Breasting boobily – men writing about women.

For a male writer, it’s perhaps safer to write only as a man, and about men, that all the characters in our stories should be men, and the women no more than cardboard cutouts in the background labelled loosely: mother, sister, wife, love/sexual interest. Except that by doing so we eliminate half the population from our stories, and that would be silly because – you know – women can be interesting too!

But when we include women, and particularly when we try to write women characters, and especially in the first person, we risk making ourselves look ridiculous – especially to women – and that’s half our potential readership right there, laughing at us. It’s a terrifying prospect for any male writer who wants to be taken seriously! But knowing how women think is something men have been debating for millennia without coming to any satisfactory conclusions, so it would seem even the most diligent research on the subject is pointless. As for actually passing ourselves off as a female writer, with a female pseudonym, it would be a very brave man indeed who hoped to get away with that!

Apart from the monks among us, most men have at least some experience of women, so if we’re writing from experience, how come we’re prone to making such a hash of it? Don’t we take any notice of women at all – even the one’s we’re with? Could it be there’s something simplistic about the way we relate to women? For example how about this:

“She breasted boobily to the stairs and titted downwards.”

This little gem went viral on social media a while back and, yes, it’s a fair description of how a man might describe a woman in his story – what she looks like, what she did and how she did it. It’s exaggerated of course, but it drives the point home nicely. We do tend to relate on a physical level, eyes glued to bosoms and bums. All right, maybe as a man, what makes us notice a woman is what we find sexually attractive about her, or not, but if we’re introducing her as a character there must be something else about her that others – i.e. women – can relate to.

A woman might notice what the character is wearing and what that says about the person’s social, income and even moral standing – is she casually dressed, smart, frumpy, tarty? Does she look happy, sad, pensive? How does her appearance, her demeanour make you feel?

The fact she has bosoms probably wouldn’t be mentioned by a woman writer, any more than a man would write about another man having elbows – it’s simply a given that all human beings come equipped that way – unless the lady’s bosoms are the reason a guy got distracted, tripped over his feet and crashed into the water-cooler. Then it would be reasonable to mention them.

Altogether it would appear a lighter brush is needed when us chaps are writing women into our stories. We mustn’t get hung up doodling extra goggle-eyed detail into those erogenous zones – it’s all a bit adolescent. Yes, we’re programmed to respond that way, but we have to somehow transcend that level of thinking as writers of stories, realise there’s more to women than whatever it is that gets us going in the trouser department, unless of course, it’s a woman our male protagonist is interested in sexually. But even then, is it purely her physical appearance that attracts him? If it is, then say so, but accept that also says something about your guy, and is that really what you’re trying to flag to others?

What else is there? There must be something? The way she looks at him? The fact she bites her nails, taps her toe, fiddles with her hair. Why does she do that? The fact she likes re-runs of Mork and Mindy – what does that say about her? And why does he like that about her?

Now for the hard part: try imagining you’re a woman, writing as a woman, and what it is that attracts you to a man. Do you imagine it’s simply the bulge in the trouser department, or  the enormous, rippling gym-honed torso? If that’s all there is to it then fine, we can assume women are wired the same way as men – only the other way around. Except, that can’t be the case can it? Because why do you see so many good looking women hanging out with such defiantly unhealthy looking guys? Is there, after all, something fundamentally different about the way women relate to men? I mean why would they waste a body like that on such an unreformed slob? Could it be women see bodies differently – both men’s and their own?

You could have a stab along those lines: that it’s more something in his smile perhaps, or his eyes, or maybe it’s that a woman can tell a lot about a guy simply by the way he smells, and not so much by the things he says, as the things he doesn’t say. And if you’re really, really struggling, then try reading some books written by women. And if you want to know how they relate to others in an erotic way, then read some female erotica, but make sure it’s erotica written for women by women, not by men pretending to be women for men.

I’ve written ten novels now, so I’m sure I’ve come a cropper several times, had the girls breasting boobily all over the damned place. I suppose in one sense it doesn’t really matter if you get it wrong, because we’re all just amateurs writing online, aren’t we? But if you’re a big shot writer making millions, priding yourself on your authenticity, and you have your girls breasting boobily,… well, shame on you!

Of course the other argument is you’re wasting your time writing if you’re a man anyway, or at least flagging yourself as male with a male pseudonym, because an oft quoted and very discouraging statistic tells us 80% of readers these days are women and most of them prefer books by women, at least when it comes to genre stuff. About the only place left for men to write as men is  literature, but since no one’s reading much of that anyway these days no one’s going to notice, or care, if we’re breasting boobily or not.

How to write a woman into your story? There are no rules. Just do it,… but think about it, and in the process you might learn something.

 

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The Galatean Robot

There was an article on the radio this morning saying that girls as young as 14 are now having cosmetic surgery in order to boost their self esteem. I find myself wondering about what model of so called bodily perfection they are comparing themselves with at so young an age but I suspect I need look no further than the nearest glossy magazine, or a pop video on you-tube. I’m also wondering if us guys are at fault for having too narrow a definition of what the ideal female should look like, and being too immature in our regurgitation of that stereotype across these various media. It’s more complex than that of course, as the editors of magazines read by young women tend to be themselves young women, but there’s definitely something in the machine that’s driven by the myth of male desire.

