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DOING GENDER UNTO THE OTHER 235
discrimination are not given much attention by their peers, as the ‘alternative
interpretations’ come into action.
All these problems point in one direction; showing the ‘how’ of negative
discrimination requires prolonged direct observation. Even this method,
however, is not without its complications. One such complication consists in
the fact that the interpretations of the observer might differ from the inter-
pretations of those who are observed. This difficulty is illustrated in Barbara
Ehrenreich’s (2001) remarkable participant-observation study of low-wage
US workers. Her findings were contradicted by her worker colleagues when
she suggested that they were being exploited. Resorting to the ‘false con-
sciousness’ hypothesis in such cases can be seen as both condescending and
defensive, as Reinharz and Chase (2002) rightly point out.
Another set of problems concerns access. It is hardly possible to ask for
open access with the purpose of studying discrimination in practice as this is
likely to invite all kinds of defensive reactions. One solution is to record dis-
crimination when studying something else, as I did while studying city man-
agement in Warsaw, Stockholm, and Rome (Czarniawska, 2002). This is not to
encourage undercover studies or lying about one’s research motives: what I
am saying is that if discrimination is an organizational practice, it will be
revealed in any prolonged study of organizational practice. Here is an
excerpt from my field notes during my study of a municipality of Warsaw
(Czarniawska, 2000). It is situated in a meeting with the following persons
participating: very important official 1 (VIO-1), very important official 2
(VIO-2), professional women 1 and 2 (PW-1 and PW-2) with senior positions,
and an HEW (a woman in a high executive position).
The meeting cannot begin, as a quorum is lacking. PW-1 (a woman aged
around sixty), who is standing across the table from VIO-1 and listening to
his complaints, smiles at him. I would call it a gracious and understanding
smile.
VIO-1: Will you erase that stupid smile from your face, madam.
The smile fades from her face. She tries to explain:
PW-1: Nothing of the kind, I was smiling with understanding . . .
VIO-1: There is nothing funny in this situation.
PW-1 (returns to her chair like a scolded girl. Her chin shakes).
VIO-1 (says in a gloomy voice): Either we wait for our colleagues for God
knows how long, or we will have to meet once more on a Saturday.
VIO-2: Maybe we could meet at 11?
HEW enters: Christ!
VIO-2: You’ll have to cancel your date at 11 and send your lover away.
Policewomen
As the result of the growing popularity of detective fiction and its promotion
to ‘literature’ by many great writers such as Jean Paul Sartre, Paul Auster and
Joyce Carol Oates, the number of police stories, describing in detail police
offices as workplaces, is increasing in fiction. Perhaps unsurprisingly, women
authors (although not only women authors) pay a great deal of attention to
female police officers. This is the reason why I chose detective fiction to exem-
plify my thesis. In what follows, I quote here two such descriptions, one
by a Swedish author, the other by a British author. Both make the coercive
character of gendering clear, as is the prerogative of a fiction author. They
Gothenburg
The first author is Helene Tursten, a Swedish author, and the novel is called
The Smashed Tang Horse (Den krossade tanghästen), published in 1998. Ander-
sson is the superintendent, the boss of the two detective inspectors, Birgitta
and Jonny. Bobo Torsson is a witness in the case they are solving. The quote
(translated by me) is somewhat long, but contains a succinct review of most
of the problems that a young woman is likely to encounter in her career in the
Swedish police:
‘Hi there! Do sit down’, he said.
‘No thank you! I am too fucking mad to sit down!’
It was only then that he noticed that she was standing with her hands in
her pockets, her feet firmly planted wide apart. Her voice was like viper’s
hiss. He had often been informed by his ex-wife about his lack of any sen-
sibility for women’s feeling, but he could understand that she was angry.
Some colleagues at the next table looked at them with surprise. Andersson
felt uneasy. Imagine if they thought that she was angry with him. She
wasn’t, was she? He asked uncertainly:
‘Do you think that we should go upstairs and talk?’
‘Yes I do.’
...
‘The conceited bloody fool! Such a . . . yokel!’
‘Who? Me?’
‘No, of course not! Bobo Torsson!’
The Chief Inspector’s first reaction was relief, the second, surprise. He
asked, cautiously:
‘Has he irritated you in any way?’
That was when she exploded. Tears run down her cheeks while she cried
out:
‘Irritated? He pushed me against the wall, put his hand between my legs
and bit my breast! I am going to report him!’
