guyland

Recent events inspired this guest post authored by sociologist Michael Kimmel, author of Guyland: The Perilous World Where Boys Become Men, The Guy’s Guide to Feminism, and Manhood in America. Kimmel teaches sociology at SUNY Stony Brook and is one of the most influential researchers and writers on topics of men and masculinities . Reprinted with Kimmel’s permission from today’s Huffington Post, the author calls out not only Todd Akin but also Daniel Tosh for their recent misogynistic actions, as well as offers readers a larger critique of how rape is discussed in our culture.

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You have to pinch yourself sometimes to remind yourself that it’s 2012 and we still don’t know how to talk about rape in this country. Who would have thought that after half a century of feminist activism — and millennia of trying to understand the horrifying personal trauma of rape — we’d be discussing it as if we hadn’t a clue.

Okay, that’s a not quite true. When I say “we” — as in “we haven’t a clue” — that’s a little vague. So let me clarify. When I say “we,” I mean the half of the population to which I happen to belong. My gender. Men. Just consider the gender of each of these recent examples:

• In recent days, we’ve had a U.S. Congressman candidate draw distinctions that are so mind-numbingly wrongheaded and so politically reprehensible that even his own party is calling for him to drop out of his U.S. Senate race (where he is leading);

• In recent weeks, we’ve had one of the more curious debates about whether rape jokes can be funny;

• And over the past couple of years, the word “rape” has entered our vocabulary as a metaphor.

Each one reveals a fundamental misunderstanding about the singular horror of rape.

Todd Akin and “legitimate rape”

In trying to explain his opposition to abortion — even in cases of rape — Rep. Todd Akin observed that victims of “legitimate rape” cannot get pregnant because their bodies will shut down and prevent the sperm from fertilizing her egg. That is, he seems to believe that women’s bodies have a kind of magical, or God-given, ability to distinguish lovers’ sperm from rapists’ sperm, and to “know” which ones should be allowed to fertilize the egg.

Of course, this reveals a spectacular ignorance of women’s bodies — but what else did you expect from a right-wing anti-woman legislator? (The fertility rate for rape victims is exactly the same 5 percent that it is for women who have consensual sex.) But what is so offensive is less what he says about women’s bodies, and more what it implies about rape in the first place. By drawing attention to “legitimate” rape, Akin implies that “other” rapes are not legitimate — i.e., not rapes at all. Legitimate rapes are the equivalent of what others call “real” rape — a stranger, using force, preferably with a weapon, surprises the victim. All “other” rapes — like date rape, marital rape, acquaintance rape, child rape, systematic rape by soldiers, rape as a form of ethnic cleansing (where the actual purpose is to impregnate) — aren’t really rapes at all. This would exclude, what, about 95 percent of all rapes worldwide?

By linking the criteria for labeling some assault as rape to the possibility of pregnancy, Akin in effect blames impregnated women’s bodies for failing to slam that cervix door shut on those illegitimate sperm. Their bodies having failed them, why, then, he asks, should the state sanction a “murder” (abortion) that their own bodies didn’t sanction? This isn’t just lunacy on the scale ofMonty Python’s famous inquiry into the identity of witches, it’s a consistent ideological position against women’s conscious and deliberate ability to make conscious decisions about her body. The body speaks; women’s voices are silenced.

Rape as Humor

Last month, the comedian Daniel Tosh attempted to silence a heckler at the Laugh Factory, saying, “Wouldn’t it be funny if that girl got raped by, like, five guys right now? Like right now?” This has been a standard theme at comedy clubs for a while now. Hordes of fellow comedians jumped in to defend Tosh. Comedy, they argued, is designed to push the envelope, to make really tragic and horrible things funny.

Such claims are, of course, disingenuous. Have you heard the German comedian’s “Two Jews walk into a bar” joke? Neither have I. How about the racist comedian joke about lynching? Only on White Supremacist websites (and never in a public club). The question isn’t whether or not rape jokes “push the envelope.” It’s which envelope it’s pushing, and in which direction.

Humor has often been a weapon of the weak, a way for those who are marginalized to get even with those who are in power. This is the standard explanation for the large number of Jewish and black comedians. And their takedowns of the rich, white, Christian are seen as evening the score: “they” get all the power and wealth, and we get to make fun of them.

