Life In A Man's World: Letter to a Married Feminist


Life In A Man's World: Letter to a Married Feminist
By A.Z. Foreman

Dear Mrs. Nemo

I must say your main question came as a surprise. It is the sort of thing people don't ask, because they either believe they know the answer already, or do not consider it worth knowing. What is it like being a man? The proper answer, or rather, the proper place to go searching for one, will depend on what I choose, or what you wish, the question to refer to. I will assume you do not merely mean for me to expound on what my life as a man has been like, what sex is like when you have a penis, what experiences are common to men, or similar. Rather, I choose to proceed under the assumption that you meant all of the above. I presume that all aspects of men's experience are potentially relevant not only to the issues you brought up regarding how miserable your husband has seemed, but the reasons why he seems so unable to talk about it even though he seems to want to.

You mentioned that he seemed to become unhappy and despondent when he was laid off, but that the real misery began when you made partner at the firm, even though by all rights that should've eased his mind since it now means you can support him and the kids on your own. I do not know him, but I suspect that you may be doing him an injustice by assuming that he is not happy for you, or that he is jealous of you. From what you say, it seems that he is trying to be supportive and do his part by pitching in. My intuition is that he not only does not want to feel what he feels, but probably blames himself for feeling it. Although your subsequent behavior toward him cannot have helped any. But I will get to that in good time.

There, needless to say, is no handbook explaining how men work. I can only try and give you some idea of the forces and feelings that are a part of many men's lives but are often not discussed in more than a superficial way when gender issues come up. Moreover, I can only offer you my experience of having lived as a man, augmented by a modest amount of information furnished by the social sciences. 

It is, of course, the case that because the world has been swindled into believing that what is associated with men is more important and more worthy of respect, being a man gives me abundant privileges. Aside from not facing street harassment, it helps me to be taken seriously by others when I state my opinion. It allows me to routinely enjoy some measure of acceptance in traditionally male spheres of activity, an acceptance that women can never be sure of getting. In much of the world, being a man and not a woman means that society is not conspiring to shame you if you are caught seeking to gratify your sexual needs. In some ways, as a friend once put it to me so accurately, women just aren't treated as people to the same degree that men are.

To you, having weathered the maelstrom of lawschool and contended with the legal system and its agents, I assume that this aspect of being a man is what is most evident, offensive and in need of challange. I admit that I as a man too seldom am aware, in any given situation, how my being a man made things go easier. It would not surprise me if your husband has a hard time noticing such things as well. It's not because I'm blind to privilege, mind you. It is simply hard to be conscious of all the wrongs that are not being visited upon you, whereas it is just as hard to ignore the ones that are. This goes for men as well as women, I should mention.  Being mindful of the misery one is not experiencing does not come very naturally. 

With that in mind, let me relate to you, and focus on, another aspect of what it is like to be a man, one that perhaps is less familiar, or at least less salient, to you.

I must put it to you plainly, my dear sister: being a man is not easy, and it is often unpleasant and restrictive. At least, I experience it thus. I am sure you've heard the "Woe-Is-Me-The-Male" line countless times from men who simply weren't informed enough to have any business debating gender issues with you. Let me assure you that I'm not going to harp on about how women are afraid of strange men, how women get all creeped out when someone hits on them, or anything of the kind. 

Being a man carries with it certain indignities which women do not have to face as often or as alone. Thankfully, however, it is nowhere near as painful, perilous or pathetic to be a man as it once was millennia ago, when being the one who got to leave the home meant, without exception, taking your life in your hands in facing lethal predators, or even other human beings who might decide it was a good idea to kill you, an age where one was safest and most comfortable being at home with the kids rather than out in the dangerous outdoors, or taxing one's physical capacities bringing in the harvest. Now, since agency to move about and work outside the home has become less risky and more rewarding, men have gained much, far too much indeed, at women's expense. Yet, the essence of the problems one faces because of being a man remains the same.


Part 1. Disposable Dudes

To be a man is, as it has always been, to be expendable, to live in a world that deems it your imperative to take risks, to put yourself in harm's way, to seek no protection but rather to be a protector of others, to fail while in control rather than be safe in good hands. Last of all, to be a man is to be force-fed the toxic idea that, as a male, you should be ashamed not to conduct yourself according to this imperative, and that humans are deficient, inferior or dangerous to the extent that their role in life deviates from it or their behavior challenges the notion of its preeminence. 

The very way in which we English-speakers talk about men shows a presumption that it is less of a tragedy, less heartbreaking when men die than when women die. I need but say the words "women and children" to call to mind the very sort of situation in which the deaths of adult men simply don't sadden or haunt us as much as the deaths of children and adult women. Otherwise, the phrase would have no meaning. Injury to adult men is also less heartrending. Indeed, society rewards men for minimizing the degree to which they let themselves show signs of being in pain, physical or psychological. It helps reassure us that men "can take it," and are better suited for situations that could result in death or injury.

Expendable people who "can take it" are required for tasks that are usually not easy, and for which a considerable amount of physical strain, physical strength and sometimes specialized knowledge may be necessary. 

So it may happen that men must be coaxed into somehow aspiring and volunteering to be expendable. Many human cultures are very good at getting men to treat their lives like frisbees. They've been doing it for thousands of yearss. Mind you, not all societies do this or have done so. The Hopi indians, for example, did not. To say that "it's just in men's nature to want to see action and be willing to go out in a blaze of glory, what with all that testosterone" is sexist, just as it would be sexist to say that women are biologically wired to not want casual sex as much as men because men have evolved to spread their genes and women face the chance of pregnancy and have evolved to seek a father-protector.   

(This too is quite false, if you're curious. Much evidence shows women express almost as much interest in casual sex as men if you structure the study -and elicit the data- in such a way that maximizes anonymity, and only have female subjects interact with female researchers, so that women have no reason or chance to feel like they might be judged or labeled "easy" or "loose" by men. Bisexual women who report disinterest in casual sex very frequently report lots of interest when asked specifically about casual sex with a woman. It has to do with how men shame and judge women, more than hormones and evolution. I can show you the studies if you like.)

While there is some evidence that men's neurology on average may be more suggestible in ways that facilitate risk taking, sexually dimorphic neurological diferences  likely vanish into insignificance when you compare individual men with individual women, rather than averages. As for testosterone, that involves aggression which can be -and likely is- significantly linked to a susceptibility to violent behavior in response to threatening stimuli. But higher levels of testosterone are also associated with higher amounts of selfish behavior, and with less of a tendency toward selflessness. Testosterone may make you more susceptible to aggressive impulses, but it should make you less willing to sacrifice your life for a greater cause.  You cannot get swathes of men dreaming of being heroes in deadly situations without cultural pressure and glorification of valiant death, just as you cannot simply get people to agree to be suicide bombers very easily unless you can draw on a society of which certain segments routinely talk about such bombings as righteous acts of justice in a grand struggle between the forces of good and evil.

Making expendability in combat attractive is the job of war stories, epic poems, action films, 3D shooters, and the like. There is a reason why much of the oldest surviving oral literature concerns heroes who found glory in battle and adventure, why early Indo-European societies put such a high premium on the "imperishable fame" won by warriors who accomplished some act or other of celebrated carnage, and then fell in battle, as an expendable man ought to. Societies that can make men more willing to head to war are more able to maintain armies, better able to defend themselves and expand their territory. Today, when physical strength is somewhat less of an issue on the battlefield or in support positions, having women armed forces in large numbers does not, of course, pose the problem it once seemed to. Yet the one place where even many modern nation-states with mixed-gender militaries are most reluctant to have women is in combat infantry, and special forces. i.e. the thick of danger. 