Andersson was speechless. The situation did not improve when he heard
Jonny’s teasing voice from the corridor:
‘So our little Birgitta has been noticed by the fashion photographer! I hope
you showed him the goodies?’
He stood in the open door, leaning nonchalantly against it, a smug
smile on his lips. Him and his big mouth! was all Andersson managed
to think. And then all the hell broke out. Half-choking with anger, she
hissed:
‘Here come the goodies!’
Birgitta flew over the floor that divided them. Jonny reacted too slowly to
see her knee coming with full speed and strength between his knees. He
collapsed with a stifled groan. Birgitta was triumphant:
‘A personal record! Two guys with blue balls within less than half an hour!’
With shoulders straight and head raised high, she stepped over Jonny’s
body and marched out. It was then that Andersson regained his speech.
‘Birgitta! You are not going anywhere! What the heck are you two up to?
Fighting like two children! You are two adult police officers!’
She turned her head to him very slowly and he could see her tear-covered
face. It was difficult to understand what she whispered in an upset voice:
‘You do not seem to understand. I have never been so humiliated in all my
life! Perhaps as a woman, but not as a professional!’
...
‘Ever since I began working here, I have had to tolerate this idiot. At the
beginning he was trying to paw, but when I made it clear what I thought
about it, the taunts started. That I am an easy lay. You heard it yourself:
“the bloody whore”. He gave me “playful” slaps on my backside. My inter-
nal mail contains pictures cut out of porno rags, which show big balls and
lesbian couples. I always knew that it was Jonny but I couldn’t prove it’,
she said in a flat voice.
‘Why didn’t you tell me this?’ asked Andersson, surprised.
‘And what would you have done?’
‘Well, I would . . .’
...
He got up and went to her. He almost patted her on the back, but her stiff
neck and straight back made him change his mind. Uncertainly, he contin-
ued:
‘This incident with Jonny . . . can’t we forget it for the time being? I will talk
to him. He has no ill intentions, I am sure it is all just a bad joke. And he will
certainly understand that you were very upset after what happened
between you and Torsson . . .’
He stopped when she turned her face towards him. It was completely
expressionless. Her eyes were small pools of lead again. Her voice sounded
hoarse and shaky when she said:
‘You don’t get it. You still do not get it’. (Tursten, 1998, pp. 170–6)
In this excerpt Tursten portrays three threats in the young woman inspector’s
work. Firstly, she is not treated by the clients as a professional, but as a
woman, to be humiliated and sexually exploited at will. This is what I called
coercive gendering, with a content repulsive to the target. Secondly, there is
sexual harassment from a male colleague; again, coercive gendering with a
repulsive content. Then there is the uncomprehending attitude of her boss. To
a Swedish reader the portrait of Andersson is all too recognizable. Full of
good intentions, he treats women as ‘mysteries’, in the way perhaps typical
of his generation. A democratic Swede, he accepts the women’s entrance into
the police force, but this does not prohibit him from seeing it as a nuisance,
as he is also prone to avoid conflict. Finally, he is guilty of discrimination by
abstaining from action, which makes his case especially difficult — to Birgitta
and to many other women who are prepared to fight (not always that vio-
lently) against conscious harassment, but who are in fact helpless in the face
of passive discrimination.
Susanne Andersson’s study of municipal police organizations (2003) com-
pletely corroborates this picture. The Superintendent’s mournful musings
have their equivalent in the actual complaints of senior male officers who,
although they do not dare to complain about the entry of women into the
force, bemoan the lack of young male apprentices (Andersson, 2003, p. 139).
London
The second excerpt originates from the novel that was the basis of the
well-known series about Inspector Tennison. Interestingly enough, while
this scene is preserved in the film, it is barely hinted at, whereas the writ-
ten text provides a detailed description, such as is necessary for a film
script, thus providing a realistic picture. The book is Linda LaPlante’s
Prime Suspect (1991). Superintendent Kernan is Detective Chief Inspector
Tennison’s boss.
Kernan toyed uneasily with a felt-tipped pen as he listened to Tennison’s
complaint. He had never liked her, had been against her joining AMIT
from the word go, but she had been more or less forced on him. She had
more experience than at least one of the other DCIs, who was already on
his second case. He cleared his throat and replaced the cap carefully on the
pen.
