“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.

Wikipedia.
Show Hide image

No, Jeremy Corbyn did not refuse to condemn the IRA. Please stop saying he did

Guys, seriously.

Okay, I’ll bite. Someone’s gotta say it, so really might as well be me:

No, Jeremy Corbyn did not, this weekend, refuse to condemn the IRA. And no, his choice of words was not just “and all other forms of racism” all over again.

Can’t wait to read my mentions after this one.

Let’s take the two contentions there in order. The claim that Corbyn refused to condem the IRA relates to his appearance on Sky’s Sophy Ridge on Sunday programme yesterday. (For those who haven’t had the pleasure, it’s a weekly political programme, hosted by Sophy Ridge and broadcast on a Sunday. Don’t say I never teach you anything.)

Here’s how Sky’s website reported that interview:

 

The first paragraph of that story reads:

Labour leader Jeremy Corbyn has been criticised after he refused five times to directly condemn the IRA in an interview with Sky News.

The funny thing is, though, that the third paragraph of that story is this:

He said: “I condemn all the bombing by both the loyalists and the IRA.”

Apparently Jeremy Corbyn has been so widely criticised for refusing to condemn the IRA that people didn’t notice the bit where he specifically said that he condemned the IRA.

Hasn’t he done this before, though? Corbyn’s inability to say he that opposed anti-semitism without appending “and all other forms of racism” was widely – and, to my mind, rightly – criticised. These were weasel words, people argued: an attempt to deflect from a narrow subject where the hard left has often been in the wrong, to a broader one where it wasn’t.

Well, that pissed me off too: an inability to say simply “I oppose anti-semitism” made it look like he did not really think anti-semitism was that big a problem, an impression not relieved by, well, take your pick.

But no, to my mind, this....

“I condemn all the bombing by both the loyalists and the IRA.”

...is, despite its obvious structural similarities, not the same thing.

That’s because the “all other forms of racism thing” is an attempt to distract by bringing in something un-related. It implies that you can’t possibly be soft on anti-semitism if you were tough on Islamophobia or apartheid, and experience shows that simply isn’t true.

But loyalist bombing were not unrelated to IRA ones: they’re very related indeed. There really were atrocities committed on both sides of the Troubles, and while the fatalities were not numerically balanced, neither were they orders of magnitude apart.

As a result, specifically condemning both sides as Corbyn did seems like an entirely reasonable position to take. Far creepier, indeed, is to minimise one set of atrocities to score political points about something else entirely.

The point I’m making here isn’t really about Corbyn at all. Historically, his position on Northern Ireland has been pro-Republican, rather than pro-peace, and I’d be lying if I said I was entirely comfortable with that.

No, the point I’m making is about the media, and its bias against Labour. Whatever he may have said in the past, whatever may be written on his heart, yesterday morning Jeremy Corbyn condemned IRA bombings. This was the correct thing to do. His words were nonetheless reported as “Jeremy Corbyn refuses to condemn IRA”.

I mean, I don’t generally hold with blaming the mainstream media for politicians’ failures, but it’s a bit rum isn’t it?

Jonn Elledge edits the New Statesman's sister site CityMetric, and writes for the NS about subjects including politics, history and Daniel Hannan. You can find him on Twitter or Facebook.

0800 7318496