But when the powerful make fun of the less powerful, the tables are not turned; inequality is magnified. While it’s still not acceptable for white comedians to use racist humor (and when they do, they are instantly sanctioned, as was Michael Richards), but it’s suddenly open season on women and gay people. Ask Tracy Morgan.

In a sense, though, Tosh’s casual misogyny offered a rare glimpse inside the male-supremacist mind. Tosh doesn’t defend rape as just a “date gone wrong” or a “girl who changed her mind afterwards,” equally vile and pernicious framings. No, he is clear: rape is punishment. Punishment for what? For heckling him. That is: for having a voice.

Rape as Metaphor

Recently, my adolescent son told me he’s started hearing the word “rape: as a synonym for defeating your opponent badly in sports, or besting them in a rap competition. As in, “The Yankees raped the Red Sox” or, “Dude, that guy totally raped you” in the high school debate.

Using rape as a metaphor dilutes its power, distracts us from the specificity of the actual act. You got raped? Me too! I totally got raped in that math quiz.

In an interview some years ago, Elie Wiesel cringed at the use of the word “Holocaust” as a metaphor for hatred, or for murder in general. This was not hatred, not just murder, Wiesel argues.

“Hate means a pogrom, it’s an explosion, but during the War it was scientific, it was a kind of industry. They had industries and all they produced was death. Had there been hate, the laboratories would have exploded.”

Wiesel made clear that it’s not a metaphor: it is in its specificity that its power resides.

Rape is not a verbal put-down; it’s a corporeal invasion. It’s not an athletic defeat; it’s the violation of a body’s integrity, the death of a self. All equivalences are false equivalences.

It’s not a metaphor, it’s not a joke, and it’s not to be parsed as legitimate. It’s an individual act of violence. To believe that you can change the meaning of a word by turning it into a metaphor or a joke is the essence of male entitlement. It is an act of silencing, both the individual and all women. The arrogance of turning it into a metaphor, making it a joke — this is how that silencing happens.

And the good news — if any is to be taken here — is, of course, that it hasn’t worked. Women have responded, noisily and angrily, to these efforts at silencing.

Maybe “we” ought to shut up and just listen?

Sunday, February 28, 2010. I wake up, brew a pot of coffee, and sit down to read the Los Angeles Times. Then my world shifts ever so slightly.

On the front page of the Calendar section I see the headline, “Redeploying Gender.” Jumping off the page this time around, the gender in question is masculinity. Finally, splashed across the corporate page of a mainstream publication, gender is no longer code for women! I read this and it feels damn good.

The article in question is about film director Kathryn Bigelow’s war movie and Oscar-award front-runner, The Hurt Locker. More than just a blow-’em-up extravaganza, journalist Reed Johnson suggests that Bigelow’s film “shakes up traditional ideas of what men are and how they act.” Bigelow likes the big bang in her movies — guns, explosions, a rough-punch to the gut. And in The Hurt Locker, there’s plenty of that rugged, isolated individualism that so often defines modern manhood. But Bigelow is more deeply interested in the warrior codes of masculinity that are intertwined with men’s fears and feelings, and their conflicted impulses around loyalty and leadership, posturing and parenthood.

“Kathryn,” I want to say out loud (as if she were in my living room), “So am I!” And so are other writers thinking deeply about masculinity, like Jackson Katz, Judith “Jack” Halberstam, and Sinclair Sexsmith, just to check a few in the genre.

My caffeinated heart beats a bit faster with excitement and I continue reading the Times.

The article is quick to note that Kathryn Bigelow’s perspectives on masculinity should not be labeled “feminist” and even quicker to comment that a feminist label can be a death knell for women working in Hollywood. But as my eyes skip to the right-side of the page, I see film critic Betsy Sharkey has also invoked the F-word in a companion article, this time in reference to director James Cameron’s exploration of “what women want, how they define themselves,” and — to me, a key point — “how society values [women’s] worth.” It’s troubling that while Bigelow (and other women) face professional risk for getting labeled a feminist, Cameron stands to benefit. It’s a jarring juxtaposition.

