How do we get from this unbelievable march—and by march [I mean] marches, all over the world—how do we go from there to the long haul? And I think people will still go back into their areas, and continue to work. So they are getting to learn that in this hour, which is therefore going to, and already has, drawn people to organizations and other groups and to studies, so that they can be active participants in the movement.
So crowdsourced funding and some money from organizations, Planned Parenthood and others, is how we got it done.
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A lot of us have feet in both places and have been involved in the movement for a long time, but there often seems this disparity, or these gaps. What—as an activist working on this intersectional feminist leadership—what can academics do to help that process? Because feminism is obviously—the door has been kicked open, we can redesign what it looks like. I think we did that.
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Can you pay for some tickets? So I think when you talk about the academic community, perhaps a part of it is just being able to educate women in general, but particularly older, white women from Middle America and other places, on what feminism is—no, not so much what it is, because I believe everyone has their own reason and their own cause within that context—but educating them on why there may be a resistance from other groups to get involved, and to walk alongside you.
Why are they writing these terrible things? Today we saw it, you know, with the panel discussion we saw a woman stand up—. Yes but what was so important about what your response to that today was, and I think the response at the march was: They need to have some conversations within their own homes.
We went to the polls—94 percent of us did what we were supposed to do, whether we liked Hillary Clinton or not, we understood the threat was just too much, so why should we march? So back to the question of academia, and how can the academic community support this newfound movement, it really—the educational component is going to be key. I hear your pain.
The Kiwi that inspired Daniel Mallory's The Woman in the Window
And I want to do what I can in this moment to ensure that you feel safe here. And I do think what was great about what you all modeled in this march, in the way these marches evolved, was a refusal to do that. I'm not buying their memoir; I'm buying their fiction. So I wanted to take the issue of the author off the table.
Nevertheless, with his unreliable central female protagonist who isn't taken seriously after apparently witnessing a murder, The Woman in the Window follows in a very popular recent tradition of thrillers that was spearheaded by Gillian Flynn's Gone Girl and continued by Paula Hawkins' The Girl on the Train. However, Mallory at least was determined to use the more adult designation.
Some 'girl' titles bristle with irony, and Gone Girl is a great example of that. I love that book, and I love that title.
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Gone Girl is about how men reduce and infantilise women, and treat them like little girls. But a lot of those titles are not ironic as they are pandering to an audience and bandwagoning on a trend.
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Although I'm not a woman, I think I would feel spoken down to and condescended to by this flood of books with 'girl' in the title. Imagine a flood of books about men who are referred in the title as 'boy.
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As in The Girl on the Train , Mallory places his main character in an extremely restricted space. But unlike in Hawkins' novel where "she roams about a fair bit", the agoraphobic Anna Fox rarely leaves her house.
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When I first started writing it, I couldn't think of many books that are set in a single room or house, and now I know why because it's a frigging difficult thing to do! Mallory was diagnosed with a bipolar disorder in something he was able to draw on when writing about Anna's condition. But after changing his medication, he was given a new lease of life, which ultimately led to him embarking upon The Woman in the Window. They can expose you to a subjective experience, and they can share with you controversial or provocative ideas.
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Ideas with depth and resonance, and that's what I wanted to do with this book. I felt that I was in a much better place than I was before, and I wanted to guide this character through much of what I had experienced. Mallory also visited several online forums, talking to agoraphobics about their situations.