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    [post_content] => Bond is a sex addict, but he doesn't really love women—unless they are dead.

The current James Bond, Daniel Craig, looks like a working-class man who puts in hours at the gym. If you watch his body, you think: That’s where I’ll find him, doing burpees. Sean Connery, who was the first to play 007—he and Craig are considered the best of the Bonds—was the same type. Broad and solid, he walks through the corridors of power with a sullen expression on his face. His fists itch. He is keenly addicted to these places because the people who work there let him kill things. But he does not belong there.

James Bond is not, however, packaged as a working-class man. He wears bespoke suits from Jermyn Street, the London address synonymous with timelessly elegant and very expensive men’s clothes. When you see him, you imagine a copy of Esquire or GQ just beyond his reach. His accessories are a constant reminder that Bond is a highly lucrative franchise. In “No Time to Die,” reports jamesbondlifestyle.com, “James Bond’s Tom Ford Tuxedo is presented to him in a Bennett Winch The S.C Holdall Suit Carrier”—a high end twill weekend bag that retails for about $845.

This James Bond is both a salesman and a product—a quintessentially British brand, like Devon fudge or Cheddar cheese. He sells suits, shirts, watches, shoes, ties, bags—and, especially, cars. Bond is a tenacious and destructive car salesman. A British patriot, he usually drives an Aston Martin— in “No Time to Die” there are four of them—but, as with women, he isn’t fussy. In the same film a Toyota Land Cruiser takes out two Land Rovers in a Norwegian wood.
  It feels as though every new Bond film precipitates a feminist debate. I think this is part of the marketing strategy, trying to keep a man from the past relevant, but women are not important to Bond. We think they are because they so often appear naked in front of him, but they are important the way peacocks are important, and you don’t improve a fairy tale by inviting real women in. Bond likes them pretty and even better dead.  Mrs. Bond lived a single afternoon in “On Her Majesty’s Secret Service,” and it was righteous. Fairy tale creatures can’t take responsibility. Then it was back to dull and repetitive objectification: of Beautiful Firm Breasts in floating beds or escape pods with windows and Venetian blinds. Two of his women were called, quite literally, Pussy. Others were named for sex acts: Goodhead, Onatop, O’Toole and even Chew Mee, which is outrageous. Bond is so obviously a sex addict there is little else to say. He keeps his cars longer than his women; in "Skyfall," the Aston Martin DB5 even had a garage like a marital home. He did have a female boss for a while (Judi Dench), but she died in his arms, like a broken little girl or a bad mother. Fleming called his mother M, and his women are death-stalked breasts. Ian Fleming, the man who invented Bond, was an upper middle-class journalist who worked at the foreign desk of the Sunday Times and was a sometime secret agent who lost his father in the First World War. Both Bond and Fleming are orphans, and all Fleming’s anger and longing meet in Bond, named for an ornithologist who became famous in the 1930s; because if an ornithologist can seduce and save the world, who can’t? Let us not forget that James Bond is just a civil servant—albeit one who, according to the Ian Fleming books, had an unlimited overseas expense account. According to one British newspaper, his salary would be the equivalent of $120,000, and that won’t buy many Tom Ford dinner suits. But he doesn’t live like a civil servant. He lives like an oligarch without boundaries: he lives like a villain.  When the villain says to Bond, as he often does, “we are the same person, you and I”—and Ernst Blofeld is explicitly his adoptive brother, according to “Spectre” (2015)— he means this. Want to see my new cufflinks, bro? Our beloved Bond is a Franken-Bond then: not so much a man who isn’t there as a man who cannot be. He’s not a character because he doesn’t make sense. He is a myth. No wonder Daniel Craig looks exhausted. No wonder, too, that my favorite Bond is the 2012 short film “The Queen and James Bond,” set at the London Olympics, in which 007 delivers Elizabeth II from Buckingham Palace to the opening ceremony in a helicopter. Myth to myth, they fall into the sky. “No Time to Die” makes no attempt to conceal that Bond is a creature from a fairy tale. In this latest instalment we have two imprisoned princesses, one ogre, and a poison garden. No matter; or, rather, more please. James Bond is, 10 novels and 25 films in, the third most lucrative cinema franchise in history—behind “The Avengers” and the Harry Potter series. This is suitable because he is both an Avenger without a cape and Harry Potter without magic. Sean Connery called him “an invincible superman” and “this dream we all have of survival” who “thrives on conflict” though “one can’t help liking him.” Of course, we do. He is our proxy soldier and lover; our only authentic superhero, apart from, possibly, King Arthur (and didn’t Merlin do all the real work, just as Q does?) Marvel’s Captain Britain never really took off, so we won’t include him. James Bond’s chief raison d'être is to inhabit the fantasy of British power. There are multiple drugs in Bond, but the big one is global hegemony. It’s the dream that only the villain can give voice to, the villain we are invited to despise. “World domination, same old dream,” says Roger Moore in “The Spy Who Loved Me.” Every film has shots of Imperial London—the calming scenes when Bond returns from dangerous foreign lands. But the Empire is long gone, except in the mind of this tiny man who is a bit like Hiroo Onoda, the Japanese soldier who refused to surrender in 1945; instead, he hid in the jungle of the Philippines until 1974, when the emperor formally relieved him of his command. A man from the past still alive? That is Count Dracula, and Bart Simpson, and James Bond, who fought in World War Two, which Britain won, and that finest hour was 80 years ago. It is true that Bond is sadder now, that he has gained some self-awareness, and this has ruined him. In the opening sequence of “No Time to Die” Britannia lies in sand—like Ozymandias, but next to an Aston Martin. Bond is 99 years old, entombed in Tom Ford and a dream that has now broken. You can see his misery in his face. Still, some things endure. A Black woman (Lashana Lynch) is 007 for most of “No Time to Die” but, as M retreated into useless femininity in “Skyfall,” so does Lynch as 007. She leaves the war in a dingy with the women and children, which a male 007 would never do. I won’t tell you the ending, but Bond makes breakfast for a child, and he doesn’t make sense peeling a mango. The new James Bond will collide with Brexit Britain. I cannot think what happens next.   [post_title] => The feminist debate about James Bond is a marketing strategy [post_excerpt] => James Bond is the third most lucrative cinema franchise in history—behind 'The Avengers' and the Harry Potter series. He is a British export, like Cheddar cheese or Devon fudge. He is also a man who represents nostalgia for a time, long ago, when Britain ruled over an empire. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-feminist-debate-about-james-bond-is-just-a-marketing-strategy-for-the-brand [to_ping] => [pinged] => [post_modified] => 2026-08-05 19:59:03 [post_modified_gmt] => 2026-08-05 19:59:03 [post_content_filtered] => [post_parent] => 0 [guid] => https://conversationalist.org/?p=3435 [menu_order] => 163 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw )

The feminist debate about James Bond is a marketing strategy

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    [post_content] => Nevertheless, she persisted.*

The first five minutes of “I Am Belmaya,” a feature documentary set in Nepal, could be a stand-alone short film. A young woman goes about her morning chores, sweeping the courtyard outside her one-room home and washing dishes at the outdoor water tap as chickens peck nearby and a rooster crows. Her face is closed; her posture speaks of drudgery and poverty. The camera then switches to street scenes in Pokhara, which lies under the stunning Annapurna Mountain. Diesel buses roar; a sidewalk barber gives a shave to a man reclining in an old-fashioned chair; and everywhere, women are engaged in backbreaking physical labor—stirring the contents of a pot at a roadside café while holding a baby with one arm, squatting on the ground to spin wool by hand, staggering as they carry impossibly heavy loads of bricks on their backs. From high above, a drone camera pans over the sprawling city and then zooms in on the tiny shack, the little courtyard, the chickens, the outdoor water faucet, and the young woman. This is Belmaya.

In a scant two minutes the young woman narrates her life story: born low caste in a poor village; orphaned by age nine; deprived of an education by brothers who thought girls were more useful working in the fields; and then, finally, some joy and hope at a boarding school for disadvantaged girls. A British woman named Sue Carpenter gave a photography workshop at the school, distributing little automatic cameras to all the girls and arranging an exhibition at the British Council in Kathmandu for the most talented ones—of whom Belmaya was one. Seven years later, Carpenter returns to Nepal and reconnects with her former protégé.

Belmaya is now 21 years old, unhappily married and the mother of a two-year-old daughter. She has not realized her ambition to become a photographer or finish high school. The school confiscated the cameras after Sue left, implementing corporal punishment that made the young girl resentful and angry. In 2006 she was full of hope for the future; but in 2014 she is mired in deep regret at not having obtained the education that would have allowed her to be independent and financially secure. Smiling sadly, she tells Carpenter that she’s never found happiness and does not expect to find peace.

The contrast between the subdued, pensive 21-year-old Belmaya of 2014 and her younger iteration, as seen in clips Carpenter filmed at the school in 2006, is stark and telling. At 14 she was a charismatic presence, laughing loudly and voicing strong opinions about the unjust position of women in her deeply patriarchal society. She loved photography, explaining that she felt free when she took pictures and that everything looked different through the camera lens. But at 21 life seems to have beaten her down.

One of the points the film makes is that Belmaya’s life could indeed have stayed stuck at the five-minute mark, in that bleak place of grinding poverty and hopelessness—but it did not. "I Am Belmaya" documents the eponymous heroine's journey to becoming a documentary filmmaker in her own right. She achieves this with remarkable resourcefulness, resilience, and hard work, despite obstacles that include a drunken husband who beats her and the 2015 earthquake that devastated Nepal.

Over the next five years, Belmaya learns filmmaking through rigorous mentoring programs that start with learning how to use a tripod. “Practice every day for at least 30 minutes,” says the director who is teaching her the craft of filmmaking. And she does, with an expression of deep focus as she repeatedly collapses and re-opens the tripod. The film shows her learning how to do closeups and storyboards; we see her smile with pleased surprise when she is told that she has a bright mind. She shows a natural talent for conducting interviews. Gradually, as she acquires skills and knowledge, a confident, ambitious woman emerges.

The film within the film is Belmaya’s making of her first documentary, a short called “Educating Our Daughters.” In one of the most poignant scenes, while interviewing two girls at their school, she asks: “Being a woman, do you believe I will be able to make a film?" Smiling warmly at her, the two girls answer: “Of course you will! What does a girl lack?” Belmaya’s expression shows wonder at their self-confidence; one can almost hear her listing all the things she lacks.

“Educate Our Daughters” was rapturously received at the Kathmandu Film Festival. It went on to win critical acclaim and awards on the international festival circuit, and Belmaya with it. The scene of her striding confidently along a street in London, where she will present her film at the UK Asian Film Festival, can only be called triumphant. But the most brilliant success of this absorbing, touching documentary is in its telling of Belmaya’s story from her own perspective, with no hint of a white savior tale. She shares director’s credit with Sue Carpenter, in an explicit assertion that she controls her own narrative.

*On December 15 The Conversationalist will screen this film live online, with a follow-up Q&A with the directors. Click here to register
    [post_title] => 'I Am Belmaya': Film review
    [post_excerpt] => The film follows the life of Belmaya Nepali over a period of 14 years, as she takes up a camera to tell her story. Silenced for years by poverty and the patriarchy, the young woman transcends her circumstances and reclaims her voice through filmmaking.


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‘I Am Belmaya’: Film review

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    [post_content] => No one is forbidding anyone from using the term 'woman' or 'mother.'