Poststructuralist theory, with its roots in Freud, Marx and Foucault, pro-
vides a radical framework for understanding the relation between persons
and their social world and for conceptualizing social change. The struc-
tures and processes of the social world are recognized as having a material
force, a capacity to constrain, to shape, to coerce, as well as to potentiate
individual action. . . . I choose to take it up here because it provides me
with the conceptual tools to make sense of my data and allows me to for-
mulate answers to the questions that I set out with. (1989, p. xi)
speak about concrete people. One way out used by the women I was shad-
owing was to speak in general terms: my way out is to speak of fictive char-
acters. But it is exactly the fictive, as contrasted to factual, character of a text
that should exclude it from scientific scrutiny. However, as I have pointed out
in another context (Czarniawska, 1999), there is nothing intrinsic to a narra-
tive that makes it fictional or non-fictional: proper names can be invented,
dates faked. It is the fictive stance, as Lamarque (1990) calls it — the invitation
from an author to a reader, which makes a reader believe that this is one
genre and not another. Todorov (1978 [1990]) speaks of a fictional contract: a
tacit contract between the author and the reader in which the author asks for
a suspension of disbelief. In contrast, the scientific author encourages readers
to check their texts, in what might be called a referential contract (Czarniaw-
ska, 2004, p. 9). In treating fiction as field material, readers break their con-
tract with the author, but exercise their right to novel reading (DeVault, 1990).
The reading becomes referential and the text undergoes the same scrutiny as
any other text from the field.
What field is it, then? Fictional texts are always, although not always sim-
ply, reflective of societies in which their authors have been raised (Irons,
1995). To begin with, they are part of the contemporary discourse, which
means that they not only reflect the experience of life in a given time at a
given place, but they also form it and are a part of it. They present for their
readers work environments and situations that readers will rarely know from
their own experience. Additionally, detective novels in a realist tradition set
high standards of credibility in terms of the actual details of detective work,
as a long list of acknowledgements in each such book clearly indicates. They
might invent the course of events and the psychology of the characters, but
their descriptions are truly ethnographical in detail, as there is a whole tra-
dition of pedantic readers checking them.
I would also claim that the usefulness of police detection stories in the spe-
cific context of discrimination is high, because the phenomenon of discrimi-
nation is not their main focus. Fiction focused on a certain social problem
usually entails the author’s theory of that problem (so that, for example, all
Sara Paretsky’s books can be seen as a series of sociological treatises on var-
ious ailments of US society [Czarniawska, 1999]). In such cases social scien-
tists compete with the author of a work of fiction in their attempt to theorize
— a difficult task, as we all know from conducting interviews with interloc-
utors prone to theorizing.
Last but not least, understanding fiction is necessary in order to under-
stand contemporary society. As Karin Knorr Cetina forcefully put it,
‘Modern institutions . . . continuously produce fictions, steer their way
through fictions, work with fictions and become founded upon fiction’
(1994, p. 8). This leads me to my final point: the constructive role of pop-
ular culture in general, and in this case police novels, in the formation of
actual practices.
Acknowledgements
The author gratefully acknowledges help and advice received from Nina L.
Colwill, Joanne Martin, Patricia Y. Martin, and the three anonymous
reviewers.
Notes
1. For a recent collection of studies in this tradition representing my home region —
that is, Scandinavia — see Gunnarsson et al. (2003).
2. For more on meritocracy as a ‘strong plot’ in the narrative of rational bureaucra-
cies, see Czarniawska and Rhodes, 2006.
3. For more on rituals of modernity, see Czarniawska, 2002.
4. It needs to be added that this situation is unusual in Sweden. In Poland, in con-
trast, bookkeeping is a woman’s job, although all finance directors are men (Czar-
niawska, 2002).
5. Although it is debatable whether this is a wrong step or not; some would say that
it is an inevitable first step. The dilemma — to join the system and fight it from
within or to remain outside — reverberates through many opposition move-
ments, from the early German Green Movement to the Black Movement in the US.
6. Part of the explanation is, of course, the non-feminist stance openly professed by
P.D. James (Nixon, 1995). Nixon sets Cordelia in the context of P.D. James’s polit-
ical views and the contemporary climate in England: she also notices Warshaw-
ski’s and Millhone’s individualist male predecessors, but is unable to see the
improbability of such characters in a contemporary European milieu.
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