Girl power, loneliness and avoiding “the friendzone”

How to deal with being single, without being a creep.

According to a piece in today’s Guardian, “the girl power generation are confused”. I’m not surprised. I’m confused, too, not least because I’d always assumed was part of said generation. Alas, it turns out I’m too old. Already 21 when Wannabe was released, I can’t be one of the “twentysomething women” who can claim to be “the most liberated and educated women ever”. So liberated, in fact, that they get to be defined by a 1990s girl band (the lack of a corresponding Boyzone generation can be taken as clear evidence that the pendulum has swung too far).

But wait! Said twentysomethings might be liberated and educated, but as you’ve already guessed, they’re still not happy! And not just because previous generations were awarded enigmatic letters such as X and Y whereas they got the sodding Spice Girls. Today’s young women are unhappy because too many people have written too many books telling them what to do. From The Rules to He’s Just Not That Into You, books have bombarded women with “contradictory messages” which leave them “in a bind, and without much help in figuring out what they actually want” (see, that’s what happens when you make the ladies literate):

Every piece of ‘modern’ advice about maintaining independence and using their 20s to explore and experiment sexually is layered over a piece of ‘old-fashioned’ advice about getting married before it’s ‘too late’, not being too assertive or passionate in sex, and not being too sexually experienced. This sort of advice means that young women often struggle to admit that they need a man

Thankfully, Dr Leslie Bell – source of the above quotation – has written another book, due to be published later this month, which will sort out all the stuff from the previous books and tell young women what they actually have to do, at least until the next book comes along. One presumes that Hard To Get, if it does little else, will finally enable women to recognise the man-shaped gap in their lives. This is good because no one’s ever been honest about this before. It’s not as though, say, Susan Faludi’s Backlash, published in 1992 – four years before Wannabe! – opened with a chapter debunking “man shortages and barren wombs” as one of the central “myths of the backlash” against feminism. I must have imagined that (in-between downing vats of Taboo and lemonade in order to hide my own man-need from myself).

Regardless of whether we’re dealing with myths, I don’t dispute that Bell is tapping into something powerful. I might be getting on a bit, but even I can’t recall a time when “liberated” young women were not reminded on a daily basis that they needed to find a partner, and sharpish, BEFORE IT GOT TOO LATE!!! It’s certainly a message I fell for, despite the best efforts of Geri et al to persuade me otherwise. In 1998 – following a whole two years of girl power-fueled Christmas No. 1s – a friend and I actually bought The Rules, not for the purposes of some ironic piss-take, but because we genuinely wanted to use the advice (our previous purchase, How Not To Stay Single, had proved a disappointment). We tried our best with our second purchase, but failed miserably. This wasn’t just because the book essentially tells you to pretend to be someone else for the rest of your entire life, purely for the purposes of nabbing a man, any man, who’ll think you’re “a creature unlike any other” (unless you’re a slag who shags him too soon). I don’t think we’d have minded if it was just that. The main problem is that the whole thing is way too culturally specific. We might have been middle-class western women, but when we found ourselves sitting in our local pub – in the heart of the Lake District, surrounded by beer-swilling farmers and fell walkers – the fantasy that this was a bar in Manhattan filled with strangers willing to “date” us suddenly dissolved into thin air.

So why did we put ourselves through this? Because deep down, we were hard-wired to rebel against the crude pseudo-liberation of ladette culture? Not really. The fact that I did tend to shag men “too soon” was, if I’m truly honest, another sticking point with The Rules. I didn’t really mind loving them and leaving them. All the same, neither I nor my friend wanted to be lonely. Few people do. That, if anything, is the taboo. When you’re in your twenties, separating yourself from the role of being your parents’ child, it starts to cross your mind that one day your family won’t be there, and who will you be with? However much we big up the single life, the threat of being cast adrift can be terrifying. Lonely people are sad. Lonely people are unwanted. Lonely people – spinsters, bachelors, weird uncles and aunts – are to be pitied, but also to be avoided, because loneliness is contagious. Don’t stand too close to Billy No-Mates. People might think you’re like him. So be yourself, be liberated, but remember, you must also be like everyone else, or face up to old age alone.

It’s not that I think being single is like that. All the same, when this fear is there – when you get to the stage of realising that perhaps you’re alone in this big, wide world – all the media messages about what you “need” touch a nerve. You start to believe them. After all, if you want control over your situation, it’s far easier to believe the “experts” than it is to panic alone. Far easier to think “I can follow The Rules” than “well, hopefully I’ll meet someone by sheer chance standing in a doorway eating Bombay mix at a party to which I wasn’t even invited”. Blaming yourself for what you’re told you lack is far safer than blaming random fate. What’s more, if you’re female, you also get to blame your own “liberation”. Damn you, choices! Now see what you made me do!