In many low-wage jobs that involve high personal risk and/or manual labor that are not, and cannot be made to be, prestigious, it can be almost exclusively men who tow the line. In fact, even as women enter the workforce, and much effort is expended to prevent women from being discriminated against by employers, there are many areas of the labor market where nobody is pressing to see more women represented. Since you live in Baltimore, why not go to the waterfront and see how many of the dock-workers are women. Did you know that a woman is more likely to be a lawyer than she is to be a city garbage-collector? Who's pressing to see more women as cole-miners? This is part of the reason why men are 93% more likely than women to be killed or injured on the job. 

There's lots of discourse about how to get more women represented in the army, in academia, in finance and all manner of white-collar professional roles, and I wouldn't have you think that I didn't believe that much more needs to be done in this regard. Women have harder times getting promoted, getting job interviews and the like all over the white-collar world. Yet that world has more female representation in the US than cole-miners, garbage-collectors, dock-workers, or cab-drivers. If it's male-domination of the workforce feminists want to end, then why not at least turn some  energy there?

The answer seems to be that low-prestige, working-class, and potentially dangerous jobs that lie outside of traditionally female spheres of activity just…aren't where feminist activists seem to really want women to be. Prestigious, respected, high-income, and/or white collar occupations are where their attention seems to be directed. In large measure, American society is STILL content to have mainly men embodying disposability in a significant way. Now, don't make the mistake of thinking that I'm suggesting that society is structured this way simply out of regard for women's well-being. Once upon a time, before urbanization, when women needed to be protected from predators and invaders as the limiting factor in reproduction, keeping women out of danger probably was a strategy that maximized survival. At this point, though, it's just because there is no will to change the status quo. 

I know one woman who used to be a dock-worker for many years, Talking to her was quite illuminating. It was not a female-friendly environment. Misogyny was rampant, she has dealt with much harassment which no one did anything about when she reported it, and essentially had to purge her workplace persona of anything markedly feminine. She had to basically act and talk like a working-class man in a working-class woman's body. She had to earn her coworkers' respect by not only being good at her job, but by being one of the guys, essentially proving that she was enough of a man for them to respect her. Now, wouldn't it be great if women were encouraged to take more blue-collar jobs, rather than working-class women being essentially forced into housewife status whilst the man goes and does a man's work? Wouldn't it be great for the men to have to engage with, and take seriously, female coworkers in such environments? After all, having female officers does seem have a positive effect on gender attitudes in militaries.

2. The Sissy Taboo

Speaking of militaries and glory, again: modern militaries award posthumous medals, and cooperate with film creators routinely so as to facilitate a glorious depiction of military life and combat. Indeed, we are exposed in all sorts of ways to depictions or descriptions of people "Dying for something/someone/someplace" in a way that encourages society to think highly of such individuals. Men more so than women. Whole stereotypes are in place to provide ways for men to see some appeal in volunteering to be expendable, and for women to come to regard men as sexy for doing so. Notice how the word "coward" does much more damage to ego and status when it is levelled at a man than when it is applied to a woman. And it's especially cutting when it's a woman saying it to a man. Interestingly enough, several corpus studies of English prose have shown that the word "coward" is almost never used or represented as being used by men to demean a woman. "Coward" just isn't something men call women. If a woman is being called a coward, odds are it's a woman calling her that. 

Protagonists in fictional media routinely risk their lives to save and/or win the heart of the love interest. Our societies much prefer that such dashing protagonists be male. When creators deliberately flout convention and reverse the roles, they don't get quite the same response from their audience. The men don't see the female savior as appealing in her strength and ability to protect. Women don't see the male daniel-in-distress as being particularly appealing either. They just see a man so helpless he needed a girl to come hold his hand and save his sorry ass.

Imagine yet another Tomb Raider movie. (Forgive me if you aren't familiar with the franchise. It is easily googlable.) In this one, Lara Croft  rescues a man named John from some Lovecraftian horror in a cave. She takes him under her wing, risking her life multiple times to keep him alive as they make their escape. The cave begins collapsing just as they're about to finally get out to Lara's waiting helicopter. But a falling piece of rock knocks John out, and she must carry him the rest of the way in her arms, running to her chopper as huge chunks of rock rain down around her. In the last ten minutes of the movie, we see him leaning his head on her shoulder as they sit on a beach in Bora Bora. Her arm squeezes him close and he looks into her eyes saying "don't ever leave me, Lara. Take me with you wherever you go." She smiles and kisses him, easing his body to lie him down as she gets on top of him and the camera fades out. 

A film like that will not be made. Ever. Nobody would fund it, because it's clear that audiences wouldn't react especially well to it. But note that audiences don't have a problem with female protagonists kicking ass. The character of Lara Croft does do well, after all. Plus there's Wonderwoman, Xena, Kira from SciFi's "Continuum" etc. What really would gall them is the idea of the man being the stunningly attractive love interest whose heart is won by a dashing woman 20 years older than him who in turn falls for him. Plenty of fictional media have heroines saving men's lives. But when was the last time you saw a hollywood movie where the man rescued by the heroine was also the adoring love interest? At best, you have the two saving one another's lives in equal measure.

What I"m attempting to illustrate with this is that a strong independent woman is not nearly as problematic as an imperiled man falling for a woman who rescues him bravely. It isn't the woman's role that is so jarring to audiences. It would be the man's. 

This brings us to one of the few features that seem to be nearly universal to all human cultures and societies, one that is seldom noticed even by most people who are concerned with gender-problems-  partly, I suspect, because the overwhelming majority of people concerned with gender problems are not men. I call it the Sissy Taboo. No matter how deeply-entrenched and rigidly maintained a society's gender-role divisions may be, it is always more acceptable and permissible for a woman to perform traditionally male activities and roles than it is for a man to perform traditionally female ones. This is obvious in American society. We don't think a woman is deficient for "wearing the pants" in a relationship. We think of the man as pitiful for letting her wear them. Women wearing suits and ties? Sure, why not. Men wearing skirts and dresses? OH MY GOD WHAT A FUCKING FAGGOT!

Imagine a couple whose circumstances are in some ways akin to you and your husband's, where the man is a stay-at-home dad, and the wife is an investment banker who makes all of the family income, makes all family financial decisions, and she is the one who popped the question to him. Don't believe it's possible? Well believe me, sister. I'm not describing a hypothetical. I'm describing a couple I actually am friends with. As I'm sure you know, it's not just you.

You may be interested and unsurprised to know that people's immediate assumption is often that this must be something that she is doing to him, that he's been somehow broken by her, that she uses her monty to push him around. (We still don't think of her as deficient, though. On the contrary, we think of her as going overboard.) The possibility, which is in fact the truth, that this is the way both of them like their relationship to work seldom occurs to anyone, and if mentioned is met with "Well, then he's a pussy-whipped pushover" or "Come on, who would like that treatment?" To be fair, the fact that there are now a growing number of men collecting alimony is proof enough that this isn't entirely a static situation.

Progressive Americans can and do encourage women to enter the workforce, have careers, fight sexism and workplace harassment. The general sentiment from women and from progressive men is "you go, girls!" Granted, many men can feel threatened by this. There's a reason why female Harvard graduates use the phrase "dropping the H-bomb" (and Yale graduates call it "the Y-bomb") to describe the moment when they tell a man whom they're dating where they went to school. On the flipside, even many feminists see no problem in a woman being a stay-at-home mom if that's what makes her most fulfilled, and actively chide extremists who heap abuse on women who chose that role. So women's possibilities in society are being expanded, effectively, at least in the middle and upper classes in the US.

On the other hand, men are still inundated with all sorts of messages about how sewing isn't for men, how being a man is about taking charge, about how being dependent on a woman to support you is just pathetic…and society is much more okay with shaming and humiliating men who don't fall in line. Trust me, I know. As a very young kid I played with Barbie dolls as well as action figures, wanted to wear dresses some days and pants other days, and sometimes wanted to pretend to be King Arthur and sometimes wanted to be Guenivere. My parents, thankfully, were quite okay with it. Other kids, however…well…not so much. Tomboys got a lot better treatment than I did. As an adolescent who was into poetry, played the flute, had mostly female friends and simply didn't understand or feel the need to play along with the whole "boys vs. girls" schtick…it got really bad. 

