I recently reread The Willow Cabin by Pamela Frankau and I walked around the rest of the day thinking with an English accent.
This is the last paragraph of The Willow Cabin (it holds no spoilers):
In such a moment of solitude as this, she could feel accompanied by every joyful adventure that she had known, every person who she had loved. She brought into the empty room the crowd, of whom she was made.
The book was making me think about acquisitions. The two main women in the book talk about the “tyranny of property.” I am not like this — I like property for the most part.
Then later when I got online to do some writing, I (of course) tried to avoid work by scanning through my bookmarks and I started seeing the tyranny of my bookmarks.
I bookmark things out of greed; I love the acquisition. I have no time to ever look at 75% of them again. Instead I feel guilty every time I open my bookmarks file to find the one or two I use regularly but I can’t delete the rest. Tyranny indeed. When I get a new browser I rarely import the bookmarks. Then for a very brief time, I feel absolutely free of all those sites I mean to visit someday to read in earnest instead of just scan. But eventually it begins again. Someone sends me an article I want to read but don’t have time or the homeschool email list has a link to a nifty science site and there I am drowning in bookmarks again. It’s a terrible thing.
When the kids were small we used to have regular rounds of Twenty-Five Toss, which was when I’d take a cardboard box, place it in the middle of the hallway and tell them to find twenty-five things they wanted to throw away or donate. By the end of the day we’d have a box full of gum wrappers and outgrown socks and toys no longer needed. If we did this once a week through spring or summer we’d end the season with more space to think. Plus the kids like the alliteration.
Twenty-five is a reasonable number — big enough to make a dent but small enough that the kids won’t get overwhelmed. Plus a person can always cheat her way through it if she needs to and just throw away twenty-five magazine order cards and receipts and old envelopes instead of committing to an entire day digging through basement boxes.
So I think I’ll try this with my bookmarks over the course of the next week or so. And maybe if I get really ambitious, I’ll apply it to my iTunes library, which is about to take over my entire computer.
Now please do not bookmark or pin this article if it’s just going to end up tyrannizing you. Or do it and then make it the first of the twenty-five things you’re going to do away with to make your life more free and easy.
When I was a teenager and first getting my feminism on, I used to have a test for movies and books. Where am I? Where am I in this story? Who could I get to be? Asking myself this helped me identify why reading some books (Philip Roth, Jerzy Kosinski) left me feeling so … empty/scared/lonely/depressed/angry. Because very often the who I could be (the woman or women in the book) were empty stereotypes. Those stereotypes left me feeling worse than if I hadn’t been there at all. In other words, having women’s roles limited by sexist stereotyping felt worse to me than reading a book where women didn’t even appear. Because I could read a book, say, The Chocolate War and know that the lack of women was about the focus of the book and not about the unimportance of me and women like me in all of our technicolor detail.
It’s not that I’m arguing for a complete lack of representation but I am saying that token representation can feel just as bad if not worse. Because I would read those books and think, “Is this all I am to men? Is this all they see of me? Is all the scope I’m allowed to be?”
I sometimes still use this tool to point sexism out to, say, my husband who doesn’t have a lifetime of evaluating media under his belt. For me, understanding the limited range of my imaginary role-models helped me not to take that subtext on as my own. Seeing that my empty feelings after one of those books or movies had to do with the limited imagination of the artist let me reject it.
Let me say right off that as a writer, I didn’t like The Time Traveler’s Wife. I thought it was a lumpy story full of unnecessary detail that detracted from the narrative. I felt that the complex structure of the plot didn’t make up for the unfinished main characters, stilted dialogue or self-indulgent trivialities. I wanted to like it but I didn’t. I felt about it the same way I felt about Mr. Holland’s Opus; I cried at the sad parts even while cursing the master manipulation at work. I knew I was being strung along but gave into my base emotions anyway.
Still, you can’t argue with numbers and the sales attest to the skill of the author. People loved this book. Writers whose opinions I admire loved this book. Readers who read with a discerning eye loved this book. Besides which, Becca has done a good job in reminding me always that to sit down and write a book is an endeavor worthy of admiration in and of itself. So there’s that.
Thing is, The Time Traveler’s Wife is also really racist and that I can’t forgive.
Two of the characters of color have supporting roles. (And by supporting, I mean they literally support the main characters. Hero Henry gets one and heroine Clare gets the other.)
Clare’s supporting character is Nell, who cooks for Clare’s wealthy family. “Nell is like cordon bleu meets Detroit; she’s how Aretha Franklin would be if she was Julia Child.” That’s how Clare introduces us to her. The first time Henry meets Nell she is “sticking her broad, snub-nosed face out of the dining room, grinning” to see Clare coming home for the holidays. And this is how Nell talks:
“What you’re smellin’ is a Thompson’s Turkey … Don’t look so dubious, boy. Underneath that crust is the best eatin’ turkey on Planet Earth. … That’s your Christmas dinner, son; you want to pick one out? … Awright, then. Now scat so I can get on, here.”
In other words, Nell is that stereotype of the black servant — talented beyond reason and sassy to boot. Plus her employers are like family as evidenced by the lack of her own family life and apparent contentment with this. She’s working on Christmas, mind you.
“In the midst of it all stands Nell with her back to me, singing ‘Rudolph the Red Nosed Reindeer’ and waggling her large hips, waving a baster at a young black girl who points at me mutely. Nell turns around and smiles a huge gap-toothed smile and then says, ‘What are you doin’ in my kitchen, Mister Boyfriend?”
Just put a red kerchief on her head and call her mammy. I mean, seriously.
Let’s move on to Kimy. Kimy is Henry’s parents’ landlord and his mother-figure after his mom dies. Kimy is also Korean. We know this because Henry tells you, “Mrs. Kim (Kimy, my nickname for her) was my buddy, my crazy Korean card-playing babysitter.”
Kimy, like Nell, is wise and warm in the way that only ethnic stereotypes can be.
She appraises me. Kimy has piercing black eyes, which seem to see the very back of my brain. Her flat Korean face conceals all emotion unless she wants you to see it.
And like Nell, she’s got dialogue to match:
Okay. Yeah, I go in once, ’cause I worry about him. He’s got trash everywhere; we’re gonna get bugs if he keep this up. He’s got nothing in that fridge but beer and lemons. He’s got so much clothes on the bed I don’t think he sleeps in it. I don’t know what he’s doing. I never seen him this bad since when your mom died.
There’s another supporting character of color and she’s an African American woman who is also sassy (of course) and exotic. “Her voice is like butter” and “her laugh is caramel.” “The light from the street turns her burnt-umber skin blue and then purple. She looks like a glamorous martian.”
Now you gotta ask — there aren’t a lot of characters who aren’t white in this book. What literary device is she using when she chooses to make these three of color? You can’t argue it’s just happenstance — the book is too meticulously plotted. What is she trying to convey? In what way is she using their ethnicity and is it necessary to the plot or is it — as stereotypes are — lazy.
It makes me wonder, how could the book have been better if she left the stereotypes out? What if she created characters of color that weren’t one-dimensional? How would that have changed and deepened the book? How did using stereotypes hurt her story?
(Also, since this book is really hard to dig around in, you can use the google version to make it easier.)