On October 15 Rosie DiManno, a Canadian journalist, wrote a contentious column for the Toronto Star, in which she claimed that women were being “erased” because British health care providers were introducing gender-inclusive language to accommodate nonbinary people and transgender men. The practice of referring to a menstruating or pregnant person instead of a menstruating or pregnant woman was, DiManno asserted, tantamount to “blotting women out” and bore a “whiff of misogyny.” DiManno’s grievance mongering, with her anger directed at transgender people, follows a pattern we have come to expect from TERFs—the acronym stands for “trans exclusionary radical feminist”—and their enablers. Almost invariably, they invoke problems that do not exist as a means of preempting the expansion of rights and reasonable accommodations for trans people.

Whether the imaginary problem du jour is “men in dresses” invading public bathrooms or, as in DiManno’s op-ed, the supposed erasure of language that captures quintessentially female experiences, this tactic embodies reactionary politics of grievance and scapegoating. The subtext is that transgender women are “really” men, transgender men are “really” women, and nonbinary people don’t exist. DiManno’s views are widely known to Canadian newspaper readers, and rarely elicit a response, but this particular column received international attention because Margaret Atwood promoted it approvingly on Twitter. This is indeed disappointing. Even more disappointing is that Atwood refused to listen to those who alerted her to the trans-antagonistic nature of DiManno’s commentary. Instead, she doubled down.

Before exploring these developments and the key issue of inclusive language in more detail, let me get a couple of things out of the way. First, no one is forbidding anyone from using the term “woman” or “mother.” Secondly, I’m not here to “cancel” an 81-year-old literary icon, even if I had the power to do so. I taught The Handmaid’s Tale in 2018 for an arts and humanities theme course on apocalypse and dystopia in the University of South Florida’s Honors College; and, while I am not planning a return to the classroom, I would teach that book again. Atwood’s novel is an immensely important exploration of what can happen when religious extremism runs amok, with the harm disproportionately falling on women and queer people (“gender traitors” in the terminology of Gilead), and for that reason it is painfully relevant in our time.

As a trans woman, I have no trouble discussing access to abortion care as a woman’s issue, although it doesn’t fit exclusively under that rubric because it also affects trans men and some nonbinary individuals, which makes it also an LGBTQ issue. Nor is access to abortion an issue that affects all women. Cisgender women who are unable to conceive, have had hysterectomies, have gone through menopause, or who have certain intersex conditions, are not personally affected by abortion access issues, but no one would get defensive about applying the word “woman” to people in most of those categories.

I would like to pause here to point out that I unabashedly typed “woman” or “women” five times in the above paragraph, because in each case that was the most fitting term. In addition, in my recent commentary on Brittney Poolaw’s horrific manslaughter conviction in Oklahoma for suffering a miscarriage, I used the word “women” 10 times; by contrast, I used the inclusive phrase “anyone who can get pregnant” just once.

To the second point above— i.e., the issue of “cancel culture”— it should go without saying that criticizing the views of a public figure is not censorship. A highly visible public figure should expect that the expression of their opinion on political concerns will elicit a variety of responses and should be prepared for criticism. Even if one is not a public figure, the right to free speech is not the same as an exemption from consequences for expressing hateful or bigoted views.

In addition to the degree of offense, power dynamics should be taken into consideration. This should be axiomatic for feminists. And yet, when it comes to these issues and “cancel culture,” anti-trans self-described feminists are suddenly unable to understand that women (see what I did there?) like Atwood, gazillionaire Harry Potter author J.K. Rowling, and DiManno are not vulnerable people who have to worry about financial insecurity or access to healthcare. They all have white and cis privilege, and they have far more power than the average woman. Trans people, by contrast, are disproportionately poor, highly vulnerable to “cancellation” via scapegoating, likely to face barriers to healthcare access, and, especially in the case of Black trans women, disproportionately subjected to violence up to and including murder.

There is one issue DiManno raised on which I agree with her and, by extension, Atwood: the anatomy of the female reproductive system has historically been erased due to patriarchy and puritanism. Encouraging girls and, indeed, all of us to have a better understanding of the vulva, the clitoris, the cervix, the uterus, and so forth is something our society needs. Jennifer Gunter’s 2019 bestseller The Vagina Bible was a much needed intervention, and I am very glad it exists. At the same time, there is something very odd about women who identify with feminism, a movement that has sought to decouple a woman’s value from reproduction and childrearing, to suddenly wish to define women precisely in those terms so long as it means not having to accommodate “those people.”

Regarding inclusive language, I disagree with DiManno and Atwood’s claim that using it as a means of accommodating some people who can get pregnant undermines the goal of increasing literacy about female anatomy and reproduction. DiManno completely misrepresented the facts to make her case, by referring to an article in The Lancet about UK hospitals using gender-neutral language to accommodate transgender men and nonbinary people. As Stacy Lee Kong points out, rather than prescribe that language across the board, “What did happen is Brighton and Sussex University Hospitals NHS Trust announced in February that it would be adding new trans-friendly terms including ‘birthing people’ and ‘chestfeeding’ to its existing vocabulary as a way to become more inclusive. The hospital was careful to note that it would only be using gender-neutral language in its internal communications and meetings, and that staff would use patients’ correct pronouns while caring for them.”

Intentionally or not, there is a great deal of dishonesty among the handwringing “why can’t we say woman anymore” crowd. That Atwood would throw in her lot with them is more disappointing than surprising to those who have been paying attention, since, as Kong also highlighted in her commentary on the current dustup, Atwood has previously reveled in being a self-described “bad feminist.”

The evolution of language, which is often pushed along by activists and advocates for marginalized communities, is understandably something that can make people uncomfortable. And indeed, activists sometimes go to excesses, though trans rights activists have so little power that the issue is mostly a red herring. Meanwhile, discomfort is sometimes necessary in order to learn and grow. And there is simply no excuse for distorting, exaggerating, and lying about what is really happening when healthcare systems, which often discriminate against trans people, begin to move toward understanding and accommodation. That thoroughly reactionary response is antithetical to the spirit of feminism as I understand it. Atwood seems uninterested in addressing her critics in a serious way, but if she should happen to read this column, I would ask her to look at the actual facts rather than the distorted version found in DiManno’s column, to sit for a while with her discomfort, and to consider leaving the politics of fear, scapegoating, and scarcity to the reactionary Right.
    [post_title] => Margaret Atwood's opposition to gender-inclusive language is disappointing, but not surprising
    [post_excerpt] => Self described feminists who oppose the expansion of rights and reasonable accommodations for trans people are ddisregarding the facts in favor of a position predicated on fears and biases.
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Margaret Atwood’s opposition to gender-inclusive language is disappointing, but not surprising

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    [post_content] => Women shouldn’t need a 'good' reason to end a pregnancy.

Texas’s shockingly cruel new abortion law bars abortion once cardiac activity can be detected in the embryo, typically around the sixth week of pregnancy. Notably, it also allows any US citizen to sue any person who performs or otherwise “aids and abets” a prohibited abortion. The law has few defenders in the mainstream press. Jennifer Rubin, a conservative columnist for The Washington Post noted its “viciousness.” The New York Times’ Michelle Goldberg described its “sinister brilliance.” Rebecca Traister of New York Magazine decried its “ugliness.”

By deploying private citizens to subjugate the vulnerable, the law evokes the worst of the United States’ not-so-distant past. In the mid-nineteenth and early twentieth centuries, for example, doctors and police officers demanded that women dying of botched abortions name the provider. During the eighteenth and nineteenth centuries, mercenaries made their living by hunting down escaped slaves and returning them to bondage in exchange for a bounty. Some Americans have always been willing to work for or in lieu of law enforcement to catch, punish, and profit from those they or the state deem criminals based on deeply ingrained notions, rooted in systemic racism and sexism, of who is and isn’t a rational, capable human being.

Abortion was common in the United States throughout the nineteenth century. It was only in the latter half of the century, when medicine became a respected profession and the American Medical Association was established, that physicians lobbied to have abortion banned. Their concern was not about abortion’s morality, but about the financial and professional implications of being forced to compete with midwives and purveyors of home abortion remedies.

As ugly as the Texas law is on its own, many of its opponents are attempting to fight it by invoking the worst-case scenarios. A number of commentators have cited the case of a 13-year-old Texas girl who became pregnant after her grandfather raped her; the law grants no exceptions for pregnancies resulting from rape or incest. Few would argue that a 13-year-old rape victim should be forced to carry and give birth to her grandfather’s baby; that is why, even in Texas, the girl in question was able to end her pregnancy, albeit only after traveling hours from her small town to a clinic in Houston (this was a few months before the new law went into effect). People in extreme circumstances related to pregnancy—victims of rape and incest, women carrying fetuses with severe abnormalities, those who might die if they give birth—deserve support, compassion, and access to modern medicine, including abortion. But only a small minority of women seek abortion for those reasons.

The most common reasons women give for seeking abortions in the United States are the least shocking. According to data gathered from 2008 to 2010, 40 percent said they were “not financially prepared” to have a child. Thirty-six percent cited “bad timing,” “unplanned,” or “not ready.” Nearly a third (31 percent) cited reasons related to the person who caused the pregnancy—e.g., he was unsupportive, abusive, and/or didn’t want to be involved. Twenty-nine percent of abortion patients said they needed to focus on caring for the children they already had. Most gave not just one but several reasons for ending their pregnancy. By evoking only the extremes, activists risk creating a sense that some women are more or less “deserving” than others of abortion access.

Americans, including those who believe abortion should remain legal, are accustomed to weighing the relative moral acceptability of these reasons. They might sympathize with a terrified 15-year-old who gets pregnant the first time she has sex, but think a 36-year-old woman who didn’t use birth control and got pregnant from a one-night stand should have known better. Most rights are not absolute; they can be and often are restricted. But once a society recognizes that a right exists, it is not contingent on whether others approve of how it is exercised. That’s why proponents of free speech, particularly in the United States, often cite biographer Evelyn Hall’s summary of Voltaire’s philosophy: “I disapprove of what you say, but I will defend to the death your right to say it.”

Katie Watson, a lawyer and bioethicist who teaches at Northwestern University, sympathizes with advocates who focus on extraordinary cases. “Legally, you always pick the most sympathetic plaintiff for your case, and rhetorically, we often want to lead with our strongest examples,” she explained over the phone. “That’s narrative structure and that’s storytelling and that's litigation.” What concerns her is “the repetition damage…when those become the only stories that we tell, they skew our vision and our understanding of what life is really like. And starting with bad facts leads to bad policy.”

The result, said Watson, is that “the cases we discuss the most are the cases that happen the least.” She added: “When we focus exclusively on those—we unwittingly contribute to that dichotomy between good abortions and bad abortions—or deserved abortions and shameful abortions.”

Shifting attitudes toward divorce and the liberalization of divorce laws are a useful comparison. Divorce was once a very controversial issue in the United States. Until “no fault” divorce became the norm in the 1970s, the laws of most states required a woman petitioning for a legal end to her marriage to prove that her husband had committed adultery, abused her, or abandoned her. As of 2017 most Americans (73 percent), including a slim majority (51 percent) of the “very religious,” considered divorce morally acceptable. This, despite the fact that between 22 and 50 percent of people who obtain a divorce, regret having done so.  By comparison, 84 percent of women polled five years after having an abortion report feeling either positive or neutral about their decision. Few Americans, however, would advocate forcing people to stay married.

Despite the popular stereotype of those who get abortions as young, immature, and/or careless, most people who undergo terminations in the United States are not only adults, but parents. In 2014, 59 percent of abortions were obtained by women who already had at least one child. Only 12 percent were teenagers; those younger than 15 accounted for only 0.2 percent. The vast majority of people who undergo an abortion procedure are neither tricked nor pressured into ending their pregnancies. Only about 1 percent reported seeking a termination because somebody else, usually a parent or a partner, wanted them to. Most people who seek abortions know their own needs, desires, and limitations, and can imagine—or are already well aware of—the physical, psychological, and literal cost of bringing a child into being.

