Seeing red: the power of female anger

Every statistic available shows that women and children are being hit hardest by this recession. Outbursts of fury, politicised and scalpel sharp, are everywhere we look, says Suzanne Moore.

If you are a woman of a certain inclination, google “Calm Down Dear” and wind back the footage to April of last year. David Cameron, more cocksure than he is at present, directs the phrase at Labour MP Angela Eagle during Prime Minister’s Questions in a debate over health policy. He says it more than once, so bowled over is he with his own Wildean wit. It’s a shame really since it’s actually a catchphrase of that peculiarly mega-loaded film director, Michael Winner. Still, this being the House of Commons, Cameron’s own frontbench are convulsed. Beside him is a man not quite as beside himself as the others – Nick Clegg, looking as he so often does, wistfully wishing he were elsewhere. The Liberal Democrat leader may have few senior women in his own party but in that hollow where his heart used to be, he intuits this is not the way to address female colleagues.

Many of us do. Many of us don’t feel calm but angry and perturbed that the humour embraced by Fragrant Dave is that of a previous generation (Benny Hill?). That may well be what being a conservative means: conserving the worst of things as well as the best of them.

I speak, of course, as a humourless “feminazi”. Anyone who takes offence at being patronised should “grow some” as they say. Tory MP Louise Mensch’s visible frustration at not being moved up party ranks and subsequent resignation meant that, despite her high profile, duller yet controversial men like Jeremy Hunt are still seen as less risky promotions. Our supposedly modernising Prime Minister, who once aimed to appoint women to a third of cabinet positions, ensured that out of twenty-two senior jobs available in the latest reshuffle, only four were given to women.

That aspiration, for representative democracy to be more representative, went very quickly out of the window. As did his promises about the environment. We shall have to hope that climate change doesn’t really happen and that women just try a little harder. Keep calm and carry on. You can’t have everything.

Indeed half the population already know that and some of us have been seeing red for quite some time about just how quickly we are slipping backwards. According to the equality campaigning organisation, the Fawcett Society, we are currently ranked fifty-seventh in the world when it comes to cabinet-level posts. That might be worth thinking about as Samantha Cameron shows us how to wear Zara or Michelle Obama has to tell us about how much she loves Obama.

Does it matter? Just possibly. Every statistic available shows that women and children are being hit hardest by this recession. Women are losing more jobs than men in the public sector (65% of public sector workers are female) and the services they consume the most are also being cut back. Many women now find themselves as unpaid carers with no remuneration whatsoever. Meanwhile, a parliament of men can still legislate over the bodies of women. Indeed Hunt, the new Secretary of State for Health, wants the limit on abortion to be twelve weeks. Despite polls in support of women’s right to choose, the law is whittled away by continual attacks on time limits. A tiny number of women have abortions past twenty-four weeks, 147 in the year before last. Late abortions for “social reasons” do occur, and if you can read some of those case notes you have a stronger stomach than I. If you are raped by a member of your own family and then beaten with an iron bar while pregnant, you may well not want that baby.

Abortion, we are told, is an issue of conscience. No, it is an issue of control. It is fundamentally about whether the state can control the bodies of women. Obviously, not all women feel the same way about this because we are all different – you know, rather like men. Funny chaps, women! Many of us don’t fight for more women in power in politics or in the board room because these women somehow speak for all of us but because it is simply insane that such a power imbalance remains. At the current rate of change, the Fawcett Society estimates a child born today will be drawing her pension before she sees equal numbers of men and women in the House of Commons. Either meritocracy works or it doesn’t. We can conclude women are not as good at running banks or government departments or that they just aren’t “hungry” enough. We can say it might better if we didn’t go in for the baby malarkey, which is a real downer on career prospects. Or we could be cold, hard and livid that this remains the case.

All those tired but wired women that you see with a briefcase and a snatched bag of M&S ready meals. Are they really having it all? It’s not just the double shift of work and domestic duties that women do. There is now a third shift – we must keep ourselves sexually attractive forever. This requires more “work” in the form of surgery. When breasts became bouncy castles for male enjoyment, the imploding implant scandal was waiting to happen. Every woman who has it done claims they are doing it for themselves, their self-worth residing in a body to be used by others. If cutting yourself up as “empowerment” seems a little too much, then just inject yourself with poisonous Botox. I always say the best filler is cake.

These are the most conservative times for women I can remember. But why are we not saying “Enough, already”? Why are we not telling our inbred overlords that we are not as nice as we look? Partly because we are afraid of our own anger. It’s not a pretty sight. Seeing red and letting go is, for many women, a dangerous activity. We are only ever a few HRT pills away from being a monstrous regiment. Women’s rage is also never seen as what we say it is actually about. It is inchoate, unreadable and uncontrollable. It is, of course, also totally thrilling. Feminism as “a movement” has collapsed in the West, in the way of most collective struggles. We can call this postmodern, we can say neoliberalism appropriated feminism simply so that wage slaves could equally be male and female, but it’s not so simple. It hasn’t gone away. The recasting of feminism as only of interest to a few middle-class white women is a media trope. Outbursts of anger, politicised and scalpel sharp, are everywhere we look. The Respect party leader Salma Yaqoob recently resigned over issues of “trust”. Clearly she could no longer tolerate her colleague George Galloway’s attitudes towards women and rape, given his remarks about WikiLeaks founder Julian Assange. The allegations of rape against Assange were dismissed as a plot or simply poor “sexual etiquette” .

