Surely #MeToo should be all over The Wife, The Ghost Brush, Colette, and Lady Franklin?

 So we caught the hit film The Wife last night. The movie, based on a novel by Meg Wolitzer, features a tour-de-force performance by  Glenn Close. But what struck me is that you can change the culture, the time period, the mode of expression . . . yet the story remains the same.

— In The Wife, Joan Castleman does the writing . . . but her husband Joe wins the Nobel Prize. Backstory set in 1990s U.S.A.

The Ghost Brush, by Katherine Govier, is set in Japan in the late Edo period. The daughter Katsushika Oei does the printmaking, her father Hokusai takes the credit.

Colette, set in late 19th century France, finds the eponymous heroine doing the writing . . . and her husband Willy reaping the celebrity.

— In Lady Franklin’s Revenge, which unrolls through Victorian England, Jane Franklin emerges as the real explorer, the one who orchestrates the mid-to-late career of Sir John Franklin . . . yet he is the one celebrated in myth and legend.

The Wife, The Ghost Brush, Colette, Lady Franklin’s Revenge . . . surely #MeToo should be all over this?

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