Introducing Trans Issues Week

Every day this week, the New Statesman website will host a blog exploring gender issues.

In the twelve months preceding November 2012, at least 265 transgender people were murdered across the world. That figure comes from the Trans Murder Monitoring group, and covers only documented cases in 29 countries, so the true tally is likely to be higher.

For anyone interested in equality, it should be obvious that trans people are subject to harassment simply for the way they express their gender identity. If they do not "pass" in the street, they can be subject to everything from cruel comments and sideways glances to assault or rape - just for standing out. The kind of dehumanising language which most people would find outdated and offensive if used against women, or a racial group, is routinely used when talking about trans people.

In recent decades, there have been great improvements in the way that both the medical community and the wider public deal with issues around gender identity. But sometimes it seems that a lack of knowledge, or awareness, is preventing people from engaging in what should be an important cause. Many people I know would never deliberately set out to offend, but are clueless about what pronouns to use, or how to refer to trans people. 

For that reason, the New Statesman blogs will be hosting a week devoted to trans issues, with a new blog every day on the subject. We hope to dispel some myths - and also offer some hope. Talking about trans issues purely in negative terms does not do justice to the many trans people living happy and fulfilled lives, and so there will also be pieces celebrating positive trans role models in pop culture, and describing the reasons to be optimistic about the future of trans people in Britain. 

The aim of the series is to reach out in a straightforward and friendly way to people who haven't considered these issues before: potential commenters should know that no one is waiting to jump down your throat for an innocent mistake. 

There won't be room this week to cover the breadth of trans experience, and so the articles that follow should be viewed only as trying to start a conversation. We hope that you will continue it in the comments here, on social media, and in your own lives. 

Monday: How a trans teacher showed adults have more hang-ups about gender than primary school kids by Jane Fae

Tuesday: Everything you've always wanted to know about trans issues (but were afraid to ask) by Jennie Kermode

Wednesday: Trans people, pronouns and language by Juliet Jacques

Thursday: Trans role models: Janet Mock, Paris Lees, CN Lester and Luke Anderson by Matthew Reuben

Friday: Trans people and the current feminist movement by Petra Davis and Non-binary: An introduction to another way of thinking about identity by Sky Yarlett

PS. I should add upfront that this theme week was planned before the recent Twitterstorm about Julie Burchill's article. We won't be hosting a response to that, as the idea of a New Statesman comment piece about an Observer comment piece about a Guardian comment piece about Twitter comments made after a New Statesman comment piece might be testing the patience of a casual reader.

PPS. You can find our previous theme weeks at the following links: Britishness; censorship and pornography; masculinity and British comics.

Backstage at the Pink Pageant, sponsored by human rights group Blue Diamond, in Kathmandu. Photograph: Getty Images

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

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Despite his “strong female leads”, Joss Whedon's feminism was never about real women

Many men in TV and film praised for their powerful women are still writing with the male gaze.

Kai Cole, the ex-wife of Joss Whedon, has written an essay alleging that the director isn’t quite the feminist he appears to be. Colour me unsurprised. There’s only so much good-guy posturing a feminist can take before she starts to become a little suspicious.

It’s not that I’ve any particular beef with Buffy the Vampire Slayer, nor that I think men shouldn’t speak out against sexism wherever possible. But I’ve long harboured a mistrust of male directors – Whedon, Woody Allen, Pedro Almodóvar – who gain a reputation of being “good at doing women”. Who are they, these magic woman-whisperers, who see through woman’s childlike, primitive exterior and coax out the inner complexity? How do they manage to present women, these blank, mysterious objects, as actual human beings?

True, these men are working against a backdrop of extreme sexism, in which film dialogue is dominated by males, while females become increasingly silent as they age. Perhaps one should be grateful to anyone who allows a female character to have some glimmer of an inner life, let alone exist beyond the age of 30.

All the same, I can’t help feeling this isn’t enough. We all know the joke about the male feminist who walks into a bar because it’s set so low. It’s all too easy to be “good at doing women” when all it takes is granting female characters the same desires and contradictions we’d grant to any other human being.

Women are not a specific type of puzzle for mankind to solve. The idea that it should take some noble, generous leap of imagination to empathise with us is an excuse men have been using to mistreat us for millennia. When responding to us as though we’re actual human beings – or at least, as though an interesting Real Woman subset of us are – becomes a USP, we should all be worried.

Whedon did go a little way to addressing this in his 2006 acceptance speech for an Equality Now award, in which he mocked the way in which he was constantly asked: “Why do you always write these strong women characters?”:

“Why aren't you asking a hundred other guys why they don't write strong women characters? I believe that what I'm doing should not be remarked upon, let alone honoured.”

If this sounds a little like a humblebrag, it can probably be excused. What’s harder to excuse is this idea that a man who boasts of surrounding himself with women like his mother – “an extraordinary, inspirational, tough, cool, sexy, funny woman” – is doing womankind a favour.

I’m glad you appreciate your mum, Joss, and that you apparently don’t feel threatened by other women like her. There’s a fine line, though, between valuing women and presenting them with a whole new list of impossible standards to live up to. This is why I could never quite buy into the liberatory potential of Buffy. There’s nothing impressive about a man failing to be intimidated by his own strong girl fantasy.

In E T A Hoffmann’s 1816 short story The Sandman, the hero Nathanael falls in love with Olimpia, a doll whom he believes to be a real woman. Once the truth is exposed, the men around him become concerned that they, too, may have unwittingly fallen for automata:

“Many lovers, to be quite convinced that they were not enamoured of wooden dolls, would request their mistresses to sing and dance a little out of time, to embroider and knit, and play with their lapdogs, while listening to reading, etc., and, above all, not merely to listen, but also sometimes to talk, in such a manner as presupposed actual thought and feeling.”

There’s something about the director who’s “good at doing women” that reminds me of this. There’s a recipe for dropping in just the right number of quirks, inconsistencies and imperfections to create a Real Woman Character, without making her so unsexy as to be instantly distinguishable from your Hollywood doll. It’s not that her actual thoughts and feelings matter; it’s all about where she’s positioned in relation to you.

As Sophia McDougall noted in her excellent essay on Strong Female Characters, male characters have complex personalities as a matter of course; female characters, meanwhile, are occasionally permitted to be strong, hence anomalous. The more nuance we see, the better. Even so, I’m tired of the veneration of men who fetishise Real Womanhood just as much as others fetishise the plastic variety.

According to Whedon’s ex-wife, the director’s declared feminist ideals never filtered through into real life. Whether this is true or not, this would be understandable. Real Women are not the same as real women. Equality isn’t a matter of men feeling “engaged and even attracted” to a more diverse range of females. It isn’t about the male gaze at all.

Whedon’s final response to the “why do you always write these strong women characters?” question – “because you’re still asking me that question” – has been seen by many as an explicitly feminist statement. But perhaps all it really meant was “because there’s still a gap in the market”. Because men will always find ways to benefit from other men’s sexism. If Real Women didn’t exist, some man out there would have to invent them. 

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