• Content Creators

Interview with Harvard Teaching Fellow Katie B. Kohn on Feminism and Creative Writing

Updated: Sep 4, 2019

Ayesha Khan | Cambridge, Massachusetts


My classmates and I with our teacher, Katie

During my time at Harvard University this summer, I was lucky enough to have an amazing teacher who was extremely passionate about creative writing and feminism. I had the chance to sit down with Katie, a PhD student and teacher at Harvard, and ask her a series of questions about her experience at Harvard, her journey in writing, and her take on feminism:


1. Tell me about yourself


Katie at Harvard University

When I came to Harvard for a PhD program in Film & Visual Studies, it was with a background in philosophy and cinema studies six years, four countries, and two degrees in the making.


My only background in writing was the screen and playwriting I'd done as an undergrad at NYU... I knew I wanted to keep working on some projects I cared deeply about, but I was too scared to transition from script writing to prose, and anyway, I had other "safer" options ahead of me, like the doctoral program...

In that time, I learned a few important things: I love teaching, I don't love academia, and the passion I had for my stories had become stronger than any fear I had about telling them. So I started writing fiction and eventually, teaching it. These days, I am not working towards a career in academia, though I can't ever imagine giving up teaching...Right now, I'm just editing a manuscript so a very supportive literary agent and I can make that happen!


2. What’s the best part about being a writer and a student in writing?


Sleeping in? Being able to say Candy Crush and crossword puzzles are "part of my process"? That might sound silly, but I'm serious! The worst thing about writing is...the writing part. If I could snap my fingers and get my vision on the page, I would! I have no shame about that. But as grueling as the writing itself may be, it is a privilege to be able to prioritize any kind of creative work, and not just because it often means investing something you believe in. Having flexible hours and working from home is beyond priceless.


3. Diversity and feminism are obviously very relevant topics in the US and around the world. Do issues relating to these topics affect your writing?



A lot of the my work--both fiction and non--comes from a place of feminist interest and inquiry. My master's thesis was on feminist film criticism and "feminine" genres like rom coms and "chick flicks" and the last few years I've curated film series for the women's history library at the Radcliffe Institute for Advanced study. Not all of my academic work deals so directly with gender studies, and neither do all of my fiction projects. However, the manuscript I am currently editing is an explicitly feminist adventure. There's actually only one character in it who is a boy, and he disappears very early on!


4. Does the way women are portrayed in literature/popular culture bother you?



Yes and no! I do have some really persistent pet peeves about the way female characters are represented in contemporary popular culture, particularly in stories driven largely by nostalgia like "Stranger Things." I'm pretty cynical about the ways male writers restore problematic old tropes to contemporary stories, particularly when they try to repackage them as progressive or even "feminist" storylines.


Generally, however, I feel like the last two decades have been a remarkable time for female characters in popular narrative culture, from literature to film, comic books, and TV.


For female authors, filmmakers, and artists too. In particular, I love that every year seems to include more and more stories featuring female protagonists and especially "anti-heroes." It's hard to make sweeping claims, but generally speaking there have been times when flawed, unstable, or even unlikeable female characters have not been so welcome in popular culture.

Female characters can tend to follow the "fairy tale" model, with women and girls represented as either wholly virtuous or outright villains...Today's "Disney princesses" might be spunky, quirky, adventurous, or "headstrong"...but they are still opposed to villains and foils whose flaws are clearly coded as feminine. From the fawning peasant girls who faint at the sight of Gaston to Ariel's small-minded sisters, contemporary fantasies don't just give us "bad women" in figures like the vainglorious and vengeful Ursula, they also paint a clear picture of what it means to be a "good" or "bad" girl. So what does it mean if we say that "good" girls are tomboyish, curious, adventurous, and stubborn while "bad" girls are--well--girly?


What I think we are seeing today is far extra exciting, even amongst Disney Princesses. I was really shocked and impressed with Frozen came out, not because it featured a "Disney Princess" with no romantic story line, but because both of its female protagonists were allowed to be imperfect, interesting, realistic, and capable without also throwing "girlishness" or femininity under the bus...The book series I'm working on now very much aspires to contribute more morally complex anti-heroines to the world.


Overall, I think a major misunderstanding to think that for a work to be "feminist," it needs to feature female characters who are "strong" in the sense of stoic, proactive, or strictly heroic...When I think of "feminist" stories, I simply think of narratives that tap into or directly address issues that resonate with (and are often produced by) women and girls in ways that attentively commit to their interests, fantasies, and concerns...

All stories are born out of characters facing compelling conflicts; for me, a "feminist" story is simply a story which authentically privileges and prioritizes the conflicts that currently concern women and girls, including trans women and girls.


5. What advice do you have for women who want to write for a living?