Foz Meadows > Quotes

“Something that’s bothered me for a while now is the current profligacy in YA culture of Team Boy 1 vs Team Boy 2 fangirling. [...] Despite the fact that I have no objection to shipping, this particular species of team-choosing troubled me, though I had difficulty understanding why. Then I saw it applied to Suzanne Collins’s The Hunger Games trilogy – Team Peeta vs Team Gale – and all of a sudden it hit me that anyone who thought romance and love-triangles were the main event in that series had utterly missed the point. Sure, those elements are present in the story, but they aren’t anywhere near being the bones of it, because The Hunger Games, more than anything else, is about war, survival, politics, propaganda and power. Seeing such a strong, raw narrative reduced to a single vapid argument – which boy is cuter? – made me physically angry.

So, look. People read different books for different reasons. The thing I love about a story are not necessarily the things you love, and vice versa. But riddle me this: are the readers of these series really so excited, so thrilled by the prospect of choosing! between! two! different! boys! that they have to boil entire narratives down to a binary equation based on male physical perfection and, if we’re very lucky, chivalrous behaviour? While feminism most certainly champions the right of women to chose their own partners, it also supports them to choose things besides men, or to postpone the question of partnership in favour of other pursuits – knowledge, for instance. Adventure. Careers. Wild dancing. Fun. Friendship. Travel. Glorious mayhem. And while, as a woman now happily entering her fourth year of marriage, I’d be the last person on Earth to suggest that male companionship is inimical to any of those things, what’s starting to bother me is the comparative dearth of YA stories which aren’t, in some way, shape or form, focussed on Girls Getting Boyfriends, and particularly Hot Immortal Or Magical Boyfriends Whom They Will Love For All Eternity.

Blog post: Love Team Freezer”
― Foz Meadows

“Never having experienced inequality, therefore, the majority of straight white men will be absolutely oblivious to their own advantages – not because they must necessarily be insensitive, sexist, racist, homophobic or unaware of the principles of equality; but because they have been told, over and over again, that there is no inequality left for them – or anyone else – to experience – and everything they have experienced up to that point will only have proved them right.

Let the impact of that sink in for a moment.

By teaching children and teenagers that equality already exists, we are actively blinding the group that most benefits from inequality – straight white men – to the prospect that it doesn’t. Privilege to them feels indistinguishable from equality, because they’ve been raised to believe that this is how the world behaves for everyone. And because the majority of our popular culture is straight-white-male-dominated, stories that should be windows into empathy for other, less privileged experiences have instead become mirrors, reflecting back at them the one thing they already know: that their lives both are important and free from discrimination.

And this hurts men. It hurts them by making them unconsciously perpetrate biases they’ve been actively taught to despise. It hurts them by making them complicit in the distress of others. It hurts them by shoehorning them into a restrictive definition masculinity from which any and all deviation is harshly punished. It hurts them by saying they will always be inferior parents and caregivers, that they must always be active and aggressive even when they long for passivity and quietude, that they must enjoy certain things like sports and beer and cars or else be deemed morally suspect. It hurts them through a process of indoctrination so subtle and pervasive that they never even knew it was happening , and when you’ve been raised to hate inequality, discovering that you’ve actually been its primary beneficiary is horrifying – like learning that the family fortune comes from blood money.

Blog post 4/12/2012: Why Teaching Equality Hurts Men”
― Foz Meadows

“How can so many (white, male) writers narratively justify restricting the agency of their female characters on the grounds of sexism = authenticity while simultaneously writing male characters with conveniently modern values?

The habit of authors writing Sexism Without Sexists in genre novels is seemingly pathological. Women are stuffed in the fridge under cover of "authenticity" by secondary characters and villains because too many authors flinch from the "authenticity" of sexist male protagonists. Which means the yardstick for "authenticity" in such novels almost always ends up being "how much do the women suffer", instead of - as might also be the case - "how sexist are the heroes".

And this bugs me; because if authors can stretch their imaginations far enough to envisage the presence of modern-minded men in the fake Middle Ages, then why can't they stretch them that little bit further to put in modern-minded women, or modern-minded social values? It strikes me as being extremely convenient that the one universally permitted exception to this species of "authenticity" is one that makes the male heroes look noble while still mandating that the women be downtrodden and in need of rescuing.

-Comment at Staffer's Book Review 4/18/2012 to "Michael J. Sullivan on Character Agency ”
― Foz Meadows

“In so many ways, I wish I could be other than I am. But I am only myself, beyond alteration.”
― Foz Meadows, A Strange and Stubborn Endurance

“And against whom is this censorship directed? By way of answer, think back to the big subcultural debates of 2011 – debates about how gritty fantasy isn’t really fantasy; how epic fantasy written from the female gaze isn’t really fantasy; how women should stop complaining about sexism in comics because clearly, they just hate comics; how trying to incorporate non-Eurocentric settings into fantasy is just political correctness gone wrong and a betrayal of the genre’s origins; how anyone who finds the portrayal of women and relationships in YA novels problematic really just wants to hate on the choices of female authors and readers; how aspiring authors and bloggers shouldn’t post negative reviews online, because it could hurt their careers; how there’s no homophobia in publishing houses, so the lack of gay YA protagonists can only be because the manuscripts that feature them are bad; how there’s nothing problematic about lots of pretty dead girls on YA covers; how there’s nothing wrong with SF getting called ‘dystopia’ when it’s marketed to teenage girls, because girls don’t read SF. Most these issues relate to fear of change in the genre, and to deeper social problems like sexism and racism; but they are also about criticism, and the freedom of readers, bloggers and authors alike to critique SFF and YA novels without a backlash that declares them heretical for doing so.