When lip-service is paid to breaking out of traditional gender roles, often what is meant is mainly girls getting to do guy stuff. Many men who would actually be happy as house-husbands can't bring themselves to admit that fact to themselves, let alone other people. Indeed,  many men who actually find it strikes a positive chord somewhere are often the most threatened by independent, successful career-minded women precisely because they feel shame about liking the idea. I've known, and been confided in by enough such men in my life to be pretty sure this is a somewhat widespread phenomenon. 

This brings me to another point, that will hit close to home. And by "home," I mean your home, Mrs. Nemo. Even as more and more wives start leading career-oriented lives, studies show that their husbands are not pitching in at home to match. Domestic responsibilities are still shouldered by the women disproportionately. "How do you balance a career and kids?" Is a question many women ask because of this imbalance.  Spending time with the kids is often construed as a selfish thing for men to do, rather than "real" work. Focusing on one's career at the expense of time with the kids is often construed as selfish when women do it. This, I'm sure, you've experienced professionally. But  people also wonder why it is that even when men are the ones staying at home, they just seem to pitch in less than they should. In light of what I have just expounded upon, does this seem all that surprising? 

The disproportionate Sissy-Taboo is making it lopsidedly difficult and psychologically onerous for men to perform tasks and roles traditiontally associated with women, because so many people -even a large number of feminists- presume that roles associated with women are somehow demeaning or marginal, that the traditionally male gender roles are where the worthwhile happenings are to be had. They are wrong. 

As a result, not only are many men being effectively denied the possibility, should it suit them, of being house-husbands who are supportive of their wives and have dinner waiting when she gets home- but it means that there are all sorts of emotional hangups and completely pointless insecurities that must be confronted for many men to be comfortable staying at home with the kids…and not feeling trapped or even emasculated. One can no more blame men, of whom your husband may be one, for having these hangups than one can blame women for feeling insecure about their bodies due to unrealistic idealizations of the female form in visual media. 


3. Violence Against Men

Yes, that's right. Violence against men. No, I'm not saying that violence against women isn't a pressing problem. It is. But it could hardly be more obvious that the overwhelming majority of physical assaults all over the world are committed against men - and usually by men, as it happens. If you get into an argument with a man in public over something misogynistic he said, and a crowd forms around you, it will be uncomfortable no doubt. But you have not, cannot have the experience of having that crowd chanting Fight! Fight!  Even if they did, how likely is it that the man would really allow himself to be seen hitting a woman in front of so many witnesses? Even if he did that, I do not believe it would be long before someone restrained him in an attempt to protect you from such unchivalrous behavior.

I, however, can attest that in many cases, the more attention is focused on such an animous exchange between me and another man in public, the more he will feel the need to save face and not back down, lest he appear to be, as it were, a pussy. Men do not feel the need to refrain from hitting other men in the same way they do with women.

Indeed, violence by men against women is perceived very differently from, say, violence by women against men. If you see a man slap a woman's face in a parking lot, what will be your gut-reaction? If you see a woman slap a man's face in a parking lot, what then? Only one of these is likely to be recognized as abusive behavior.

I'm sure that by now you've realized where I'm going with this. What your husband said to you in his outburst was absolutely inexcusable. But your response was even more so. it is very important that you understand and take to heart the fact that when you slapped his face, you committed an act of spousal abuse. It is no more acceptable or justifiable when a woman gets violent with her husband than a man with his wife. 

I feel compelled to mention that in the US and many other societies, most partner-violence is actually committed by women against men. It is simply not recognized as abuse, not taken seriously, and many men -for reasons already mentioned- would have a hard time telling a cop that he needed help because a girl hit him. It is part of the "men can suck it up and take it" fallacy, in a way. This is serious. You should talk to him about it, and treat what you did as seriously as you would want had he been the one to slap you. 

(Note: The reason why partner-violence against women is a pressing issue is not because it is more common than that against men. It is because when men commit violence against women, they usually do far more damage. To some degree, this has to do with the way men are socialized, but I cannot escape the sense that it's mainly because of how our species evolved - males are larger and stronger. Most men are walking around with the ability to physically overpower most women. I am not trying to say that male-on-female is more or less serious than female-on-male violence. Such comparative massacrology is pointless and counterproductive.)

I hope this letter finds you well, and, though it certainly will not solve your problems, perhaps it will at least help to clarify their nature. By way of final musing, let me offer you my unbending belief: that the final liberation of women will never see triumph unless societies come to understand, in full and at long last, that men too must be allowed and encouraged to go beyond the meaning of their gender. Yet that, my dear older sister, is a goal that we men will never fathom, never strive for, and never seize, without women like you showing us the way. 

Original Poem: Intellect Triumphant


The Intellect Triumphant
By A.Z. Foreman

And the Lord God said, Behold, the man is become as one of us, to know good and evil: "and now, lest he put forth his hand, and take also of the Tree of Life, and eat, and live for ever" Therefore the Lord God sent him forth from the garden of Eden, to till the ground from whence he was taken. So he drove out the man; and he placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every way, to keep the way of the Tree of Life.
-Genesis [3:22-24]

What goes beyond itself? All great things do.
The violin becomes another limb.
This owl stands up to day and tells it who. 
This corpse stands up against your requiem.

Bring guns and militate against the mind,
And I will have you minding your own gap.
What is the symphony of humankind?
A no-win world where we don't lose. The trap

Looses ourselves amid the whirled, wide weft
Of thoughts that cloud the rain out of the brain.
My will be done. They're in the right who left
The paddy-locked asylum of the sane.

Below the pathos of mere possible
There's a torch burning in the first human hand.
What goes beyond itself? The great will shall.
Go ahead, open fire. Need I only stand?

Videogames: It's Art, Arsehole!


Imagine a bunch of highschool children who decide, purely for their own enjoyment, to spend their time performing shakespeare- a kind of recreational rehearsal. Now, imagine that their favorite play to rehearse is Hamlet. Suppose a parent hears of this. If they're like most sane modern western parents, they'll be thrilled that kids are reading Hamlet without it being assigned as homework.

But imagine that said parent doesn't react that way. Instead, the parent is outraged and revolted by children being exposed to a play containing patricide, incest, gratuitous violence, blasphemy and sexual innuendo,

[Aside: Indecent innuendo in hamlet? Yeah, loads of it. For example, just read the following exchange between Ophelia and Hamlet- with Ophelia maintaining a façade of innocence in the face of Hamlet's raunchy lines. Keep in mind that in Elizabethan English "the nothing" was euphemistic slang for "vagina" and that "lap" could mean something more like "crotch". Also imagine Hamlet giving suggestively heavy emphasis to the first syllable of "country" in line 5.

HAMLET: Lady, shall I lie in your lap?
OPHELIA: No, my lord.
HAMLET: I mean, my head upon your lap.
OPHELIA: Ay, my lord.
HAMLET: Do you think I meant country matters?
OPHELIA: I think nothing, my lord.
HAMLET: That's a fair thought to lie between maids' legs.
OPHELIA: What is, my lord?
HAMLET: Nothing.]

Now imagine this parent telling all the other parents at a PTA meeting what they've discovered. The other parents are shocked and sickened to learn that their little innocent Annabel enjoys playing the role of the incestuous Queen Gertrude who barely shed a tear over her ex-husband's murder, or that young Tommy should delight in playing the guilt-stricken incestuous King Claudius who murdered said husband. "Shakespeare is making our children enjoy pretending to be rapists, murderers and inbreeders!" they cry, calling for parental advisory stickers to be required on all volumes of Shakespeare, citing as evidence for their case a Shakespeare-specialist at Harvard who recently lost his job due to a sexual relationship with a student, and demanding that libraries cease loaning Shakespeare to minors.

By now it's probably evident what my point is: video games. The whole thing becomes believable if you replace "Hamlet" with "Mass Effect", "Call of Duty: World at War", "Half-Life 2" or "Grand Theft Auto IV".