I find myself reflecting on this (as we smug marrieds do) when looking at the current hoo-ha over the Nice Guys of OKCupid Tumblr. Depending on your viewpoint, this either exposes the nasty misogyny of men who think their “niceness” should be rewarded with sex, or involves putting lonely individuals “in the 21st Century equivalent of the medieval stocks to be mocked, abused and humiliated” (Ally Fogg). Like Fogg, I suspect both of these things are happening. The misogyny inherent in the “friendzone” concept – that place where all the nice guys find themselves when the ungrateful recipients of “niceness” fail to open their legs – infuriates me, but so too does the open mockery of lonely people. Loneliness is not a gender-specific issue, but it’s become a weapon to be used in imaginary gender wars. The misery of loneliness threatens every woman who’s become too independent, and every man who’s failed to be “manly” enough. What’s more, as we transfer our fear of loneliness onto lonely people themselves, this threat becomes even more powerful. And yet, we can’t fight it with more books revising the books we read before, or by telling people they’d be better off with no choices at all. Perhaps the only effective challenge will come from human beings being actually, genuinely, sincerely nice in the here and now. How else can we calm our own fears about what comes later?

This article was originally posted on Glosswitch's blog, and is reposted with her permission.

A fedora, universal symbol of Nice Guys everywhere. Photograph: Getty Images

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

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Nigel Farage's love for Dunkirk shows how Brexiteers learned the wrong lessons from WWII

Film has given Britain a dangerously skewed perspective on World War II

For months now it’s been hard to avoid the publicity for what seems like an epidemic of new World War Two films for 2017. June brought us Churchill (starring Brian Cox), which concerns Operation Overlord and the allied invasion of Normandy in 1944. A month later, in July we were pushed back four years, to Dunkirk, with Christopher Nolan’s film of the evacuation of Allied troops from French soil in the summer of 1940. April had already brought Their Finest, a comedy about making a - let us not let the irony go unacknowledged -  stirring film about the evacuation of Dunkirk in the event’s more or less immediate aftermath and November will bring us Darkest Hour, some events in which will predate all three earlier films, as Gary Oldman’s Churchill struggles through the earliest days of his war premiership.

This glut is peculiar. There are no significant round anniversaries to commemorate (e.g. Dunkirk is 77 years ago, the Normandy landings 73). More, we’re meant to be in the middle of a series of commemorations of the horror and waste of the Great War of 1914-18, but that seems to have slipped away from us in the political turmoil that’s engulfed this country since 2014. Instead, it’s to the Second World War we return yet again. To modern Britain’s founding myth.

It’s a coincidence, of course, that these films should come along together, and at a seemingly odd time. They were developed separately, and films takes so long to conceive and produce that no one could have anticipated them arriving together, let alone arriving in a toxic Brexit Britain where they seem like literally the least useful things for anyone in the UK to watch right now. As works that will inevitably, whatever their own creative intentions and merits, be hi-jacked by a press and political culture that is determined to gloss its opposition to the UK’s membership of the European Union, and its appalling mishandling of the process of exit with garbled references to, the conflict the films portray.

This is an impression that is not exactly dismissed by Nigel Farage posting to twitter of an image of himself standing next to the poster for Dunkirk, along with a statement in which he encourages all young people to see the film. For what reason, we’re entitled to wonder, does he make this encouragement? Does he admire the sound design? Or the aerial photography? Or is he just a big fan of Mark Rylance and Harry Styles? Or perhaps he is, inevitably, indulging in a behaviour that some might call "nostalgic"? Of pining for the past. Except, of course, nostalgia requires an element of pain. The suffix "algia" the same as employed when referring to chronic conditions. For Farage and his ilk there is no pain in this behaviour, just the most extraordinarily banal comfort.

Farage is asking us and asking the young who voted against his chosen cause by an overwhelming majority, and who are are sickened by where he and his ilk have brought us - to share in his indulgence. To enjoy, as he does, those fatuous analogies between the UK’s isolation between Dunkirk and Pearl Harbour with its imminent failures in European politics. To see that "escaping from Europe with nothing is at least better than not escaping at all". Or to believe, once again, in a "plucky little Britain, standing up against the might of a wicked mainland European tyranny, its back against the wall".

