Happy 10th Birthday Finkbeiner Test!

Yesterday I was interviewed about the Finkbeiner Test for the Change Artist Podcast (episode will go live at a later date). While gathering up some links to share, I realized that it was exactly ten years ago — January 17, 2013 — that Ann wrote the LWON post that would become the world-renowned Finkbeiner Test

Time flies. And yet, the Finkbeiner Test persists. Ann and I were recently interviewed about it on the podcast Lost Women of Science. Spoiler, the episode starts by saying that the show “fails that test all the time.” The hosts, Carol Sutton Lewis and Katie Hafner, felt attacked. Ann and I stood firm. We aren’t asking people to stop highlighting women whose careers had been obscured or obstructed by sexism. Instead, we’re asking to stop framing every single story about a female scientist as if her gender was the most interesting or important thing.

As I said on Lost Women, “What we’re saying is that every goddamn story about a woman scientist doesn’t need to be about how she’s a woman and isn’t it cute that she’s a woman and isn’t it hard for her because she’s a woman, and let’s make sure she’s also a good wife and a good mother because otherwise, what value does she really have?”

The original Finkbeiner Test post is reprinted below.

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This post was originally published on March 5, 2013 at Double X Science, a now defunct website about women in science. Since then, it’s gotten quite a bit of attention, including a story in the Columbia Journalism Review, a mention in the New York Times, and even its own Wikipedia page. The Finkbeiner Test also has been the subject of a master’s thesis and it’s been used in a European art project. Although it was originally designed as a test for detecting gender bias in profiles of female scientists, it can be applied to any profile of a woman in her profession. Since we published the test, people have asked a lot of questions, and Ann answered some of them recently here. Because the Double X Science website has gone dark, I’m republishing the post here.

Men dominate most fields of science. This is not news, and countless projects have sprung up to address the disparity. There are associations, fellowships, conferences, and clubs for women in science, and with these, efforts to highlight women who are making it in these fields.

Campaigns to recognize outstanding female scientists have led to a recognizable genre of media coverage. Let’s call it “A lady who…” genre. You’ve seen these profiles, of course you have, because they’re everywhere. The hallmark of “A lady who…” profile is that it treats its subject’s sex as her most defining detail. She’s not just a great scientist, she’s a woman! And if she’s also a wife and a mother, those roles get emphasized too.

For instance, in a profile of biologist Jill BargonettiThe New York Times quotes one of Bargonetti’s colleagues saying that, “Jill makes a fantastic role model…because she is married, has two children and has been able to keep up with her research.” It’s hard to imagine anyone saying this about a scientist named Bill. The story’s subtitle piles on, reinforcing the stereotype that women are nurturing and selfless with “A Biologist’s Choice Gives Priority to Students.”

The headline on this recent profile of neuropsychologist Brenda Milner in The Globe and Mail reads, “A scientific pioneer and a reluctant role model.” The piece explains that “Dr. Milner was determined to compete with the best scientists, male or female” and that “Her resistance to being recognized as an outstanding woman seems to stem from her desire to be a great scientist in general.” Yet the article fixates on Milner’s sex as if it’s the most remarkable thing about her. The occasion for the piece, Milter’s induction into the Canadian Science and Engineering Hall of Fame, warrants only a few sentences.

Ann Finkbeiner, my colleague at Last Word On Nothing, has had enough. As she explained here, she plans to write about an impressive astronomer and “not once mention that she’s a woman.” It’s not that Finkbeiner objects to drawing attention to successful female scientists. She’s produced many of these stories herself. The issue, she says, is that when you emphasize a woman’s sex, you inevitably end up dismissing her science.

I asked her if there was a particular story that epitomized the problem, and she pointed me to this two page profile of Vera Rubin, published in Science in 2002. (Full text is behind a paywall, sorry.) Twelve of the story’s 24 paragraphs mention Rubin’s sex or gender roles. “Four paragraphs on her science, and she was the one who found dark matter,” Finkbeiner says.

It’s time to stop this nonsense. We don’t write “Redheads in Science” articles, so why do we keep writing about scientists in the context of their gonads? Sexism exists, and we should call it out when we see it. But treating female scientists as special cases only perpetuates the idea that there’s something extraordinary about a woman doing science.

So Finkbeiner has adopted a new approach. “I’m going to cut to the chase, close my eyes, and pretend the problem is solved; we’ve made a great cultural leap forward and the whole issue is over with,” she says. “And I’m going to write the profile of an impressive astronomer and not once mention that she’s a woman.” In other words, “I’m going to pretend she’s just an astronomer.”

It’s a fine idea. In the spirit of the Bechdel test, a metric that cartoonist and author Alison Bechdel created to measure gender bias in film, I’d like to propose a Finkebeiner test for stories about women in science. The test could apply to profiles of women in other fields, too.