If a woman can choose to join the military, get married, or end a marriage—all potentially life-changing decisions—she can decide to end a pregnancy. As Watson argued in her 2018 book Scarlet A: The Ethics, Law and Politics of Ordinary Abortion, “We should be able to acknowledge the complexity of private decision making without threatening the right of private decision making.”

According to Watson, it’s no surprise, and no problem, for members of a large, diverse, and pluralistic society to have a range of views on abortion. That’s why, in defending abortion rights, she thinks it’s crucial to rely on the politics of respect rather than the politics of sympathy. “The politics of sympathy say, ‘You get to have that abortion because I feel sympathetic to you,’” she explained. “It puts the listener or the voter in the position of judge.” By contrast, “the politics of respect say, ‘I may or may not agree with her decision or like it, but she is a moral agent with a brain and a heart and she is the one who's going to live with the consequences of whatever decision she makes, whether to have a child or not…I respect her decision-making rights and her decision-making capacity and her decision-making authority, even if her moral frameworks are different than mine.’” The latter, Watson said, focuses on the pregnant person, whereas the former focuses on “the person offering the opinion or the vote.”

There are places in the world where abortion is not only safe, legal, and unremarkable, but also considered a basic human right. Five years ago, when my mother was on a group tour of Iceland, another American woman on the tour referred to then President Obama as a “baby killer.” My mother defended Obama and asked the Icelandic tour guide what she thought. “In this country,” the guide replied carefully, “Women are considered equal citizens, so abortion is not really an issue.”

That attitude is not limited to Nordic countries. People in many industrialized nations around the world see abortion rights as inseparable from the human right to self-determination. In Ireland, which legalized abortion by a wide margin following a 2018 referendum, the government heralded the right to abortion as a welcome sign that the country had finally joined modern society. “The people have spoken,” declared then Prime Minister Leo Varadkar. “They have said we need a modern constitution for a modern country.”

Meanwhile, when the Polish government implemented draconian abortion restrictions last year, they sparked the country’s largest protests since the fall of communism. As one protester told Reuters, “I want us to have our basic rights…the right to decide what we want to do and if we want to bear children and in what circumstances to have children.”

Melissa Upreti, a human rights lawyer tasked by the United Nations Human Rights Council with fighting to end discrimination against women and girls, characterized Texas’s law as “sex and gender-based discrimination at its worst” and a clear violation of international law, adding that it has “not only taken Texas backward, but in the eyes of the international community, it has taken the entire country backward.”

Based on the means many abortion opponents have employed to limit access to the procedure—e.g., picketing clinics and shaming women as they enter, murdering and threatening abortion providers, and now passing a law that empowers ordinary citizens to be vigilantes and bounty hunters—it seems obvious that their concerns are not about the sanctity of “life” but about controlling and humiliating pregnant people.

Abortion opponents detest the slogan, “My body, my choice.” So do I—not because it invokes bodily autonomy, but because the “choice” framework is trivializing, and falsely implies that all choices are equal. The choice to bring a human being into existence is far graver and more permanently life-altering than the decision not to. Forcing a woman to endure pregnancy and labor against her will is an act of brutality with lifelong consequences for her and any children for whom she is responsible. In defending the Texas law, Ohio Republican Senate candidate J.D. Vance falsely asserted that it’s about “whether a child should be allowed to live” and “not whether a woman should be forced to bring a child to term.” But that’s precisely what it is. And that kind of torture cannot be justified by the victim’s capacity to bring into being a child who doesn’t yet exist.
    [post_title] => In defense of ordinary abortion
    [post_excerpt] => People in extreme circumstances related to pregnancy—victims of rape and incest, women carrying fetuses with severe abnormalities, those who might die if they give birth—deserve support, compassion, and access to modern medicine, including abortion. But only a small minority of women seek abortion for those reasons.
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In defense of ordinary abortion

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    [post_content] => But can radical inclusion be accomplished without silencing white feminist allies?

I was a first-year student at a prestigious U.S. women's college, back in 1989, when the college's alumnae association invited me to speak at a large event about my experience in coming to America. It wasn't very long into my first semester, and I'd just arrived from Karachi. I was 17 years old.

Karachi had been wracked by ethnic violence for more than a year, with student groups clashing all across the city and the entire province of Sindh.  That was a very frightening time, with the media reporting daily death tolls and the military enforcing 24-hour curfews. It is still fresh in my mind.

There were two other speakers at the event, both women: one was a youth organizer and peace activist in her troubled Black urban community; the other had survived a slave camp in Southeast Asia and had been subsequently adopted by an American family. The audience, however, was composed almost exclusively of white American women, many of them rich, older, well-traveled, and educated. Yet for all their worldliness, they seemed unaware that they had propped us up on a stage as though we were exhibits on display.

The three of us stood and told our stories in turn, while the women in the audience looked sad and sympathetic. I don't remember much of what I said: I do remember being in tears as I said I wanted to study and to live in peace, but that my city didn't provide much opportunity for that. Afterward, we joined the audience for dinner. We three speakers were overwhelmed by all the attention from the alums, who came up to us to tell us how "brave" we were. But while I stayed in touch with the other speakers, never again did I hear from any of the alums or from the association.

That I had been asked to perform my story of misery and woe for an audience of white women was a realization that came only years later. Those women meant well and obviously cared about our stories, but they used my life and the lives of my fellow speakers to make themselves feel better about their comfortable American existence. Not only were they more fortunate than a girl from troubled Pakistan, a former child slave from war-torn Southeast Asia, or a Black girl from a rough urban neighborhood, but they were also providing them with a platform to amplify their stories.

Rafia Zakaria's Against White Feminism: Notes on Disruption reminded me of this uncomfortable experience, now more than 30 years old. Indeed, the author describes an experience that felt remarkably familiar to the one I describe above: in her case, Zakaria believed she had been invited to a 2012 feminist event in the American Midwest as a speaker—only to be told, upon her arrival, to sit at a stall in a “global bazaar” and sell Pakistani trinkets.

It was a cathartic read, which helped me place my experience at the alumnae association against a backdrop of a white feminist agenda that is oftentimes self-serving, and which leaves behind women of other ethnicities, countries, experiences, faiths, and societies. Beyond just leaving us behind, this type of feminist activism uses us in order to leave us behind: by demonstrating the inferiority of our lives, white feminists continue to play the role of “expert” in the gender development establishment.

Zakaria deftly deconstructs the modern conundrums facing mainstream (white) feminism, with insightful examples, such as the lack of inclusivity at the 2017 Women's March; while the organizers were Black and Brown, the vast majority of attendees were white middle-class women. More broadly, she points to issues of intersectionality and how class and color affect women who struggle to make it out of poverty, but who cannot access essential tools like legal assistance. She also examines the pitfalls of addressing issues like so-called honor killings and female genital cutting/mutilation through a culturally limited white feminist lens.

In the first instance, she draws a parallel between honor killings and “crimes of passion”: while the crimes are similar, she points out, only one serves as an indictment of an entire culture and religion— i.e., Islam, eastern, “foreign.” About female genital cutting, she points out there is no attempt to understand the nuances and complexities of the issue or to distinguish between a ceremonial “nick” and an outright excision of the genitals. Zakaria does not defend honor killings or advocate for FGM. She challenges the idea that there is an innate moral superiority to Western culture, which presents itself as exclusively on the “right” side of these issues.

Zakaria, an attorney and author who lives in Indiana, intersperses these chapters with her own experiences as a young Pakistani-Muslim woman. Born in Pakistan, she consented to an arranged marriage with a Pakistani man in the U.S. when she was 17. It was an unhappy and violent union that she escaped at age 25, fleeing with her toddler to a women’s shelter. She went on to law school and a job with a Black-owned law firm, and to helping immigrant women make their way through the American justice system. With this life story she establishes herself as the opposite of a white feminist, but one who possesses, as the result of her lived experience, a deep understanding of the phenomenon.

Against White Feminism turns middle-class white feminism inside out, like a garment, so that we can view the weaknesses of the seams and the sloppiness of the stitching. It's eye-opening for anyone who identifies as a feminist but has not thought about how strongly its prevailing principles, tenets, and history are rooted in systemic racism and capitalism.

The book is probably strongest, however, in its analysis of how the U.S. justified its 2001 invasion of Afghanistan by claiming they were partly motivated to save women from Taliban oppression. American feminists threw their weight behind the war effort, and the ostensible goal of saving oppressed brown women from oppressive brown men. In doing so, they lent their voices to the American military industrial complex, which visited untold suffering upon Afghan women with bombings, drone attacks, massive displacement, and the destruction and displacement of their families.

Certainly, the situation of some Afghan women—i.e., those in urban areas—improved immeasurably after the coalition forces routed the Taliban. Over the past 20 years, a whole generation of women attended university and built careers. But with the Taliban now back in power and female journalists, teachers, artists, and activists having fled or gone into hiding, the long war seems futile. With reports in The New Yorker and from the Brookings Institution showing that the U.S. presence made rural Afghan women’s lives a hell, white feminists are now forced to confront the limitations of their support for the 20 year Afghan project and the putative gains in women’s empowerment that it touted.

A debacle like the invasion and withdrawal from Afghanistan does not happen without important historical context. Zakaria looks at the British suffragist movement of the early twentieth century, pointing out that the women who fought for the right to vote ignored the suffering caused by their country’s colonialism and imperialism in places like India. Zakaria also examines how contemporary white feminists engaged in “development” work abroad design aid programs that ignore activists on the ground who would provide crucial cultural and sociological moorings to any program for lasting, deep-rooted change.

The result of this failure to include local activists: campaigns and interventions that are myopic and deeply racist, like the Bill and Melinda Gates Foundation program that gave sewing machines and chickens to poor women in the Global South. These programs endow women with the white feminist’s fantasy of what a simple livelihood in undeveloped countries looks like, instead of envisioning creative solutions that enable women to access complicated and complex power, as well as agency and respect in their communities.

For the most part Zakaria makes her arguments lucidly; at other times, however, they are a stretch. For example, she dismisses Swedish Foreign Minister Margot Wallstrom's attempt to introduce feminist foreign policy as empty promises from a disingenuous white feminist.  The truth is more nuanced than that: Wallstrom tried very hard to stop Sweden from selling arms to Saudi Arabia because of its poor record on women’s rights, but her government, influenced by powerful arms traders in the Swedish military-industrial complex, overrode her efforts. Zakaria glosses over these facts, perhaps trying too hard to find case studies that conform to her arguments.

In another section of the book, Zakaria refers to a letter signed by Susan Sarandon and Meryl Streep in favor of the invasion of Afghanistan back in 2002. However, the source for this claim is a 2015 article that Zakaria wrote for Aeon, in which she made the same claim. The original article on the Aeon website does not have a source, and there is no trace of the open letter anywhere on the internet. This, I suspect, is a consequence of sloppiness rather than malice, but it does not serve the book well in its call for a higher kind of feminist ethics.

Perhaps the most glaring shortcoming, however, is Zakaria’s failure to offer a proper definition of the term “white feminism” until close to the end of the book; she should have laid it out at the beginning, since her entire argument is a response to white feminism. Zakaria describes it as a system that excludes the needs, voices, and expertise of brown and Black women, "a set of practices and ideas that have emerged from the bedrock of white supremacy, itself the legacy of empire and slavery." But there is a danger in using “white feminism” as a shorthand for the entire system Zakaria is calling out. Pitting brown and Black feminists, a minority in America (the book is written very much for an American audience, which is an unavoidable shortcoming), against the "white" feminist majority is momentarily empowering, but, in the long term, dispiriting and exhausting. It can leave everyone feeling like there's no point in trying to come together because the gap created by past divisions is too vast to bridge.