It’s not enough any more to tiptoe around the issues that matter, refusing to name the works we think are problematic for fear of being ostracized. We need to get over this crushing obsession with niceness – that all fans must act nicely, that all authors must be nice to each other, that everyone must be nice about everything even when it goes against our principles – because it’s not helping us grow, or be taken seriously, or do anything other than throw a series of floral bedspreads over each new room-hogging elephant.


We, all of us, need to get critical.

Blog post: Criticism in SFF and YA”
― Foz Meadows

“Feelings are feelings, no matter when they happen. Our bodies don't stop being ours just because worse things happen to other people.”
― Foz Meadows, An Accident of Stars

“Saints,” Caethari muttered, casting a longing glance towards the wine. “This is exhausting. Why is this exhausting?”
“Because people are exhausting.”
― Foz Meadows, A Strange and Stubborn Endurance

“Stolen me? As well to say a caged bird can be stolen by the sky.”
― Foz Meadows, A Strange and Stubborn Endurance

“For centuries, no one was concerned that books weren’t girl-friendly, because no one really cared if girls read; but even so, we persisted for long enough that literature has slowly come to accommodate us. Modern boys, by contrast, are not trying to read in a culture of opposition. Nobody is telling them reading doesn’t matter, that boys don’t need to read and that actually, no prospective wife looks for literacy in a husband. Quite the opposite! Male literary culture thrives, both teachers and parents are throwing books at their sons, and the fact that the books aren’t sticking isn’t, as the nature of the complaint makes clear, because boys don’t like reading – no. The accusation is that boys don’t like reading about girls, which is a totally different matter.

Because constantly, consistently, our supposedly equal society penalises boys who express an interest in anything feminine. The only time boys are discouraged from books all together is in contexts where, for whatever reason, they’ve been given the message that reading itself is girly – which is a wider extrapolation of the same problem.”
― Foz Meadows

“As a fantasist, I well understand the power of escapism, particularly as relates to romance. But when so many stories aimed at the same audience all trumpet the same message – And Lo! There shall be Two Hot Boys, one of them your Heart’s Intended, the other a vain Pretender who is also hot and with whom you shall have guilty makeouts before settling down with your One True Love – I am inclined to stop viewing the situation as benign and start wondering why, for instance, the heroines in these stories are only ever given a powerful, magical destiny of great importance to the entire world so long as fulfilling it requires male protection, guidance and companionship, and which comes to an end just as soon as they settle their inevitable differences with said swain and start kissing.

I mean to invoke is something of the danger of mob rule, only applied to narrative and culture. Viz: that the comparative harmlessness of individuals does not prevent them from causing harm en masse. Take any one story with the structure mentioned above, and by itself, there’s no problem. But past a certain point, the numbers begin to tell – and that poses a tricky question. In the case of actual mobs, you’ll frequently find a ringleader, or at least a core set of agitators: belligerent louts who stir up feeling well beyond their ability to contain it. In the case of novels, however, things aren’t so clear cut. Authors tell the stories they want to tell, and even if a number of them choose to write a certain kind of narrative either in isolation or inspired by their fellows, holding any one of them accountable for the total outcome would be like trying to blame an avalanche on a single snowflake. Certainly, we may point at those with the greatest (arguable) influence or expostulate about creative domino effects, but as with the drop that breaks the levee, it is impossible to try and isolate the point at which a cluster of stories became a culture of stories – or, for that matter, to hold one particular narrative accountable for the whole.”
― Foz Meadows

“You fainted."

"Yes."

"Out of the way of a crossbow bolt?"

"I am a man," croaked Velasin, with as much dignity as he could muster under the circumstances, "of many talents.”
― Foz Meadows, A Strange and Stubborn Endurance

“I wish I could say it was just the skirts, that I chafed only at the expectations of manners, but it wasn't that Puck, it was language, the words, the feel of them. I never knew words could be so sharp, until the wrong ones cut me. But they weren't always wrong, that's the worst of it; some days I revelled in being called lady, but then that day would pass, the sun would rise and fall again, and the same name felt like a collar, bringing me to heel; or else a corset, squeezing me into wrongish shapes for the adoration of strangers.”
― Foz Meadows, Coral Bones

“I never knew words could be so sharp, until the wrong ones cut me”
― Foz Meadows, Monstrous Little Voices: New Tales from Shakespeare's Fantasy World