To pass the Finkbeiner test, the story cannot mention

  • The fact that she’s a woman
  • Her husband’s job
  • Her child care arrangements
  • How she nurtures her underlings
  • How she was taken aback by the competitiveness in her field
  • How she’s such a role model for other women
  • How she’s the “first woman to…”

Here’s another trick. Take the things that are said about a female subject and flip them around as if they were said about a male. If they sound ridiculous, then chances are good they have no business in the story. For instance, in his Guardian profile of preeminent physicist Lisa Randall, John Crace writes, “No matter how much she bends time, there’s no escaping the fact that she’s just turned 43 and that if she wants to have kids she’s going to have to get on with it soon.” No one would possibly write such a thing about a man of her age and status.

Yes, there are seven items on the Finkbeiner test, but it’s easy to pass, if only you try. James Gorman’s profile of biologist Hopi Hoekstra in The New York Times last month exemplifies how it’s done. In the piece, Gorman conveys Hoekstra’s accomplishments, her management style, and her character without ever putting her into a gender roles box. Over at Smithsonian, Virginia Morell’s profile of climate researcher Susan Solomon passes the test, and so does Steve Kemper’s story about biologist Kay Holekamp. These stories make great reads, because they focus on outstanding research and follow a simple rule of thumb, in case you forget the seven items on the Finkbeiner test: Write about the subject as if she’s just a scientist.

Fear of Mountain Lions

My wife pieced together a kill in our driveway, sending me pictures of deer tracks posed in a casual walk followed by a sprawl, deer fur in the snow, and faint signs of melt, a couple hours old at most. The next picture was of cat tracks the size of an adult human palm, a good sized mountain lion dragging the deer. A path like that of a saucer sled was left down the drive where the mountain lion gripped the deer’s throat in its teeth and pulled it a couple hundred feet to the canyon’s edge below our house. My wife took pictures and video all the way, and where it hauled the body over the snowy rimrock, her text said she stopped following it. If she were with me she might, but alone no way.

Later, we laid together in bed in the flicker-light of a fire and she recounted finding fresh tracks and studying the kill pattern. The deer, she said, were coming through together, a line of them, no sign of scatter before the attack, so it was swift, not a chase. The kill, she said, struck her as quick, quiet, dutiful, and done.

It happened right behind the house, between the firewood and solar panels, which gives a person pause going out for wood or clearing snow from the panels. We see plenty of cat tracks around here, benches of rimrock in a high desert piñon-juniper biome, perfect place for travel and ambush. In winter they follow deer like sharks trailing a shoal. When deer tracks are around, there will be mountain lions. The rest of the time, snow is mostly blank.

Lately, we’ve been seeing lots of deer tracks and a fresher mountain lion moving through. I go out for wood not afraid so much as aware. I don’t often worry about being attacked. When deer and elk populations dwindle in mountain lion terrain, they tend go down in size, targeting porcupines and house cats. Attacks on humans are rare. Where we live, deer and elk are plenty and lion health is generally good, making a physical confrontation with humans less likely. Bad encounters tend to come from starving or curious juveniles or elders barely holding onto their teeth, not a cat that takes down a full-grown mule deer in a single pounce.

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where ideas come from (wrong answers only)

Definitely an idea. (In my mind, ideas look like the Ghostwriter.)

First: what is an idea? Its physical manifestation must be some clump of brain cells activating in some very specific pattern, but the result feels like something more. In Big Magic, Elizabeth Gilbert describes ideas as beings that travel from person to person, bestowing their gifts upon an individual. She describes an idea she had for a novel that never got off the ground, which she discovered, years later, had worked its way to her friend, the writer Ann Patchett. Their theory was that the idea was transmitted by a kiss on the cheek.

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Hope for the Alarmed: An Interview with Madeline Ostrander

A book resting on a tree stump among soil and verdant greenery. The book cover says AT HOME ON AN UNRULY PLANET: FINDING REFUGE ON A CHANGED EARTH. An illustration depicts the silhouette of a house made up of forest imagery. Under the illustration is the name MADELINE OSTRANDER.

Madeline Ostrander is a passionate and talented science journalist and a good friend. Her must-read book At Home on an Unruly Planet: Finding Refuge on a Changed Earth is on shelves now.

KATE: What initially sparked this project for you?

MADELINE: Like most people who’ve been writing about climate change for a long time, I’ve dealt with a long sense of frustration about how difficult it is for people to grasp the subject, how divisive it’s been, and how even people who understood the concept didn’t seem to understand why it was urgent or what it had to do with their lives. I was always searching for ways to convey that. Then I edited an issue of YES! magazine about resilience and started doing some reporting in the Bay Area with environmental justice groups. I noticed that those groups talked in a very tangible way about how climate policy and climate change were going to affect their communities—What will this mean for us? Will our communities and our people be left out?—and this created a much more concrete way of talking about it. They also asked questions like How can we build our own resilience? How can we think about resilience in our own neighborhoods and cities, the places where we live?

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I Hate This Canyon. But I Love That Other One. Why?

