winter wonderland
Chapter Twelve: Equalia welcomes carefree drivers
Introduction: The Shoulders of Giants
A COLOSSAL ZOMBIE Scarlett Johansson commandeered London’s red buses a few years ago. She sprawled across the upper deck of a fleet of vehicles, face slack with simulated desire, mouth gaping wide enough to swallow a small terrier, breasts threatening to smother passengers seated in the lower tier.
Dolce & Gabbana’s advertising campaign intended to evoke Marilyn Monroe’s heyday, and it succeeded. The apparition recalled Nancy, the title character of a 1958 film, Attack of the 50 Ft. Woman. Nancy’s encounter with a space alien transforms her into a giant (‘Incredibly Huge, with Incredible Desires for Love and Vengeance’). The patriarchal authorities – doctors, police, spouse – chain her, but she breaks free and, naked but for an arrangement of bed sheets, embarks on a murderous rampage. Behold the dreadful power of woman unleashed (‘The Most Grotesque Monstrosity of All’)!
Zombie Johansson captured the inadvertent humour of the B-movie, but she was properly scary too. In her human incarnation she is the only woman to break through Hollywood’s diamond ceiling to claim a place among the ten top-grossing actors of all time. She chooses intelligent roles and has more than once pushed back against the chauvinism of Hollywood and its media ecosystems. Her dead-eyed alter ego belonged to the monstrous regiment of billboard women in perpetual march across the world. Nancy gained agency as she grew. Today’s 50-footers, hypersexualised and supine, promote a retrograde ideology alongside brands and products.
We’re so marinated in this imagery that we seldom stand back to parse its meaning and impact. It is all-pervasive, not just on hoardings and print and broadcast but metastasised into myriad digital forms. The underlying messaging is little different to the drumbeat that helped return women to pliant domesticity after World War II. From earliest childhood, girls are taught to value themselves for their abilities: desirability, marriageability, tractability.
There are, of course, other role models, women of stature and astonishing achievement, but still they break through against the odds. Globally women own less and earn less than men, often in the worst and worst regulated jobs, undertake the lionesses’ share of caregiving and unpaid domestic labour, and are subject to discrimination, harassment and sexual violence.
Every woman navigates a world fashioned by and for men. Some pharmaceuticals fail us because they are tested on male animals to avoid having to account for hormonal cycles. We shiver at our workplaces because thermostats are set to temperatures that suit male metabolisms.
We’re left in the cold in other ways too. The Organisation for European Economic
