Freckles & Doubt

There is an, on the whole, surprisingly small surge of posts on Tumblr about Neil Gaiman, who has been accused of less than savoury sexual activities with much younger women in positions of comparatively less power than he has. The initial article focused on one victim has brought half a dozen others out of the woodwork, so it's a pattern. There's what seems to be a fairly balanced reflection on the situation at https://politicsdancingxyz.substack.com/p/manufacturing-consent.

This has come completely out of left field: of all the potential items on my 2024 Bingo card "Neil Gaiman sex scandal" would absolutely never have been an option. I love his writing and his social media presence - Tumblr particularly, where he is sane, enlightened, snarky, and surprisingly in tune with Tumblr's propensity for idiosyncratic off-the-wall playfulness. He seemed, on all fronts, like one of the good ones, and a part of me was desperately hoping his accusers would be revealed as chancers, drama-seekers or severely disturbed, and the whole thing manufactured in bad faith. But his response has been to make noises that "it was consensual" in various articles, and then to disappear from sight since the whole thing blew up and hire marketing firms, so that's obviously wishful thinking on my part, and I am sternly suppressing it. It seems fairly clear that he was awful to women across the span of his life, and he clearly caused horrible pain and degredation to his victims, and they have my absolute sympathy, support and admiration for their strength in coming forward with this in the teeth of his reputation and status. But the fact that their pain is clearly the important thing here doesn't actually stop me - stop many of us - from feeling our own pain and loss at a destroyed relationship with a writer and creator who felt like one of our own.

I think, on the whole, the comparative silence on Tumblr is an echo of what I'm feeling myself - shock and grief, to an extent which makes it hard to process. He has been an icon in the sf/fantasy community for as long as I've been reading sf and fantasy. His work is warm and human and compelling, his treatment of female characters and queer identities and the like seemed to be enlightened and supportive, this simply doesn't fit. But I have to make it fit, and it's doing my head in - as it is, I think, for a large swathe of his readers.

It also stings paricularly because grief is partly anger, because what's been revealed about his personal proclivities for abusive sex with comparatively powerless women means that his public persona is a carefully crafted lie, designed to cover and enable his activities. I am angry because I feel stupid, as though I should have known. (I mean, I always hated his relationship with Amanda Palmer, who I intensely dislike for not particularly rational reasons beyond the age discrepancy and her brashness, but I blamed her for its dissonances, not him. He got me. Bastard.)

A lot of the discussions on social media from betrayed fans circle around the perennial problem of what the hell you do with your relationship with the art when the creator turns out to be a problematical dickhead. Sometimes this easy - I ditched Orson Scott Card and wossname, John C Wright (had to look him up) without a blink when I became aware of their respective frothing homophobias, their work never really mean that much to me. And the China Mieville jerking women around thing simply allowed me to admit how pretentiously intellectualised his work can be, despite its undoubted quality and originality. While I was fond of Harry Potter, I have always been aware of the books' flaws as literary works, and been frustrated by their conservative moral framework; JK's rampant TERFism was not a shock, and it has cost me absolutely nothing to boycott anything further from which she might profit, and retreat into HP fan fiction. Joss Wedon was a betrayal, but Buffy and Firefly were in the past, their loss is not as immediate. I have a harder time with Arcade Fire and Win Butler's sexual misconduct allegations, I love Arcade Fire, and I can't really listen to it any more without a sense of unease, so I listen to them a hell of a lot less than I used to. But I have bought and read, multiple times, pretty much everything Gaiman ever wrote, book-wise, and a fair chunk of his graphic novels. I have the giant Absolute Sandman tomes, for heaven's sake. I have Good Omens on DVD. I have written academic papers on him. Any way you slice it, that's a loss.

I don't know if it's possible to separate the art from the artist. I know it's far more likely, in our modern media age, that the relentless glare of the media spotlight will sooner or later discover horrible things about large numbers of our respected creators. No-one is perfect, and media - and humanity in general - love to dish the dirt, and the reality is that if the internet existed a hundred years ago we'd be cancelling cherished literary icons left, right and centre. And there may be an argument for trying to make that separation in order to still enjoy the work, but I can't. I cannot read or watch or listen without suspicion when I know the sordid details, and the suspicion, and consequent re-analysis of the work, spoils my enjoyment. TERFism is implicit in Harry Potter if you read it with the knowledge of JK's current frothings, and I'm pretty sure I'm going to find that Gaiman's female characters are rife with problems if I revisit them now, in the same way that Buffy is if you use the lens of Dickhead Joss. And that'll hurt.