Zakaria’s indignant refusal to make excuses for white feminists is satisfying, but it leaves very little room for allies among white women. It also leaves little room for brown and Black women who want to work in solidarity with white women, or for those who want to access the networks and power structures that white feminists have benefited from for decades. Instead, Zakaria advocates a further splintering of the feminist movement into "Black feminisms, Muslim feminisms, queer feminisms." Will this breakdown into feminist specializations lead to a more effective global feminism— one that accomplishes the goals of women’s equality? Zakaria does not say.

It's important to point out the injustices and weaknesses of the dominant feminist movement vis-a-vis women of color. It’s certainly not the job of non-white women to provide the roadmap to reconciliation, and there is nothing in Against White Feminism to make white feminists feel more comfortable—rightly so. But the balkanization of feminism is hardly a movement from which women of the world, brown and Black, can achieve true gains. Power-sharing between all women, white, brown, and Black, under the current system, seems impossible if we are to take Zakaria’s perspective to heart. Surely we can envision a system where no woman has to step down in order for everyone to step up, together.
    [post_title] => Rafia Zakaria's 'Against White Feminism' is a cathartic read for a non-white feminist
    [post_excerpt] => 'Against White Feminism,' by Rafia Zakaria, successfully challenges the idea that western culture holds an innately superior attitude to women.
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Rafia Zakaria’s ‘Against White Feminism’ is a cathartic read for a non-white feminist

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    [post_content] => British Vogue's interview with the Pakistani Nobel Peace Prize laureate set off a storm of virulent criticism in her native Pakistan.

The July issue of British Vogue departs notably from the usual fare of supermodels, pop stars, and actresses. Wearing a traditional salwar kameez and matching head scarf, Malala Yousafzai—“survivor, activist, legend”—gazes serenely through honey-colored eyes. Her warm smile is slightly lopsided, a permanent reminder that she survived a gunman’s bullet to her head. She is a Nobel Peace Prize laureate and one of the world’s most admired activists for the education of girls and women; and yet, she conveys neither artifice nor arrogance.

The interview, conducted by London-based journalist Sirin Kale, reads like the transcript of a lighthearted conversation between two young women sitting in a café. Malala, now 23 and just graduated from the University of Oxford, happily answers questions about what she likes to eat, how she spends her time, and what her plans are for the future.
 
View this post on Instagram
 

A post shared by British Vogue (@britishvogue)

But when asked about her romantic life Malala became so visibly uncomfortable that her interviewer felt as though she were “torturing a kitten.” In the extremely conservative area of northern Pakistan called Swat, where Malala was born and raised, falling in love or having a boyfriend is considered shameful and dishonorable. But, later, she nonetheless offers some ambivalent comments about marriage.

“I still don’t understand why people have to get married. If you want to have a person in your life, why do you have to sign marriage papers, why can’t it just be a partnership?”

In Pakistan, these anodyne comments set off a firestorm of virulent criticism. Social media users called her a “prostitute” and “traitor”; and the hashtag #ShameonMalala trended for days. Z-list celebrities attempted to capitalize on the Malala hatred by issuing sanctimonious statements about marriage, while newspaper columns analyzing the interview made headlines for weeks. A so-called preacher in the conservative north of Pakistan declared that he would assassinate the young woman for violating the sanctity of Islam. By now Malala is used to Pakistanis expressing outrage at what she does and says. But the magnitude of this backlash was particularly intense. Upper middle-class women, who tend to be more educated and thus supposedly more worldly, were particularly critical of Malala for voicing reservations about marriage. In Pakistani Facebook groups, they wrote that Malala’s head injury had probably caused brain damage; or they mocked her appearance, commenting that of course she was against marriage—with her disfigured face, she would never find a husband. How to explain this vicious torrent of outrage? Perhaps these well-heeled, well-educated urban women were lashing out because by questioning the value of marriage, Malala had implicitly criticized the institution from which most Pakistani women derive their identity, status, and privilege. Pockets of liberalism do exist in Pakistan. A 23-year-old woman from a rich family in Lahore, Islamabad or Karachi might be allowed to choose her spouse—even to date or have a boyfriend. But saving face is essential; cultural and religious standards must be upheld. Those who rebel against society’s mores are expected to do so discreetly. It’s a rare woman in Pakistan who remains single by choice. By questioning whether partnership and love should require religious and legal sanction, Malala unintentionally held up a mirror that reflected all the burdens and restrictions of marriage. That is why these women responded to the interview by having a complete meltdown: Their own internalized misogyny trumped whatever lip service they usually give to female solidarity and sisterhood. Their lambasting of Malala, the so-called “darling of the West,” was reminiscent of the ritual of “salvaging” in The Handmaid’s Tale, when the Handmaids gleefully pull on the rope that hangs the condemned woman to death. Of course Malala does have many supporters in her home country, where she’s often called the “Pride of Pakistan.” They counter the haters by holding up examples of Malala’s positive influence in Pakistan and the rest of the world—like the Malala Fund, mentioned in the Vogue interview, which is rebuilding schools in her native Swat, in several African countries, and in Gaza. Few people know about this important work, or that the Fund supports the work of policy reformists who are overhauling Pakistan’s creaky education system. Those who love Malala are happy that she survived the assassination attempt and thrived; that Pakistan’s military defeated the Taliban; and that something excellent can come out of Pakistan, a place where life is difficult and often grim. Pakistanis are under a lot of pressure these days. The country faces serious economic problems even as it tries to recover from decades of dictatorship and terrorism; matters are further complicated by the country’s continued involvement in geopolitical conflicts with India and Afghanistan. Salaries remain low even as inflation and taxes continue to rise. Quality education, health care, and job security are all in short supply. Working-and middle-class people feel the economic frustrations most acutely; for them, dignity and security are a mirage. On popular television talk shows broadcast each night, upper-class Pakistanis argue about the causes of their country’s malaise—e.g., corruption, government incompetence, and the erosion of moral values. But instead of looking for ways to strengthen the country internally, they blame external bogeymen such as India, “the West,” and anyone who seems to be working against Pakistan’s interests. Malala has become a lightning rod for these people. Every time she does something that makes the news, she’s accused of making the country look bad. The usual round of accusations and bizarre conspiracy theories are trotted out: Her shooting was a staged drama so she could obtain a foreign passport; she has been chosen by Western and Jewish overlords to become prime minister of Pakistan one day; her many prestigious awards are in fact compensation for the role she plays in a master plan to dismantle Pakistan altogether. They speculate that Malala is actively working against her own country. On the Vogue cover, Malala is traditionally but elegantly attired: She wears a crimson dupatta draped gracefully over her head and shoulders and a matching crimson kameez; the backdrop is the same shade of crimson—the color of blood, the color of revolution, of love—and she holds one hand up to her face, right where her facial muscles droop because of her injuries. She’s careful to portray herself visually as respectful of her Pashtun heritage. But it’s getting harder to keep her intelligent mind and her ideas as carefully curated. This tension will only grow as she navigates through life: In Pakistan, every word she says will be parsed and every action criticized. Having completed her formal education, Malala is now considering what she should do with the considerable money and influence she has accumulated over the last six years. Besides the Nobel Prize, there is the Malala Fund (Bill and Melinda Gates and Angelina Jolie are donors) as well as appearances at Davos and the United Nations. For some, this is too much power for a young woman from a valley in Swat, Pakistan. Her friends Greta Thunberg, the climate activist, and Emma (‘X’) Gonzalez, the Parkland shooting survivor and anti-gun activist, both of whom have also been targeted by vicious critics, can relate. Malala’s detractors often ask why other young victims of terrorism, especially boys, don’t receive the same treatment as the young woman from Swat. But most people don’t know what happened to these victims, whom they believe are stranded in Pakistan, locked out of the privilege and influence that Malala wields. Waleed Khan is a university student who was shot in a 2014 Taliban terrorist attack on the Army Public School in Peshawar. Like Malala, Khan went to the UK for treatment and stayed on to pursue his education; Malala and her family supported him throughout his ordeal. In the wake of the controversy over the Vogue interview, Khan tweeted: “From a long time I have been seeing images of me and Malala circulating around. I would like to request everyone please stop this comparison. We can’t uplift one person by degrading the other. Malala is an inspiration for many young ppl like me and millions around the world.” With so many programs for improving the lives of girls funded by Western NGOs and foreign missions, many complain that boys are left behind. Some of this is fair criticism; but some is sexist backlash in a society accustomed to conferring automatic privilege upon boys and men. Elevating Malala above male victims of similar violence sparks fears about another Western conspiracy to rend Pakistan’s social fabric and make women more powerful than men. The degradation of others considered to have gained too much wealth or prominence is called Tall Poppy Syndrome, a term that originated in Australia. In Pakistan, Malala is the home-grown variety; both men and women want to cut her down because they think she’s gotten too big and gone too far. But not everyone reacts with so much jealousy or negativity to Malala. Many Pakistanis openly adore her; and the government of Pakistan gave her full support and security when she came to Pakistan on a secret trip in 2018. Hundreds of little girls study in the schools she has opened in the Swat Valley. Across the country, plenty of people recognize that those who shot Malala in the head are the real enemies of Pakistan. Malala rarely comments on this negativity, although when she came to Pakistan in 2018, she told the BBC that she couldn’t understand it. But in the three years since that visit, Malala has grown and evolved from a girl into a woman. The biggest sign that she’s ready for the next phase in her life, and that the hatred doesn’t faze her, is a meme, popular among millennials, that she tweeted a few days after the Vogue cover was released online. It’s a GIF of Elmo, the Muppet character, standing with his arms raised in front of a backdrop of flames dancing behind him. For Malala, this is the equivalent of a mic drop. [post_title] => Hating Malala is now 'en vogue' in Pakistan [post_excerpt] => The 23 year-old Nobel laureate's cover photo and interview for British Vogue set off a storm of virulent criticism in her native Pakistan. 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Hating Malala is now ‘en vogue’ in Pakistan

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    [post_content] => An assertive new generation of Muslim feminists is disrupting the white feminist narrative of victimhood.