Yes, I- the guy who normally obsesses over poetry- have decided to bring up another life-long love of mine: video games. I'll be discussing one manifestation of game-hate, a term which I use to encompass the denigration, scapegoating, misrepresentation and outright misinformation to which video games are subjected in the modern world by people who don't understand them or pretend not to.

But are they Art?

"But Shakespeare is art", one might say to my above hypothetical "whereas videogames are nothing of the sort!" And in the court of modern American popular opinion, the sad thing is that such an argument might actually carry the day. If a discipline is art, you have to acknowledge its ability to enrich lives, to contribute to cultural heritage and to be the medium by which the artist's mind engages with the mind(s) of the audience- rather than just a dubious way to waste time. To the middle class protect-my-white-kids-from-imagined-threats tightasses of American suburbia, admitting such a thing might be lethal, given such people's severe allergy (typical of most shitbrain-sufferers) to intellectual complexity and critical thinking. Sorry, soccer-moms and football-dads, you'll have to find some other way to justify your fear of what you don't understand. [Or better yet, just go fuck yourselves with that dildo you had to order online in an unmarked box because you couldn't muster the moxie necessary to actually step into a sex shop lest somebody see you there.] Video games are art.

Yes, they are

Roger Ebert got in trouble a while back for saying that video games aren't art. (And here is a link to him defending his assertion). But when he said it, he was full of something far smellier than shit: pretentiousness. Let me say at the outset that I'm going to try and make my case without being snared up in an attempt to define art. Rather, my point will be to show that it makes no sense to exclude video games from any meaningful definition of the term.

What the hell else do they need artists for?

Lets go with the obvious. Modern videogame development teams employ artists. These artists come from a great many different time-honored artistic disciplines, such as drawers, sculptors, photographers, writers, composers, singers, musicians, costume-designers and architects. Indeed, a game like "Star Wars: The Force Unleashed" has not only actors selected through an auditioning process (and whose likeness is used for the game's characters) but also a director! Very often such artists are recruited for having done successful work outside the game industry. For example, the actor Kiefer Sutherland (whom most americans now know as Jack Bauer from 24) provided the voice of Sgt. Roebuck from Call of Duty: World at War. The composer Michael Giacchino, whose work you might know from The IncrediblesStar Trek (2009) and various TV shows such as Alias, Lost and Fringe (and who has to his name an Emmy, several Grammys and an oscar for Best Original Score) was tracked down to write the music for Medal of Honor. That game's story, incidentally, was created by none other than Steven Spielberg.

When so many different artists (often highly regarded in their respective fields- sometimes to the point of being household names like Steven Spielberg, the stupidity of many of his films notwithstanding) are brought in to help create something, it is more than a little strange to then claim that what these artists have helped to create is not, and couldn't be, art.

The soundtrack for Warcraft II, the story from Half Life 2, the visuals of the Myst series have managed to live on to be enjoyed long after the games themselves became old. Thus, these individual artists' achievements are indeed appreciated as such- to the point of making an old disk playworthy for that achievements' sake. This is particularly obvious in the case of videogame music. One need only point out the recognizability and cultural iconicity of the Super Mario Bros. theme, or the fact that when the Los Angeles Philharmonic orchestra gave an evening-long performance of music from the Final Fantasy series, tickets sold out in one day. Yes, that concert (as I have learned from friends who attended it) was mainly appealing to people who played Final Fantasy games. But the fact that a game's aficionados would buy tickets just to hear that game's music performed live is telling and bespeaks an appreciation for that music, on the part of gamers, that goes beyond the context of a gaming experience and is at least on par with, say, people's enjoyment of Star Wars music or the Indiana Jones theme. Unless we're willing to say that John Williams isn't an artist, we have to logically grant that art produced for videogames is, in fact, art.

But then there's possibility that, while videogames may contain art produced by artists, they cannot be art as such- and one therefore cannot call a game's designer an artist. That something can at once contain art and yet not be art would mean that the final product (i.e. the game) functions in such a way that its success can be established without recourse to artistic criteria.

Yet it is routine for reviewers of a game to cite a great soundtrack, beautiful visuals, well-acted cutscenes, or an emotionally engaging storyline as points in a game's favor. Even when the actual gameplay mechanics strike the reviewer as clumsy or repetitive, the artist-produced aspects of the game may be so impressive that the reviewer will (in a few cases) consider the game a successful one. For example reviews of Star Wars: The Force Unleashed were often critical of such things as a clumsy control layout, repetitive and at times boring combat/gameplay mechanics, and bizarrely uneven difficulty levels with some parts being laughably easy and one in particular being hard to the point of tediousness. Nonetheless many reviewers still recommended buying the game for precisely the above-mentioned artistic reasons- in particular praising the story, dialogue and acting as displaying the kind of excellence the Star Wars Prequel films had failed to achieve! And I'll even go farther and say that when I myself played the game, I knew where the reviewers were coming from: I didn't regret getting the game one bit.

Videogame reviewers, who are obviously also gamers themselves, are clearly employing (at least partially) artistic criteria to evaluate games. While there are medium-specific criteria (such as difficulty levels, control-arrangement, gameplay mechanics etc.) that, for obvious reasons, have no analogue in, say, film criticism, the recognizably artistic (or, better put, traditionally artistic) criteria are crucial to the process by which game-critics and the gaming community at large assess the goodness of a particular product.

Note that there is no fundamental reason why gamers or game-critics should care whether the cut-scenes are well acted, the soundtrack moving, or the story well-told. It is quite possible for a product to employ the trappings of traditional arts and be aimed at an audience to whom any artistic criteria are often all but irrelevant. When that is the case (as it indeed is with porn, for example) the artistic aspects the audience doesn't care about (like, say, getting the writer to produce believable dialogue or finding performers with any acting skills other than those needed by a high-class call girl to earn her pay) will matter to the product's creator less than the non-artistic ones (like bust-size, sphincter-hardiness, or the vascular discipline necessary to maintain an erection while the director yells at you not to block the camera angles needed for crotch-shots) which are key to giving the audience what they care about. I once spent an evening with my ex watching porn movies just to sit laughing at the bad acting and dialogue. Such a thing was made possible by the fact that few men's erections (for most porn consumers have penises) can be affected by dialogue or character development. However, a gamer's experience (whatever be his/her genital-configuration) very much can.

Ebert eventually realized this when he said the following out of exasperation at the comments he received in response to his claim:
I had to be prepared to agree that gamers can have an experience that, for them, is Art. I don't know what they can learn about another human being that way, no matter how much they learn about Human Nature. I don't know if they can be inspired to transcend themselves. Perhaps they can. How can I say? I may be wrong. but if 'm not willing to play a video game to find that out, I should say so. I have books to read and movies to see. I was a fool for mentioning video games in the first place.

My Own Experience

Here, I'd like to answer Ebert's puzzlement at "what they [gamers] can learn about another human being" through gaming, and also mention the issue of video game violence- a subject which I will treat extensively in my next post on this topic.

Two things are true of me:
(1) I have, over the course of my life and because of my fascination with people who challenge authority, been witness to a certain amount of real-life violence and brutality. I do not wish to go into specifics. But suffice it to say that, among other experiences, I am one of what I imagine must be a very small number of Americans who have seen what war is like (though thankfully only for hours at a time over the course of months rather than, say, months at a time over the course of years) without being either a government employee or a journalist. After some of the things I saw, it took a long time before I could learn to enjoy action movies or action games again- and I only managed to recover such enjoyment by working at it. A lot. To do otherwise would have meant a cowardly sacrifice of my ability to enjoy something.
(2) So I do still love video games, including some ultra-violent, graphic ones. In fact, some of that ultraviolence is part of what elevates some videogames above most films in terms of artistic sophistication.

