Answering John Rentoul - on Iran, Israel and the never-ending nuclear debate

Iran Watch, part 6.

Iran Watch, part 6.

Ok. This is getting BO-RING. The Sindy's John Rentoul says "the world might have decided it has better things to do" than follow our ongoing blog-and-Twitter row over Iran/Israel/nukes - but, bizarrely, he says this at the end of yet another blogpost - "Calling Mehdi Hasan" - in which he yet again dodges the key issues.

This'll be my last post on Rentoul - I promise! - and I'll try and make it as short as possible because I know he doesn't like having to read long articles. (I can only guess that he prefers to conduct debates on geopolitics via 140-character putdowns on Twitter. Then again, his knowledge of Iran is pretty superficial: he claims, for example, that the Iranian president would be in control of nuclear weapons when of course, if such weapons were to be built by the regime, it would be Ayatullah Khamenei with his finger on the trigger and Ahmadinejad wouldn't be allowed anywhere near them!)

Three quick points:

First, Rentoul wants to misquote people and then pretend he didn't and/or pretend it doesn't matter. It was Rentoul who claimed President Mahmoud Ahmadinejad had threatened to "wipe Israel off the map", refused to correct himself or the belligerent meaning he ascribed to those comments and who now says that he knew I "would go off into the old debate about the translation of the Iranian president's 2005 words about Israel". This is wonderfully evasive as it leaves the passing reader unaware of the fact that, "old" or not, the debate is over and Rentoul is wrong. Ahmadinejad, for all his flaws, sins and crimes, didn't say that. Rentoul knows he didn't say that. Yet this proud pedant continues to flagrantly misquote the Iranian president in order to beat the drum for war against Iran.

Second, Rentoul again asks "why the warmongering IAEA should allow such a government to develop nuclear weapons". I'm not sure I understand this contorted and rather loaded question - the IAEA isn't a "warmongering" organisation (though its director general does look a little compromised to me) and hasn't said Iran is developing weapons. Has he even bothered to read the IAEA's reports? I'm happy to extend the "Iain Dale challenge" to Rentoul, if he's interested in trying to win the £100 cash prize that's still on offer.

Third, double standards matter. Despite Rentoul's unfortunate smears, my own view is clear and well-documented: I want a nuclear-weapons-free Middle East in accordance with UN resolution 687. I don't want Israel or Iran to have nuclear weapons (and nor does the IAEA!); Rentoul is ok with the former having 'em but not the latter.

That's what this row has been about. The rest is noise.

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

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Despite his “strong female leads”, Joss Whedon's feminism was never about real women

Many men in TV and film praised for their powerful women are still writing with the male gaze.

Kai Cole, the ex-wife of Joss Whedon, has written an essay alleging that the director isn’t quite the feminist he appears to be. Colour me unsurprised. There’s only so much good-guy posturing a feminist can take before she starts to become a little suspicious.

It’s not that I’ve any particular beef with Buffy the Vampire Slayer, nor that I think men shouldn’t speak out against sexism wherever possible. But I’ve long harboured a mistrust of male directors – Whedon, Woody Allen, Pedro Almodóvar – who gain a reputation of being “good at doing women”. Who are they, these magic woman-whisperers, who see through woman’s childlike, primitive exterior and coax out the inner complexity? How do they manage to present women, these blank, mysterious objects, as actual human beings?

True, these men are working against a backdrop of extreme sexism, in which film dialogue is dominated by males, while females become increasingly silent as they age. Perhaps one should be grateful to anyone who allows a female character to have some glimmer of an inner life, let alone exist beyond the age of 30.

All the same, I can’t help feeling this isn’t enough. We all know the joke about the male feminist who walks into a bar because it’s set so low. It’s all too easy to be “good at doing women” when all it takes is granting female characters the same desires and contradictions we’d grant to any other human being.

Women are not a specific type of puzzle for mankind to solve. The idea that it should take some noble, generous leap of imagination to empathise with us is an excuse men have been using to mistreat us for millennia. When responding to us as though we’re actual human beings – or at least, as though an interesting Real Woman subset of us are – becomes a USP, we should all be worried.

Whedon did go a little way to addressing this in his 2006 acceptance speech for an Equality Now award, in which he mocked the way in which he was constantly asked: “Why do you always write these strong women characters?”:

“Why aren't you asking a hundred other guys why they don't write strong women characters? I believe that what I'm doing should not be remarked upon, let alone honoured.”

If this sounds a little like a humblebrag, it can probably be excused. What’s harder to excuse is this idea that a man who boasts of surrounding himself with women like his mother – “an extraordinary, inspirational, tough, cool, sexy, funny woman” – is doing womankind a favour.

I’m glad you appreciate your mum, Joss, and that you apparently don’t feel threatened by other women like her. There’s a fine line, though, between valuing women and presenting them with a whole new list of impossible standards to live up to. This is why I could never quite buy into the liberatory potential of Buffy. There’s nothing impressive about a man failing to be intimidated by his own strong girl fantasy.

In E T A Hoffmann’s 1816 short story The Sandman, the hero Nathanael falls in love with Olimpia, a doll whom he believes to be a real woman. Once the truth is exposed, the men around him become concerned that they, too, may have unwittingly fallen for automata:

“Many lovers, to be quite convinced that they were not enamoured of wooden dolls, would request their mistresses to sing and dance a little out of time, to embroider and knit, and play with their lapdogs, while listening to reading, etc., and, above all, not merely to listen, but also sometimes to talk, in such a manner as presupposed actual thought and feeling.”

There’s something about the director who’s “good at doing women” that reminds me of this. There’s a recipe for dropping in just the right number of quirks, inconsistencies and imperfections to create a Real Woman Character, without making her so unsexy as to be instantly distinguishable from your Hollywood doll. It’s not that her actual thoughts and feelings matter; it’s all about where she’s positioned in relation to you.

As Sophia McDougall noted in her excellent essay on Strong Female Characters, male characters have complex personalities as a matter of course; female characters, meanwhile, are occasionally permitted to be strong, hence anomalous. The more nuance we see, the better. Even so, I’m tired of the veneration of men who fetishise Real Womanhood just as much as others fetishise the plastic variety.

According to Whedon’s ex-wife, the director’s declared feminist ideals never filtered through into real life. Whether this is true or not, this would be understandable. Real Women are not the same as real women. Equality isn’t a matter of men feeling “engaged and even attracted” to a more diverse range of females. It isn’t about the male gaze at all.

Whedon’s final response to the “why do you always write these strong women characters?” question – “because you’re still asking me that question” – has been seen by many as an explicitly feminist statement. But perhaps all it really meant was “because there’s still a gap in the market”. Because men will always find ways to benefit from other men’s sexism. If Real Women didn’t exist, some man out there would have to invent them. 

Glosswitch is a feminist mother of three who works in publishing.