Guest Post: Baby, It’s Creepy Outside.

10 12 2010

I’ve been away from the blog for awhile. I don’t have any good-enough excuses. I moved across the country and started a new graduate program? Seems feeble; it’s been, like, 5 months. To bring back the blog, here’s a most excellent rant from one of my favourite people, the Happiest Sadist.

Baby, It’s Creepy Outside

It’s the end of November, and that means I’ve been hearing Christmas music every time I leave my house for about a month already. Of course, that includes the perennially creepy “Baby, It’s Cold Outside”. I mean, Christmas isn’t Christmas without a nice holiday date rape anthem, right? (Here’s a link to the lyrics)

The thing that really gets me, aside from the fact that this song still gets played as a charming, sweet thing, is the legion of very stupid defences that people love to come up with for why it’s just an innocent song, why you gotta be so serious, you feminazis?

So, I thought I’d take apart a few of those defences. Because they’re terrible, and frequently, so are the people who make them.

– The “Say, what’s in this drink?” line is a big one. Mostly because it’s one of the most immediate “Wait, WHAT!?” lines. “Ahh, but you humourless feminists are imposing a modern interpretation on that!” is the most common rebuttal. “Rohypnol wasn’t even invented back then!” says the dudebro smugly, confident that he’s punctured any argument.

Except, y’know, that it’s actually long been that alcohol is the most frequently used date-rape drug. Being that it is legal and stuff, and that plenty of judges still think that just because she was unconscious from drinking doesn’t mean she didn’t necessarily consent. And that there had been drugs to spike drinks for a long time before Rohypnol, so that argument sucks even more.

-There’s the “The answer is no” line. I’m really not seeing how that’s at all fuzzy. And yet our charming creepy dude pushes on. Because that was back in the day, when “no” was simply a sign that you need to push more. Not, y’know, a statement of another human being’s wishes. This idea that a woman’s default state when it comes to sexual contact is “yes” is the goddamned core of rape culture.

– Then there’s the combo of “At least I’m gonna say that I tried” and the invocation of a possibly vengeance-seeking family waiting for her. Sure sounds like enthusiastic consent from a partner that’s enjoying it to me!

I really, really hate this song. Almost as much as I hate the people who defend it.





Help! I’ve been abducted by Atlantic Canadians!

27 06 2010

Salty Ink is an excellent blog on Atlantic Canadian writers and books by Newfoundland author Chad Pelley. He does make the dated and for the most part unnecessary distinction between “genre” and “literary” fiction, but his coverage is broad, thoughtful, and really gets into the meat of what’s great about Atlantic Canadian writing.

Right now he’s running Atlantic Canada Reads, in which a panel selected six reader-nominated books for a no-holds-barred fight to the death over which book every Atlantic Canadianone should read this summer.

So I’ve been a little distracted from reading SF!

The nominees are Lisa Moore’s February, a story about a woman whose husband dies in the ocean ranger disaster; Kenneth J. Harvey’s Blackstrap Hawco, a tale of the beauty and the ugliness of Newfoundland; Lesley Choyce’s The Republic of Nothing, in which a small island declares independence and hijinks ensue; George Elliot Clarke’s George and Rue, a stunning prose-poem about the last public execution in New Brunswick, the crime that led up to it, and the way racism perpetuates inequality and crime in a bigger-than-its-britches city; Darryl Whetter’s The Push and the Pull an antidote to the nostalgic pastoralism of too much Atlantic Canadian (or pseudo-Atlantic Canadian *ahem* The Shipping News) writing, about sex death and bicycling; and Kathleen Winter’s Annabel, about an intersex child born in Labrador’s ultra-masculine fishing culture.

Blog-readers get two choices. Even then, what a dilemma!

I haven’t read any of the books nominated, but I have read Clarke’s Governor General’s Award-winning Execution Poems, and I’m tempted to vote for George & Rue on that basis alone. When Matt Stranach suggests that Execution Poems may be the best book of poetry ever produced by an Atlantic Canadian author, he is not exaggerating; Clarke’s writing is spectacular and the book is one of the most powerful works of Canadian literature I’ve read.

But the other nominators make strong cases as well. Lesley Choyce is a hugely prolific author who has produced nearly 50 works of poetry, fiction, and creative non-fiction in the past 30 years. I’ve read about a dozen of them, and I can’t say that I’m a fan of his style, but I’ve always had a soft spot for micronations. The Republic of Nothing is probably a fun, light read.

In a violent storm, the oil rig Ocean Ranger sank off the coast of Newfoundland in 1982, killing all 84 men aboard. In his office, my dad has a piece of cream-coloured card, beautifully printed with the words Amateurs built the ark; professionals built the ocean ranger. A quick Google to find the source of the quote tells me that the real expression refers to the Titanic (another Atlantic Canadian shipwreck) and that it’s meant to encourage amateurs to trust themselves, to ignore accepted wisdom, and to take risks.

In an engineer’s office, I always took it as a reminder of the importance of humility, of professional responsibility, of the fact that every project touches lives. It was from that simple, letter-pressed card that I first learned of the Ocean Ranger disaster. February is perhaps particularly relevant in the wake of the more recent oil rig explosion off Louisiana.

The book sounds like everything that’s delectable about so-called literary fiction; vivid descriptions of the every day, events drawn so skillfully it becomes impossible to miss the layers, the resonance, the deep connections that give meaning to human life. It’s passion, tragedy and heartbreak that’s palpable. This story, of families spread apart by the need to find work, broken by disaster at sea (even today), could be representative of life in the region.

I’m curious about Kathleen Winter’s Annabel – dying to read it – but nervous about it as well. I wouldn’t vote this one the book everyone should read without having read it because I’ve read few novels written by cissexual, cisgendered authors dealing explicitly with gender, transgender and intersex, that aren’t sensationalizing and dehumanizing. Trawling reviews, I’ve read that Winter’s story is carried by the characters and avoids being political (hmm…), and that Annabel’s condition is a device to explore “more conventional issues.” It is dehumanizing and exploitative to use the body and experiences of a non-cis person as a device to explore cis understandings of gender and sexuality. The Globe & Mail‘s review of the book gives me hope, but this remains the one book of the six that I’m the most unsure about.

Thanks to Nicole Dixon’s lucid, concrete pitch, Darryl Whetter’sThe Push and the Pull is high on my to-read list. It sounds like Dixon and I are frustrated by much the same trends in Atlantic Canadian literature, and she’s really convinced me to give this one a try. As a cyclist and perpetual pedestrian, I sympathise with Andrew Day, the main character of this Halifax-to-Kingston cycling odyssey as he faces down “the consequences of our car culture.”

I prefer Whetter’s stories of educated women torn between heart, crotch and briefcase to outport Gran’s poultice recipe for the croup. – Nicole Dixon (Yes! – Ed.)

I’m finding Blackstrap Hawko a little difficult to grasp, because Perry Moore’s pitch for Kenneth J. Harvey’s 825 page behemoth talks a lot about Newfoundland, and what Newfoundland isn’t, but not a lot about what Blackstrap Hawko is. I know I want to read it, but I’m not sure why.

So this, Jessica Grant‘s delectable Come, Thou Tortoise, Farah Mendlesohn’s terrific, Hugo-nominated The Inter-galactic Playground, and an abortive attempt at reading Gwyneth Jones’s Bold as Love (does anyone want to talk to me about Bold as Love? Because it’s really not working for me and I’m feeling painfully un-hip over the whole thing) have kept me from my project. I’ll be back on track before long.