My ex-tutor from the City University course, Emma Sweeney, has been running a blog Something Rhymed, with her colleague Emily Midorikawa. Its theme is the exploration of friendships between pairs of female writers and the support they’ve given each other, often in the face of hostility or exclusiong from a male literary establishment.
The writers are drawn from all eras, including relatively well-known pairings such as Charlotte Brontë and Elizabeth Gaskell to the more unusual like Ruth Rendell and Jeanette Winterson. The blog posts have been written by Emily and Emma themselves and a selection of guest writers.
The initiative has been so successful that a book based on the blog is in the works, A Secret Sisterhood.
Earlier this spring, Emma and Emily organised a series of literary salons based on the blog and Emma invited me to come along. The salons were themed around the under-representation of women ‘s writing, particularly in the ‘serious’ literary establishment (reviews, prizes, reading lists on academic courses, etc). I was only able to make the last of the three salons, which addressed how to effect positive change and improve matters — by encouraging more reading of female writers.
The members of the panel were a fascinating combination: novelists Jill Dawson and Louise Doughty, editor and blogger Varaidzo and literary curator Melanie Abrahams. I’ve lifted those introductions from an excellent account of all the salons by (male) writer, John Forde, which is on the Something Rhymed website. For his comprehensive account, click here.
While the audience was predominantly female, there was a significant number of men in the audience and this provoked a lively discussion when the topic was raised of whether men are as interested in entering into the minds of female characters as women are with men. I guess almost by definition the men who were in the audience for this event were those who were interested in this aspect of literature.
Emma, who was chairing the discussion, was keen to get men’s perspective on the discussion and it was interesting that a few of the men (myself included) weren’t reticent about distancing themselves from some of the criticisms made of the male establishment.
Like panelist Jill Dawson, my undergraduate degree was in American Studies so I had the good fortune to be introduced to authors like Toni Morrison, Alice Walker, Willa Cather and many others. I’ve also read many wonderful female authors through writing courses and out of my own choice. The last novel I read was by a woman and I’d guess it’s about 50-50 overall. I love listening to music made by women – some songs provide a wonderfully direct and concise insight into a female perspective of the world.
I’ve been writing fiction is some instances from a female character’s point of view (I’ve had stories read by female actors at Liars’ League London) and so I’m very interested in working hard to try and achieve an authentic female voice.
Listening to the debate I realised there is a way of reconciling the views of some of the participants that men (in general) aren’t interested in understanding women (through fiction anyway) and that there are clearly some men that do.
If you forgive the rather cod psychological approach, I’d suggest that societal attitudes mean that women find that they feel they are obliged to try to understand men more than men feel that it’s in their interests to imagine themselves in the place of women. You might also believe that women naturally have more empathy but, if you think that men hold the power (both politically, culturally and physically) then trying to understand what goes on in their heads may be a beneficial strategy (in as much as what goes on in all men’s heads can ever be generalised).
I’m fascinated as to the extent of gender differences in the way people are ‘hard-wired’ to think (which are possibly less extensive but also more profound than stereotypes might suggest). However, what I also took away from the third salon was that there’s an issue of elitism and class in terms of access that also affects men to some extent. I’m from a relatively working-class, northern background and I feel like I have more in common with many women authors than the usual suspects list of upper-middle class Oxbridge males.
There was also an interesting discussion on ‘quiet books’ and how many of us (not just female readers) like to read subtly, understated novels that don’t fit with the hook-driven, high-concept books that writers are told publishers prefer in the current climate, especially from debut novelists. As an example, I recently read A Spool of Blue Thread, which I thought beautifully written, but like all Anne Tyler’s books it doesn’t start with fireworks and a killer opening paragraph. Much of the first quarter of the book is minutely but brilliantly observed family dynamics. It’s only later in the novel that the reader begins to discover the family’s secrets and this gracefully builds into a work that becomes compelling.
I’m grateful as a reader that Anne Tyler managed to surmount the obstacles that Emma, Emily and the panelists outlined and I’m sure that the Something Rhymed project will make a valuable contribution into helping future female writers do the same.
As a postscript, Emma’s new novel, Owl Song At Dawn, will be published very soon by Legend Press.