“Ghost Stories”: The ubiquitous anti-feminism of young adult romances

Teenage girls are being told that romantic desirability is the proof of, and the reward for, individual worth.

In a Guardian article last November, Tanya Gold condemned the Twilight franchise and the paranormal progeny it has spawned, calling them sado-masochistic “disempowerment fantasies” masquerading as fairy tales, normalising abuse in the name of risqué romance. But her argument – though apt – hardly goes far enough. To focus criticism of the now-ubiquitous “YA (Young Adult) paranormal” genre on the relationship between its heroines and their “bad boy” lovers is to ignore the more insidious, perhaps more dangerous message the genre sends to teenage girls: that romantic desirability is the proof of, and the reward for, individual worth.

I view the genre with an insider's perspective: I paid my way through university by ghostwriting YA romances for various publishing houses. It was an easy job at first: padding chapter word counts through the judicious use of erotic ekphrasis, mentally calculating how many pennies each adjective added to my bank account: (“His rippling, supple muscular chest, shimmering in the bright sunlight. His smooth, almost preternaturally marble-white skin...”). Yet, after over twenty such books – each written to my employers' chapter-by-chapter outlines – I began to feel increasingly uneasy about the message such tropes send to the genre's young, largely female readership.

Certainly, there is something to be said for the way in which these books provide teenage girls with an opportunity to explore their incipient sexual desires. My typical heroine (let's call her Mary Sue) not only experiences arousal; she, like Twilight's Bella, is often the sexual aggressor, her numerous suitors holding back at a safe distance, non-threatening objects for adolescent sexual curiosity. (There were no Mormon vampires, but various plot devices often barred the way to consummation; in Mary's world, blood-letting and psychic mind-melds often serve as unsubtle metaphors for sex, providing her virginal readers with a fantasy sanitized of unfamiliar appendages).

Equally promising from a feminist perspective is the notion that our heroine can not only desire two or more suitors, but also act on that desire (up to a point) without condemnation. If Twilight's Bella vacillates slightly between husky werewolf Jacob and lethargic parasite Edward, Mary Sue is usually juggling up to four warlocks or mermen, passionately kissing one in Chapter Five before succumbing to the smoldering stares of his rival in Chapter Six. (Jealousy is rarely an issue; her love interests are usually so desperate for our Mary's affections that they're willing to wait on the sidelines: a fantasy of puppy-dog devotion that belies their purported dangerousness; these are “bad boys” in name only.)

Yet this proves problematic when this devotion not only replaces, but informs, character development. The typical “character pack” provided with my outline tells me that Mary is “nice, smart,” and other vague adjectives; she rarely gets narrative space to prove it (I'm lucky if I can sneak in a scene of her reading a book). Her qualities are informed ones, emerging not from the story itself but from the lips of Mary's besotted suitors, ever quick to reassure her (and the reader) that she is the single kindest, most beautiful, worthiest girl in the world.

It is this concept of worth I find most troubling. Mary Sue doesn't find love through common interests, through shared experiences, through long conversations or walks along the beach. Her relationships are not predicated on the idea that two people, with all their flaws, might discover themselves operating in emotional synchronicity. Rather, Mary is loved because she is the best (often, the plot demands that she be extra-special, possessing a secret royal lineage, or magical powers exceeding that of even "ordinary" mermaids). That she is the best is proven, somewhat circularly, by the love she inspires: heroes, villains, and minor characters alike must prostrate themselves at her feet: a vicious circle of affirmation.

Worse still is the genre's treatment of the girls unlucky enough to share space on the page with Mary Sue. Having established that love and worth are inextricably intertwined, any girl who appears on the scene must of course desire one of Mary's love interests; for this, invariably, she must be punished. Each outline I received featured three or more such characters – ditzy, shallow, usually blonde, existing only to salivate over Mary's harem before promptly being rejected or killed off. Genuine female friendship is nonexistent – Mary might, at best, have an anodyne hanger-on to make her look good in comparison – in the world of the YA novel, other women are stupid, jealous, or evil; they exist only to affirm Mary's sovereign desirability.

I have since hung up the ghostwriting mantle, but the genre is still going strong: “New Adult” – YA's more explicit cousin – carries on where I left off, producing knockoffs of Fifty Shades of Grey. Its popularity, however, leaves me wary. Must our young adult fiction teach teenage girls that their self-worth is predicated on being loved, and that love in turn is merited only by being the prettiest, the worthiest, the best? Its promise of female erotic fulfillment is diminished by the implicit caveat that it is merited only by being the object of male affirmation. Why can't Mary Sue experience desire on her own terms – for an equal, a partner, a friend? Until then, Mary's world has no room for human relationships – in any sense of the word.

Photograph: Getty Images

Tara Isabella Burton's work has appeared in The Spectator, Guernica Daily, Lady Adventurer, and more. In 2012 she won The Spectator's Shiva Naipaul Memorial Prize. She is represented by the Philip G. Spitzer Literary Agency; her first novel is currently on submission.

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Harriet Harman warns that the Brexit debate has been dominated by men

The former deputy leader hit out at the marginalisation of women's voices in the EU referendum campaign.

The EU referendum campaign has been dominated by men, Labour’s former deputy leader Harriet Harman warns today. The veteran MP, who was acting Labour leader between May and September last year, said that the absence of female voices in the debate has meant that arguments about the ramifications of Brexit for British women have not been heard.

Harman has written to Sharon White, the Chief of Executive of Ofcom, expressing her “serious concern that the referendum campaign has to date been dominated by men.” She says: “Half the population of this country are women and our membership of the EU is important to women’s lives. Yet men are – as usual – pushing women out.”

Research by Labour has revealed that since the start of this year, just 10 women politicians have appeared on the BBC’s Today programme to discuss the referendum, compared to 48 men. On BBC Breakfast over the same time period, there have been 12 male politicians interviewed on the subject compared to only 2 women. On ITV’s Good Morning Britain, 18 men and 6 women have talked about the referendum.

In her letter, Harman says that the dearth of women “fails to reflect the breadth of voices involved with the campaign and as a consequence, a narrow range [of] issues ends up being discussed, leaving many women feeling shut out of the national debate.”

Harman calls on Ofcom “to do what it can amongst broadcasters to help ensure women are properly represented on broadcast media and that serious issues affecting female voters are given adequate media coverage.” 

She says: "women are being excluded and the debate narrowed.  The broadcasters have to keep a balance between those who want remain and those who want to leave. They should have a balance between men and women." 

A report published by Loughborough University yesterday found that women have been “significantly marginalised” in reporting of the referendum, with just 16 per cent of TV appearances on the subject being by women. Additionally, none of the ten individuals who have received the most press coverage on the topic is a woman.

Harman's intervention comes amidst increasing concerns that many if not all of the new “metro mayors” elected from next year will be men. Despite Greater Manchester having an equal number of male and female Labour MPs, the current candidates for the Labour nomination for the new Manchester mayoralty are all men. Luciana Berger, the Shadow Minister for mental health, is reportedly considering running to be Labour’s candidate for mayor of the Liverpool city region, but will face strong competition from incumbent mayor Joe Anderson and fellow MP Steve Rotheram.

Last week, Harriet Harman tweeted her hope that some of the new mayors would be women.  

Henry Zeffman writes about politics and is the winner of the Anthony Howard Award 2015.