Wikipedia wars: are there really novelists and 'women novelists'?

How many brilliant writers will be sorted away entirely, never making the cut as novelists because they're weighed down with the tag "woman"?

Bad news if you're an American, a novelist and a woman: Wikipedia has decided that you don't count as an American Novelist and have to go in your own sex specific sub-section called Women American Novelists. Well, not Wikipedia itself – Wikipedia is a platform, not a unified entity, and it makes no more sense to talk about it as the possessor of a single corporate mind than it does to imagine that your Facebook feed is the carefully curated output of one editor. Better to say instead that certain Wikipedians decided the best way to organise fiction was with women on the outside.

Since Amanda Filipacchi drew attention to this in the New York Times, there has been a lot of serious discussion on the the American Novelists talk page, as editors work out how to resolve such a highly scrutinised issue. A few have defended it as a neutral decision designed to reduce an untenably huge category, but to most involved, the sexism seems obvious: such a system of ordering makes men the default type of human, and women a subset. One contributor suggests creating the category American Men Novelists as a solution, only to be hit with the objection that this would leave the parent category populated solely by those who identify as neither male nor female — a curiously narrow group to represent the literature of a nation.

It's not just America which is to be sifted by sex. I took a look at Victorian Novelists, and there you can find a single subcategory: Victorian Women Novelists. While some women get to sit in the main section, many don't — including George Eliot. George Eliot, arguably both the finest novelist and the most Victorian of all Victorian novelists, tucked away in a feminine dependency of literary history. No such fears of perverse classification for Hardy or Dickens, of course: Victorian Male Novelists doesn't even exist as a category, because to be a man is to be neutral of gender in this system. It doesn't feel like we've shaken off all that much of the sexism which caused Mary Anne Evans to publish Middlemarch under a male pseudonym, does it?

The problem is, it's not just Wikipedia doing the classifying and it's not just novelists getting classified. We live in a world where everything is furiously sorted along gender lines. As a parent with feminist pretensions, I've been discretely appalled to see both my children (one boy, one girl) start sorting things by gender. For example: jumpers turned out to be a boy thing, cardigans a girl thing, and no amount of cajoling could persuade either child that they weren't committing gender treachery through knitwear. Of course, I felt somewhat shocked and then betrayed that my children had turned against my principles — until I'd had a moment to think about the example they had to work with.

I might not always love my place in the gender binary system, but I certainly don't want to be outside it. Through my clothes, through my make-up, through my manner, every day I do a hundred small things that announce my fealty to femininity. I sort myself — almost all of us do. And such sorting is not particularly malevolent in itself, except that it tends to spread and then become a kind of destiny. There's a hierarchy to it, too: I've heard my daughter describe a classmate derisively as a "girly girl, one who just likes girl-girl-girl-girl-girl stuff." Not putting on your gender properly is traumatic, but too much femininity is something to be scorned.

It's this same way of thinking — male as the mainstream, female as a diminished subset — that led to faint murmurings against Hilary Mantel's inclusion on the shortlist for the 2013 Women's prize for fiction. Having already won two Bookers, the murmuring goes, why should she get a run with the ladies as well? She's already proven herself as a novelist, no gender qualifier required. In success, she sheds her sex. Of course, if I object to Wikipedia categorising women novelists apart, perhaps I should object to prizes that do the same – and I do, or rather I object to the necessity for them.

The Booker has been won twice as often by men as by women, and I refuse to believe that's because men are twice as talented. Until there's parity there, the Women's prize does a sadly needful job of celebrating female authors. Its existence perhaps perpetuates the need for it to exist, and yet I can't think of a better answer to pervasive sexism than just pointing out that women are, and the culture we make matters. That culture should not matter only within gender bounds though, and if we sort and sort until we have sorted ourselves into separate spheres entirely, God knows how many brilliant writers will be sorted away entirely, never making the cut as novelists because they're weighed down with the tag "woman".

Hilary Mantel, after winning her first Booker prize. Photograph: Getty Images

Sarah Ditum is a journalist who writes regularly for the Guardian, New Statesman and others. Her website is here.