All this, confused, indeed nonsensical, as it is, is being invoked, as surely as the anti-EU right have always invoked Churchill. This is despite his own family recognising him, as the EU itself does, as the fervent pro-European he was. Indeed, he was one of the founding fathers of the whole post-war pan-European enterprise.

What Farage and his behaviour demonstrates, yet again, is that British culture, in many ways, learned not merely the wrong lessons from the war against Hitler, but exactly the wrong lessons. It’s a lesson that found its most enduring, poisonous expression in Margaret Thatcher’s breathtaking assertion that the European Union was a "third attempt" by Germany to take over the world.

In contrast to the rush of war films in cinemas, television has recently given us glimpses into theoretical worlds where Nazism did succeed in conquering the planet, in Amazon Prime’s The Man In The High Castle and BBC One’s SS-GB. There are lessons too, in these alternative histories, proper lessons that we have collectively failed to learn from the real one. Which is that fascism or authoritarianism are not diseases to which anglophone countries are somehow miraculously immune due to [insert misunderstood historical fetish of choice].

The Man in the High Castle, particularly in its more subtle first series, goes out of its way to show Americans that their lack of experience of collaboration with Nazi occupation is a result of circumstance, even luck. Not because collaboration is a peculiarly European tendency. SS-GB also worked hard to demonstrate the helplessness of occupation, and how that leads to the sheer ordinariness of collaboration. Both show the understanding that while fascism from the outside is funny accents and funny uniforms, fascism from the inside is your neighbours informing on you and the absence of the rule of law.

That experience of occupation, of subsequent complicity, and humiliation, felt by many other other European nations, is absent in Britain. Farage’s fellow Leaver Liam Fox, without anything resembling self-awareness, asserted that "the United Kingdom is one of the few countries in the European Union that does not need to bury its 20th century history". Fox’s remark summed up, again seemingly unintentionally, the oafishness of the principle Brexiteers. A group who exemplify a culture that boils a vast and unimaginably complex conflict down to the title sequence of Dad’s Army - an animation in which a Union Flag is forced off the European continent by a trio of Nazi triangles, and after returning home bobs around defiantly. A group who, in a strange and witless inversion, have fantasised themselves into a position where they see the Britain’s membership of the European Union as the occupation the country once avoided.

This is the UK’s postponed tragedy. At a timethat European countries experienced national humiliations which fundamentally reconfigured their understandings of their place in the world, the UK got yet another excuse to shout about how much better it was than everyone else.

I’m a child of the very late Seventies. I grew up in a world where (British) boys’ comics were dominated by war stories rather than science fiction or superheroes, where literally everyone knew several people who had fought in World War Two - and almost everyone someone who could remember World War One. That war was the ever-present past. I am, as a friend who teaches history neatly phrased it "Of the last post-war generation." After me, the generations are post-post-war. They are free. The moral clarity of the war against Hitler has, in the end, been a curse on British culture - a distorting mirror in which we can always see ourselves as heroes. 

But, not, of course, all other generations. The war generation collectively (I make no claim that there were not exceptions) understood what the war was. Which meant they understood that the European Union was, and is, its antonym, not an extension of it. Unlike their children and the eldest of their grandchildren, they had real experience of the conflict, they hadn’t just grown up surrounded by films about how great Britain was during it.

The Prime Minister who, or so he thought, had secured Britain’s European destiny had also, as he related in his autobiography, seen the devastation wrought by that conflict, including by shells he himself had given the order to be fired. Like Helmut Kohl, whose worshipped, conscripted older brother died pointlessly fighting for Hitler, and Francois Mitterrand, himself captured during the fall of France, his experience was real and lived, not second hand.

This can be seen even in the voting in 2016 referendum. That the young principally voted Remain and the old voted Leave has been often noted. But if you break that over-65 vote up further, there’s a substantial flip to back towards Remain amongst the oldest voters, the survivors of the survivors of World War Two. After all, someone who is 65 today was born nearly a decade after the war ended. It was their parents’ war, not their own. A war that has been appropriated, and for purposes of which those who fought in it would, collectively, not approve.

Let’s return to Dad’s Army, after all, BBC Two does often enough. Don’t Panic! The Dad’s Army Story (2000) a cheerful history of the sitcom great written and presented by Victoria Wood contains a telling juxtaposition of interviewees. The series' surprising continued popularity is discussed and Wendy Richard (born 1943) expresses a nostalgia for the war years, and how people banded together during them. This is a sentiment which Clive Dunn (born 1920) bluntly dismisses. “Like most people I had a foul war,” he says, and disgust and horror briefly pass across his face.

It’s the difference between those who remember war, and those who only remember war films.