“Too many religions are patriarchal and imbued with misogyny. Because of this I am often asked how I can be a Muslim feminist. My response is that I am both of Muslim descent and a feminist, and the two identities are not connected. One does not depend on the other.” — Egyptian-American feminist and author Mona Eltahawy, in her recently published book of essays, The Seven Necessary Sins for Women and Girls

The West has for too long related to Muslim women as though they needed to be saved, lumping them all into a single, victim focused narrative. In recent years, a vocal new generation of Muslim feminists, of whom Mona Eltahawy is perhaps the best known, seeks to challenge the victim narrative and assert their place in the feminist discourse on their own terms.  Saving oneself, as opposed to being saved by others, whether by escaping physically, emotionally or creatively, is a key theme in the emerging Muslim feminist narrative.  The plot of Yosra Samir Imran’s debut novel Hijab and Red Lipstick (Hashtag Press, 2020), appears at first to describe a familiar narrative of oppression.  Sara, a British Muslim adolescent in London, chafes against the restrictions set by her strict Egyptian father, who forbids her from indulging her passions for makeup, fashion magazines and pop music. His decision to move the family to Qatar, where Sara’s freedom is further restricted by patriarchal social norms and laws, sets father and daughter on a collision course. Imran insists that her story is strictly about an individual—and not a commentary on Muslim society as a whole.  [caption id="attachment_2752" align="aligncenter" width="640"] Yousra Samir Imran with her book, "Hijab and Red Lipstick."[/caption] I even put an author’s note at the start of my book asking readers not to discredit one woman’s experience just because it’s not their own, and that this book tells only one type of experience,” Imran told The Conversationalist. Still, some Muslim readers complain that the novel perpetuates stereotypes. Their unwillingness to see the book as one woman’s journey reflects a pervasive awareness among Muslims of the lens through which they are perceived—one that they feel distorts their lived experiences. Sabyn Javeri, a Karachi-born academic and novelist (Hijabistan and Nobody Killed Her) who is a professor of Literature and Creative Writing, told The Conversationalist that a major barrier to understanding the diversity of narratives within Muslim communities is the propogation of a single dominant narrative. “I always wonder what we mean by white feminist narrative,” she said, adding: “I believe in plurality, I believe there’s many facades to identity.” She almost wrote Hijab and Red Lipstick as a memoir, said Imran, who now lives in West Yorkshire, but decided to fictionalize her story for reasons of personal safety. Nevertheless, the book is obviously based on  her own experiences in Qatar, where she lived from the age of 14 until she returned to the U.K. at 29. Sara, the protagonist, is a practicing Muslim who wears the hijab, but she is also a rebel who tests boundaries. Samir Imran believes that because she wears the hijab, her Muslim readers might have expected her “to present squeaky clean Muslim characters” instead of the complex and flawed characters in her novel.   There are, to be sure, some widely reported incidents that seem to support the white feminist narrative about oppressed Muslim women who need to be saved. Princess Latifa of Dubai, for example, has for several years been her father’s hostage, kept in an isolated villa after an unsuccessful attempt to escape the Gulf territory in 2018. Dina Ali Lasloom, then 24, was forcibly returned to Saudi Arabia in 2017 when she was stopped in Manila on her way to seek asylum in Australia.  Another highly publicized incident occurred in 2019, when Rahaf Mohammed, an 18 year-old Saudi woman who was granted asylum in Canada after she barricaded herself in a Bangkok Airport hotel room and tweeted that she was in danger of being deported and imprisoned for having renounced Islam (a crime in Saudi Arabia). Via amplification, she grew her Twitter following from fewer than 30 to several thousand within a few hours and gained the attention of the international media. Ms. Eltahawy, who played a critical role in amplifying the then-unknown Rahaf Mohammed’s tweets, writes in The Seven Necessary Sins for Women and Girls that Ms. Mohammed “saved herself.” “Saving oneself” can also mean asserting one’s right to choose how to dress—including whether or not to wear a traditional head scarf. The hijab is a hot topic—and not only in the west. Tunisia, for example, bans women from wearing the niqab, or face covering, in government offices. France and Quebec ban the niqab completely, while the Canadian province recently passed a law that restricts public servants from wearing religious symbols at work, in a move that is widely regarded as singling out Muslim women. But the debate about face and head coverings is taking place without the participation of Muslim women. How do they feel about the issue? “Hijab has been a tool of military and political intervention since colonial days,” said Sabybn Javeri. “People don't want to focus on things which really are oppressive—like violence or assault. It’s easier to target women’s clothing because that’s easier to control. Violence and control takes more work, you need to challenge the system, demand a larger shift,” she pointed out.  The characters in Hijabistan, Javeri’s collection of short stories about hijabi culture set in the U.K. and Pakistan, include a kleptomaniac who exploits the anonymity of her burqa to shoplift, and who enjoys flashing the fruit vendor across the street. They include women who feel the hijab liberates them and others who feel it constricts them. The stories highlight the intersectionality and plurality that comes with identities, which are often overshadowed by the debate about the meaning of a scarf on a woman’s head rather than the thoughts inside it.  “We have long been defined by what’s between our legs and what’s on our heads,” said Mona Eltahawy. She told The Conversationalist that the title of her first book, Headscarves and Hymens, was inspired by her desire to challenge the binary view of what defines a Muslim woman. Nevertheless, Eltahawy feels now that there is too much talk about the Muslim head scarf. “Whether I should wear the hijab, or whether anyone should wear the hijab, is a difficult conversation about choice. At the end of the day that conversation of wearing and not wearing is limited to women of Muslim descent and no one else,” she said. Our Women On The Ground is a collection of first-person essays by female Arab journalists in the Middle East that reflects the unique challenges Muslim women face when reporting. “I wondered about the fearless Arab women journalists, whose work I’d been following for years,” editor Zahra Hankir told The Conversationalist. “What if we read about their experiences, and about how their lives have been affected by the tumult in the region, in a similar space? The stakes are, without a doubt, so much higher for them. Being a local journalist in the region, particularly a woman journalist, carries with it immense risks and challenges.”  Choosing a job that means being in the public eye can be seen as an act of defiance for a woman in Muslim society. Foreign journalists have the privilege of leaving when things get bad, or of turning to their government for help when they are in trouble. Local journalists, particularly in countries where laws or customs restrict a woman’s presence in the public domain, do not have those privileges and are easier for the state to control. Non-Muslim female journalists also face many gender-related challenges when working in the field, although of a different sort; by acknowledging that oppressive systems affect all but in different ways, we see how their identities affect their experiences. For Muslim women, their religion is just one part of that lived experience.  The bottom line for most Muslim feminists is that they are more concerned with advancing their own cause than with countering the white feminist point of view. “A lot of my work goes towards complicating the narrative for women of Muslim descent, who are not white, who are from the global south,” said Eltahawy. This is the disruption we need in order to change existing systems.  [post_title] => Muslim feminists are not interested in the white woman's gaze [post_excerpt] => An assertive new generation of Muslim feminists is challenging the victim narrative imposed on them. 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Muslim feminists are not interested in the white woman’s gaze

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    [post_date] => 2021-05-13 21:55:31
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    [post_content] => Is Melinda Gates trying to get ahead of uncomfortable revelations about her husband's relationship with Jeffrey Epstein?

When I read the news last week that Bill and Melinda Gates were divorcing after 27 years of marriage, my first reaction was empathy. The pandemic has been hard on all couples, I thought, even the ones who happened to have been quarantining in a 66,000-square-foot compound with 18.75 bathrooms called Xanadu 2.0. Melinda told The New York Times in October 2020 that being stuck working from home with her husband, after years of frenetic traveling, “was a piece that I think we hadn’t really individually prepared for quite as much.” This was somewhat relatable. No matter the size of your home, there is such a thing as too much togetherness. 

But then there were questions. Foremost among them: Why now? After all, thanks in part to the efforts of the Gates Foundation, which has donated more than $1.75 billion to Covid-19 research, 130 million people in the U.S. have received at least one dose of the vaccine. As we approach herd immunity, we are slowly emerging from our pandemic hidey holes. Businesses are reopening. People are talking about wearing jeans again. Couldn’t the world’s biggest philanthropists just carry on living separate lives, united by their passion for giving back? We already know that Melinda is pretty laissez faire when it comes to her marriage, allowing Bill to vacation every year with his ex-girlfriend. The couple owns a far-flung real estate portfolio with at least seven properties totaling $170 million. Melinda could take up residence at Xanadu 2.0 while Bill could stay in their $12.5 million home in Palm Desert, California, from whence he signed the divorce papers. Or they could resume traveling around the world, perhaps staying at the Four Seasons, which they own a large stake in through Bill’s firm Cascade Investment LLC. 

A few days after the divorce announcement, we started to get a possible answer to the timing question. The Daily Beast broke the news that Melinda was reportedly “furious” after her husband took her to meet with Jeffrey Epstein at his Upper East Side mansion back in September 2013. The anger is understandable given that one of Melinda’s top priorities at the Gates Foundation is to invest in gender equality and women’s empowerment—and Jeffrey Epstein at the time was a registered sex offender. The Wall Street Journal followed up this week, reporting that Melinda met with divorce lawyers in 2019 after the New York Times published a story detailing the extent of her husband’s relationship with Epstein. The Times reported that Gates sent an effusive email to his colleagues upon meeting Epstein, describing his lifestyle as “very different and kind of intriguing although it would not work for me.” The Gates PR machine then went into full-on spin mode, telling the Times that Gates “was referring only to the unique décor of the Epstein residence.” Ah, yes, the unique décor

I remember reading that Times article in 2019 and shaking my head. Did I think it was creepy that Bill Gates was hanging out with Jeffrey Epstein? Yes. Did I think that Bill Gates was raping girls who Epstein had trafficked? No, I did not. 

Given his wealth, power and involvement in scientific pursuits, Bill Gates has been a magnet for truly wacko conspiracy theories, such as the idea that he wants to use vaccine shots as a vehicle to insert trackable microchips into people’s bodies. Believers in QAnon, the umbrella conspiracy theory that holds that there exists a secret child trafficking ring run by Satan-worshipping Democrats—including President Biden, Hillary Clinton and George Soros–have been having a field day with the divorce announcement, speculating in chat forums that Bill Gates is either about to be arrested or that the breakup is intended to somehow cover up for the fact that both Gateses are dead (don’t ask). I can now see how these types of bonkers narratives had the unusual effect of pushing my mind toward the exact opposite explanation, which is that Bill Gates is a brilliant but oblivious man who, like so many others, unwittingly got swept up in Epstein’s net. 

But now I’m not so sure. Is it possible that Bill Gates’s involvement with Jeffrey Epstein went beyond fundraising for philanthropic projects? It is. And the thing that makes me think it is possible is the extent to which Gates downplayed his links to Epstein, both to the press and, apparently, to his wife. In an interview with the Wall Street Journal tied to a Netflix documentary about Gates, he denied having any sort of relationship with the pedophile financier, saying “I met him. I didn’t have any business relationship or friendship with him. I didn’t go to New Mexico or Florida or Palm Beach or any of that.” This turned out to be a big lie: Not only had the two men met many times over the years, but the Times report revealed that Gates flew on Epstein’s Gulfstream plane, known as “the Lolita Express” from Teterboro Airport in New Jersey to Palm Beach in 2013. The New Yorker also reported that Gates made a $2 million donation to the MIT Media Lab in 2014, a donation that was said to be directed by Epstein. 

At the heart of any good conspiracy theory is a twisted kernel of truth. Could it be that there is, in fact, an elite illuminati-like pedophile ring running the world–except that, instead of being controlled by prominent Democrats, the cabal transcends any particular political ideology? If that turns out to be the case, then is it even remotely possible that Bill Gates, in collaboration perhaps with two other powerful Bills—Barr and Clinton—may have conspired to have Jeffrey Epstein murdered in jail, so that their involvement is kept secret? When my brain goes down these (admittedly speculative) rabbit holes, I start to feel like I’m getting swallowed up in the Matrix, until I remember that it’s one thing to be running around spouting nonsense about Pizzagate and frazzledrip, and quite another to see evidence of an actual conspiracy unfolding before your eyes. Because something here really does not make sense. 

We need answers as to why Bill Gates, the fourth-richest man on earth who runs the biggest charitable organization in history, needed Epstein’s “help” with philanthropy, even after his wife expressed serious reservations about interacting with him. We need to understand why the Gates Foundation’s former science adviser, a man named Boris Nikolic, was named executor of Epstein’s estate before he died. We need to know how Melanie Walker, a longtime adviser to Epstein, came to be part of Gates’s inner circle. Then there’s the question of Nathan Myhrvold, former Microsoft Chief Technology Officer, who, according to Vanity Fair, palled around with Epstein in Palm Beach and Manhattan and was accused by Alan Dershowitz of having sex with one of Epstein’s underage victims. We need to understand why Bill Gates brushed off all these intersections between his orbit and Epstein’s, not to mention why he suddenly stepped down from the boards of Microsoft and Berkshire Hathaway last year

And before we let Melinda Gates off the hook, we need to understand what she knew and when she knew it. Any evidence of complicity should disqualify her from being an advocate for women and girls. 