I keep returning to the story of Pygmalion – not the musical thing with Rex Harrison, but the original myth of the sculptor who ignored women as they really were, in favour of chiseling out his ideal in the shape of his muse, the heavenly Galatea. In some versions of this myth, Pygmalion falls in love with his creation, and the goddess, Aphrodite, taking pity on the guy, has Galatea come to life and fall in love with him. Thus the myth concludes, Hollywood fashion, in happy-ever-after style. But myths have layers to them, and the myth of Pygmalion can be peeled back to reveal something much darker and which I think helps to shine some light on the calamitous objectification of women.

In the darker myth, Pygmalion is a fool in thrall to the idealised form of his own soul-image, to the extent that he rejects the human reality – reality being the natural variety in the form of the human female, and he rejects it because he finds it imperfect. There’s nothing innocent about this foolishness. Pygmalion knows exactly what he’s doing, and what he wants; he’s a material man, imposing his misguided rules of measure upon the female body. With his rule, he measures out the proportions, and with his chisel he gives form to the awesomely beautiful creature, Galatea. But that Aphrodite then grants Pygmalion his wish, that Galatea should come alive, is not a blessing – it is Aphrodite’s curse, and her most severe punishment for Pygmalion’s stupidity.

Aphrodite, being goddess of love, beauty and procreation, knows a thing or two about relationships; she can see where Pygmalion is heading, and is offended by his rejection of her sisters in flesh, so she gives him a good shove to get him going in the direction of his misguided desires. The shape of physical womanhood that comes to life in Galatea may conform to the mythical ideal, but her expression is disturbingly blank because she has no soul. And she has no soul because she lacks the thing Pygmalion is least interested in: her humanness. Aphrodite has set him up with a robot.

Pygmalion may think he knows what he wants, shunning the awkward fleshly diversity of the human female in favour of the statuesque Galatea, but his quest has led him into an empty place, one of soulless, mechanical rumpy pumpy, a place where you just know he’s going to die a lonely and unfulfilled old man.

The Pre Raphaelite artist Burne Jones captures this story in a series of paintings which hang in the Birmingham city gallery, images that have haunted me for a long time. Looking at his depiction of Galatea we are also reminded of how much the “ideal” in feminine proportion has changed. The “hot babe” of the Victorian era was apparently smaller chested and fuller hipped than she would be allowed get away with now. She’s also significantly more “nude” without her modern splattering of tattoos. She would not pass muster in the lad mags of today, except as an unfortunate example of that most appalling fashion faux-pas: the wrongly proportioned woman.

The latter day Pygmalion, sculptor of the female form, lives on in the machinery of “emotive images” – the print media, the movie industry, and that black-sheep, rarely talked about in polite circles, but of tremendous influence: the porn industry. These are the sculptors responsible for dictating the shape of the women that men are supposed to want to have sex with, all in spite of the protestations of Aphrodite. This works both ways then; the damage of faulty thinking is inflicted not only on women but on men too. Pygmalion, in modern guise, is telling women that unless they fit the mythical contemporary pattern of size, shape and weight, men will not find them attractive, and is telling men that unless they achieve the prize of congress with that Galatean robot, he’s a worthless loser with the street credibility of a squashed gnat.

How do we stop the girls from making themselves ill, worrying over their weight, and the size of their boobs? And how do we convince the guys they may just be passing up on the perfect relationship by not even second glancing a woman, because she looks nothing like what he’s seen on the cover of a glossy magazine? It’s a complex business, one that plumbs the depths of the human psyche, and of course there are no easy answers. But at some point a guy has to wake up and realise the look in a woman’s eye when she looks at him is of far more significance than her cup size. And a girl has to realise that a guy who pulls a face at her muffin-top really isn’t the sort of guy worth hanging around with. It’s just a pity the machinery of image has become so dumb, so all pervasive, and there’s something in us that renders all of us so vulnerable to it.

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The Way of the Soul – Part Two: The Mythical Quest

We have seen how the material path in a man’s life is ultimately self defeating, and its rewards potentially poisonous to the quest for contentment and meaning. The other path, the quest of a man in search of his soul, is no less exhausting, but those men bound upon it can at least sit down for a minute in order to gather their nerves and catch their breath, without fear of being swept away by Ego’s ever pressing timetable.

The quest for Soul is something open to all men but it is a lifetime’s journey, no matter what stage of life a man embarks upon it. And we must be careful of our expectations too, for Soul is not another thing to be acquired and ticked off on the list of life’s little necessities. Indeed a man cannot “acquire” a soul at all, because he already possesses one. It is more the degree to which he is intimate with it that is the important thing, or failing that it is the degree to which he even knows it’s there. The soul is a man’s secret and most perfect lover. Pay her sufficient devotion and she will transform you; indeed she will at times blow your mind. Neglect her though, and she’ll make you wish you were dead.

