Judith Butler believed we were all performing gender. Photo: Getty
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Caroline Criado-Perez on Judith Butler: What's a phallus got to do with it?

In the late 80s, a new theorist emerged on the scene. She was called Judith Butler, and she was to revolutionise gender theory so fundamentally, that to write a paper on gender in the 21st century that does not at least reference Butler, is to almost place yourself outside of theoretical intelligibility.

The French psychoanalyst Jacques Lacan once claimed that “woman does not exist”. Women, or as Lacan therefore puts it in his lecture “On Feminine Sexuality” , “Woman”, might be forgiven for double-taking at this outlandish claim, but don't worry. This is only a symbolic claim, it only applies to which gender can have meaning in language, Lacan assures us, before going on to affirm that, “women's sexual organ is of no interest”. Hmmm.

Man, on the other hand, well. Man is different. “A man is nothing but signifier”, Lacan proclaims. He is the originator of all meaning. Taking inspiration from Freud's famous “penis-envy” theory, Lacan tells us that it is the “phallus” that is the signifier. (NB: the phallus, not the penis: we're still in the realm of the symbolic which despite its odd obsession with sexual organs is in no way related to the realm of the physical. Keep up, people.) And the phallus, despite being only symbolic and not related to actual sex, is intrinsically male. As a result, a woman cannot signify. She is without meaning. Symbolically.

As you might imagine, feminists have had some problem with this theory. In reaction against Freud's colonialist designation of female sexuality as the “dark continent for psychology”, (that is unknowable, hence Lacan's “Woman”), Hélène Cixous, one of the leading proponents of the theory of écriture féminine, which proposed that women should write outside of the shackles of male-defined meaning, had this to say:

The Dark Continent is neither dark nor unexplorable - it is still unexplored only because we've been made to believe that it was too dark to be explorable. And because [men] want to make us believe that what interests us is the white [male] continent...

Her point was simple. Freud positioned men as eternal subject, their viewpoint as the viewpoint, when he claimed that “[t]hroughout history, people have knocked their heads against the riddle of the nature of femininity”, going on to clarify that “people” in fact meant “men”, since for “those of you who are women this will not apply: you are your selves the problem”. Cixous turned this blinkered contention on its head. Women are people too, she radically pointed out, and therefore are not intrinsically unknowable. We are not born as pure mystery. Rather, it is because psychology has been written by men, from a male perspective that has no interest in considering whether or not there may be an alternative, female worldview, a view of the world informed by occupying a position at the bottom of the social order, that women have been portrayed as essentialised and unknowable Other. It is because of this failure of imagination that woman has been positioned in the psychological literature as destined never to be a subject, never able to signify in and of herself. Only able to have meaning in so far as she is not the one true signifier: the mighty male phallus.

Cixous radically said that it didn't have to be that way. After all, she points out, white ink is only unreadable if it is written on a white page. So why are we unquestionably putting up a structure, a page, that renders our voices silent, our ink invisible?

Cixous was joined in her radical rejection of a male-defined access to meaning by Luce Irigary, and the French school soon gained currency in Anglo-American theoretical circles. But then, in the late 80s, a new theorist emerged on the scene. She was called Judith Butler, and she was to revolutionise gender theory so fundamentally, that to write a paper on gender in the 21st century that does not at least reference Butler, is to almost place yourself outside of theoretical intelligibility.

Butler is perhaps most famous for her theory of gender performativity, that is, the idea that gender is brought into being by repeated performances of a particular gender role. Gender performativity has entered into theoretical lore, and I have my problems with how it has been deployed to, ironically, position gender as somehow innate. In this essay, however, I would like to focus on Butler's related theory of intelligibility, since I think it throws light on how a theory that you might think would destabilise oppressive gender norms, has actually been used to shore them up.

In Gender Trouble, perhaps her most famous work, Butler criticises ‘received grammar’, as incapable of contesting gender, since ‘gender itself is naturalised through grammatical norms’, warning that ‘the price of not conforming is the loss of intelligibility itself.’ This sounds a bit like Cixous. Let's challenge those patriarchal structures that render our voices unintelligible. Let's stop blindly accepting the white page offered to us.

On first reading this, I couldn't help excitedly thinking of my feminist awakening while reading Deborah Cameron's Feminism and Linguistic Theory. Cameron referenced a study showing that when women hear “man” or “he” referring to mankind rather than specifically the male of the species, they nevertheless think of a man. This was despite the arguments from grammar purists that grammar is merely abstract, with no link to the reality of social gender (remind you of anyone whose name begins with an L?). It was a shock to me; I had never noticed it, but I realised this was exactly what I did, and that it had led to “lawyer”, “doctor”, “politician”, so often accompanied by the grammatically correct, default genderless “he”, also appearing in my head as a man. My whole mental world was peopled by powerful, successful men – no wonder I felt inadequate.

