The Power(107)

The world is the way it is now because of five thousand years of ingrained structures of power based on darker times when things were much more violent and the only important thing was – could you and your kin jolt harder? But we don’t have to act that way now. We can think and imagine ourselves differently once we understand what we’ve based our ideas on.

Gender is a shell game. What is a man? Whatever a woman isn’t. What is a woman? Whatever a man is not. Tap on it and it’s hollow. Look under the shells: it’s not there.

xx

Neil


Dearest Neil, Have been pondering this all weekend. There’s a lot to think about and discuss, and I think it’s best if we meet to talk it over. I worry that I might write something that you’ll interpret in the wrong way, and I don’t want that. I know it’s a sensitive topic for you. I’ll ask my assistant if he’ll sort out some dates for us to have lunch.

This is not to say that I’m not behind the book. I really am. I want to make sure it reaches the widest possible audience.

I have one suggestion now. You’ve explained to me how anything you do is framed by your gender, that the frame is as inescapable as it is nonsensical. Every book you write is assessed as part of ‘men’s literature’. So what I’m suggesting is just a response to that, really, nothing more. But there’s a long tradition of men who’ve found a way out of that particular bind. You’d be in good company.

Neil, I know this might be very distasteful to you, but have you considered publishing this book under a woman’s name?

Best love, Naomi





Acknowledgements




More thanks than can be made to Margaret Atwood, who believed in this book when it was barely a glimmer, and told me when I faltered that it was still definitely alive, not dead. Thanks for illuminating conversation to Karen Joy Fowler and to Ursula Le Guin.

Thanks to Jill Morrison of Rolex and to Allegra McIlroy of the BBC for making it possible for these conversations to happen.

Thanks to Arts Council England and to the Rolex Mentor and Protégé Arts Initiative, whose financial support helped me write the book. Thanks to my editor at Penguin, Mary Mount, and to my agent, Veronique Baxter. Thanks to my editor at Little, Brown in the US, Asya Muchnick.

Thanks to a good coven, who saved this book one midwinter: Samantha Ellis, Francesca Segal and Mathilda Gregory. And thanks to Rebecca Levene, who knows how to make things happen in a story and made some exciting stuff happen in this one. Thanks to Claire Berliner and Oliver Meek for helping get it started again. Thanks to readers and commenters who gave me courage and confidence: especially Gillian Stern, Bim Adewunmi, Andrea Phillips and Sarah Perry.

Thanks for masculinity chat to Bill Thompson, Ekow Eshun, Mark Brown, Dr Benjamin Ellis, Alex Macmillan, Marsh Davies. Thanks for early discussions to Seb Emina and to Adrian Hon, who knows the future like I used to know God: as immanent and shining.

Thanks to Peter Watts for walking me through the marine biology and helping me work out where to put electro-plaques in the human body. And thanks to the BBC Science Unit, and in particular Deborah Cohen, Al Mansfield and Anna Buckley, for allowing me to pursue my curiosity about the electric eel to a fuller extent than I could ever have hoped.

Thanks to my parents, and to Esther and Russell Donoff, Daniella, Benjy and Zara.

The illustrations are by Marsh Davies. Two of them – the ‘Serving Boy’ and ‘Priestess Queen’ – are based on actual archaeological finds from the ancient city of Mohenjo-Daro in the Indus Valley (although obviously without bits of iPad attached). We don’t know much about the culture of Mohenjo-Daro – there are some findings that suggest that they may have been fairly egalitarian in some interesting ways. But despite the lack of context, the archaeologists who unearthed them called the soapstone head illustrated ‘Priest King’, while they named the bronze female figure ‘Dancing Girl’. They’re still called by those names. Sometimes I think the whole of this book could be communicated with just this set of facts and illustrations.