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I can’t follow Marie Kondo's advice – even an empty Wotsits packet “sparks joy” in me

I thought I’d give her loopy, OCD theories a go, but when I held up an empty Wotsits bag I was suffused with so many happy memories of the time we’d spent together that I couldn’t bear to throw it away.

I have been brooding lately on the Japanese tidying freak Marie Kondo. (I forgot her name so I typed “Japanese tidying freak” into Google, and it was a great help.) The “Japanese” bit is excusable in this context, and explains a bit, as I gather Japan is more on the case with the whole “being tidy” thing than Britain, but still.

Apart from telling us that we need to take an enormous amount of care, to the point where we perform origami when we fold our underpants, which is pretty much where she lost me, she advises us to throw away anything that does not, when you hold it, “spark joy”. Perhaps I have too much joy in my life. I thought I’d give her loopy, OCD theories a go, but when I held up an empty Wotsits bag I was suffused with so many happy memories of the time we’d spent together that I couldn’t bear to throw it away.

After a while I gave up on this because I was getting a bit too happy with all the memories, so then I thought to myself, about her: “This is someone who isn’t getting laid enough,” and then I decided that was a crude and ungallant thought, and besides, who am I to wag the finger? At least if she invites someone to her bedroom no one is going to run screaming from it, as they would if I invited anyone to my boudoir. (Etym: from the French “bouder”, to sulk. How very apt in my case.) Marie Kondo – should bizarre circumstance ever conspire to bring her to the threshold – would run screaming from the Hovel before she’d even alighted the stairs from the front door.

I contemplate my bedroom. As I write, the cleaning lady is in it. To say that I have to spend half an hour cleaning out empty Wotsits packets, and indeed wotnot, before I let her in there should give you some idea of how shameful it has got. And even then I have to pay her to do so.

A girlfriend who used to be referred to often in these pages, though I think the term should be a rather less flippant one than “girlfriend”, managed to get round my natural messiness problem by inventing a game called “keep or chuck”.

She even made up a theme song for it, to the tune from the old Spiderman TV show. She would show me some object, which was not really rubbish, but usually a book (it may not surprise you to learn that it is the piles of books that cause most of the clutter here), and say, “Keep or chuck?” in the manner of a high-speed game show host. At one point I vacillated and so she then pointed at herself and said, “Keep or chuck?” I got the message.

These days the chances of a woman getting into the bedroom are remote. For one thing, you can’t just walk down the street and whistle for one much as one would hail a cab, although my daughter is often baffled by my ability to attract females, and suspects I have some kind of “mind ray”. Well, if I ever did it’s on the blink now, and not only that – right now, I’m not even particularly bothered that it’s on the blink. Because, for another thing, I would frankly not care to inflict myself upon anyone else at the moment.

It was all a bit of a giggle eight years ago, when I was wheeled out of the family home and left to my own devices. Of course, when I say “a bit of a giggle”, I mean “terrifying and miserable”, but I had rather fewer miles on the clock than I do now, and a man can, I think, get away with a little bit more scampish behaviour, and entertain a few more illusions about the future and his own plausibility as a character, when he is squarely in his mid-forties than when he is approaching, at speed, his middle fifties.

Death has rather a lot to do with it, I suppose. I had not actually seen, or touched, a dead body until I saw, and touched, my own father’s a few weeks ago. That’s what turns an abstract into a concrete reality. You finally put that to one side and gird up your loins – and then bloody David Bowie snuffs it, and you find yourself watching the videos for “Blackstar” and “Lazarus” over and over again, and reach the inescapable conclusion that death is not only incredibly unpleasant, it is also remorseless and very much nearer than you think.

And would you, dear reader, want to be involved with anyone who kept thinking along those lines? I mean, even if he learned how to fold his undercrackers into an upright cylinder, like a napkin at a fancy restaurant, before putting them in his drawer? When he doesn’t even have a drawer?

Nicholas Lezard is a literary critic for the Guardian and also writes for the Independent. He writes the Down and Out in London column for the New Statesman.

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