Any errors that remain are entirely my own. I would like to thank the three anonymous reviewers who commented on the proposal and manuscript so generously and constructively. Thanks also to Rob Byron, Lianne Slavin, Chris Hart and Andrew Kirk, and to Tanya Izzard for the index. Manchester University Press has been wonderful, and especially Tom Dark who has been supportive, encouraging and responsive: everything I could have wanted in an editor. I thank these publications heartily for supporting and publishing my work. Parts of this manuscript have been published in earlier forms, in the journals viiįeminist Formations, Feminist Theory, Gender and Education, Journal of International Women’s Studies and Soundings. Sussex University has given me time and resources, amazing colleagues and the freedom to follow my own scholarly path. The soundtrack (of course) has been provided by Prince. It has also been built on the labour of others who help with my life-making including (but not restricted to) Becky, Sarah, Sheena, my Mum and Dad, and the many women (and a few people of other genders) who take care of my children while I work. It could not have been written without Caitlin and Johann, even though (and because) they are young enough to be blissfully unaware of most of the issues it covers. This book could not have been written without Jan. Little did we know that our shared travels through Manchester’s gay village in the mid-1990s would endure in political form. Special thanks to Patrick Strudwick, my old friend and partner in crime, who stops me being completely cynical about the media and who I still feel privileged to know. Thanks to my students and especially those on the Gender Studies MA, who have taught me something new during every one of the last sixteen years. Thanks to my Sussex colleagues and comrades in the fight for a trans-inclusive feminist academia: Hannah Mason-Bish, Lizzie Seal, Marie Hutton and Claire Annesley, to name a few. Thanks to the many trans people and sex workers on Twitter, the majority of whom do not even feel safe enough to use their real names, who have reached out to me and shared experiences and ideas. Thank you for challenging me with your words and works, vi So I am just going to name a handful of women who have inspired me: Mariame Kaba, Sara Ahmed, Molly Smith and Juno Mac. There are too many other comrades and teachers to mention, and if I try to write a comprehensive list there will always be people left out. There are many more who have facilitated my scholarship and influenced my thinking, for which I am very grateful. Thanks also to Vanita Sundaram, Pam Alldred, Naaz Rashid, Gemma North, Gillian Love, Susuana Amoah, Erin Shannon, Tiffany Page and Isabel Young. There is a reason why the acronym for our project Changing University Cultures is CHUCL – when doing a difficult job, a bit of levity goes a long way. Liz McDonnell and Jess Taylor are dear colleagues and even dearer friends: facing challenges is much easier when you do it together.
I want to give heartfelt thanks to the many women I have collaborated with in my research on sexual violence: gathering data, developing ideas, trying to change cultures that are almost impossibly resistant to change. Introduction 1 Gender in a right-moving world 2 Me, not you 3 Political whiteness 4 The outrage economy 5 White feminism as war machine 6 Feminists and the far right Conclusion Typeset by Servis Filmsetting Ltd, Stockport, Cheshire Published by Manchester University Press Altrincham Street, Manchester M1 7JA British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN 4717 2 hardback First published 2020 The publisher has no responsibility for the persistence or accuracy of URLs for any external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Me, not you The trouble with mainstream feminism Alison PhippsĬopyright © Alison Phipps 2020 The right of Alison Phipps to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988.
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