But, this problem notwithstanding, Johnson counterposes that Cameron and Bigelow’s partially intertwined careers suggest a growing fluidity and flexibility in how gender perspectives function in film. [The italics are my added enthusiasm.]

Did I just see this right? This beautifully written, politically trenchant, gender-astute sentence — on the pages of the Sunday Times? With write-ups like this and more projects on the horizon (Michael Kimmel’s popular book Guyland is optioned by Dreamworks), the day is looking even brighter here in sunny SoCal.

Still, there’s a ways to go in cracking the celluloid ceiling.

As Jane Fonda comments on Huffington Post, there are great moments in film this year, thanks to women in Hollywood. Five years ago, Fonda, with Gloria Steinem and Robin Morgan, founded the Women’s Media Center to keep pointing out that “women are not only assets but requirements for a truly democratic media, and for strong, innovative entertainment.” We need to improve the numbers of women and people of color among the Hollywood players. But it helps that directors like Bigelow are shifting images of gender and masculinity in our everyday movie faves. This, too, is an important step toward gender justice.

Oh, and postscript. Thanks to Reed Johnson, I have a clever new phrase that I plan to use in a sentence today: Stealth Feminist. Brill!

I’m thrilled to join Girl With Pen with this inaugural entry of The Man Files. Deborah Siegel and I have big plans for this column. Watch us grow! In the meantime, join our monthly discussions about masculinity, sex, culture, work, parenting, and progressive change. Our goal is to engage scholars, bloggers, and readers in a popular online forum about what it means these days to “be a man.”

Why The Man Files? Because gender isn’t just about women. And because it’s time that the amazing female feminists and the awesome feminist guys get out of our (virtual blog) boxes and start talking with each other. There are so many people doing so much hard work to end sexism, racism, and other forms of hate. Yet so often we stay oddly isolated.

Personally, I’m not one to shy away from difficult, challenging, or even unlikely convos across communities. The Man Files provides a forum for these conversations. The more we talk, the closer we come to preventing male violence against women, improving pay inequity, building strategic feminist alliances, and generally expanding our everyday choices in selecting where we work, who we love, how we act, and why we do — the sorts of choices that are so often constrained by rigid gender expectations.

To start out The Man Files I want to introduce a couple recent works about men and masculinity. A few of my favorite things, if you will, that include hot new projects hitting the scene.

Monthly Round-Up
Guyland: The Perilous World Where Boys Become Men by Michael Kimmel (HarperCollins 2008). Kimmel cuts new ground again with his most recent book, Guyland. Going beyond pop-psych pablum or narrow-minded moralizing, Guyland takes us inside the world of young men between 16 and 26 so that readers can understand how these critical years contribute to the formation of masculinity. Think boys and their toys, beer, babes, and (foot)ball.

The Black Male Handbook: A Blueprint for Life edited by Kevin Powell (Atria Books 2008). Kevin Powell makes a strong case in The Black Male Handbook for supporting men in the black community. This collection of highly personal essays offers “fresh solutions for old problems.” Authors like Hill Harper, Byron Hurt, Jeff Johnson, and Ryan Mack provide concrete plans for improving economic empowerment, creating physical health, and developing spiritual and political awareness. These issues have political roots and such personal consequences. Written primarily for black men, we can all benefit from reading this book. Check out the suggestions for new music, books, and other sources of entertainment.

Barack & Curtis: Manhood, Power & Respect directed by Byron Hurt. As part of the recently launched Black Masculinity Project, Byron Hurt does it again with his recent short about Barack Obama and rapper 50 Cent. (See Hurt’s acclaimed film Hip Hop: Beyond Beats and Rhymes.) Why these two guys? As Hurt explains, Barack Obama is shattering so many myths about black masculinity and 50 Cent (named Forbes Magazine‘s top-earning rapper), epitomizes gangsta hip-hop masculinity. “Both are successful Black men,” Hurt says. “Both are rock stars. Both are admired and feared.” Juxtaposing the two men in a short documentary film promotes — in Hurt’s words — historic level conversations. See it on YouTube.

So that’s it for this time. Humor and (respectful) controversy are always welcome at The Man Files. Send your ideas to Shira_Tarrant at yahoo dot com and tell me what you’d like to see. The lines are open, we’re taking requests, and I’ll see you here next month.

—Shira Tarrant