![]() ![]() Inside, Beaton takes on tropes like Strong Female Characters, Straw Feminists in the Closet, and the cleavage-enhanced and chronically bad-choice-making Femme Fatale. The cover, with its bike-straddling, bloomers-wearing, no-nonsense lady, is like an old-timey (but modern) iteration of the We Can Do It! poster – a future classic we’ll likely be seeing in Gender Studies lounges and on the jackets of girl gangs. ![]() Her way of pointing out unfairness, greed, cruelty, and plain old garden-variety human misery makes you feel tickled and possibly enlightened, rather than hopeless.īeaton’s work has always dealt with sexism, but her feminism is especially overt in this publication. But there’s something appealingly optimistic about Beaton’s work. Not that there’s no place for harsh, nasty humour in the world it can be necessary, and even when it’s not, sometimes it’s still funny. This is maybe why she’s so widely beloved the factory setting for modern humour often tends to be some combination of humiliate/offend/gouge/shame. She can be wickedly funny without ever seeming mean, and she always chooses the surprising joke over the obvious one. And there’s something quintessentially good-hearted about her work, even when it’s critiquing the narrowness of women’s roles in Hollywood, or the erasure of women and people of colour in history books, or just subtle everyday prejudice. Her comic timing is dead-on and she never seems to hit a sour note. Step Aside, Pops A Hark! A Vagrant Collection Kate Beatonĭrawn & Quarterly $24.95 cloth 160pp 9781770462083Beaton’s singular style is on full display in Step Aside, Pops.
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