Browns Canyon, very close to, but different from, Bighorn Sheep Canyon on U.S. 50.

Two canyons loom large in my life right now, and have for the past year and a half. This is not a metaphor for something, although maybe it could be. One canyon I visit on purpose, for joyful hikes with my baby, my older daughter, and sometimes a friend or two. The other canyon is, shall we say, less full of joy. It is a beautiful canyon, but I am having difficulty seeing it this way. This canyon is a cleft in the mountains that I must transit so I can get from point A to point B.

The first canyon features a winding, narrow road that fills with tricky shadows no matter what time of year I visit. It has a bubbling creek, which provides cool breaks on hot summer hikes and a good 10-degree temperature drop in winter. It is full of fir, spruce, pine, aspen and oaks, and carved with hiking trails from top to bottom. This canyon is probably my favorite place in the city, and I visit as often as I can.

The second canyon features a winding, narrow road that fills with shadows any time of year. It has a rapidly coursing river, the Arkansas, which provides plenty of spots for fishermen and float-tubers to slowly pull off or rejoin traffic, slowing me down either way. It has a good general store halfway through it, which sells tasty fresh sandwiches, but that’s about all I can say in its favor. It is full of pine, rocks, and bighorn sheep, for which it is named, and which I have almost hit on more than one occasion. It is one of my least favorite spots in southern Colorado, and I have to go through it any time I try to go skiing or camping.

I thought about this contrast the other day, while driving through Canyon A so my toddler could sleep in the car. The shadows made it hard to see and I kept flipping my sunglasses down and up. A mountain biker appeared out of nowhere, slowly inching up the road on the icy shoulder. Plenty of Sunday looky-loo drivers went too fast, too slow, or too close to the middle, but I didn’t find this annoying.

A fall morning hike in the good canyon.

I had driven through Canyon B earlier that week, for a short ski day, and it pissed me off all the way to Salida. Then a few hours later, it pissed me off all the way back from Salida. The road was in terrible shape after a snowstorm the night before, which really didn’t help, but it was also the shadows and the other drivers that made me so frustrated.

I feel like I should not have such disparate opinions about two places that are otherwise very much alike. Both are made of granite, both are cleaved by bodies of water that start in the mountains I love, both are actually very pretty, both take me places I feel so lucky to wind up. Why should I feel such animosity for Canyon B?

I think it’s as simple as this: Canyon A represents a destination, while Canyon B represents a journey. When I said that to myself, while driving in Canyon A, I almost gasped. By God, those insipid wooden placards they sell at tourist shops are right. “Life is a journey, not a destination.” I don’t like when pablum makes a point, but I will be mindful of this the next time I go through Canyon B.

I will visit Canyon B again very soon and I decided to make it a promise. Canyon B, I will try not to be mad at you. I will look for your namesake sheep, and I will appreciate the icy Arkansas. I will stop at the Cotopaxi General Store, I will wave at the Lone Pine Recreation Area, and I will try not to resent you. I will try not to yell with relief as soon as I hit Salida. The journey is what counts and I am, as ever, trying to remember that.

Photo 1: By Bob Wick, BLM/CC-BY-2.0 ; Photo 2: By the author

Roaring Lion Uncaged

On the eve of 1942, Winston Churchill was in Ottawa on a Zelenskyy-style rally-the-allies speech in the Canadian parliament before the next “invasion season” of WWII was to arrive, having come straight from doing the same in America (you can watch the speech here, known best by its closing line, ‘some chicken, some neck’). He still had his speaking notes in hand when he met with his next appointment, the photographer Yousuf Karsh.

In Karsh he met a man quite used to commanding in a more subtle way, and the two did not strike up the kind of rapport for which photographers often hope with their subjects. Having grudgingly agreed to stuff his speaking notes in his pocket for the photo shoot, Churchill, leaning on a chair, refused to put down his cigar.

“Forgive me, sir,” said Karsh, and grabbed the lit cigar straight out of the British Prime Minister’s mouth. By the time he snapped the shot, the full fury of the Allied leader at war was on display (see above) and the photo became known as The Roaring Lion.

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The moon, right there

The moon and mars above a tall concrete wall

Right there! The moon!

And, right above it, Mars.

Right over my head. Right over your head.

Right over your head, person driving that car! Right over your heads, people who just rode by on the train! Right over your head, person walking your dog! And the dog’s head, too!

And right over my grandparent’s heads and right over the heads of every human to ever walk the earth. And all the other animals, too, the hedgehogs to the dinosaurs. Rising and setting, waxing and waning, right over our heads.

Photo: Helen Fields, Tuesday night

Number the Days

It is me again, with my hopeful calendars! I originally wrote this post in January 2020, when the calendar did seem like a place where you could write something on a certain date and there would be a reasonable chance that it would come to pass.

I feel much more timid now, three years on. Over the weekend, I fell into a bit of a funk, where the calendars (so many still!) seemed like one more burden to add to an already weighted year.

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