Where were all the women at the British Comic Awards?

The first British Comics Awards were hugely successful – except for their less-than-perfect gender balance, writes Laura Sneddon.

Visiting Thought Bubble, a large comics convention held annually in Leeds, for the first time earlier this month, I was struck by the wonderful diversity of both the guests and audience. While larger conventions have struggled to move past male-dominated guest lists, Thought Bubble presents a much truer picture of the whole of the British comics community. 

It is perhaps all the more disappointing then that there was some surrounding wrought by the first British Comic Awards, held at Thought Bubble. The BCAs were designed to celebrate the vitality British comics (and fill a gap left by the Eagle awards, which, despite being UK-based, increasingly focus on American comics). The first ceremony was held at this year's Thought Bubble, and throughout the weekend grumbles were heard about the male dominated shortlist.

Across the nominations for four awards, the balance was thirteen men to three women, a stark contrast from the demographics of the crowd outside. While one award was won by a woman – the fantastic Josceline Fenton won Emerging Talent for her work on Hemlock – further concerns about gender disparity and committee bias have been raised since, leading to one committee member stepping down and an unfortunate Twitterstorm that brought the awards to the attention of the general public.

Speaking to the Forbidden Planet International Blog, Philippa Rice, creator of the popular webcomic My Cardboard Life, talked about her disappointment regarding the lack of diversity within the shortlist:

I noticed it when [the British Comic Awards] first released the nominations but it wasn’t until they tweeted a picture of the stack of books they were sending out to the judges it really hit properly: eleven books and literally just one by a woman. If you’re going to make a point out of having only four awards, have as many different people as possible – don’t duplicate. They’ve nominated three women in total and one across two different categories. I can’t believe they had that list and didn’t think it looks unfair – especially where some people had been nominated twice. It’s not like there aren’t woman who have had books out. Karrie Fransman, Mary Talbot, Simone Lia have all had very good, very popular, very acclaimed books this year.

Alongside the Costa-nominated Dotter of her Father's Eye by Mary and Bryan Talbot, both Fransman's The House That Groaned and Lia's Please God, Find Me A Husband! were lavished by praise from the broadsheet critics. And while US superhero comics are known for their lack of female creators, the UK has made great leaps in the last ten years: groups like Laydeez Do Comics, Women in Comics, Europe, and Team Girl Comic celebrate the work of women at all levels within the industry, and the smaller comic festivals frequently boast a 50/50 gender split.

One committee member, Adam Cadwell, assuming that Rice was requesting that men be excluded in favour of women hinted that the forthcoming discussion would not be fruitful – after all, considering more female creators doesn't mean men have to step aside.

Shortly after, another committee member, Matthew Sheret, accused Rice of using "manipulative" phrasing, and said that she should have talked with him privately rather than speaking out about her concerns in public.

The whole discussion ended in Rice apologising profusely for offering her opinion when asked in an interview, with many onlookers absolutely livid at how she had been effectively silenced.

In a year where the comics community has already been rocked by the recurring drama of “fake geek girls” – a small but vocal group of men panicking about women who attend comic conventions who may or may not be able to pass an exam on X-Men continuity – it is troubling to see anyone speaking out about sexism or perceived sexism being silenced. When it is a woman attempting to speak out, the context of the ongoing struggle against casual sexism within the comics industry gives the issue even greater weight, regardless of the original intentions.

When I spoke to Sheret, he expressed regret for his reaction on Twitter:

I took what Philippa said personally. In retrospect I shouldn't have, but at the time I was pretty upset she hadn't come to me to say anything about it because I consider her a friend…

Thing is, Philippa's comments were, largely, spot on. The panel needs more diversity… It will have it over time… And of course this stuff should be in the open, it's hugely important that the BCAs gets the balance right.

To be clear, there are indeed women sitting on both the BCA committee and the judging panel. The judging panel has four men and two women, while the committee is made up of five men and two women. Currently, the public nominates titles for consideration, the committee then picks the short list, and the judges choose the winners. This process is closed, leading to accusations of sexism and favouritism that cannot be properly answered.

One person who spoke in favour of Rice in the ensuing Twitter debate was Howard Hardiman, author of the critically acclaimed The Lengths. Speaking out about the importance of acknowledging structural prejudices in comics as an industry, he voiced the worry that the selected nature of the shortlists combined with an ignorance of privilege put non-male/white/abled/straight creators at a disadvantage. When I spoke to Hardiman on Thursday, he summed up the situation wonderfully:

I completely applaud the BCA's spirit and approach, but I think it's inevitable that when a group of friends decide to react to previous awards which were losing all credibility, they'll look first to the work they're familiar with, and that's most likely to be that made by those most similar to themselves. I don't think the nominating or the judging panel were guilty of any wilful bias, but I do think it's important to be mindful of the notion that one of the fundamental signs of privilege is that you're not aware of your privilege.

I think that people who are straight, white, non-disabled, men or of any other advantaged group should always try to be mindful of that and not be affronted if people without those advantages find that there are barriers to being heard, whether that's in the nomination process passing over some absolutely phenomenal titles by women or other marginalised voices or in raising concerns about those omissions.

