I have been saying it all along — the Great Men of Hollywood were rubbish. And I have offered an alternative for years. Why does traditional journalism hijack and pretend their writers are the first to notice feminist issues?

The New Statesman has an interesting article about how one writer can “finally” say she finds the gynophobic works of Woody Allen et al to be “rubbish.”

newstatesman_logo@2x

Maybe you held back your tongue, but Alexandra Kitty never did.

I did like Kill Bill, but on the long list of Hollywood movies, I am not a fan. Too patriarchal and sexist for my liking.

But I didn’t just outline a problem: I offered alternative fiction stories — feminist adventures told in a matriarchal style.

Content enlightened.

Structure enlightened.

I did this in 2013.

You can look through Kindle and Kobo for over 80 publications.

The World’s Most Dangerous Woman, The Doyenne Assassin, A Goddess Among Us, The Hughes Girls, Alena Love and the Mothers of the Mosaic, Chaser, The Holly Lake Mysteries, Dr. Verity Lake’s Journey of a Thousand Revelations, The Sparrow: Dream Detective, The Goditor, I Am Jane Doe, Chaser, Danni’s Wall, and so on.

Short stories, novellas, and books that have different meanings and effects depending on what stories you choose to read and in what order you choose to read them.

There are levels of stories: Silliosity have no villains. Fables and Bedtime Stories are of heroes with villains — but many antagonists aren’t bad, and it is not always Us versus Them. Case Files and Other Mysteries are stories told in a traditional good versus evil style, while Dread Tales are anti-heroes and even villains versus villains.

These stories are all interconnected, but can be standalone as well.

Dr. Verity Lake’s Journey of a Thousand Revelations clocks at almost 1600 pages — I call it the feminist War and Peace and it is unlike any novel you’ve ever read, but as hard as I pushed (and it was an extremely trying time in my life, make no mistake), I could get people to read the entire book with fantastic feedback, but no press coverage whatsoever.

In other words, I didn’t just gripe about misogyny in stories and cinema — I spent nearly a decade working on a solution before launching A Dangerous Woman Story Studio in 2013.

You think I got any press or publicity? From traditional media? Alternative media? Feminist media?

Nope.

Nada.

It was as if I did not exist.

I am not some flake who was writing creepy and bad stories: I have worked as a journalist, and had three books published by traditional media.

My first fiction book Consumer-isms in 12 easy Steps,  is on the shelves libraries and even Ivy League universities…but when it came to media attention, there was nothing.

Why?

Because the pseudo-feminist narrative in the press is simple: OMG! Look! Movies/books/music/television can be sexist! I noticed it first!

And it has been that loop for as long as I can remember.

It is always Square One. Anyone who says, “Hey! Hi! I have a solution…” is promptly ignored.

Not just me.

The media narrative for men has always been Look at the maverick visionary! The indie genius will become the Next Great Man…yada yada.

The New Statesman article is no breakthrough — it is part of the same rotten loop many hopeful feminists see as a sign of change.

Don’t kid yourself.

People like me, who do not fit the established narrative are ignored — and so, it is very easy to keep pretending we are on the cusp of change.

Change has been happening.

But journalists keep shutting it out, distorting the view of reality while keeping the status quo in place.

And it’s time it is stopped so we can move forward beyond Square One.

 

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