如何抑制女性寫作

我讀的是英文版。其實不太好讀，因為很多作者引用的著作和作者名，我都不太瞭解。但依然還是讀完了。省略版的話可以直接讀前言和後語，更多的論述更少的舉例。

Joanna Russ是一個科幻作家，這本書一開頭就是她科幻小說的節選。因為沒看懂差點就把我勸退了，哈哈。這本書其實是她在7個月的生病期間寫的，所以她說她引用的部分其實不全面，而且可以寫的實在是太多太多了。

第一章里引用了Kate Wilhelm ：

I realized the world, everyone in it practically, will give more and more responsibility to any woman who will continue to accept it. And when the other responsibilities are too great, her responsibility to herself must go. Or she has to take a thoroughly selfish position and refuse the world, and then accept whatever guilt there is.

在我們中文里，就是“能吃苦的人就會有越來越多的苦吃”。至於guilt，之前讀小說 失落的女兒，裡面的母親就是這樣，選擇了自私地逃離，後來選擇了回歸母職。

The family… [will]think it’s cute or precocious, or at least, not dangerous, when a woman starts to write stories…What I got from my in-laws was that line that it didn’t hurt anything, kept me home nights, and didn’t cost anyone anything… no one…thought it was anything but a passing fancy…It’s the condescension that’s hardest to take…My first husband never read a word I wrote until after I left him. He knew it was all trivial. 

不能再同意了。我讀的碩士課程已經快畢業了，我老公幾乎只問過一次，你其實在學啥。

後面作者提到那些不作為的男人。

To slide into decisions without allowing oneself to realize that one’s making any, to feel dimly that one is enjoying advantages without trying to become clearly aware of what these advantages are (and who hasn’t got them), to accept mystifications because they’re customary and comfortable, cooking one’s mental books to congratulate oneself on traditional behavior as if it were actively moral behavior, to know that one doesn’t know, to prefer not to know, to defend one’s status as already knowing with half-sincere, half-selfish passion as “objectivity” – this great, fuzzy area of human ingenuity is what Jean-Paul Sartre calls bad faith. 

很喜歡這一個氣勢磅礡的長句。

结语里

Women always write in the vernacular.

Minority art, vernacular art, is marginal art. Only on the margins does growth occur.

Ture, the old values are at the center. But the center is such a dead center. 

Well, as in cells and sprouts, growth occurs only at the edges of something. From the peripheries, as Klein says. But even to see the peripheries, it seems, you have to be on them, or by an act of re-vision, place yourself there. Refining and strengthening the judgements you already have will get you nowhere. You must break set. It’s either that or remain at the center. The dead, dead center. 

這一部分，對應著我之前讀過的bell hook的文章Choosing the Margin as a Space of Radical Openness. 

女性要持續地創作和敘述這些“不入流”的作品，在社會的邊緣才能有生機。今年女性脫口秀里有很多鮮活的個人生活的敘述，而脫口秀的“搞笑”性質，給予了這些敘事傳播的機會。女性節目製作者和創作者都很棒。不管有人怎麼指責：這不是藝術，這有什麼好說的，這些生活經驗上不了台面，我們都要繼續說下去。就如楊笠說的“我們以後就說這個了“。