I'm very glad that we're having this discussion; I think it's long overdue, and it comes from a perspective of celebration rather than criticism, so the message isn't 'Your privilege bias is showing!' but 'You might have inadvertently missed out on some absolutely cracking and innovative work here!'

Rice also suggested that having fellow creators on the committee and judging panel could potentially be unfair, with several nominees having completed work in the past for anthologies edited by committee members, and even some of the nominated works containing work by committee members. As a result, one committee member, Dan Berry has stepped down, stating that

[Rice] makes a good point. I don’t think that creators should be on the committee, especially if people think that they may have biases based on their own work, the publishers they work with and the other creators that they are friends with.

Asking Berry for further comment, he told me:

The space I vacate on the committee should be filled by someone who can help address the balance in the coming year and help solve the problems and the perceptions of bias surrounding the awards.

Indeed the current makeup of the committee has detracted from the very real praise that the winners of the BCAs deserve. The Best Book prize went to Nelson, a wonderful collaboration between 54 top UK comic creators, where each artist tells one year of one woman's life. It is a worthy winner, yet the fact remains that two of the artists are also on the committee. Given that two more of the committee are publishers themselves, with one of their anthologies also containing work from other BCA winners, things start to look a little blurry.

The argument has been made that this is a necessary result of including anthologies, but Rice tells me,

They are trying to make points that the UK comics industry is very small and everyone's in these anthologies, but my point is that that isn't actually true, the stuff that they've overlooked is the stuff that isn't in that little circle of anthologies, Karrie Fransman, Nicola Streeten, Simone Lia, Mary Talbot etc.

The issue of merit is important, because often when gender disparity rears its ugly head, the defence argue that merit was judged above all else (the implication being that the absence of women is simply because their work was not as good). Hardiman's comments that committees will be more drawn to work that they are familiar with, or they feel is more presentable to the public, is key.

This may well absolutely not be the case, but with a lack of transparency and other creators left feeling mystified by the process, there is a real sense that this is a problem that could and should have been avoided. Indeed, a welcoming of criticism as well as praise would have gone a long way towards soothing ruffled feathers, and ensuring that no underprivileged group felt unfairly discriminated against.

Asked to comment on the situation, Adam Cadwell made the following statement on behalf of the BCA committee:

The British Comic Awards were set up to celebrate and promote the best in British comics from the last year… Representing the diversity of creators in the UK wasn't our main aim. We chose books based on merit alone, we chose the books we each thought were the best regardless of the gender, race, religion or sexual persuasion of the author and we think that was a fair way to do it.

There has been criticism that the committee wasn't made up of men and women equally. We would have liked for this to be the case but back when we were asking people to commit large amounts of their free time to an idea it wasn't possible… We are hoping with our first year accomplished it will be an easier task to get more people involved and have an even number of men and women on the Committee…

We admit the Awards weren't perfect this year but we think they were a good and positive thing for the entire industry and can only help to elevate the status of the art form in this country. We hope to get better and better at doing this and opinions outside of the Committee are vital.

Rice rightly worries about the fact that "UK comics are getting a reputation for being a 'boys club' and that is true within a small circle of UK comics," and states that, "outside of that club there are lots of women making comics, and they're not unworthy of merit! Outside of the 'UK COMICS SCENE' circle we're getting great reviews, lots of happy readers and making a living from comics."

Thought Bubble remains a wonderfully welcoming comics festival. Yet the quiet upset that has spilled out around the BCAs is indicative of a community worried it cannot criticise an organisation that seeks to celebrate their work.

Last but not least, Lisa Wood, director of the Thought Bubble festival, expressed concern that the pro-woman festival itself and the issues raised were being overshadowed by the war of words:

Philippa and I chatted about this before the FP interview… With the current climate I think it is very easy to see situations like this in a certain light. The point I tried to get across to Philippa is that, as I see it, her perception of the situation is absolutely not the case as it stands. I want discussion about this topic, I welcome it, I'm a feminist, and I have constantly worked in a male dominated environments. I set Thought Bubble up to attempt to change this, that was one of my core aims…

And, I suppose, I keep putting myself in the shoes of the male BCA committee members, I know them, not one of them is a sexist, so for them, and I guess me, to be accused of this, even in an indirect manner, is upsetting, and, moreover, demoralising. What I'm trying to say is, that I understand why Matt got upset on twitter, it shouldn't be personal for him but it is, he's very upset by it…

Yes, lets talk about all these issues facing the industry openly, lets discuss the under-representation of women in comics, I need this, I want this, but to use the BCA to do this, I don't think the focus is right.

The winners of the British comics awards. Josceline Fenton, 2nd right, was the only woman.

Laura Sneddon is a freelance journalist. Find more of her work at comicbookgrrrl.com

HULTON ARCHIVE/GETTY IMAGES
Show Hide image

Beautiful and the damned: a spellbinding oral history of Hollywood

West of Eden: An American Place by Jean Stein follows a specific tribe of people: the beautiful.