Hopefully soon, we will get some answers. Last summer, Epstein co-conspirator Ghislaine Maxwell was arrested at a 156-acre property in New Hampshire and on Tuesday, U.S. District Judge Alison Nathan announced that the trial will begin after Thanksgiving. It was originally slated to commence in July, but her lawyers argued that they needed more time to prepare after a new sex-trafficking charge was filed this year that alone carries a maximum sentence of 40 years. If anyone knows where the bodies are buried, it is Ghislaine Maxwell. Indeed, she may already be cooperating with investigators in exchange for leniency. 

Suddenly, the carefully coordinated Gates divorce announcement makes more sense as a calculated PR move on the part of Melinda to get ahead of the Epstein narrative and distance herself from its stench. If you are trying to run a foundation that advocates for women and girls around the world, being tied to a global child sex-trafficking ring is not exactly great for the brand. 

There’s no question that the $50 billion Gates Foundation, in its 21 years of existence, has done a lot of good work. Because of their work, the incidence of polio around the world has declined by 99 percent. They have prevented 1.5 billion cases of malaria and donated billions to fighting HIV and AIDS. And of course, the coronavirus. But we cannot ignore the fact that the Foundation has also helped launder Bill Gates’s reputation, transforming him from a ruthless Robber Baron 2.0 who built his success by crushing the competition (and foisting a sub-optimal product on consumers), into a champion of public health, an expert on climate change, a thought leader for the Davos set. As Anand Giridharadas put it in his book “Winners Take All: The Elite Charade of Changing the World,” the only thing better than being a fox is being a fox asked to watch over hens.

We as a society need to question whether relying on the voluntary largesse of an ascendant billionaire class is the best way to solve the world’s problems. Why should the takers, the hoarders of the world’s wealth, be presumed to be experts on giving? The Gates divorce reminds us that it might be more effective, more conducive to a thriving democracy, to simply raise their taxes. 
    [post_title] => What did Melinda Gates know—and when did she know it?
    [post_excerpt] => If you are trying to run a foundation that advocates for women and girls around the world, being tied to a global child sex-trafficking ring is not exactly great for the brand. 
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What did Melinda Gates know—and when did she know it?

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    [post_content] => A powerful argument that fat people should be accorded the same dignity that social movements like #MeToo and Black Lives Matter demand.

Aubrey Gordon’s What We Don’t Talk About When We Talk About Fat is a book about being trapped. It is rooted in trauma and designed, at turns, to break your heart and open your eyes to the humanity of a scorned and maligned demographic. It is also another volume in the generally shouty, scolding, so-called “woke” rhetoric that has shot through the public discourse like a never-ending Reddit thread. 

The path to inclusion, apparently, is balling out strangers on the internet and hosting a podcast. Gordon excels at both. She first came to fame as the author of Your Fat Friend, which she wrote anonymously and subtitled “Essays on life as a very fat person.” As the title of her undertaking implies, Gordon has set herself apart from a default confrontational stance. Her tone is direct, earnest, informative—uninterested in trauma porn. The same cannot be said of her voice on Twitter, but such is life when expressed in a maximum of 280 characters. 

I first became acquainted with Gordon through a hilarious, often brilliant limited episode podcast about the dieting industry, which she co-hosts with Huffington Post journalist Michael Hobbes. Called Maintenance Phase, its tagline is “wellness & weight loss, debunked & decoded.” Much like Your Fat Friend, the tone of the podcast conveys to the listener that she is implicitly on the same team as the co-hosts: away we go, together, to laugh at the sick standards and twisted marketing schemes that warp our view of the world and threaten our psychic wellbeing! The duo’s takedown of Moon Juice (“What the fuck is an adaptogen?”) is one of the funniest things I listened to in the past year; the episode on the Twinkie Defense, exploring the moral panic behind the legal defense that exculpated Harvey Milk’s killer, is moving and especially well researched. 

What We Don’t Talk About When We Talk About Fat is not a memoir but rather “a mix of memoir, research, and cultural criticism all focused on unearthing our social and cultural attitudes toward fat people.” The aim is to accord fat people the same dignity and steps toward harm reduction that other social justice movements, like Black Lives Matter and #MeToo, demand. 

First things first: I was almost giddy to read a book published in 2021 that tells public health experts—and pretty much everyone else—that they are dead wrong and can fuck off. After this pandemic year of public health obsession, shaming (e.g., for wearing or not wearing a mask), and broadly asking to speak to the manager, it is refreshing to see a woman stand her ground and explain fat shaming and the diet industry to me.

 
Gordon trashes BMI (Body Mass Index) as a racist, meaningless marker; she deftly explains how blaming fat people for being fat allows us to avoid taking collective responsibility for a widespread problem, to indulge our biases, and isolate fat people from equal pay, housing, and medical care. Her arguments bear the hard won credibility of a woman who has been mocked, menaced, and bullied online and off throughout her life and presently wears a size 26. Biography is Gordon’s chief credential, and her stories of discrimination and humiliation at the hands of anyone from landlords to flight attendants will make you shake with rage. On her podcast, she speaks of “the shitty economy of trauma” and how she needs to be “vivisected” for anyone to buy into her arguments. 

What We Don’t Talk About When We Talk About Fat is very much a book written by a woman. To be sure, we are all trapped in these flesh suits. To be alive as a woman, in particular, is to experience being judged on your looks before all else. Describing viral videos that shame fat people, Gordon writes, “It was surreal to watch it all unfold, this litigation of my body, a voiceless inconvenience, an inanimate obstacle.” As a woman in America, I must confess it was surreal to read that sentence. I understand my role is to be a reader, and not to place myself in Gordon’s lived and often excruciating narrative, but at several points in this book I felt lectured to about my own lived experiences as a woman in a way that baffled me. 

For instance: Gordon is at pains to define a difference between fatcalling and catcalling: “Catcallers do not consider themselves to be wooing me, concocting faux romances in their minds. I do not face the inconveniences of chivalry...Instead, I face...unsolicited disclosures of men’s rape fantasies.” As I read that paragraph, I couldn’t help but think, #MeToo, Aubrey! That’s exactly what it’s like! And, even if details differ, why spend pages denigrating the trauma of catcalling in favor of the paramount trauma of fatcalling? Why must we rank trauma? Why is it all a contest? Both things suck. 

Gordon indulges in moments of intersectionality, but male aggression on an empty street is also familiar in the forms of gay bashing or bigotry—as well as straight-up catcalling. We can (and should) create room for fat women in feminism without invalidating someone else’s narrative. And, while we are at it, I’d like to point out that dating apps are humiliating for everyone. 

No one wants to be pathologized; this is something the gay rights community has been teaching us for decades. Knowing Gordon is a fierce advocate both in the queer space and for reproductive freedoms, the following sentiment left me gobsmacked: 

“The world of straight-size people is a reliable one. In their world, services are procured. Healthcare offered is accessed. Conflict arises primarily from active decisions to provoke and is rarely—if ever—prompted by the simple sight of a stranger’s body. The biggest challenges with anyone’s individual body are their attitude toward their own skin, not issues of security, dignity, or safety from bodily harm.” 

This simply isn’t true. Americans are denied access to healthcare for a plethora of reasons that include race, income, sexuality, gender identification, and immigration status.   Gordon is at her strongest writing about how cultural conditioning yields a cruel smugness:  “Media messages about revenge bodies and baby weight and beach bodies abound, conditioning our feelings about our own bodies the ways that we treat those who are fatter than us," she writes. She references a damning Wharton study about how “obesity serves as a proxy for low competence,” and compellingly links this attitude to legalized weight discrimination in many states.  “Anti-fatness,” Gordon asserts, “is a way for thinner people to remind themselves of their perceived virtue. Seeing a fatter person allows them to remind themselves that at least I’m not fat. They believe that they have chosen their body, so seeing a fat person eat something they deem unhealthy reminds them of their stronger willpower, greater tenacity, and superior character.”  This line of thought is redolent of the Calvinist doctrine of predestination and Weber’s Protestant Work Ethic—it’s as American as it gets. In this vein, I am troubled by an underlying assumption that crops up again and again in this book: that we are empowered and enabled to participate in public discourse once we are consumers. Surely our humanity is not tied to our ability to participate in capitalism. Personally, I think people should aspire to a lot more than earning more money and being able to buy clothes in their size. I would like to see us dream bigger than a shopping spree. What else are we gunning for here? More invidiously, what industry will co-opt these upper tiers of obesity? Each June, the Gay Pride Parade boasts multiple floats from big banks and corporations: does fat acceptance look like a TD Bank ad? Can someone chart a course out of this capitalist trap?   The book also contains the seeds of some serious fatalism, and, as it goes, a serious paradox.   On the one hand, Gordon argues passionately against BMI as a valid metric and size as an indicator of health. At one point, she even lauds a few anti-diet dieticians. She writes of studies that point to vile and widespread medical bias against fat people, even in medical schools. Yet, she also insists that the prevalence of fat Americans is a consequence of substandard nutrition, processed food and poor education—deficits she traces back to New Deal agricultural policy and the Reagan Era’s war on obesity.  So, we hold both of these truths to be self-evident: being fat is okay and not a threat to one’s health, but having a fat society is a problem we must collectively solve.  Gordon also claims that 97 million Americans diet and it’s a $66 billion-industry. But, she says 98 percent of dieters fail. This made me wonder: what constitutes a failure? What constitutes a diet? Success metrics are strange, and their definition is often slippery to the point of slime. When my own father was dying of cancer, I learned that “success” at Memorial Sloan Kettering Cancer Center is defined as living for another five years. If it doesn’t look like you’ll make it that long, they don’t treat you for fear of sullying their numbers.  So: who is in these diet studies? What did they want to achieve? Where did they start? When I dove into the footnotes to learn the rationale behind the numbers, I was led to a Psychology Today author promo listicle: “6 Reasons Smart People Don’t Diet.” The statistical improbability of “success” pinned to these numbers allows for an ugly tendency to flay any follower engaged in weight loss. On her podcast, Aubrey says she believes it was a fair boundary to block anyone with an Instagram bio that states an aspirational weight—although she herself doesn’t do so.  Isn’t it possible to both understand that the diet industry is largely shambolic and also leave room for people to try and change their bodies a little if they want to? A before-and-after photo is not inherently toxic. Perhaps social media is the bigger issue, with all of its attendant lies around displays of wealth and heteronormative couplehood—while we are on the topic.  Somewhere between being resigned to genetic predisposition and indulging in the freak show that is The Biggest Loser, I’ve got to believe there is a middle ground where we have a bit more acceptance and agency. Call me an optimist. How can a writer as smart as Gordon so sharply point out the sly complicity in Heinz buying Weight Watchers, but come down so hard on Michelle Obama for her “Let’s Move” campaign and any poor schmuck trying to lose a little weight? In hanging readers out to dry at various points, Gordon lowballs the universality of her message. Movingly, she writes, “The war on childhood obesity had given up on me, and over time, I learned to give up on myself...At eleven, I clung desperately to the idea that my body could and would change—that, somehow, I would become thin. Then, and only then, could my real life begin.” Who didn’t feel that way in some capacity as a middle schooler?  We need to treat fat people—and everyone—with more kindness and consideration. But there is nothing wrong with trying to grant those same people a sense of autonomy and agency to decide on their own definition of defeat or victory. For Gordon, it’s having the space to be the woman she is right now; for others, it might mean shedding 20 pounds put on during a stressful, sedentary pandemic. There must be room for someone trying to figure out what works for their own highly personal wants and needs.  It breaks my heart that the end of this book must focus on harm reduction. In her final chapter, Gordon writes, “We deserve a personhood that does not make size or health a prerequisite for dignity and respect.” We do. And if we don’t find one that we all can fit in together as a nation and as a culture, it’s not so much that we will be trapped but, rather, that we’ll know for certain that it’s been a trap all along. [post_title] => Dreaming big: the politics of preaching body acceptance in a fat phobic society [post_excerpt] => Aubrey Gordon’s 'What We Don’t Talk About When We Talk About Fat' is a book about being trapped. It is rooted in trauma and designed, at turns, to break your heart and open your eyes to the humanity of a scorned and maligned demographic. 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Dreaming big: the politics of preaching body acceptance in a fat phobic society

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    [post_content] => Activists and civil society groups are outraged at the prime minister's victim blaming. 

