caitri: (Books)
Over at Bustle: "Why Fan Fiction Shaming Is A Feminist Issue" by Emma Lord

Snip:

The two most "famous" fan fictions aside, the shame associated with fan fiction originated long before these works reached readers outside of their usual sphere. Unfortunately, fan fiction at large lends itself to mockery in a much safer and subtler way than other forms of female desire-driven works: the writers are, for the most part, anonymous and unpaid, with little training. They are often young women, subjecting the works to the same dismissive attitude society frequently takes over things that young women enjoy. And while there is a wide range of writers and types of fic on the internet, a majority of fic — the fic that most people are aware of — is written primarily by women, for women, holding it to the kind of scrutiny from people who do not consume it that makes it all too easy to mock. ...

If you don't think that fan fiction shaming in particular is a feminist issue, then consider what we're really doing when we shame fan fiction writers: we are shaming women — often young women, who are just starting to get a sense for what they want not just in a narrative, but in their adult lives — for expressing their desires. We are setting up women to apologize for their writing before it even leaves the keyboard. We are attacking them not only personally, but professionally; we are discouraging them owning a part of themselves, and from profiting from it, should they ever decide to write their own original work down the road.

More than that, though, we are discouraging them from engaging in the incredibly diverse and open learning environment that fan fiction provides. Fan fiction has historically been a safe place to experiment with and read about all kinds of romance — no matter the gender or the orientation, be it the cheesiest trope or the most specific kink. It is a place without judgment, and a place that introduces young writers to perspectives outside of their own — sometimes normalizing diverse relationships for writers who would otherwise not be exposed to them, ultimately making them more accepting and empathetic not just as writers, but as human beings.

With that in mind, it is all the more disheartening that the judgment of others so critically affects the writers and readers of fan fiction, which itself is such an open, nonjudgmental place. But once that misplaced shame is there, it never really goes away. Even now, fully aware of the root of my feelings, I see it in motion in myself and the people around me. I write my own fiction now, and whenever somebody asks about it, I frequently preface any plot descriptions with "it's silly," or "it's dumb". I hide my fiction writing with the same kind of crippling embarrassment that I shielded my fan fiction usernames. And I hear the same apologies from other female writers everywhere I go — be it with other fic writers on Tumblr, or fiction writers who write in genres targeted at women that I meet out in the real world, there is all too often a disclaimer to soften any exchange of their work. The very work that should empower us and embolden us, the same work we feel safe celebrating in anonymous corners of the internet, often makes us cower in the light of day.

Of course, ending the fan fiction shaming isn't going to solve everything; fan fiction shaming is just one of countless things lurking under the umbrella of things women are conditioned to feel shame for. But it is high time to recognizing fan fiction shaming for what it is at its core: the shaming of women's desires, and their daring to take control of them.
caitri: (Chris Vocabulary)
1) I've been rereading Anne McCaffrey's Dragonriders of Pern books for comfort, and the last time I did that I was really frustrated with the unrelenting dubcon of the 1960s. Yes, I understand that sex scenes had to be done that way until, like, the 80s or whatever, but still. There's actually a couple of lines in "Dragonflight" where F'lar thinks with regret about Lessa being a virgin when their dragons mated and so what he had done wasn't much better than rape--which, yay, hero, glad you got that--but then this becomes a point of romantic obstruction. Also the whole thing with how the Blue and Green dragonriders "have to be" gay that's incredibly awkward subtext because of McCaffrey's incredibly problematic view of homosexuality.

2) I worked on and sent off edits for my fanfiction and book history essay that's coming out in September (!). The reviewer wanted me to remove the bit about fanzines-as-samizdats, which is simultaneously a common, unexamined, and problematic view, which is to say that people argue that fanzines aren't samizdats because they aren't political and there aren't ramifications about their publishing. Except this is contrary to a long-held view about maintaining fan anonymity even of historical work where people used their real names because they didn't ever think they would get "published" (even if a zine has 1000 copies) that 1) emphasizes that whole public/private divide in a gendered way, and 2) ignores anxiety about doxxing. So basically fandom isn't dangerous until it's dangerous.

I'm still mentally sorting that one out.

2a) All of the anxiety about fan anonymity, from print zines to kink memes.
caitri: (Is this a kissing book?)
"Full-body reading: Literary criticism taught me to scrub my feelings out of my reading, but a medieval mystic showed me how to put them back in" by Anna Wilson

The Book of Margery Kempe challenges what it meant to critically engage with a text. Amid Kempe’s loud weeping and marriage ceremonies with Jesus, there was her rebuke to the priest about his closed-mindedness, her challenge to the Archbishop of York about his hypocrisy, and an assertion that she – an illiterate woman – had the right to teach others what the Bible meant.
Reading The Book of Margery Kempe alongside fanfiction makes it clear that physical, imaginative reading is still associated with women, still considered embarrassing, and still employed as a form of resistance to mainstream narratives. People, in short, are still using this style of reading to elbow their way into texts from which they are restricted, just as Kempe and other women did with religious texts.

