In the book, Bad Feminist, Roxane Gay is not trying to proclaim herself a smarter, chiller nor hilarious feminist than anyone else. Instead, she explores imperfection. This essay embraces flaws, scratches, as well as deep wounds. In her book, Gay describes herself as a failing woman and as a mess of all illogicalities. She also says she is failing as a feminist. The bad feminist autograph allows her to repel the pressure of perfection.
In the first part of the book, Gay points out the satire of women trying to resist the sexiest notion. The author points out that they must be what they are not, for example, being more beautiful, agreeable and more motherly as well, yet still demands faultlessness from their feminist heroes. Gay observes that feminism rules differ from the patriarchies. However, they can equally be strict and fixable.
Also, Gay diagnoses our wish for female character models to signify everything to everyone. Gay terms it as unreasonable to expect Lena Dunham, for example, to solve the race and representation problem in the television. She achieves by making her twenty-something gags and horrifies us with sex scenes that are so uncomfortable to the extent of defying our imagination.
Amidst this internal feminist toxicity, Gay skillfully crosses the margins between pop philosophy consumer as well as critics, between stern academic plus blithe sister-girl, between desolation and optimism, between noble and evil. This is prevalent in the second part of the book whereby Gay permits us to take up the challenge of feminism as we lay down the shield of controlled authenticity. Therefore, we complete the second part of the book being more powerful and vulnerable as well, just like Gay herself.
In the book, Gay focuses on exposing faults so as to encircle that which is imperfect. Gay allows that feminism is bad. The two sections of the book teach us to embrace imperfections since human is to error, but humanity makes you fit in.