The sight of the hard left coalescing around Julian Assange is indeed sore. Yet again, those most vociferous about human rights seem somehow not to see women’s rights as part of the same conversation. Elsewhere, Pussy Riot, young and able to use the net to spread the word about Russian President Vladimir’s Putin’s slide into dictatorship with the backing of the Orthodox Church, achieved far more than earnest politicking has done by performing their “Punk Prayer” for less than a minute in knitted balaclavas. “What we have in common is impudence, politically loaded lyrics, the importance of feminist discourse …”, they said. That three of them are in prison for two years is a disgrace. That even Dmitri Medvedev, the Russian prime minister, is calling for their release shows their message is hitting where it hurts.

Nobel Prize winner Leymah Gbowee. Photo:Getty

Women are, of course, hurt whenever they stand up to repressive regimes. Sometimes by their own “comrades”. The widely documented sexual assaults on many young Egyptian women who joined their “brothers” in the Arab Spring protests show that the position of women remains vulnerable. Nonetheless, women continue to remind us that feminism isn’t all Naomi Wolf-style fanny gazing. Look at a Nobel Peace Prize winner, the Liberian Leymah Gbowee, who brought together women determined to find peace in a country torn apart by religious divides and civil war through demonstrations, sit-ins, even sex strikes. “We have to be our own Gandhis, our own Kings, our own Mandelas,” she said. What started as groups of women just sitting together in the fish market in white T-shirts led to the eventual demise of the war criminal Charles Taylor and the election of a female president.

While some kinds of feminism meld well with the logic of late capitalism, others challenge it. The stark facts are as follows. Wherever women become educated, they have fewer children and when they become financially independent, the model of monogamous marriage breaks down. Freedom is neither easy or easily defined. And we must be alert to how easily it can be threatened. In this country, the red warning lights were flashing at the last election when women were largely invisible except as trophy wives. Women’s “issues” are still something to be tacked onto another ministerial department. The ideas of quotas is still abhorrent to those born to rule: white men. Those who refute social engineering are themselves the products of the best social engineering money can buy: public school and then Oxbridge. Oh yes, I know there are token women and the Top Trump always remains Margaret Thatcher. Having often featured myself as a token woman, I find the role an insult in 2012. At a dinner with Iain Duncan Smith, the Secretary of State for Work and Pensions charged with reforming the benefits system, I heard him telling the assembled guests what it was like being a single parent, I sat silent, waiting to be asked my views, as I am one. A scarlet flush was spreading across my chest. This was far from post-coital colour. My blood was rising. The anger could not be swallowed. I left the table.

This kind of action is not fashionable. We cloak our vitriol in humour. I get it. I do it too. Caitlin Moran’s bestselling How to Be a Woman is a brilliantly funny read because it is so warm and not really very angry towards men. We can all be dudes. But former Sex Pistol John Lydon’s chant , “anger is an energy”, is still my cri de coeur. The cliché is that female anger is always turned inwards rather than outwards into despair. We are angry with ourselves for not being happier, not being loved properly and not having the ideal body shape – that of a Brazilian transsexual. We are angry that men do not do enough. We are angry at work where we are underpaid and overlooked. This anger can be neatly channelled and outsourced to make someone a fat profit. Are your hormones okay? Do you need a nice bath? Some sex tips and an internet date? What if, contrary to Sex and the City, new shoes do not fill the hole in your soul? What if you aspire to another model of womanhood than the mute but beautifully groomed Kate Middleton? What if your anguish is not illogical but actually bloody spot on?

Maybe your man can read Men’s Health and use the “11 ways to deal with an angry woman” advice. Eye contact and admitting you are were wrong come into it! Who knew? Those more vulnerable, the women in our midst going without dinner so the kids can eat, are they going to be helped by talking of anger as an issue of intimacy? The Etonian clones abandoned these women long ago and are producing policies that directly target them.

Those hazard lights should be flashing: women can’t be wooed to vote by being shown the nice handbag of a politician’s wife. I see my daughters’ generation written off as pretty much everything I took for granted is being systematically stripped away from them. Jobs, housing, free education. The expectation that these young women would have the same choice or more even than their mothers is being shattered. They have less. This is why so many of us are seeing red. The signs flicker all around, whichever side of the political divide we are on. We see red, not as a mist but clear and scarlet. Cherish it, for this is how the future will be made.

As Gwobee says “Anger is like water: the shape it takes comes from the container you put it in.” Let it flow.

This piece originally appeared in Red, The Waterstones Anthology edited by Cathy Galvin. Available at Waterstones.com

Suzanne Moore is a journalist who has written for everything from Marxism Today to the Mail on Sunday. She is the author of two books of collected journalism and is currently a columnist for the Guardian. Suzanne has three children and no hobbies.

Supporters of Pussy Riot in Hamburg. Photo: Getty

Suzanne Moore is a writer for the Guardian and the New Statesman. She writes the weekly “Telling Tales” column in the NS.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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