Butler goes even further in Undoing Gender, writing that “[t]here are advantages to remaining less than intelligible, if intelligibility is understood as that which is produced as a consequence of recognition according to prevailing social norms”. So far, so exciting. Like the French theorists of écriture féminine, who proposed a specifically feminine form of writing, one that expressed the female perspective, Butler says that we don't have to accept male-defined meaning. And if that renders us unintelligible – unable to signify – who cares? We understand ourselves – you can make the effort to get beyond your own myopic perspective.

But having identified this problem of male-defined meaning, Butler goes on to prescribe a rather surprising solution. In Bodies That Matter, Butler says that Lacan has no right to assume ownership over the phallus, and thereby determine its meaning. Instead, she says, we must disrupt, we must queer, his misogynistic claiming of meaning for the male, by insisting on the “transferability of the phallus”. And so, like a genderqueer rabbit out of a hat, the “lesbian phallus” is born. This disrupting birth is, Butler assures us, “compatible with the Lacanian scheme”.

I can see where Butler is coming from with this, but I can't help but feel that it's slightly . . . unambitious. Why, we might ask, is it so important that we cohere with the Lacanian scheme at all? What happened to the radical notion of saying, actually, Freud, no, “people” have not “knocked their heads against the riddle of the nature of femininity”, men have, because they never thought it worth just asking us. We are not “[our]selves the problem”, Freud, the problem is a male-defined and male-constructed schema, that conceives of humanity, sex and gender purely from the perspective of the male sex class, as if the perspective from the bottom simply doesn't exist. I don't want to reappropriate the phallus; I would rather make like Irigaray and pledge allegiance to the “void”, that “gaping emptiness heavier than any matter”. I don't see why I have to accept this schema as so fixed that all I can do is “queer” it; I would rather demolish it.

The immediate argument against that, and one that Butler herself might propose, is that calling for a rejection rather than a reappropriation of the phallus is to essentialise gender roles. Of the French feminists, Butler wrote that their “model of culture” was not that far from the patriarchal one, in that it assumed the “constancy of sexual difference”. What she wanted, was a “femininity” of “multiple possibilities”. This is a cry that has been taken up by a whole army of third-wave feminists, and it is extremely attractive. You do not have to be the fainting, incompetent, violable victim that your culture tells you you are. Just reject it and say you can be as good as any man, you can be as meaningful as any man. You have as much access to this signifying phallus as he does, and what's more, you're de-heterosexing it. Take that, patriarchy.

The problem with this, on the surface, attractive solution, is that it confuses the personal with the public. Just because I personally believe, or even know, that I am a strong, independent woman, who has intellect, who deserves an education, a public voice, who doesn't deserve to be raped, who doesn't deserve to be killed, that personal knowledge doesn't change a global order that says the exact opposite. And this matters, because we are not just dealing with theoretical abstracts here, but a global order in which one out of three women suffer from violence at the hands of men, 85,000 women a year are raped in the UK alone, and two a week die at the hands of their partners. This is not to say Butler does not acknowledge this – of course she does, and she works outside of the academy to combat it. But her theoretical work does not seem to account for the reality of the world in which women operate, and it is a world that does conceive of sex difference as fixed. The fact that most feminists accept that this is a culturally rather than a biologically ordained phenomenon, does not make it any less real for the women who are denied an education, denied a say in the global order, who are raped, who are killed.

Accepting that and constructing a feminist theory that takes account of this reality, is not the same as saying that this reality is fixed. It's saying, this is our reality in the here and now and we have to acknowledge that in order to solve it. Pretending reality is what we would like it to be is not going to change anything. At best, it's going to make one woman feel more powerful. But it will do nothing for women as a class. And feminism worth its salt can't be about making individual women feel better about themselves – feminism cannot be reduced to individual therapy. What feminism needs to be about is altering a social structure that positions women at the very bottom. That is what will enable femininity to signify “multiple possibilities”. To paraphrase the brilliant Audre Lorde, queering the master's tools just isn't going to cut it.

Caroline Criado-Perez is a freelance journalist and feminist campaigner. She is also the co-founder of The Women's Room and tweets as @CCriadoPerez.

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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.