One personal favorite of mine is"Call of Duty: World at War", along with "Call of Duty: Modern Warfare." The former goes to extreme lengths to give a faithful representation of war's harrowing realities, while doing its damnedest to tell an engaging, moving story and at the same time still be gripping as a game. Obviously the former and latter of these are somewhat in conflict, since real war is not entertaining. But the game does a good job of fulfilling both goals by essentially letting the player in on what aspects of war needed to be dropped for entertainment's sake- veritably inviting the player to ponder whether he/she is completely crazy to still find the game compelling and not absurd/obscene.

For example, there are no health-powerups or hit-points in the games. Instead, a wound will make your screen flash red and make it hard to aim for a while. A serious wound makes your screen flash crimson and play a heartpounding sound, and enough wounding sustained in a small amount of time will "kill" you and make you start at the last save point. And you can "recover" just by resting in one place for a few seconds to keep from sustaining too many wounds too quickly (and after recovery go back to action as if completely fine.) One effect is to encourage staying out of the line of fire as much as possible (as real non-suicidal people would) rather than running the gauntlet after health-powerup items, making for some less commonplace gameplay dynamics. Another is much more interesting. The feature I just described, though found in many shooters (such as the sci-fi shooter N.O.V.A 2), feels like an absurd disconnect from Modern Warfare's and World at War's general effort at realistic immersion (and represents a change from earlier Call of Duty games with more traditional health-points) after all, at least in earlier games there was some attempt to imply that you needed some kind of treatment for bodily harm done to you. However, the new system serves a different artistic function. By being so untrue to reality, it draws attention to the truth it fails to represent but which we all are aware of: that in real combat one bullet's contact with your flesh is usually all it takes to at least seriously injure if not kill you- either way, you don't keep on running. This, in turn, gives you a new way to relate to the red flash on your screen that signals a wounding: It practically screams "in real life, you'd be dead here. And here. And here too. Now go have fun."  It draws the player's attention to how unrealistic a game has to be to make war fun.

Furthermore, a hyper-realistic physics-engine combined with a development approach focusing on immersive detail (a work of true inspiration) has resulted in a game where living bodies are affected by contact with other objects in physically, physiologically and anatomically realistic ways: legs are shredded by flying debris, dying enemy soldiers cry out in their native language (be it Japanese, Russian or German) for their mothers as they cradle their own entrails or reach for lost body parts, bits of human tissue fly as bullets rip through flesh, a shot to the neck can result in a blood-geyser from a nicked jugular, and when a character is hit with a flamethrower the viewer can see them writhe and run and bawl as the fire first turns their uniform into a blazing rag, then eats through skin and the melted body-fat may start burning with a discoloured flame.

It seems sick and gratuitous until you stop to realize that you're playing a marine fighting (among other battles) the Battle of Okinawa, or a Russian defending Stalingrad, and that it would be an actual glorification of violence to portray the bloodiest battle of the WWII Pacific Theater as a nice fun time where enemies fall dead without bleeding (or indeed as anything other than a horrific, vomitous shock to your humanity.) So it is impossible to play this game without being reminded of what life must have actually been like for the Marines that fought from island to terrifying island in the Pacific theater.

The gameplay is thereby elevated from being merely an enjoyable shooter like Counter-strike and becomes something more- a refraction of war's unspeakable aspects, and a glimpse into what human complexities the designer saw as driving that gruesomeness- much as the grimness and violence of Saving Private Ryan (whose carnage-laden opening was ranked number one on TV Guide's list of the "50 Greatest Movie Moments") or The Big Red One helped to elevate them above the mindless action and casual killing of James Bond.

For example, at one point the following thought ran through my head: A shot by one of my comrades just made an enemy soldier spend his last moments crying and clutching the bloody remains of his groin before another shot to the head finished him off. And it was all part of a mission to rescue ME (or rather my character.) I don't know if I could stay sane knowing such a thing had been done in my name in real life. All those guards we're blasting away in an attempt to get out of here- they're not just your standard entertainment badguys in need of a thumping. No, they're all the people that have to die so my character can live. 

As General Norman Schwarzkopf put it:
A professional soldier understands that war means killing people, war means maiming people, war means families left without fathers and mothers. All you have to do is hold your first dying soldier in your arms, and have that terribly futile feeling that his life is flowing out and you can’t do anything about it. Then you understand the horror of war. Any soldier worth his salt should be antiwar.
And still there are things worth fighting for.
The last two sentences of this statement are actually quoted in Modern Warfare itself, by the way.

It takes a particular kind of genius to be able to craft a game like this- pitching brutal realism against gameplay in a way that simultaneously enriches and problematizes the shooter-experience.

To this, I could add other examples. One that comes to mind is Knights of the Old Republic, a role-playing game where the morality of the many thousands of choices the player makes in dealing with various situations is the determining factor in whether the player's character ends up deciding to save the galaxy or enslave it in the final cut-scene. The easiest (and, I discovered, the most immediately fun) way to beat the game is to use the immoral solutions that lead to the main character enslaving the galaxy. The implication (which is simply the most salient of a whole range of ideas which are explored in various ways via the game) is that evil is the cowardly recourse of those who don't have what it takes to do good. I think this should answer Ebert's question of what I can learn about another human being's mind through a game envisioned by that mind. It also suggests that Ebert may be intimidated by, and resentful of people who don't flunk IQ tests.

Just YOU Try making a good game

But perhaps the most telling indicator of the necessity of artistry in making a good game is what qualities are said to make a game bad. And alongside gameplay issues, bad graphics and the like, the major criterion for game badness is unoriginality. Short of the just abominably unplayable few, a bad game is a boring game- because boring is the opposite of fun, which is what games should be. A game that doesn't offer you something new, something you couldn't get by playing its predecessors, has failed the gamer in the same way a cliché-laden poem or novel fails the reader: by not justifying your effort to play/read the thing.

Whenever somebody says that video games aren't art my question is: "Really? Well, why don't you try and plan out a good game-concept! See how far you get before you find yourself having to make artistic choices or strive to be original."

Creating a game that can offer something new to today's experienced gamers means, above all else, finding something new and non-derivative for that game to offer. A medium whose consumers demand ever-new experiences of it, and therefore originality and creativity on the part of the developer as he/she tries to find new ways to engage minds interactively, cannot be denied the title of Art without rendering "art" a meaningless concept.

Original Poem: The Patriot

The Patriot
By A.Z. Foreman

His mind was like his village under fire,
Broken open the day his dad was shot,
When his nation sniffled surrender through a wire.
The nation recollected, he forgot

In all the good use the Resistance won
From him. Jet-black hair-trigger dignity
Could hold his courage steady as a gun,
Morale more steadfast than morality.

All over the map those moments: life by knife.
History shrieked still under his soleless tread.
Take out the colonel. Leave his woman alive.
Rosily well each mission went and bled.

It made the heart a bloody perfect tool
No torturer could blowtorch. In his one eye
The incorrigible cause hardened to cool
Truth no fact could liquefy.

When he held down the kraut bitch in Berlin
That he was raping, he could therefore clench
His fingers coolly on the bruising skin
And shudder only at her broken French,

Could watch her father snivel at the gun
And feel disgusted only by the snot,
Judged that a race deserved as it had done,
Breaking her open as her dad fell shot.

Translation: John [1:1-32]

Here is my translation of the beginning of the Gospel of John [1:1-32] just for shits and giggles. I paid especial attention to the effect that the wording of the original must have had on its contemporary audience. As for the names, well, I saw no reason to de-Judaize the text as so many translators have done. The pronouns in the beginning are, of a linguistic necessity, overspecific. 

In the beginning was the Way, and the Way was with God; and the Way was what God was. It was with God from the beginning. By him all things came to be and not one thing that has come to be did not do so through him. In him was life and that life was the light of humankind. The light shines in the dark, and the dark cannot master it. There came a man, tasked and sent by God, named Yohanan. He came as a witness, to vouch for the light, so that all would trust in him and believe through him. He himself was not the light, but came merely to vouch for the light- the true light that enlightens all people, coming into the world. 

