In Swedish, the Girl with the Dragon Tattoo was not known as Some Men Who Hate Women.
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Laurie Penny on sexism: Of course all men don’t hate women. But all men must know they benefit from sexism

Anger is an entirely appropriate response to learning that you’re implicated in a system that oppresses women – but the solution isn’t to direct that anger back at women.

This is going to hurt. In the past few months, it has been almost impossible to open a newspaper or turn on a television without encountering a story about another underage girl being raped, another female politician harassed, another trans woman murdered. But as women, girls and a growing number of male allies start speaking out against sexism and injustice, a curious thing is happening: some people are complaining that speaking about prejudice is itself a form of prejudice.
 
These days, before we talk about misogyny, women are increasingly being asked to modify our language so we don’t hurt men’s feelings. Don’t say, “Men oppress women” – that’s sexism, as bad as any sexism women ever have to handle, possibly worse. Instead, say, “Some men oppress women.” Whatever you do, don’t generalise. That’s something men do. Not all men – just somemen.
 
This type of semantic squabbling is a very effective way of getting women to shut up. After all, most of us grew up learning that being a good girl was all about putting other people’s feelings ahead of our own. We aren’t supposed to say what we think if there’s a chance it might upset somebody else or, worse, make them angry. So we stifle our speech with apologies, caveats and soothing sounds. We reassure our friends and loved ones that “you’re not one of those men who hate women”.
 
What we don’t say is: of course not all men hate women. But culture hates women, so men who grow up in a sexist culture have a tendency to do and say sexist things, often without meaning to. We aren’t judging you for who you are but that doesn’t mean we’re not asking you to change your behaviour. What you feel about women in your heart is of less immediate importance than how you treat them on a daily basis.
 
You can be the gentlest, sweetest man in the world yet still benefit from sexism. That’s how oppression works. Thousands of otherwise decent people are persuaded to go along with an unfair system because it’s less hassle that way. The appropriate response when somebody demands a change in that unfair system is to listen, rather than turning away or yelling, as a child might, that it’s not your fault. And it isn’t your fault. I’m sure you’re lovely. That doesn’t mean you don’t have a responsibility to do something about it.
 
Without invoking dull gender stereotypes about multitasking, we should all agree that it’s relatively easy to hold more than one idea at a time in the human brain. It’s a large, complex organ, the brain, about the size and weight of a horrible, rotting cauliflower, and it has room for many series’ worth of trashy TV plot lines and the phone number of the ex-lover you really shouldn’t be calling after six shots of vodka. If it couldn’t handle big structural ideas at the same time as smaller personal ones, we would never have made it down from the trees and built things such as cities and cineplexes.
 
It should not, therefore, be as difficult as it is to explain to the average male that while you, individual man, going about your daily business, eating crisps and playing BioShock 2, may not hate and hurt women, men as a group –men as a structure – certainly do. I do not believe the majority of men are too stupid to understand this distinction, and if they are we need to step up our efforts to stop them running almost every global government.
 
Somehow, it is still hard to talk to men about sexism without meeting a wall of defensiveness that shades into outright hostility, even violence. Anger is an entirely appropriate response to learning that you’re implicated in a system that oppresses women – but the solution isn’t to direct that anger back at women. The solution isn’t to shut down debate by accusing us of “reverse sexism”, as if that will somehow balance out the problem and stop you feeling so uncomfortable.
 
Sexism should be uncomfortable. It is painful and enraging to be on the receiving end of misogynist attacks and it is also painful to watch them happen and to know that you’re implicated, even though you never chose to be. You’re supposed to react when you’re told that a group you are a member of is actively screwing over other human beings, in the same way that you’re supposed to react when a doctor hammers your knee to test your nerves. If it doesn’t move, something is horribly wrong.
 
Saying that “all men are implicated in a culture of sexism” – all men, not just some men –may sound like an accusation. In reality, it’s a challenge. You, individual man, with your individual dreams and desires, did not ask to be born into a world where being a boy gave you social and sexual advantages over girls. You don’t want to live in a world where little girls get raped and then are told they provoked it in a court of law; where women’s work is poorly paid or unpaid; where we are called sluts and whores for demanding simple sexual equality. You did not choose any of this. What you do get to choose, right now, is what happens next.
 
You can choose, as a man, to help create a fairer world for women – and for men, too. You can choose to challenge misogyny and sexual violence wherever you see them. You can choose to take risks and spend energy supporting women, promoting women, treating the women in your life as true equals. You can choose to stand up and say no and, every day, more men and boys are making that choice. The question is – will you be one of them?
 
Laurie Penny is the contributing editor of the New Statesman 

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.