Elliot Rodger

Elliot Rodger was still a virgin at 22, and he was angry that he was because too often, men’s value is in their ability to “get women”. There are a lot of good articles out already – Slate’s & The Belle Jar‘s & Jess Zimmerman’s in Medium’s Archipelago are standouts – all of which have pointed out that Rodger was not a madman because he didn’t need to be. He only had to be a man, full of entitlement and male privilege – entitled to women’s bodies and to sex. His connections to various groups who persist in thinking that “game” is what convinces women to have sex with men, and that women are only attracted to jerks – never to a “perfect gentleman” as Rodger thought he was – has been well documented, despite those groups and online communities having scrubbed any and all of his posts. I assume they don’t want to be held responsible for failing to recognize someone who wasn’t just blowing off steam but planning to kill.

And what always strikes me about these kinds of complaints is the thing that I had to explain to my wife as she was transitioning: there are men who can yell that they want to do you across a crowded street and it’s a compliment, even if totally inappropriate, and there are others who can shake your hand politely who fill you with caution if not fear.

When I have made this observation (here on my blog and elsewhere), invariably someone who is male – or who used to be – says something about how the real difference is whether or not the man is attractive or handsome or whether the come-on is welcome.

That is not the case.

As Jess Zimmerman points out in parentheses:

“If women‘s mysterious disinterest drives you to consider murdering them, consider that you may be terrifying. Women are smart enough to notice that you’re the kind of guy who’s driven to blood rage by simple rejection.”

And I would add, not only do women pick up on someone who hates them enough to threaten or commit violence; they can, too, pick up on a more subtle and less violent misogyny as well. And that is what I feel is the difference between the men I’ve just mentioned: using “gentlemanly” manners to cover a deeply felt hostility or hatred toward women will not work.

And as someone who has hung out with kinky folks – for whom fulfilling a woman’s fantasy of rape, degradation, or humiliation is not uncommon – I know there are men who respect and adore women enough that even these difficult fantasies do not change their respect for the women they top.

By no means am I saying that only when men respect women enough do they “get” to exert power over them; that is the illusion, not the fact. The fact is that what comes first – what gains a man privilege into a woman’s trust – is their respect and understanding that only once their misogyny is something they have become aware of, worked on, realized and acknowledged does it go away.

It strikes me that this is not unlike racism, or transphobia, or ableism or any of the other kinds of blind hatreds are culture teaches us. And we are all taught them; women in a patriarchy can also be misogynists who do not trust or like or respect other women the same way that even gay men can hate themselves and other gay men because we are all raised in the stink of homophobia.

But the thing about Elliott Rodger is this: so many men who want to date or have sex with or marry women figure it out. They realize they love their moms or their sisters or their daughters and realize the women they are dating or sleeping with or marrying deserve the same respect as the women they know and love. Gay men, on the other hand, especially those who live in a very intense masculine homosocial environments, can express a misogyny that is raw and unchecked. That is, they haven’t had to do the work necessary to realize that women are awesome. Those gay men, I might add, are very, very rare, and getting rarer by the day. The only time their misogyny is still apparent is in the disrespectful, violent attitudes they occasionally express toward trans women, which many, many people have witnessed in these recent uproars about RuPaul and Trannyshack.

What I’m saying, ultimately, is that people – not just women – are wise enough to pick up on someone who hates you for who you are. The white kid who loves rap but who hates black people will never feel welcome by blacks socially. Gay men and lesbians often know when someone who is truly a homophobe is in their midst.

And women, like all of these other groups, know deeply when a man hates them for being women. They may not know it enough to articulate it, but they know it enough to keep their distance.

No amount of chivalry or good manners or “game” will perfume over the stink of that kind of misogyny. In this time when we hear a lot of talk about how accepted gay people are, or how “post racial” we are, or when we hear a gay man talk about how much he really loves trans people but doesn’t want his language policed, we might do well to remember what Elliot Rodger accidentally taught us: that it’s only in owning and dismantling these kinds of systemic, taught, culture-wide hatreds that we free ourselves of them.

Horrible, Horrible Racism

Here’s the story.


On Sunday, April 15th, at the Moderna Museet the Swedish Artists Organisation celebrated World Art Day, as well as celebrating its own 75th birthday. Lena Adelsohn-Liljeroth, the culture Minister, was Invited to speak and a number of artists were invited to create birthday cakes for the celebration. The Minister was informed that the cake would be about the limits of provocative art, and about female genital mutilation. The event was launched with Lena Adelsohn-Liljeroth cutting the first piece of cake from a dark, ruby red velvet filling with black icing, which we understand was created by the Afro-Swedish artist Makode Aj Linde, whose head forms that of the black woman, and is seen with a blackened face screaming with pain each time a guest cuts a slice from the cake. Rather disturbingly for many African women, the minister is pictured laughing as she cuts off the genital area (clitoris)from the metaphorical cake, as the artist Makode screams distastefully. The gaze of the predominantly white Swedish crowd is on Lijeroth who is positioned at the crotch end, as they look on at their visibly ebullient culture minister with seemingly nervous laughter as she becomes a part of the performance – a re-enactment of FGM on a cake made in the image of a disembodied African woman.

Here’s the petition. Sign it.