So, the most recent Game of Thrones episode.
concerning rape and the victimization of women.
Game of Thrones, Season 5, Episode 6, “Unbowed, Unbent, Unbroken”
I still haven’t watched the episode.
And it’s likely I’m not gonna.
And it’s possible I won’t be watching the show at all anymore.
The day after the episode aired, Twitter was abuzz with talk about the horror of it. Since I hadn’t watched the episode, I went looking for plot summaries. I found more than I wanted to know. This was worse than the aftermath of “Red Wedding.”
Sansa raped by Ramsay both revolts me and makes me roll my eyes with plain annoyance.
First of all…really? Another instance of a woman victimized by sexual violence on this show? Come on, WRITERS…. You’re already changing tons of stuff that G.R.R. Martin wrote. Why not change the parts where women repeatedly have their agency torn from them? WRITERS, is this the only way you know how to advance a plot or a female character?
COME ON. You can do better than this. Women victimized by sexual violence has been *done*. THINK UP SOMETHING ELSE. For worship’s sake, USE YOUR IMAGINATIONS. I assume you have them — after all, you’re getting paid for this. Sheesh.
Furthermore…Sansa raped by Ramsay. Really? Like I didn’t see that one coming the second she and Petyr Baelish reined up at Winterfell. OF COURSE Ramsay raped her. He’s a lunatic sadist — what else would he do? It’s so utterly PREDICTABLE. And once again, GoT WRITERS, I implore you to use your imaginations. GIVE ME A SCENE I DIDN’T PREDICT TWO EPISODES AGO.
Having Sansa suffer rape by Ramsay is a stupid (on many levels), predictable, and utterly boring choice. Find a better way to advance Sansa’s character. Since the scene is apparently meant to motivate Theon/Reek to fight back against Ramsay (as if EMASCULATION weren’t enough of a reason already), you can find a better way to advance Theon’s character, too, while you’re at it.
GoT, with all the cramazing writing you’ve delivered in four-and-a-half seasons, I know you can do better than this.
I’ve never been raped. But I imagine that seeing such a traumatic event reduced to a tired plot device OVER AND OVER does something to cheapen the sufferings of those who have experienced this particular brand of horror. Rape shouldn’t be just another set of mechanics for getting a character from here to there. Once again, the GoT writers should be able to do better than this.
Horrify us if you must…but don’t drive away an entire segment of your audience that is so sick of this as the “be all, end all” portrayal of the female experience. I expect better from GoT because, as Chuck Wendig says, “its creepy fascination with hurting and marginalizing women is increasingly gross.”
I AM SO EVERLASTINGLY SICK OF WOMEN’S PAIN HAVING NO SIGNIFICANCE BEYOND SERVING AS MOTIVATION FOR A MAN’S SPRINGING INTO ACTION.
So…do we just not portray rape in fiction, or what?
Since this episode of GoT aired the same weekend as Mad Max: Fury Road, a lot of people have been comparing the treatment of women in GoT to the treatment of women in Mad Max. Well, I haven’t seen Mad Max yet, either (more woe is me), so I had a couple of other stories pop into my head concerning rape and victimization.
YA novel Did You Hear What Happened to Andrea? by Gloria D. Miklowitz has the titular character raped and trying to put her life back together. The book directly addresses rape culture: lack of support from family, friends, and authorities; victims made to feel responsible and guilty; rapists holding power over their victims long after the crime has occurred. It’s a good read for teens (AND ADULTS), considering that rape culture truly doesn’t get discussed openly or enough.
It’s worth noting that this novel was published in 1984. And we in 2015 think we are SO advanced.
I also recently read Stephen King’s short story “Big Driver.” The main character is raped and chooses not to live as a victim. It’s a great story of a woman finding and exercising her agency, refusing to let trauma and/or stigma keep her from making sure the rapist answers for his crimes. King’s story is a thriller — in great part because it’s thrilling to see a woman successfully quest to get her power back from the one who thought he’d taken it away forever.
So…in my rant about Game of Thrones, am I saying we storytellers should never include rape in our stories?
No. I am not saying that at all.
For one thing, to say that would make me a hypocrite — because in my debut novel, Colors of Deception, I included an attempted rape. And because I was a new author (and more naive about life), I’m pretty sure I did it badly. I didn’t write the aftermath as I should have, and the story suffered for it. I just hope my readers haven’t. But the story stands as a testament to one writer’s growth — as a writer and as a human.
Furthermore, I never want to say, “We can’t or shouldn’t write about ________________.” Fill in that blank with your pet uncomfortable topic. In fiction and in real life, we need to be able to talk about what’s dark and gritty. We need to explore what’s uncomfortable. Talking about these awful things lets us be more vulnerable and open with one another and find healing where healing needs to happen. We can’t be fully human with each other until we are vulnerable and transparent.
Sometimes, vulnerability and transparency mean openly acknowledging and working through the dark stuff.
“Monsters aren’t beaten by hiding them in the dark. They’re beaten by exposing them to the light.”
–Paul Anthony Shortt (@PAShortt)
So, storytellers…tell stories about the darkness. Tell stories about rape. But do it in a way that empowers your characters instead of stripping them of their agency and humanity.
“It took Sansa from her growing place of power, cut her off at the knees, and put the focus on Theon’s ordeal.”
“There’s only so many times you can be disgusted with something you love before you can’t bring yourself to look anymore.”
—The Mary Sue
In Sansa, Game of Thrones isn’t even telling the story of a woman anymore. It’s telling the story of a gamepiece moved around the board by the whims of others. It’s telling the story of an object that’s handled and used to make other people do things. At this point, Sansa might as well be an ornamental vase. A receptacle for men’s desires, schemes, and semen.
“Stark” is the German word for “strong.” The GoT writers have utterly removed from Sansa Stark the ability to step into and live up to her own name.
On the other hand, we have Gloria D. Miklowitz and Stephen King, who told stories about women who were raped but rose in strength like phoenixes from the ashes.
So, writers, tell the dark tales as you will. But let the women be women. Don’t turn us into vases. Don’t turn us into receptacles.
WE ARE NOT THINGS.