Most of the complaints I’ve heard about it have nothing much to do with feminism (unless you define that term really broadly). The complaints are (1) that it’s really badly written and (2) that it appears to celebrate abuse in the guise of BDSM. (I am told that actual BDSM folks are generally very, very careful about consent, for obvious reasons.)
I am not endorsing either criticism, not least because I haven’t read the book. (It seems to me that #2 might be an unfair criticism, on the grounds that FSOG shouldn’t be thought of as a book about domination fantasies and how people play them out, but as a domination fantasy itself.) But unless “sexual abuse and rape are bad” has become a specifically feminist (or even faux-feminist) claim now, I don’t see that feminism should get either credit or blame for these criticisms.
Given the weird nature of broad political categories like feminism, I wouldn’t think it’s almost ever fair to claim this is feminism or this isn’t feminism. It seeems to me to be one of the most ambiguous terms in politics.
I believe that the people who attribute criticism #2 to feminism believe that feminists conflate “story about abuse” with “story encouraging abuse.” If feminists are indeed doing this (I’m unsure whether they are), then criticism #2 ought to be attributed to feminism; the general population seems to have no problem with stories that portray unacceptable-in-reality sex (for instance, “NonConsent/Reluctance” is a major story tag on Literotica.)
I have seen self-identified feminists criticising the book (and preemptively the movie) for #2.
But I don’t think it’s as simple as making that conflation. A closer version might be that the book portrays an abusive relationship sympathetically. (I haven’t read it, I don’t know if this is an accurate criticism.) Thomas Covenant in Lord Foul’s Bane and Howard Roark in The Fountainhead are both the protagonists of their stories, and both rapists; but only one of their authors appears to disapprove of their rape.
(It still feels like an unfair criticism, to me.)
And on a similar note, people in the kink scene are upset that kink is being portrayed in a light that they don’t find particularly sympathetic, and they’re worried about the effects this is going to have on their community.
Most of the complaints I’ve heard about it have nothing much to do with feminism (unless you define that term really broadly). The complaints are (1) that it’s really badly written and (2) that it appears to celebrate abuse in the guise of BDSM. (I am told that actual BDSM folks are generally very, very careful about consent, for obvious reasons.)
I am not endorsing either criticism, not least because I haven’t read the book. (It seems to me that #2 might be an unfair criticism, on the grounds that FSOG shouldn’t be thought of as a book about domination fantasies and how people play them out, but as a domination fantasy itself.) But unless “sexual abuse and rape are bad” has become a specifically feminist (or even faux-feminist) claim now, I don’t see that feminism should get either credit or blame for these criticisms.
Given the weird nature of broad political categories like feminism, I wouldn’t think it’s almost ever fair to claim this is feminism or this isn’t feminism. It seeems to me to be one of the most ambiguous terms in politics.
I believe that the people who attribute criticism #2 to feminism believe that feminists conflate “story about abuse” with “story encouraging abuse.” If feminists are indeed doing this (I’m unsure whether they are), then criticism #2 ought to be attributed to feminism; the general population seems to have no problem with stories that portray unacceptable-in-reality sex (for instance, “NonConsent/Reluctance” is a major story tag on Literotica.)
I have seen self-identified feminists criticising the book (and preemptively the movie) for #2.
But I don’t think it’s as simple as making that conflation. A closer version might be that the book portrays an abusive relationship sympathetically. (I haven’t read it, I don’t know if this is an accurate criticism.) Thomas Covenant in Lord Foul’s Bane and Howard Roark in The Fountainhead are both the protagonists of their stories, and both rapists; but only one of their authors appears to disapprove of their rape.
(It still feels like an unfair criticism, to me.)
And on a similar note, people in the kink scene are upset that kink is being portrayed in a light that they don’t find particularly sympathetic, and they’re worried about the effects this is going to have on their community.