I don’t know what kind of a person Woody Allen is. Actually, I don’t even believe in “kinds” of people – you know, racists, sexists, rapists, good, bad, ugly. I have seen people I otherwise like engage in awful behavior, and people I find difficult have impressed me with unexpected acts of kindness. So let me rephrase it like this: I don’t know what Woody Allen has done, aside from his work in cinema. I find some of it compelling, and some of it boring, and some of it self-indulgent.
Allen’s talent was initially a large part of what some internet commentators are disingenuously calling a “controversy” over his daughter Dylan Farrow’s accusations of sexual abuse. (If you are somehow unaware of this, come out from under your rock and do a quick Google search.)
At first, the issue was whether one can appreciate the films of a sexual predator. (We’ve been here before, with Roman Polanski and similarly ambiguous conclusions). We were asked to contemplate whether Woody Allen deserved his Lifetime Achievement award at the Golden Globes, following tweets from two members of the Farrow clan excoriating the decision to honor him. The world seemed focused on the moral conundrum of praising a flawed genius, or supporting the work of a likely criminal, who was investigated but never charged. It was about the man and his actions. For some, it was an assault on his character, whether it was merited or not.
Then, after Dylan Farrow wrote an open letter to the New York Times, the dialogue turned from Allen-shaming to slut-shaming. The problem is, one can’t easily slut-shame a seven-year-old, even when she becomes a grown woman. So it is open season on her memory, and her maternal family’s visibility.
Attacks on the Fallacious Farrows have been most pointed at the Guardian, where Suzanne Moore writes off the social-media discussion of the case as little more than an ill-informed “kangaroo court.” Michael Wolff suggests that entire situation was manufactured by the Farrow family to improve their profile and return them to the ranks of Real Celebrity. Even Dylan’s first-person account, Wolff argues, is carefully crafted to appeal to famous young women who will provide public (read: impersonal) moral support in return for some undefined increase in their own popularity. He says that Dylan’s story has resurfaced at a convenient moment for the careers of her mother and brother, and that her allies are swayed by emotion rather than “outside facts” – whatever those would look like.
Neither journalist is accusing her of lying; they’re just telling her that her story only matters in its ability to make and break public lives.
All of these might well be valid philosophical points, and the extreme culturalist in me wants to acknowledge them. All the while, the extreme feminist in me is trying to scream louder than the cacophony of Allen defenders and Farrow detractors. BULLSHIT. BULL FUCKING SHIT, and please don’t pardon my language.
It is the same routine we see nearly every time anyone comes forward with their story of sexual assault. I haven’t yet heard anyone questioning Dylan’s own morals, but that is a small victory. Instead, they are calling out her mother’s family history, mental health, and public profile. They are finding fault in her brother’s recent ascent to the fishbowl. They can’t very well say that a seven-year-old child was drunk at the frat party, or call her a slut, so they use other words so often used to dismiss women’s complaints to undercut those around her. Crazy. Manipulative. Fame-obsessed. Desperate.
It is another way to silence people we find inconvenient. When we insist that the voices in question are coming from people who are mentally unstable (in itself, another rant for another day), who have another agenda, or who are vindictive, their complaints can’t be legitimate, and we don’t have to listen to them. Telling the Farrows not to mar a supposedly brilliant director’s career because they are barmy third-rate celebrities – or, as it seems now, telling the Farrows that they are lying because barmy third-rate celebrities couldn’t possibly have real grievances against a supposedly brilliant director – is part of an old refrain. Don’t talk back to Holy Father. Don’t ruin the young man’s life. Don’t destroy his football (lacrosse, soccer, hockey, accounting) career. Don’t hurt your mother. Don’t you know what kind of pain this would bring upon your family? Don’t tell anyone, and if you do, nobody will believe you anyway.
It takes a good deal of courage to speak up. I imagine that it takes even more to do so knowing that every word will be subject to media scrutiny, amplified by Facebook and Twitter.
If you have a vagina, or your parts don’t conform to your soul, or you are brown, or you act in any way that the herd finds difficult, you probably know what I am talking about. (I am not saying that normative white men can’t understand this, because I know many normative white men who are compassionate, caring, and capable of great empathy… but they also tend to be aware that they’re playing with a stacked deck.) I am sure every person reading this has experienced a moment in which your words were taken with a heaping tablespoon of salt because you were _________ (insert adjective describing other-ness here). Those with vaginas and melanin and non-normative gender identities don’t get a free pass here, though, because we vagina-wearers and non-normative folks are often as guilty as anyone else of slut-shaming, crazy-calling, and manipulation-card-waving.
This is not about determining whether Woody Allen raped his daughter. There were two people in that room. There are no other witnesses. There are no “outside facts.” This is about allowing people to recount their stories of victimization (which is not the same as victimhood) AND TAKING THEM SERIOUSLY.
We could have a long academic conversation about memory and celebrity, or the relationship between narrative and political investment. We could interrogate the idea of consent. But today those things make me feel like we’re running around the problem and allowing its perpetuation. When we question Dylan Farrow’s narrative, we’re not just circling the wagons around the perpetrator. We’re telling another generation of women (and many men) to sit down, shut up, and hide their pain. Don’t ruin a beloved person’s life. Be a good girl and take it.
We can’t know what happened in that room. We don’t know what happened in a billion other rooms on a billion other days to billions of other people. But we can at least try to create a safe space for telling, because while silence is painful, pushing back against the crushing, relentless public doubt that greets a broken silence is much, much worse.