Girling by C. KubastaIt is the season of #MeToo.

The hashtag trends. A status, copied and pasted, is shared: If all the women who have been sexually harassed or assaulted wrote “Me too” as a status, we might give people a sense of the magnitude of the problem. Soon, the status is altered – “women” becomes “people” to be more inclusive. Depending on your platform, depending on your connections, sometimes the message is simple. Sometimes people customize with a personal story, an identifying detail. Some are explicit. Some call out names. A spreadsheet circulates, disappears, and reappears. A blot of mold blooms. The stomach roils.

Amidst the outpouring of #MeToo, some women begin to talk about why they don’t hashtag, why they don’t share. Even though they are in the #MeToo (who isn’t, they wonder?) – what does or doesn’t count as serious enough to stand up and claim your space? One woman writes in to an advice column that #MeToo is triggering, an additional reminder of her rape everywhere she goes. Some people are private about certain parts of their lives, and even a cause like #MeToo isn’t likely to fundamentally change the way they use social media, especially with a part of their lives they’ve held soft and dear, cocooned close, and told very few.

In fairy tales, the wolf is never really a wolf, and no matter what he says, “hungry” isn’t quite what he means. If a man kisses you when you’re sleeping or dead, he thinks you’re beautiful and you’re meant to be together. If you want love, give up your voice for legs: you can either call out, or run – but not both. Who needs either anyway . . . it looks like a handsome prince is headed your way. Perhaps fairy tales are an archaic and covert version of #MeToo.

In my novella, Girling, girls grow up in the contemporary world, but the narrative is undergirded with a reflexive use of fairy tales. They navigate their own desires, but those wishes and dreams have been planted, dusted into the characters’ psyches by the world-as-it-is. The two main characters, Kate and Ann, best friends and almost-sisters, meet wolves and princes and try to discern which is which; they are disobedient girls, and princesses, and evil stepsisters all at once. Kate and Ann realize that fairy tales re-tell these same stories over and over; the hardest part is becoming a queen, which is why there are so few fairy tales that tell a story after marriage –they’ll learn this too.

In one chapter of the novella, Kate and Ann are spending an adolescent summer in Acapulco. They are both fourteen, the time of transformation. Sirens appear. Multiple versions of The Little Mermaid appear. Older Kate intrudes with a line from Eliot. Older Ann’s husband appears to rush around trying to show Kate a manatee. In that summer of fourteen, Kate is exploring her transformation to womanhood, wishing childhood would be quickly done. She’s snuck a bikini into her luggage (something her father wouldn’t allow her to wear at home) – and when they visit the resort hotels, she escapes to the bar and pretends she belongs there. Ann holds on a little more tightly to the child she still is, not quite ready to shed that potentially protective skin. Ann is also protected by her unwillingness to be seen, a glamour of awkwardness. Kate thinks she finds a Prince, but ends up on a pebbled beach, with an insistent frog who never turns into the stuff of young girls’ dreams. Later, Kate will try to tell her mother about this: about desire and shame and what’s she’s learned about their twining.

Kate would be hashtag conflicted. She would worry that her experiences aren’t serious enough for a #MeToo. Sure, there was that thing when she was little, but they were both kids really, so does that count? Sure, there was that thing when she was fourteen and he didn’t listen when she said No, but they were pretty close and maybe he didn’t hear her, or couldn’t stop? There was another time that would absolutely count, but nothing happened in the end, because . . . well, nothing happened, nothing happened, nothing happened. Anyway, she’s fine. She’s lucky really. She worries more about Ann’s daughter, Luna; she worries about her.

I’ll be teaching contemporary women’s literature this spring, and I’m preparing my book order: Toni Morrison’s The Bluest Eye, Dorothy Allison’s Bastard out of Carolina, and Bonnie Jo Campbell’s Once upon a River. I was talking with a colleague the other day, and he asked if I ever give a trigger warning for this class. These three novels all have at their center the rape of a child; the last time I taught this class, on the first day, I pointed that out to all the students. I told them why I chose these novels, why we needed to talk about these issues, and that I completely understood if they wanted to drop the class. That was a few years ago, the season of #YesAllWomen.

My colleague said, “But it’s a women’s literature class – do you really have to tell them you’ll be addressing the lives of women?”

It was Campbell’s Once upon a River that inspired me to write fiction in the first place, to try my hand at storytelling, moving from the forms of poetry, from the lyric and episodic, to the narrative. In River, I met Margo Crane, a young female protagonist who survives, who stakes out on her own, learning to make her own way in the dangerous world, negotiating beast-men who could be alternatingly kind and cruel. If a woman’s love can turn a beast into a man, the tales suggest the opposite is also true. In that women’s literature class, I asked students to trace the underpinnings of fairy tales that moved through Margo’s story.

When my best friend, Carmen, to whom Girling is dedicated, had her daughter, I was driving in the car with her and her husband. They were talking about something – clothes, or toys, decorations, readying for her birthday party, and I was reading Cristina Bacchilega’s Postmodern Fairy Tales: Gender and Narrative Strategies. “‘Girling’is a continual process,” I said, looking out the window, their baby asleep in the car seat. Her husband looked at me blinking; Carmen laughed a little – I was always saying things like that, apropos of nothing it seemed. Later, I tried to explain. Girling is my fuller attempt to explain.

At the end of that women’s literature class, I asked students to reflect on the three novels we’d read together. The class was mostly women, only a few men. The women allowed as to how they’d been glad to read all three novels, Allison especially, although that had been a difficult read. A necessarily difficult read. It was beautiful and brutal. The men were mostly quiet in this discussion. During that season of #YesAllWomen, a hashtag had answered back: #NotAllMen.

In this season, some have begun to use #HowIWillChange to respond to #MeToo. Many men have pledged to call out harassment, to challenge sexist jokes, to demand better of their friends, to listen when women tell their stories. The hope is that #MeToo isn’t just a conversation among women, because we’ve been having that conversation for a very long time. Perhaps someone –some friend, brother, father, beloved (whether he imagines himself a prince, dwarf, or beast) saw a woman he cared about post #MeToo and thought: I had no idea. Really? Her? Her Too?

As for Girling, I hope some friends, brothers, fathers, beloved princes, and beasts will read the book. They may find themselves there.

About C. Kubasta

About C. Kubasta

C. Kubasta lives and writes in central Wisconsin. Her poetry and prose celebrates the rural: the strange and beautiful, the awkward and forgiving. Despite the lower population density, she can always find plenty to write about. She is the author of two chapbooks, A Lovely Box and &s, and the book All Beautiful & Useless. A second book of poetry, Of Covenants, is forthcoming in 2017. Find her at www.ckubasta.com.

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