For every man, images of Soul are projected out into the world in many forms, but the most recognisable is in the shape of the human female. It can come as a shock to many men that women are not as perfect and divine as our early infatuations with them would have us believe. I’m sorry girls but you can be as stupid, vapid, shallow, mean and vain as any man. You also snore and make the same bathroom noises. Women are, in short, human, but a man’s attraction to them, once piqued, can take on the proportions of a holy devotion. For a fervent seeker of Soul, in the guise of womankind, this can turn out to be,… disappointing.

In psychological terms, though he may not be aware of it, a man projects the soul he already possesses onto the form of another human being. He looks at the woman, but does not see the actual person before him. What he sees is an image of his own soul. If he’s lucky the woman will do the same with him and there is created the potential for a happy-ever-after story, provided the process of actually getting to know one another doesn’t upset the fantasy. But it doesn’t end there. Just because a man pairs up with a life mate, does not mean he is now intimate enough with his own soul to have finished with the quest. No. The quest is just beginning.

A man can be happily married, then discover to his surprise a deep attraction for another woman, or perhaps several other women. It’s important at this point he realises his soul is still at work, shape-shifting, drawing his attention to other aspects of himself, and to which he has yet to awaken. But these aspects are not to be explored by literally engaging with the object of his projection, more by withdrawing those projections and releasing the energy back inside of himself.

To be sure, this is a dangerous stage for a man. It can bring him down, ruin him on a string of affairs, or he can rise above it, withdraw his projections from the material world and give strength to the soul growing within him. Make no mistake, let loose into the material world, a man’s soul might easily destroy him, but recognised instead as a valued psychical partner, along with a man’s ego, she can transform him. In the alchemy of medieval Europe, this marriage of the King and Queen (Ego and Soul) gives birth to queer offspring and much else that is mysterious, even terrifying, but no one said this quest was going to be easy.

Withdrawing one’s projections from the world is a tricky business, and requires first of all the taming of one’s ego. Ego is an analytical genius, and will act on the evidence of its findings. Once it realises women are simply human, it can play ahead to the end scenario of divorce and acrimony, and hopefully step back from the brink before blood is spilt. Age helps too, also the realisation that there are certain things in life worth more than yet another failed relationship: a comfy sofa, a glass of red wine, a good book, a fine cigar. Yes, material things are sometimes to be appreciated, but a wise ego treats them also with circumspection.

Mythical quests in storybooks often involve the hero doing battle with a fearsome creature, say a dragon, in order to rescue a beautiful, flaxen haired, gym honed, damsel in distress. (George and the dragon nfor example) For dragon think Ego, for damsel think Soul. But a slayed ego is neither use nor ornament to a man, for in dealing with a freed soul a man needs his wits about him. In the alchemy of the East, if the female yin is allowed to dominate, the result will be a disaster. More properly the female receives the male yang, softens him, applies her wisdom and directs him in useful ways, but she is careful never to dominate the dance, or the direction of the whole will be subverted to an unfortunate end. An ego dancing entirely to Soul’s tune is not a pretty sight; it takes a man out of the world, makes him doubtful of his place in it, and narrows his horizons to no further than the rim of his spectacles.

Returning again to the Eastern alchemists of the Dao, man is seen as inhabiting a universe that is as much inside of him as out. He is seen as straddling the worlds of Heaven and Earth. Each informs the other, and a wise man pays heed to the dynamics of both. Too much of the material world and a man loses himself in the forms of the earth, finds himself trapped without a starship to blast him back home when the time is right. Too much soul and She reaches up from the dark lake to drown him in his own thoughts, overwhelm him with his own tortured imaginings. He dies to the world, before it has taught him all it can – for such, say the Daoist sages, is the only merit in living a long life.

A safer place for abstractions of Soul is away from women-folk altogether. Wise men have found it in the retreat afforded by the natural world, in the beauty of nature, the quiet of the forest, in the shapely mountain peak. All these things bear the likeness of Soul and she will call to any man who is sensitive to her presence. She will make him yearn for a thing he knows he does not yet possess, yet infuriatingly it is a thing he cannot see or touch or even adequately define. When I was younger I responded to such things with an eye for conquest, but conquest, like all ego-driven acts, leaves one hungry for more. Nowadays I see it more in stillness, and can rest more easily in the knowledge it is not a thing to be grasped by the intellect, nor through physical effort. It is an opening, both in and to nature. And through it, through this guidance of Soul, we realise the glimmerings we see in the mind’s eye are glimmerings of our own deeper identity, that the infinite beauty of nature is a reflection of our own God-given nature, one of infinite complexity, depth, and potential.

In choosing our way through life no matter which path a man takes, life is going to kill him in the end. But one path brings with it the essential knowledge of his immortality, while the other denies it entirely. The mythical quest is a journey whose outcome is far from certain, and most of us who attempt it keep getting eaten by the dragon. But to fail in one’s search for Soul, is not really to fail – indeed, it is to be expected, for how else are we to learn and grow? To fail on this path, is more to stumble by the wayside, but we find a faith in Soul is sufficient armour for the Dragon’s worst excesses, and no man who has at least once chosen Soul over gold, is going to be down on his knees for long.

She simply won’t allow it.

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