He was in the world, and the world came into being through him, but the world did not see what he was. He went amongst his own, but his own people did not accept him. Though to such as did accept him, and did believe in his name, he bestowed the power to become God's children, sired not in blood, nor by desire of the flesh, nor yet desire of a husband, but by God. The Way became flesh and dwelt in our midst. We beheld His glory, a glory such as that of a Father's only Son, replete with favor and truth. Yohanan vouched for him, crying "This was the one I spoke of when I said 'He that comes after me has exceeded me, for he preceded me.'" For from his abundance, we all received favor upon favor. As custom and law were handed down from Moses, so favor and truth came about through Joshua the Messiah. No one has ever beheld God. It is the only Son, in the bosom of the Father, who has demonstrated Him. 

And this is Yohanan's testimony from when the Jews sent chief priests and temple functionaries from Jerusalem to ask him "Who are you?" He confirmed, and did not deny but rather confirmed "I am not the Messiah." They asked him "Well then, what? Are you Elijah?" And he said "I am not." "Are you a prophet, then?" And he answered "no." So they said to him "Well, who are you? Give us an answer to report back to those who sent us. What do you have to say about yourself?" He said "I am the voice of someone shouting in the desert 'prepare the highway of the Lord' as the prophet Isaiah once said" And those who had been sent were from the Legalist sect. They asked him "What are you doing giving ablutions, if you are neither the Messiah, nor Elijah, and no Prophet" Yohan answered them "I perform ablutions with mere water, but in your midst there is one you do not know- it is he who shall come after me and whose place is ahead of me, and whose very sandal strap I am unworthy to untie." This all happened in Bethany, across Jordan, where Yohanan was giving ablutions.  The next day, he saw Joshua coming and said "Look: the scape-lamb of God who shoulders the sins of this world. This is the one of whom I said 'after me there comes a man who is preferred before me, because he existed before me' I did not know him, but this is why I came abluting with water- so that he might be revealed to all Israel" 

And Yohanan testified further, stating "I saw the Spirit itself descending like a dove from on high, and it alighted on him."

The Original:

Ἐν ἀρχῇ ἦν ὁ λόγος, καὶ ὁ λόγος ἦν πρὸς τὸν θεόν, καὶ θεὸς ἦν ὁ λόγος.  οὗτος ἦν ἐν ἀρχῇ πρὸς τὸν θεόν.  πάντα δι’ αὐτοῦ ἐγένετο, καὶ χωρὶς αὐτοῦ ἐγένετο οὐδὲ ἕν. ὃ γέγονεν ἐν αὐτῷ ζωὴ ἦν, καὶ ἡ ζωὴ ἦν τὸ φῶς τῶν ἀνθρώπων·  καὶ τὸ φῶς ἐν τῇ σκοτίᾳ φαίνει, καὶ ἡ σκοτία αὐτὸ οὐ κατέλαβεν.

 Ἐγένετο ἄνθρωπος ἀπεσταλμένος παρὰ θεοῦ, ὄνομα αὐτῷ Ἰωάννης·  οὗτος ἦλθεν εἰς μαρτυρίαν, ἵνα μαρτυρήσῃ περὶ τοῦ φωτός, ἵνα πάντες πιστεύσωσιν δι’ αὐτοῦ.  οὐκ ἦν ἐκεῖνος τὸ φῶς, ἀλλ’ ἵνα μαρτυρήσῃ περὶ τοῦ φωτός.  ἦν τὸ φῶς τὸ ἀληθινὸν ὃ φωτίζει πάντα ἄνθρωπον ἐρχόμενον εἰς τὸν κόσμον.

 Ἐν τῷ κόσμῳ ἦν, καὶ ὁ κόσμος δι’ αὐτοῦ ἐγένετο, καὶ ὁ κόσμος αὐτὸν οὐκ ἔγνω.  εἰς τὰ ἴδια ἦλθεν, καὶ οἱ ἴδιοι αὐτὸν οὐ παρέλαβον.  ὅσοι δὲ ἔλαβον αὐτόν, ἔδωκεν αὐτοῖς ἐξουσίαν τέκνα θεοῦ γενέσθαι, τοῖς πιστεύουσιν εἰς τὸ ὄνομα αὐτοῦ,  οἳ οὐκ ἐξ αἱμάτων οὐδὲ ἐκ θελήματος σαρκὸς οὐδὲ ἐκ θελήματος ἀνδρὸς ἀλλ’ ἐκ θεοῦ ἐγεννήθησαν.

 Καὶ ὁ λόγος σὰρξ ἐγένετο καὶ ἐσκήνωσεν ἐν ἡμῖν, καὶ ἐθεασάμεθα τὴν δόξαν αὐτοῦ, δόξαν ὡς μονογενοῦς παρὰ πατρός, πλήρης χάριτος καὶ ἀληθείας·  (Ἰωάννης μαρτυρεῖ περὶ αὐτοῦ καὶ κέκραγεν λέγων· Οὗτος ἦν ὃν εἶπον· Ὁ ὀπίσω μου ἐρχόμενος ἔμπροσθέν μου γέγονεν, ὅτι πρῶτός μου ἦν·)  ὅτι ἐκ τοῦ πληρώματος αὐτοῦ ἡμεῖς πάντες ἐλάβομεν, καὶ χάριν ἀντὶ χάριτος·  ὅτι ὁ νόμος διὰ Μωϋσέως ἐδόθη, ἡ χάρις καὶ ἡ ἀλήθεια διὰ Ἰησοῦ Χριστοῦ ἐγένετο.  θεὸν οὐδεὶς ἑώρακεν πώποτε· μονογενὴς θεὸς ὁ ὢν εἰς τὸν κόλπον τοῦ πατρὸς ἐκεῖνος ἐξηγήσατο.

 Καὶ αὕτη ἐστὶν ἡ μαρτυρία τοῦ Ἰωάννου ὅτε ἀπέστειλαν οἱ Ἰουδαῖοι ἐξ Ἱεροσολύμων ἱερεῖς καὶ Λευίτας ἵνα ἐρωτήσωσιν αὐτόν· Σὺ τίς εἶ;  καὶ ὡμολόγησεν καὶ οὐκ ἠρνήσατο, καὶ ὡμολόγησεν ὅτι Ἐγὼ οὐκ εἰμὶ ὁ χριστός.  καὶ ἠρώτησαν αὐτόν· Τί οὖν; σὺ Ἠλίας εἶ; καὶ λέγει· Οὐκ εἰμί. Ὁ προφήτης εἶ σύ; καὶ ἀπεκρίθη· Οὔ.  εἶπαν οὖν αὐτῷ· Τίς εἶ; ἵνα ἀπόκρισιν δῶμεν τοῖς πέμψασιν ἡμᾶς· τί λέγεις περὶ σεαυτοῦ;  ἔφη· Ἐγὼ φωνὴ βοῶντος ἐν τῇ ἐρήμῳ· Εὐθύνατε τὴν ὁδὸν κυρίου, καθὼς εἶπεν Ἠσαΐας ὁ προφήτης.

 Καὶ ἀπεσταλμένοι ἦσαν ἐκ τῶν Φαρισαίων.  καὶ ἠρώτησαν αὐτὸν καὶ εἶπαν αὐτῷ· Τί οὖν βαπτίζεις εἰ σὺ οὐκ εἶ ὁ χριστὸς οὐδὲ Ἠλίας οὐδὲ ὁ προφήτης;  ἀπεκρίθη αὐτοῖς ὁ Ἰωάννης λέγων· Ἐγὼ βαπτίζω ἐν ὕδατι· μέσος ὑμῶν ἕστηκεν ὃν ὑμεῖς οὐκ οἴδατε,  ὁ ὀπίσω μου ἐρχόμενος, οὗ οὐκ εἰμὶ ἄξιος ἵνα λύσω αὐτοῦ τὸν ἱμάντα τοῦ ὑποδήματος.  ταῦτα ἐν Βηθανίᾳ ἐγένετο πέραν τοῦ Ἰορδάνου, ὅπου ἦν ὁ Ἰωάννης βαπτίζων.