“Yours is a strange and stubborn endurance, Velasin. Just like your mothers.”
A strange and stubborn endurance. The words might have been a prophecy, for they never ceased to be relevant: not in my childhood, and certainly not to my adult self.”
― Foz Meadows, A Strange and Stubborn Endurance

“If women were meant to be valued for their feminine skills, then why were the skills themselves devalued?”
― Foz Meadows, A Strange and Stubborn Endurance

“Take care of yourself,” signed Markel. “I know you’re out of practice, but please try.”
― Foz Meadows, A Strange and Stubborn Endurance

“It's a hat," said Jess.
Manx stretched. "Yes."
"A hat with - just to be clear - a lizard on it. A real, dead lizard."
"An iguana, yea. It's been stuffed."
"I can see that. Any idiot can see that, but it doesn;t address the issue."
"The issue being?"
"Manx, you're wearing a goddamn reptile! On your head! With pride! It's like you're the lovechild of Carmen Miranda and a taxidermist!”
― Foz Meadows

“Sometimes the gravest things must, of necessity, become the most comic. It's how we know they haven't destroyed us.”
― Foz Meadows, Monstrous Little Voices: New Tales from Shakespeare's Fantasy World

“True, life is complex. But so are a great many accidents.”
― Foz Meadows, The Key to Starveldt

“Your feelings are not a burden. You are not a burden, and whatever happens in the future, I am not about to rush off and leave you just because things here are complicated.” He snorted. “After all, when have our lives not been complicated one way or another?”
― Foz Meadows, A Strange and Stubborn Endurance

“Sometimes the gravest things must, of necessity, become the most comic.”
― Foz Meadows, Coral Bones

“You must be patient with me, dear Cae, as I learn to inhabit myself.”
“For you, anything.”
― Foz Meadows, A Strange and Stubborn Endurance

“In the past few years, more and more passionate debates about the nature of SFF and YA have bubbled to the surface. Conversations about race, imperialism, gender, sexuality, romance, bias, originality, feminism and cultural appropriation are getting louder and louder and, consequently, harder to ignore. Similarly, this current tension about negative reviews is just another fissure in the same bedrock: the consequence of built-up pressure beneath. Literary authors feud with each other, and famously; yet genre authors do not, because we fear being cast as turncoats. For decades, literary writers have also worked publicly as literary reviewers; yet SFF and YA authors fear to do the same, lest it be seen as backstabbing when they dislike a book. (Small wonder, then, that so few SFF and YA titles are reviewed by mainstream journals.) Just as a culture of sexual repression leads to feelings of guilt and outbursts of sexual moralising by those most afflicted, so have we, by denying and decrying all criticism that doesn’t suit our purposes, turned those selfsame critical impulses towards censorship.

Blog post: Criticism in SFF and YA”
― Foz Meadows

“You just have to—” he waved his free hand, searching for the right words, “—persist at understanding people, and what they want, and why, and how to talk to them about it, even when you’d much rather not.”
― Foz Meadows, All the Hidden Paths

“Context is everything in both narrative and real life, and while the accusation is never that these creators deliberately set out to discriminate against gay and female characters, the unavoidable implication is that they should have known better than to add to the sum total of those stories which, en masse, do exactly that. And if the listmakers can identify the trend so thoroughly – if, despite all the individual qualifications, protests and contextualisations of the authors, these problems can still be said to exist – then the onus, however disconnected from the work of any one individual, nonetheless falls to those individuals, in their role as cultural creators, to acknowledge the problem; to do better next time; perhaps even to apologise. This last is a particular sticking point. By and large, human beings tend not to volunteer apologies for things they perceive to be the fault of other people, for the simple reason that apology connotes guilt, and how can we feel guilty – or rather, why should we – if we’re not the ones at fault? But while we might argue over who broke a vase, the vase itself is still broken, and will remain so, its shards ground into the carpet, until
someone decides to clean it up.

Blog Post: Love Team Freezer”
― Foz Meadows

“My island was not wild, compared to this.
There are such monsters in a palace.”
― Foz Meadows

“[Markel signing] '...If I'd just been a little sharper--'
'You're plenty sharp, Markel,' I said, smiling at him. 'Like an oddly maternal knife.”
― Foz Meadows, All the Hidden Paths

“He was lonely,” Markel signed again, “but he would’ve rather been lonely forever than have me stay out of obligation. Even at fifteen.”
― Foz Meadows, All the Hidden Paths

“he carried too the determined self-possession of a survivor; that almost indefinable capacity, not just to endure, but to recover.”
― Foz Meadows, A Strange and Stubborn Endurance

“Puck laughs, warm and pealing. 'Your concern is touching, but deeply unnecessary. Did Ariel not tell you, child? I'm a trickster, and though my enemies try as they might, it's tricky to trick a trickster with even the trickiest trickeries. And in any case, should anyone try to trick me'--his smile turns vulpine, sharper even than his teeth--'they must do so in the knowledge that I'll trick back.”
― Foz Meadows, Coral Bones