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#ROXANE GAY WHITE MANS BAD DAY PROFESSIONAL#
Analyzing a wide range of material-from 12 Years a Slave to the Sweet Valley High series, from the reality TV trope “I’m not here to make friends” to the gendered politics of likeability in fiction, from professional sports to Tyler Perry, from the fallout of mass tragedy to legislative control of women’s reproductive rights- Bad Feminist surveys culture and politics from the perspective of one of the most astute critics writing today. Gay’s is a feminism for the ignorant and misinformed as much as for the historically excluded and ignored. It is in claiming the label of feminism for herself, rather than having it claim her, that the bad feminist finds her power.Īmidst Anne-Marie Slaughter’s talk of “having it all” and Sheryl Sandberg’s talk of “leaning in,” Gay’s Bad Feminist, a collection of essays of cultural criticism, offers a complex and multifarious feminism to answer the movement’s ongoing PR issues, its flaws and its failures.
#ROXANE GAY WHITE MANS BAD DAY FULL#
I’m human, full of contradictions, and a feminist.” The myth of a one true Feminism is underwritten by the misconception, not uncommon among women today, that the word connotes man-hating, bra-burning, and humorlessness. In an interview with The Guardian, Gay explains how she wanted “bad feminist” to stand for an alternative perspective: “the term acknowledges that it is hard to be an ideal feminist with perfect politics. As Nigerian novelist Chimamanda Ngozi Adichie has said, “There’s the idea of feminism as a party that’s very exclusive, and some people don’t get to go.” The exclusivity is based on the idea that there exists “one true feminism to dominate all of womankind,” as Gay puts it-a kind of independence to the point of invulnerability, a heterosexual, white, middle to upper middle class, pink-hating Feminism with a capital F. “Bad feminist” is a way for her to claim the title of feminist while distancing herself from the essentialism that she feels has never represented her, that has at times even rejected her. In our current cultural climate of feminist-defining and not-feminist-enough shaming, Roxane Gay’s ownership of the title is a tongue-in-cheek revolt, to powerful effect.