So I have actually found Brandon Taylor's article about Alice Munroe to be strangely consoling, because he talks about precisely this betrayal in terms which mirror my own. And two of his comments really stay with me: one, "Being a brilliant writer does not elevate one above the common smallness of being a person." And two, "For myself, I will never read Alice Munro the same way again." This encapsulates it: three equal but competing truths. Brilliant writer. Dickhead. Tainted work.

My so far favourite response to this whole debacle, and the writer/cherished work relationship, is this tweet:



Part of me is also angry because this is such a waste. Gaiman had it all: respected body of work, iconic status among the fandom, a guaranteed market for Good Omens and Sandman and Dead Boy Detectives, the high-budget cinematic adaptations which are in process at the moment, and which will unavoidably see less success than they could have because so many of us have a bad taste in our mouths. He was talking about working on a new book, which I will now not buy if he ever does publish it. He pissed all that away by being a dickhead and pretending he wasn't. He must have thought the structure of his achievements and his place in the fandom were unassailable. Now that it's all out in the open, they were - not precisely a lie, but an ill-built edifice threatening to totter, because we're looking at it harder, and bits of it are illusion over ugly gaps, and this is an ugly wind.

2016 continues to deliver, in the sense of delivering pain and loss and the removal of hope. I am surprisingly devastated by the death of Carrie Fisher: I hadn't realised how much her role in Force Awakens had meant to me. Her feisty princess was, of course, integral to our investment in the original Star Wars trilogy, and her role as a female character was uncommonly powerful for the time - the antithesis of a passive damsel, she had both the personality and the political/tactical power to hold her own against the men. (Also, as I persist in thinking of Trump as Jabba the Hutt, there is considerable vindictive satisfaction in imagining her choking him with a chain, the action which was the archetypal denial of the chain-mail bikini and the female role it attempts to define).

But it was the mature Leia of Force Awakens who was most interesting, and whose loss I really mourn. The film created a powerful narrative place for her - a woman who has lost everything, home and family and political hope, and yet who continues to fight. We are given precious few female cinematic icons who are permitted to be experienced, mature, battered by life, wise, flawed, powerful, authoritative, instrumental - defined, in short, by something other than their sexuality. But the role worked because of who she was outside it - a gutsy, unabashed, irreverent older woman who had no truck with societal expectation, who called out misogyny and objectification, and who was frank and unashamed about her own struggles with substance abuse and mental illness. There's a lovely quote from her in The Princess Diarist in which she says about Star Wars that “Movies were meant to stay on the screen, flat and large and colorful, gathering you up into their sweep of story, carrying you rollicking along to the end, then releasing you back into your unchanged life. But this movie misbehaved. It leaked out of the theater, poured off the screen, affected a lot of people so deeply that they required endless talismans and artifacts to stay connected to it.” In a lot of ways she could have been talking about herself.

I am sad that she has had her life prematurely ended, because she was making a marvellous and inspiring thing out of her own difficulties. I am heartsore that we have lost both her real-life presence and voice as an anodyne to Hollywood stupidities, and her character in future Star Wars films. If we ever needed an icon for continued resistance against fascist, misogynist systems in the teeth of the odds, it's now. Fuck 2016.

(My subject line is from one of Carrie's own autobiographical books, in which she describes George Lucas's insistence that she not wear a bra with the white dress because "there's no underwear in space" and with weightlessness your body will expand but your bra won't, so it'll strangle you. Which is terrible science and everything you need to know about justifying objectification by mansplaining right there, but the point is that Carrie wanted my subject line to be her obituary, so it is.)

oh wait. I can't buy a new car because I don't have a valid driver's licence and the banks won't let you have the car without one. There is no way I can acquire one in the next month as my work life is wall-to-wall nightmare. I will thus negotiate this wall-to-wall nightmare on foot.

Rumours of my actual identity as a functioning adult are apparently wildly exaggerated.

as you were, then.