In Pakistan, the first thing a woman thinks of when she steps outside her home is rape. In a country that routinely ranks as one of the most dangerous in the world for women, rape is everywhere. Women live in constant fear of predators, who routinely go unpunished not because the law protects them (it does not), but because attitudes in this deeply conservative culture manifest in a lack of will to enforce them. Recently Imran Khan, the prime minister of Pakistan, reinforced this entrenched misogyny when he claimed that vulgarity, temptation and willpower were among the causes of rape.

Before he became a politician, Imran Khan was an international cricket champion and a national hero. Oxford educated, handsome, fair skinned and an eloquent speaker, he embodies the quintessential colonial concept of the “white man” coming to save the damsel in distress Pakistan was made out to be. When he was elected prime minister, the media dubbed him the leader of “naya Pakistan” (new Pakistan).

But this, I knew, was a lie. Imran Khan has a well-documented history of misogyny.

In 2006, he rejected the Protection of Women’s Rights Bill, which amended the 1979 Hudood Ordinances that put the entire onus of proving a rape accusation on the woman. The 2006 Bill did pass a parliamentary vote, no thanks to Khan; but prior to this legislation, a rape victim could be prosecuted and imprisoned for adultery if she failed to produce an adult male witness to her assault.

Ayesha Gulalai, a human rights activist who in 2013 became the first female member of the National Assembly, accused Khan of sexual harassment; according to Gulalai, the prime minister sent lewd messages to her and other women in the progressive Pakistan Tehreek-e-Insaf party. For having made this accusation, Gulalai received death threats.

In 2018, Khan said that feminism was “degenerating” to motherhood and called it a “western concept.”

In 2020, he said that the Aurat (women’s) March was culturally divisive.

This year, Khan presented a Pride of Performance award to Ali Zafar, a prominent singer-songwriter who has been credibly accused of sexual harassment by several leading female artists. The prime minister did not even acknowledge an open letter from feminist activists who asked him to refrain from conferring the award, given that one of Zafar’s accusers, singer-actress Meesha Shafi (who plays the protagonist’s sister in the 2013 film The Reluctant Fundamentalist)  was pursuing legal action against him.

In a Q&A session with the public that was televised live in early April, a journalist asked Prime Minister Khan what steps he would take to tackle rape and child abuse. Instead of answering the question, he said: “In any society where vulgarity is prevalent, there are consequences.”

Vulgarity is a broad term. What’s vulgar for one person, might not be for the other. But in this case, Khan was using the word to blame the victims. Over the past three years, Pakistan has seen a spike in widely publicized, extremely violent rapes. One of the victims was 6 year-old Zainab Ansari, whose body was found in a rubbish dump in 2018; she had been raped and strangled. In another notorious case that made international headlines last April, a woman was gang-raped in front of her children after she stopped at the side of a highway just outside of Lahore because her car had run out of fuel.

During the same televised Q&A session, Khan held women responsible for the behavior of men, saying they should remove “temptation” because “not everyone has willpower.” He claimed the high rape statistics were a consequence of “increasing obscenity.” Bollywood films and an infatuation with Western lifestyle were to blame, said the prime minister.

With those words, Khan diminished every person who has stood up against rape, every victim who came out with their story; and every woman, trans and non-binary individual that marched against rape. By saying that women should take “purdah” (cover themselves from head to toe), he reiterated the notion that the onus is upon women to protect themselves. There will be no safety in Pakistan, no justice. There will simply be women constantly berated for taking up space.

In 2020, 11 rape cases were reported every single day in Pakistan. But only 77, or 0.3 percent, of the accused have been convicted. According to government statistics, fewer than half the women who report having been raped end up pressing charges; police estimate that the actual number of rapes could be closer to 60,000 annually. Women are instantly labeled liars when they press charges against their rapists. Sometimes the consequence is more fatal, as seen in cases of so-called “honor killings,” whereby the male relatives of an unmarried rape victim take her life because she is no longer a virgin. Women are sometimes forced to marry their rapist to save their family from scandal. In other cases, families choose revenge rape as a “solution.”

In a conference organized by the Women’s Action Forum on rape, Nazish Brohi, a social sector consultant said that, “There is the expense of the lawyer, going to court, the cost of living in a big city, and then there is the impact on the family, so, the cost of reporting rape is high. But the cost of not reporting rape is also high.”

The system usually works against survivors. In the case of the woman who was gang raped on the highway, Capital City Police Officer Umar Sheikh blamed the victim, asking reporters rhetorically why she was traveling with her children late at night.

Mehnaz Akber Aziz, a member of Pakistan’s National Assembly and a children’s rights advocate said: “You are signalling to these people, the rapists, that ‘It’s OK, you can continue doing what you’re doing and there will be a way out, even if you’re arrested.” Pakistan’s police and judiciary generally fail to apply the law robustly in rape cases where there are no witnesses.

But there are organizations and activists working to force law enforcement officers and the judiciary into implementing the laws that are supposed to protect women.

Sahil provides free legal aid for children and women who have been victims of abuse. War Against Rape (WAR) provides rehabilitation for survivors of sexual assault and works with them to deal with their medical, legal and social issues. Earlier this year, The Lahore High Court declared the “two finger test”—used to determine whether a sexual assault survivor was a virgin—as illegal.

The Zainab Alert Response and Recovery Act, 2020 was passed under the Children's Protection Bill to criminalize abduction and kidnapping. Anti-Rape Ordinance 2020 was approved to ensure that sexual assault trials are completed within four months and that victims’ identities will be protected.

Each of these organizations is committed to tackling Pakistan’s rape problem. And yet, Prime Minister Khan did not mention any of them. Instead, he left Pakistan’s women in a more vulnerable and precarious state than ever before. The country does have laws that, if enforced, would help combat sexual violence. What it does not have, however, is a leader who sets an example by working with existing organizations to change the entrenched patriarchal attitudes that prevent women from feeling safe in public. Nor does it have a leader who is committed to public education.  If the prime minister of a country where the literacy rate has fallen below 60 percent says that men aren’t able to control their instincts and that women must be covered from head to toe if they want to remain safe, the masses will believe it.

Sheraz Ahmed, the program officer at WAR, noted that Khan’s remarks demonstrated “a clear pattern that reveals his regressive views of rape and sexual violence.” Asked why rape cases in Pakistan are so high, and what measures need to be taken to make women safer, Ahmed said, “Rapists know they will get off the hook and that’s why cases are rising.” The lack of medical and psychological care available for rape survivors places even more stress on the woman, which often factors into a decision to refrain from pressing charges.

Several organizations—including Women’s Action Forums of Pakistan, War Against Rape, Aurat March Lahore, The Human Rights Commission of Pakistan, and The Women’s Lawyer Association—have demanded an apology from Imran Khan. In a statement of condemnation that has, as of this writing, been signed by 438 people, they describe the prime minister’s comments as “factually incorrect, insensitive and dangerous,” adding that they “actively fostered and promoted rape culture.”

The Human Rights Commission of Pakistan said in a statement that they were “appalled” by the prime minister’s remarks, describing them as “unacceptable behavior on the part of a public leader” and demanding that he apologize.



Jemima Khan, the prime minister's former wife (and mother of his two children), tweeted: “The Imran I knew used to say, "Put a veil on the man's eyes not on the woman."”

The response on Pakistani Twitter, meanwhile, has been scathing.

This time, the anger does not seem likely to abate; it will continue to fester until there is systemic change and a decisive shift in the conservative narrative regarding rape in Pakistan. Over the past two years Pakistan has seen a rising feminist movement; now, with the growing Aurat Marches and the opening up of the #MeinBhi (MeToo) movement, something has shifted. The women of Pakistan will no longer be dismissed when it comes to sharing their truths.

In many South Asian countries there is widespread scepticism about the #MeToo movement. Why, people ask, does it even exist? Why don’t women who are molested immediately speak out and share their stories? The answer, or part of it, can be found in Khan’s remarks. Whether he believes them or not is irrelevant; he has exacerbated the dangers women face by reinforcing the primitive idea that men are driven by animalistic instincts and are physically incapable of controlling themselves in the presence of a woman.

Imran Khan has a bit of a nefarious past, with his playboy reputation and his hypocrisy towards women. But it is his actions and words today that demonstrate yet again how men in power use their privilege to reinforce only one truth—their own.
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    [post_excerpt] => Before he became a politician, Imran Khan was an international cricket champion and a national hero. Oxford educated, handsome, fair skinned and an eloquent speaker, he campaigned for prime minister as a reformer who believed in meritocracy. But he had a well-documented history of misogyny.
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‘Vulgarity has consequences’: Pakistan’s prime minister blames rising number of rape cases on women’s dress choices

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    [post_content] => The recent proliferation of high end chai dhabas inspired a national conversation about freedom of movement for women.

It’s a truth widely accepted in Pakistan that drinking chai is what makes you a true native. And not just any chai, but the sweet, milky, caramel-colored brew that is served at dhabas (outdoor tea stands) and slurped noisily while sitting on a small plastic chair, waiting for the dhabay wala to bring you another cup because one is never enough.

But while street dhabas play a major role in Pakistani society, they are traditionally a male-dominated space.

Granaz Baloch, a teaching fellow at the University of Turbat in Balochistan, is a feminist academic and writer whose research focuses on the gender challenges rural women face in finding potable water. She said that while dhabas in Turbat provide “information, opportunities and networking” for men in the city, women are not welcome. But this is not a Turbat-specific issue. Until recently, it was very unusual to see a woman enjoying the simple pleasure of a leisurely cup of chai at a roadside stand anywhere in Pakistan. Now attitudes are beginning to change, partly on the back of social media driven influencer culture. 

[caption id="attachment_2404" align="aligncenter" width="640"] Granaz Baloch[/caption]

Chai Wala is a hip Karachi café (tagline: "reinventing the chai experience") that serves upscale versions of traditional dhaba snack foods and beverages. Established five years ago, it attracts young men and women who are drawn to its trendy decor and menu, which includes Nutella chai, "artisanal" teas, and “dips” like hummus. It also sells branded merchandise. Places like Chai Wala have taken the concept of the traditional working class outdoor tea stand and reinterpreted it to attract a bourgeois clientele. 

[caption id="attachment_2406" align="aligncenter" width="640"] The scene at Chai Wala.[/caption]

Shaheera Anwar, a 29 year old journalist who moved from Saudi Arabia to Karachi in 2017, got engaged at a traditional outdoor dhaba. “I was dating my now-husband and we often hung out at dhabas after work—and I am someone who hates grand, public gestures, so I got proposed to at a dhaba,” she said. Shaheera is aware that dhaba culture has since become trendy, and she is not sure this is a good thing. She sees places like Chai Wala as gathering places for the rich that erase the egalitarian culture of the traditional dhabas.