 Τῇ ἐπαύριον βλέπει τὸν Ἰησοῦν ἐρχόμενον πρὸς αὐτόν, καὶ λέγει· Ἴδε ὁ ἀμνὸς τοῦ θεοῦ ὁ αἴρων τὴν ἁμαρτίαν τοῦ κόσμου.  οὗτός ἐστιν ὑπὲρ οὗ ἐγὼ εἶπον· Ὀπίσω μου ἔρχεται ἀνὴρ ὃς ἔμπροσθέν μου γέγονεν, ὅτι πρῶτός μου ἦν·  κἀγὼ οὐκ ᾔδειν αὐτόν, ἀλλ’ ἵνα φανερωθῇ τῷ Ἰσραὴλ διὰ τοῦτο ἦλθον ἐγὼ ἐν ὕδατι βαπτίζων.  καὶ ἐμαρτύρησεν Ἰωάννης λέγων ὅτι Τεθέαμαι τὸ πνεῦμα καταβαῖνον ὡς περιστερὰν ἐξ οὐρανοῦ, καὶ ἔμεινεν ἐπ’ αὐτόν·

Original Poem: To Chokri Bilaid's Killer

To Chokri Bilaid's Killer

"The sun and moon upon computed ways,
The flowers and the trees bow down...."
-[55:5-6]

"Humankind! We have created you male and female, made you nations and tribes so that you might get to know one another...."
-[49:13]

And yet god made no human kind...

If you should learn in passing, one damn day,
That I died reading Surat al-Raħmān
You would not understand. Perhaps you'd say
I saw the lightning. No. There was no plan

Outside the midnight of your mind.

Here is the premise of an infidel
Soul with the pilgrim instinct of delight:
There is as much in heaven as in hell
Of beauty, midway on our journey's light

And not all glory is designed.

It is no world for faith. The young just die
In vain in nothing's arms. The birds and brooks
Mean nothing by their wonders. Nor do I.
Wonder's enough, and my unholy books.

There is a universe to find.

But you...kite claiming to be wind and rain!
Numb skull cracked open with a schtick of bliss
That knows not what it is! Too inhumane
To bask in heaven's human artifice!

Curse me. Bring thy holy bullshit forth.
Call me a kafir of the mongrel hordes.
As if god ever spoke of peace on earth
When there was holiness enough for swords.

-Tunis, Feb 7, 2013.

A Note To Arabic-Learners

بيان ضادّ عن الناطقين بالضاد
Or: Why Arabic-Speakers Are No More Moronic Than You Are, You Moron!

This post is directed at Arabic-learners, and is meant to hold up a proverbial mirror, and dispel some commonly-held but seldom-recognized presumptions.

I have noticed more than once that learners of Arabic, particularly at advanced levels, are often frustrated/confused/saddened by native speakers' claim that spoken Arabic has "no grammar" (when it does) or that "there's no rule for when you use word X vs word Y" (even when there is) or "I dunno what that means, I just know you can say it sometimes and not others."

The above-sketched phenomenon is not a sign of backwardness or anything of the sort, which is the way people often seem to treat it. (Though I'll be the first to scream that its ideological ramifications can be consummately annoying, especially for learners, given the way language is politicized for various reasons in the Arab world.) All it signals, really, is that the literary language whose grammar Arabic-speakers study in school is not, and is not normally imagined to be a possible reflection of the way they speak. A natural result of this is that most of them don't think of the grammar learned in school as analogically transferable to their speech. 

English-speakers if educated even moderately, are taught that somehow the way they speak is, or at least "should" be, governable by a system called grammar. This is is neither a mark nor a product of any kind of superiority, cultural or otherwise. It is merely because, apart from spelling (which reflects the pronunciation of half a millennium ago), Modern English has a relatively narrow gap between its literary and (at least some of) its colloquial forms(1). This may look like a boon, in that it seems like it would make things simple and easy as indeed it does in many ways, but it has some complicated and uneasy side-effects because the grammar one learns in school is never the full story. At best, as in the case of e.g. Standard French to some degree, it merely gives an approximate idea of the way some version of a language at some point in the past among some group of speakers used to be(2). In particular, English grammar as it has come to be taught, or rather inculcated, derives only in part from an attempt to describe how the English language works. A significant proportion of the English grammatical tradition has simply been hallucinated into existence by erudite morons too drunk on snobbery, Greco-Roman autoeroticism and tribal race-myths from the ancient Near East to even notice that Latin, Greek and Hebrew did not exhaust all the possibilities for rule-based behavior in language, and that English did not need to be shoehorned into behaving like them or be described in terms of features it did not possess.

The false assumption that the system of spoken English is, or indeed ever was, governed by the conglomeration of arbitrary precepts inflicted upon schoolchildren in the guise of grammar then gives impetus to violate the rules which do govern one's actual speech but which do not accord with the construct which schoolteachers call good grammar. Thus the myth that "I" marks a sentence's subject and "me" its object leads people to try and claim that "me and Paul went to the store" is incorrect and one should say "Paul and I went to the store."(3)  This then leads, among other things, to hypercorrections such as "between you and I" (which is not stigmatized, and nobody will be denied a job as e.g. an office receptionist for using that phrase in an interview, even though someone who says the equally non-standard "I ain't seen anybody" will not be working at the front desk any time soon.)

On the other hand, the gap between spoken and literary Arabic is much greater than that which exists between (non-stigmatized forms of) spoken and literary English. So a vast number of Arabic-speakers (though by no means all), and votaries of the Arab grammarian tradition, are not trained or accustomed to think of "grammar" (i.e. the thing learned in school) as analogically transferable to normal speech.(4) Inasmuch as many don't readily conceive of grammar as something that can be applied to spoken language, they are indeed prisoners of their schooling, even if they are able to describe how different dialects have different verbal peculiarities, for example. (The notion of grammar writ large may not necessarily be  conceived as being part of that.) English-speakers, too, though they typically are trained to think of school-learned grammar as relatable to speech, nonetheless imbibe that grammar in the form of a  bizarre cocktail of misconceptions and half-truths,  and are prisoners of their schooling as well, a schooling which does mean that thinking of speech as rule-governed comes somewhat more naturally, but which also amplifies a host of sociolinguistic problems specifically because people try to relate speech to a fundamentally flawed concept which presumes that one can make systemic errors in one's native language, and therefore feeds into mechanisms of social inequality through stigmatization. It's not that Arabic does not have linguistic stigmatization among its speakers (it does in abundance) but because the ruinous question of "whose speech is more grammatical?" cannot be taken with quite the same seriousness, stigmatization cannot be rationalized by it but must find its justification elsewhere. It is therefore -at least in some ways- easier in many parts of the Arab world for colloquial dialects to become components of regional or national pride, (as Black English might do in the US if "educators" would accept it as an aspect of national heritage and stop treating it like a disease that needs to be cured, and then I wouldn't have to put those quotes around their profession.) Different situations, slightly different benefits, and slightly different downsides. Doesn't mean one is necessarily better than the other(5).

To the degree that spoken English deviates from the written standard which people like yours truly have been taught to produce when communicating in textual form, English-speakers are just as hopeless and just as clueless about the rules governing their colloquial medium as Arabic-speakers are about theirs.  Most English-speakers who do not have any background in linguistics have extreme trouble even accepting the existence of, let alone elucidating, the rules for spoken English whenever these are not present in the written form of the language, or when these rules go beyond what we call grammar (i.e. syntax and morphology) but have to do with phonology, or meaning-related phenomena like semantics (what, and how, a word can signify) and pragmatics (the way in which context contributes to meaning.) 

Just imagine an English-learner asking an educated English speaker (with no background in linguistics at all) the following questions about the rules of Colloquial American English, covering phonology, semantics, syntax and pragmatics.  No, I'm not giving you the answers. I'm mean that way.