Just as important, Kempe’s Book argues that writing is also reading – transforming other texts, enriching them for readers – and it evidences a long intertwined history of women’s education with alternative literacies of power and resistance. Through Kempe, I came to realise that fanfiction, qualitatively so different from the literary criticism I learned in the classroom, is itself a powerful critical tool. My fanfiction community gave me a healthy disrespect for the ‘author’ in ‘authority’, teaching me to notice where a text dissatisfied me and to dig deep into my own feelings to work out why. I learned that identifying with characters can be valuable. Indeed, my identification with Kempe helped me notice something about her mysticism that hadn’t previously been studied: the importance of ‘Mary Sue’-style self-insertion into Bible stories, which formed the starting point of my PhD dissertation.
caitri: (chris vocabulary)
Last month I was invited to write a brief essay as part of an online discussion of fan texts by various scholars. There's going to be one such post a day for the next two weeks, so you guys should go check them out. :)

Crossposted at MediaCommons:

Fandom Beyond: Reconsidering Genre and Fan History

ccoker's picture

Engagement with a text has been always been a part of human behavior, from well before the ideas of fandom and fannishness and remix culture. It’s in our very natures to change a story to reflect ourselves in it. There’s an old German tale about a printer who is printing a Bible, and his wife comes into the shop and changes the lines of type in Genesis from “and he shall rule over thee” to “and he shall be thy Fool!” In the story (related in Moore, p 73) she is supernaturally struck down and dies, and the moral is that women shouldn’t work in the print shops, they shouldn’t change the text, but what we should take from this is a rather profound example of a woman literally changing the narrative of the dominant culture to empower herself. When we look at fan works, this is what we see over and over again: people changing the stories to see themselves, and so there are stories where all the men on the bridge of the Enterprise are women (and the official comics even played with this idea themselves in an issue!), and art where Harry Potter and Hermione Granger have brown skin. When mainstream culture acknowledges fan culture, it is recognizing that this need for representation is not only valid but absolutely necessary in our contemporary society, and that this is how positive change happens. In Star Trek: Beyond, a fifty-year-old franchise finally got a canonically gay character onscreen; in Ghostbusters we get women action heroes who aren’t in conspicuously sexy outfits.

When it comes to the use of fan culture in teaching, one thing I’ve always tried to do is point out how genre and fandom generally go back much farther than the Internet would have us believe. Consider the mother of modern science fiction, Mary Shelley, and Frankenstein being published in 1818, and then consider how Jane C. Loudon writes her 1827 novel The Mummy!: Or a Tale of the Twenty-Second Century in response: Shelley had described the Monster saying that “A mummy again endued with animation could not be so hideous as that wretch,” and Loudon a wrote a new novel around this idea; she further confronted Shelley’s (shocking, for the time!) near-atheism with more Christianized concepts, and so two of the greatest stories of genre were meant to be in cultural dialogue with one another!

Another example is Edgar Allan Poe’s 1838 novel The Narrative of Arthur Gordon Pym of Nantucket,which was left unfinished until Jules Verne decided to finish the story in 1897 with Le Sphinx des glaces. There’s many more examples than these, but it’s important to note that all texts talk to one another, and it’s really only with Twentieth Century publishing practices that we see the introduction of power hierarchies which destabilize authorship such that one body of work is considered lesser than another, fan writing—and that it is absolutely no mistake that the disempowered persons writing in fandom are women and minorities. Moreover, mainstream response to texts that have openly fannish origins—like Fifty Shades and the numerous Twifics that make up full tables in bookstores today—is so violently antagonistic and derisive as to make the old German story above seem quaint, but it reinforces how the notion of women changing texts remains genuinely frightening to some.

As a final thought regarding fan history, what I would like to encourage is thinking of fan culture as going beyond media franchises and online interaction. There are vast bodies of print zines from the SFF, pulp and comics heydays of the 1930s-1990s that need to be included in our discussions, and looking even farther back we can see social reading and writing groups that are perhaps not who we would identify as fans but who nonetheless perform what we consider fan practices. Above all, take notice of what seems to be gaps. It could be that the people and texts you are looking for are right in front of you; they just haven’t been identified…yet.

Recommended Reading

Camille Bacon-Smith, Enterprising Women: Television Fandom and the Creation of Popular Myth (1992).

Karen Hellekson and Kristina Busse, Eds., The Fan Fiction Studies Reader (2014).

Anne Jamison, Ed., Fic: Why Fanfiction Is Taking Over the World (2013).

Henry Jenkins, Textual Poachers: Television Fans & Participatory Culture (1992).

Sam Moskowitz, The Immortal Storm, A History of Science Fiction Fandom (1954).

Sheenagh Pugh, The Democratic Genre: Fan Fiction in a Literary Context (2005).

Harry Warner, Jr. All Our Yesterdays (1969).

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