[caption id="attachment_2405" align="aligncenter" width="640"] Shaheera Anwar getting engaged at a traditional dhaba in Karachi.[/caption]

Among middle class Pakistanis there is a widely-held perception that high end dhabas are safer for women because they attract a “better crowd.” This raises the question of the role class plays in Pakistani society, and how it affects the way women are treated in the public domain. 

The emergence of high end dhabas occurred right around the time that a feminist collective founded an organization called Girls at Dhabas,  which addresses the absence of women in public spaces and strives to reclaim them. The media gave significant coverage to the group when it first launched, but while press attention has since dwindled the movement has only grown stronger and more vocal in addressing the structural problems that prevent Pakistani women from moving about freely in the public square.

“It took living in other countries to learn that I had been conforming to a clever scam my whole life, thinking the city belonged only to men,” said movement founder Sadia Khatri. Sadia speaks in poetic language about the joy that comes with finally breaking free of the restraints placed on women’s freedom of movement. “The city’s breath rising to meet mine with each step, the pleasure of placing one foot before another, unthinking, meditative. The trust that so long as I kept going, Karachi would keep expanding, opening up before me.”

Many Pakistani women are making similar discoveries about the joy found in moving about in public. Maliha, who re-entered the corporate world after a career break, said that working in an office brought a kind of freedom she had all but forgotten. By extension, sitting at dhabas no longer seemed as daunting. “You gain enough confidence that when someone tries to harass or catcall you, you don’t shy away from hitting back,” she said.  Maliha found herself easing into the spaces she wanted to be. “The more you become accustomed to an environment, the more you learn about an environment, the more confident you become in dealing with that environment,” she said. 

Shoaib is the owner of a successful traditional dhaba in Lahore that specializes in Amritsari hareesa, which the women in his family make according to an old family recipe. He cheerfully  acknowledges that his clientele, once predominantly male and working class, has expanded to include families and women; and he has noticed the increased presence of women on the streets. But while Shoaib expressed no objection to other women claiming public spaces as their own, he said he would not want the women of his own family to be seen on the street or eating a meal at a restaurant. For Shoaib the women he saw eating at his dhaba represented a different lived reality—one that was simply not his. 

Shoaib’s perception of the class divide seems accurate. Upper-class women at posh dhabas are granted the right to be there because they come with the entitlement associated with their socioeconomic class. They are accustomed to being addressed as “ma’am,” and the staff treat them accordingly. Working class women, however, do not see these cafés as their place.

But Sanam, a supervisor at Shahi Bawarchi Khana, a fashionable restaurant in Old Lahore,  banished her insecurities and discomfort about being out in public. “I no longer feel uncomfortable in public spaces, because I know I can handle myself,” she said of working in a restaurant, adding that “girls need to keep moving forward and face the world.” Unlike the women who founded the feminist collective Girls at Dhabas, Sanam is not from the educated upper class. But with her unapologetic confidence she is exactly the kind that needs to be normalized within this debate about public spaces. 

Aqib, the manager at a trendy chai dhaba style restaurant in Old Lahore, articulated his perception of how class drives the lived reality for women in Pakistan. “Women come here more than men now, especially young TikTokers who like creating a big fuss,” he said of the changing demographics among his customers. Like Shoaib, the proprietor of the traditional dhaba that specializes in Amritsari hareesa, Aqib thought that the increased presence of women in the public domain should occur within cultural limitations. 

But what Pakistani men think about gender roles is slowly becoming irrelevant to the women who are paving a path forward. In Karachi’s impoverished Lyari district, notorious for its gun battles between criminal gangs, Shazia Jameel, the manager at Lyari Girls’ Café provides a space in this very male dominated area where women can gather. At the café they can take English language classes, learn boxing, study hair styling and makeup techniques, and chat in a relaxed atmosphere without fear of molestation. Shazia leads a group of women from the café who go cycling on Sundays, stopping on the way back from their ride for breakfast at a male dominated dhaba. At first the women were uncomfortable there, but that feeling has since disappeared. Now they are regulars.

The truth is, it’s not the piercing gazes or the opinions that have really changed, especially not among the working class. What has begun to change is women’s responses to traditional mindsets. The posh dhabas are not remotely inclusive places, nor would anyone argue otherwise. But the noise around them has led women to question why they accepted the limitations placed on their freedom of movement in their own country. They now regard strolling the streets and sitting in cafés as their right. Shazia Jameel puts the onus for protecting women's safety on the authorities, calling upon them to instal CCTV cameras. She also advocates legislation to eradicate religious extremism, which she blames for the perpetration of restrictive attitudes toward women. 

Shazia is right. It’s well past time that the right of women to move about in public without fear of molestation be protected. Nor should they be held responsible for the way men behave toward them. Despite what the old guard may think, change is coming from every direction, one cup of chai at a time. 
    [post_title] => Pakistani women are claiming their right to be in public spaces—one cup of chai at a time
    [post_excerpt] => What Pakistani men think about gender roles is slowly becoming irrelevant to the women who are paving a path forward.
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Pakistani women are claiming their right to be in public spaces—one cup of chai at a time

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    [post_date] => 2021-03-19 14:54:55
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    [post_content] => Over the past decade, women in the music industry have seen no notable improvement in visibility.

At Sunday night’s Grammy Awards, women won big. For the first time in Grammys’ history, the top four prizes went to four separate solo women: Megan Thee Stallion won Best New Artist, Taylor Swift took home Album of the Year, Billie Eilish snagged Record of the Year, and H.E.R. won for Song of the Year. Beyoncé in turn claimed four awards, which brought her lifetime total to 28—more than any other female artist, ever.

But the recognition of women at the Grammys, while welcome, is not an accurate reflection of their standing in the music industry. A study released earlier this month by the Annenberg Inclusion Initiative at the University of Southern California found that women's place in pop music is dismal—that they are vastly underrepresented. The study showed in no uncertain terms that since 2012 no progress has been made.

The study, called “Inclusion in the Recording Studio,” is one that researcher Stacy L. Smith has been leading annually for the last four years. Smith and her team had previously conducted similar work analyzing film and television, before expanding their focus to include the music industry as well. When her first report was released in 2018, it caused a stir. The study showed that with respect to the top 600 songs since 2012, only 16.8 percent were performed by female artists; analyzing the same pool of songs, only 12.3 percent of the songwriters credited were female and 2 percent of producers. When it came to Grammy nominees, between 2013 and 2018, 90.7 percent  of the nominees were male.

Neil Portnow, the then-president and CEO of the Recording Academy, which determines the Grammys, argued that if women wanted to be recognized they needed to “step up,” effectively blaming women—rather than the system—for their lack of visibility, opportunity, and recognition. The ensuing backlash included calls for Portnow’s resignation, and the rise of the popular #GrammysSoMale hashtag. A scathing open letter written by female executives from many sectors of the music world lambasted Portnow and demanded his resignation. “The statement you made this week about women in music needing to ‘step up’ was spectacularly wrong and insulting and, at its core, oblivious to the vast body of work created by and with women,” they wrote. “We do not have to sing louder, jump higher or be nicer to prove ourselves.” They added: “We step up every single day and have been doing so for a long time. The fact that you don’t realize this means it’s time for you to step down.” Portnow, it should be noted, did resign from his position in 2019 which many took as a way to gracefully remove himself from the controversy.

But the following year, even after all that noise, there was almost no change. The latest numbers released in early March, which analyze credit information from the Hot 100 songs on the Billboard year-end charts for each year from 2012-2020, actually show that women’s place in the industry is a little bit worse than it was before. Last year, women made up 20.2 percent of artists whereas the year before that the number was higher, at 22.5 percent. While women like Beyoncé and Taylor Swift take center stage, behind the scenes women are even more outnumbered. When it comes to producers, the ratio of men to women is 38 to 1, while songwriters women only make up 12.6 percent. Further on the subject of songwriters, from 2012-2020 Max Martin was the top male songwriter, with 44 credits on the songs analyzed; the top female songwriter was Nikki Minaj with only 19 credits.

The reports’ central takeaway is that over the past decade, women in the music industry have seen no notable improvement in visibility. This is true even as a number of initiatives have sprung up in recent years to try and address the industry’s systemic problems, like She Is the Music, co-founded by Alicia Keys to empower female creators.

“The advocacy around women in music has continued, but women represented less than one-third of artists, clocked in at 12.6 percent of songwriters, and were fewer than 3 percent of all producers on the popular charts between 2012 and 2020,” the authors of the Annenberg report wrote in the study’s conclusion. “The music industry must examine how its decision-making, practices, and beliefs perpetuate the underrepresentation of women artists, songwriters, and producers.”

“To fully examine this problem, we have to look at schools where females are more likely to be encouraged as vocalists than instrumentalists. While things are changing, there still exists a bias toward female ‘musicians.’ And this bias extends to any opportunities given to students to learn technology as well. Once out of school, women in the music industry aren’t taken as seriously as producers or front women of their own bands. Some genres in particular have excluded women from radio play,” explains Susan Cattaneo, a musician and associate professor of songwriting at Berklee College of Music. “The fact that women aren’t considered ‘bankable’ means they’re not given the same radio air time as their male counterparts. For every seven male artists on a country playlist, there is only one woman played.”

Cattaneo adds, “Unfortunately, the music business is still a man’s world so there is this perspective that women can’t do the job that men can do. This applies to female producers, engineers, performing artists, and songwriters. It’s a pervasive problem in all genres of music.”

“It has been wonderful to see a number of musical superstars who have taken full control over

their careers including their branding, their image and their business,” Cattaneo said. “Unfortunately, we’ve also seen that no matter who the artist is (Beyoncé, Taylor Swift, Katy Perry, Miley Cyrus or Britney Spears), they have had to pay for that control with various kinds of backlash from the industry and their fan base.”

The Annenberg study did show a positive trend for women in terms of Grammy nominations, calling 2021, “a high point for women in nearly every category considered.” Even so, there were 198 female nominees and 655 male nominees. That said, this was the first year the Recording Academy publicly reported those numbers which is a step in the right direction.

Another glimmer of hope on the horizon is that the Recording Academy earlier this month announced they’d be partnering with Berklee College of Music and Arizona State University to conduct a study on women’s representation in the music industry. “The data collected from the study will be utilized to develop and empower the next generation of women music creators by generating actionable items and solutions to help inform the Academy’s diversity, equity, and inclusion objectives amongst its membership and the greater music industry,” the Recording Academy said in a statement.

Still it should be said that in 2019 the Recording Academy made promises to move equity forward through the establishment of an inclusion initiative called “Women in the Mix.” The goal was to increase women’s presence as producers and engineers by asking for all involved to commit to considering at least two female candidates when making hiring decisions. The announcement cited the 2018 USC Annenberg study which said only 2 percent of pop producers were women and 3 percent of sound engineers. Now in 2020 those numbers are relatively unchanged.

As Smith, who runs the Annenberg study wrote in this year’s report, “Solutions like the Women in the Mix pledge require pledge-takers who are intentional and accountable, and an industry that is committed to making change — something that clearly has not happened in this case.”

Perhaps, though, the sweep of wins for women at this year’s Grammys will be a harbinger for change. And for pop music to become equitable, change it must. “There has been no meaningful and sustained increase in the percentage of artists in nearly a decade,” Smith wrote in this year’s study. We have to do better than that.
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Despite big wins at the Grammys, women are vastly underrepresented in pop music