1. I notice that people often say "gonna" instead of "going to." Some people tell me that I should just say "going to" since it's the more correct form. But friends of mine tell me it makes me sound overly proper and a bit unnatural. But it looks like "going to" can only be replaced with "gonna" in some cases, but not others. What's the difference between the two? 
2. I notice that sometimes people say "because" and sometimes they say "'cause" with the "be" left out. People tell me that they mean the same thing, and that I should just use "because" since it's more correct, but now people tell me that I use the word "because" in some pretty odd ways. What's the difference in meaning between the two? I can't figure it out. 
3. I notice that "nice" seems to have an odd usage when followed by "and". When people say "come in, it's nice and warm" or "Emperor Nero preferred to keep the populace nice and terrified." I don't know what "nice and" means there. My teacher managed to explain that it meant something like "really, noticeably". My friend told me that "good and" means the same thing as "nice and." But I heard a parent say to their kid "well you've got me good and angry now!" I asked a friend if you could say "nice and angry" in that context instead of "good and angry" and she said no. I asked why and she said "there's no rule, it's just one of those things about the way we talk. Either one will be understood. Don't worry about it." What's really going on with these words?
4. I notice that you can put "fucking" into the middle of an expression as in "no fucking way" or "right fucking now".  I've heard someone say "I needed to put my fucking foot down and simply say NO!" When I asked a friend if you could say "I needed to fucking put my foot down" she said yes, but when I asked her if you could say "I needed to put my foot fucking down" she said she wasn't sure but it didn't feel natural to her, and when I asked her if you could say "I needed fucking to put my foot down" she said that was definitely bizarre.  I asked her why you couldn't say "I needed fucking to put my foot down" but you could say "I needed in no uncertain terms to put my foot down." What makes "fucking" different from "in no uncertain terms" grammatically?
5. Speaking of which I have noticed you can also put "fucking" in the middle of a single word, as in "unbe-fucking-lievable" or "abso-fucking-lutely" I asked people if there are rules as to where in a word or phrase "fucking" can go. They said there's no rule, really- people just stick it in any-fucking-where they please. So I tried it with "stupendous" and said "stupen-fucking-dous" and people said that sounded weird, and the normal way to say it would be "stu-fucking-pendous" after the first syllable. So I tried the same thing with "absurd" as "ab-fucking-surd"  and "superb" as "su-fucking-perb" and that seemed totally normal to people, but everybody thought it was odd when I said "su-fucking-perhuman" for "superhuman." I asked why and they said "why do you assume there's a rule? This is just profanity. There's no grammar to bad language."Finally, my teacher managed to think really hard and tell me that you can only put "fucking" right before the stressed syllable. But then why is it okay to say "un-fucking-believable" as well as "unbe-fucking-lievable." (But "unbelie-fucking-vable" sounds bizarre somehow.) Even when I point out the fact that there seems to be something non-random and complex about the way "fucking" is inserted into words, people usually insist that I shouldn't be looking for grammatical rules, because "there's no grammar to the way people butcher words with profanity!" I don't get it. Why are English-speakers so stupid about what grammar is and about their own language?
6.a What does it mean when a man addresses another man younger than him but not related to him who as "son"? Why is it that when I as a man do likewise to a man younger than me but not related to me, people are confused?
6.b Why is it that men greet each other with "how's it hangin'?" but when I as a woman the exact same thing, they find this odd? 

Footnotes:

1 - Indeed, this is truer of English than many other languages. Written and spoken French are somewhat farther removed from one another than their English counterparts, particularly when it comes to the lexicon and a few other things. Written and spoken Norwegian (depending on which written Norwegian -don't ask, long story-) are even more divergent. Spoken and written German were (and for many speakers, still are) essentially in diglossic relation until the written form heavily influenced, and in some cases actually became, the way people spoke to other humans, including their children. Spoken and written Welsh were in diglossic relation for centuries until a version of the spoken form became the new written one, i.e. the opposite of what happened in German.

2 -  Standard French, for example, contains features that are essentially dead or restricted to affected/formal speech (e.g. inversion of the "Qu'ai-je?" variety, use of "nous" instead of "on" as the 1st person plural pronoun as part of a verb phrase) whilst lacking many features that have since become (or always were) a normal part of the way spoken French functions (e.g. Question-words unfronted without signifying emphasis as in the normal "Tu vas ou?" which is used by speakers of all social classes and means "Where are you going", not "You're going where?", also fronting without inversion as in the commonly heard but class-stigmatized "Ou c'est que tu vas", both of which stand opposed to the highly stuffy "Où vas-tu" or the less-stuffy but sanctioned "Où est-ce que tu vas?")

3 - They seldom consider why they feel the need to say "Paul and I" instead of "I and Paul", or why, if one is not supposed to say "You like linguistics? Cool! Me too!" one cannot replace "Me too" with "I too" but must rephrase with "I do too."  The actual way in which "me" and "I" contrast is somewhat complex and need not detain us here. But just as a teaser, one might ask why "Me and Paul went" is somehow logically "wrong" but French "Paul et moi sommes allés" is fine (and "*Paul et je sommes allés" is incorrect.) Are the French logically deficient, or are highschool English-teachers being assholes for no reason? My money's on the latter.

4 - Indeed, this has been true for a thousand years. Medieval Arab grammarians, when they write about "mistakes" made by the uneducated (the "Laħn al-ʕāmma" genre), are clearly only referring to colloquial-influenced mistakes made by those who attempt to use Literary Arabic but whose education did not reach sufficient superfluity to allow them to use it perfectly. With only a few exceptions (such as Ibn Khaldun, who wasn't a grammarian, and couldn't have even been a successful one had he wanted to be, given his nasty habit of thinking for himself) Arabic scholars before the 18th century have not really concerned themselves with the notion of native Arab speech-habits possessing rule-based features, beyond the notion that speech in 7th century Arabia had rules which Arabs of later eras ceased to obey (often, and in a spectacular proxy for mere racism, this would get ascribed to corruption by non-Arabs who couldn't keep it pure and made things chaotic.)

5- Similar things could be said about other aspects of language-culture interaction. It is commonly said, for example, that diglossia is a problem for literature because it means that writers must essentially master a second language (and literary Arabic can be, and has repeatedly been, experimentally shown to behave, neurologically, like a second language in the brains of native Arabic-speakers.) Those who make this case are either ignoring or ignorant of the fact that most men and women of letters throughout history have had to do so. Aside from the falsity of the presumption that one is by definition more expressive in one's "first" language than any other, it has been a  pervasive tendency of "elevated" composition, in many cultures all over the world and throughout history, to display markedly conservative, archaic, formal or anomalous features relative to the author's natural speech. Du Fu wrote his poems in a somewhat transformed version of what the Chinese of a thousand years before him were speaking, and the grammar of his verse was as alien to that of his speech as that of Latin is to modern French. Though there are exceptions to this, they are not nearly numerous enough to be mistaken for instances of a rule. This is true of Greek, for example, in Hellenistic and Byzantine times thanks to the "Atticism" that preponderated among the literate classes, of which a bastard child persisted into the first half of the 20th century in the form of Katharevousa.
I could go on about how while diglossia may cause some problems, most problems blamed on it are more directly the result of related, but distinct issues, but I don't want this footnote to get out of hand. To take just one more example, the linguistic problem concerning the Qur'an is not, as it may appear, the fact that the language of the Qur'an is so remote even from the literary Arabic of today, but rather that the text is not glossed into colloquial, or at least Modern Standard, Arabic so as to provide Arabic-speaking Muslims with the same linguistic resources that their Persian-speaking, Sindhi-speaking or Urdu-speaking coreligionists have had for centuries. The problem isn't the language gap, but the failure to acknowledge it productively. (Consider how much easier it often is for native English-speakers who know French to understand Shakespeare in French translation.)