One day in LA, the showbiz tycoon David Geffen drove by the house that had belonged to Jack Warner, the co-founder of Warner Brothers. The gates were open, so he went in. “It was so grand and so Hollywood . . . It was an homage to an idea about the way people lived in Hollywood. I got caught up in the whole gestalt and I bought it.” Geffen then marvels that he paid $47m for the homage, while Jack had sold his whole studio for just $38m in 1956. You have to have a sense of irony.

From around 1920 there was a tribe in southern California, sometimes known as “the beautiful people”. In many cases, they were technical beauties (they appeared in dreamlets known as movies or had their photographs in magazines made of heavy, perfumed pages). Yet the true beauty talked about was a spiritual aspiration – a quest for romantic nobility, fragile elegance, or serene madness – that might offset the inner derangement, selfishness and comic vulgarity that so threatened their longing for godless class, or inscrutability. They lived within the frantic church known as Hollywood, a fierce cult or early form of terrorism (it hired intimidators, all of them called Oscar) that cherished the hopeless grail of beauty and sacrificed many lives in its pursuit.

Jean Stein is one of them; she admits as much in West of Eden, which seems to me the best book ever done on the terrifying social dysfunction of the beautiful people. Ms Stein is now 81. She is the daughter of Dr Jules Stein (1896-1981), the son of Lithuanian Jews, who became a celebrity ophthalmologist yet so loved music and show business that he founded the MCA agency – Music Corporation of America.

The marriage of medicine and ten-percenting is important to this book, and Jean Stein – who is clear-eyed, and knows where the bodies are buried – has the innate touch and scalpel smile of an expert autopsist. She does not quite write, but she composes absorbing, novelistic oral histories. In 1982 she did one on Edie Sedgwick, the Sixties model, junkie, sexpot and icon, a ghost long before her death. Now Stein delivers a calm Götterdämmerung that can be read as the fearsome annals of a haunted Hollywood, as well as an adroit response to John Steinbeck’s East of Eden (1952), earlier proof of California’s soft spot for fallen angels.

West of Eden is selective and yet, by the end of its 334 pages, you feel that the light and the shadow have fallen on nearly every­one. There are just five subjects. First: Edward L Doheny, the oil tycoon who established the architecture of Los Angeles, and helped inspire There Will Be Blood. Then there are the Warners, but chiefly Jack, the youngest of four who outlived and betrayed his brothers, and who abandoned a nice Jewish wife for an adventuress and ended up being painted by Salvador Dalí and dreaded as “a character”. There is also Jane Garland, a schizophrenic child of great wealth who drifted around with various unofficial nurses and uncertain friends. Next is the teeming casebook called Jennifer Jones; and then the Steins themselves, which means Jules and Jean, and her two daughters by William vanden Heuvel, one of whom now publishes the weekly magazine the Nation.

In shaping these five windows, Stein has interviewed numerous tribe members, many of whom have memories, wounds and nightmares for which they are in therapy (or script development – the two forms are very alike). Her tone and manner are matter-of-fact, but she knows how wary those close to Eden are about trusting stories. Life is a competing set of fantasies, and given that lies have always been allowed in LA, falsehood itself, as a moral handicap, has come to mean little. Though all “true”, this book reads like a dream.

A short review cannot cover all five windows in detail, so let me fix on the one I know best: the glass or screen in which Jennifer Jones existed like a butterfly. Born in 1919 (Gore Vidal once told me she was three years older; gossip devours fact), she was the daughter of an Oklahoma showman who thought she would act – on screen, of course, but also always and everywhere. She married a young actor, Robert Walker, and they had two sons. Then in 1941 she was seen by the mogul David Selznick: he was moved by her and she was drawn upwards by her chance of stardom. Each abandoned a spouse and two sons. They became archetypes of misjudgement, though her mediocre acting never matched the skill or glow of other Selznick employees (such as Ingrid Bergman). They had a daughter, Mary Jennifer, who lived in rivalry with her mother and loathed her, and finally killed herself.

Jennifer, as Lauren Bacall reports, could be a little nutty. She and Selznick gave lavish Sunday parties: “Jennifer was busy doing her make-up and combing her hair and changing her outfit. She was kind of playing her part. She was always trying to be noticed, to have people really care about her and be there for her.”

This is not pretty stuff; maybe that is why these people were so desperate to be beautiful. Indulgence and neglect formed a damaging mixture that left bodies lining the roadside west of Eden. Lawyers and doctors catered to the stricken beauties. Shrinks played an especially devious role, though “shrink” was the wrong word; those hired to soothe mania in fact inflated their clients’ egos and dramatised their self-pity, the movie in which we all take part.

Hard to credit, often hard to stomach, this is a spellbinding record of that ancien régime. Whatever happened to the tribe? The members may be thinner on the ground now in southern California, but their ignoble nobility is everywhere.

David Thomson’s books include “Showman: the Life of David O Selznick” (André Deutsch) and “How to Watch a Movie” (Profile Books)

West of Eden: An American Place by Jean Stein is published by Jonathan Cape (334pp, £20)

This article first appeared in the 05 February 2015 issue of the New Statesman, Putin's war