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Asking for it, by Louise O'Neill
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'A soul-shattering novel that will leave your emotions raw. This story will haunt me forever. Everyone should read it' Guardian In a small town where everyone knows everyone, Emma O'Donovan is different. She is the special one - beautiful, popular, powerful. And she works hard to keep it that way. Until that night ...Now, she's an embarrassment. Now, she's just a slut. Now, she is nothing. And those pictures - those pictures that everyone has seen - mean she can never forget. BOOK OF THE YEAR AT THE IRISH BOOK AWARDS 2015. The award-winning, bestselling novel about the life-shattering impact of sexual assault, rape and how victims are treated.
- Sales Rank: #1358223 in Books
- Published on: 2015-12-02
- Original language: English
- Dimensions: 9.17" h x 1.02" w x 6.42" l, 1.39 pounds
- Binding: Paperback
- 352 pages
Review
'Riveting and essential' New York Times Brilliant, harrowing Observer A brutal and shocking novel that strikes to the heart of the current debates around consent Stylist 'Establishes Louise O'Neill as a literary tour de force' Irish Independent A difficult, confronting and vital read Elle Heartbreakingly accurate ... handled with both sensitivity and unflinching honesty. A compelling and brave story that deserves to be read by all Heat A stunning portrait of a girl, a family and a town in trouble Irish Examiner A brutal, unflinching look at the culture of slut-shaming and trial by social media. It broke my heart. Red Magazine A brave and important book about rape culture, sexism and victim-blaming in modern society. Telegraph Bold, brave ... and brutal Bookseller O'Neill has a keen ear for the catty argot of teenage girls and her writing is razor sharp ... unsparing and unsentimental Independent A razor-sharp look at gender issues - Glasgow Herald Glasgow Herald Riveting ... a timely, gripping and vital novel. Western Mail A nuanced and insightful commentary on the intricacies of teenage female friendship and the internal and external pressures that young women face as they reach adulthood Irish Mail on Sunday Blistering, unapologetic and vitally important -- Anna James This unflinching, timely novel asks important questions about rape culture, sexism and social media abuse, tackling taboo themes with subtlety and sensitivity -- Anita Sethi Observer
About the Author
Louise O' Neill was born in west Cork in 1985. She studied English at Trinity College Dublin and has worked for the senior style director of American Elle magazine. She is currently working as a freelance journalist for a variety of Irish national newspapers and magazines. She lives in Clonakilty, west Cork, her website is louiseoneillauthor.com and you can find her on Twitter @oneilllo
Most helpful customer reviews
2 of 2 people found the following review helpful.
Reality: not all rape survivors are likable or sympathetic, and it's still not their fault
By Pink Amy
ASKING FOR IT is one of the most difficult reviews I've ever written because it's such an uneven book. The first third of this important book we're introduced to Emma, an entitled, unkind eighteen-year-old young woman with a difficult mother. She's quite popular, though mean to her friends. She has few sexual inhibitions, including whether her hookups happen to be dating her friends. This part of the story was so tedious, I almost looked forward to Emma's rape so something would finally happen.
The night she's gang raped and photographed, Emma dresses provocatively drinks and does drugs. None of this means she deserves to be raped, but Louise O'Neill brilliantly set up a scenario in which the victim/survivor made very bad choices and if not for bad decision after bad decision, she would not have been raped in the same manner. None of this makes the rape her fault. None of this means she deserved what happened or makes the young men any less culpable. Victims are not responsible for preventing their rapes, rapists are responsible for not raping. Emma could have walked into the party naked, drunk and high and being raped wouldn't have been her fault, especially while unconscious.
Emma becomes sympathetic only after her rape, the abandonment from her friends and the "slut shaming" she endures, but she never became more likable. And that's okay, because she's still a victim/survivor even if we don't like her. She still deserves justice and empathy.
O'Neill did a great job showing PTSD and how lack of familial support, except eventually from her brother, impedes recovery. ASKING FOR IT felt very realistic, much more so that other books about rape survival. There are no easy answers and the aftermath of assault doesn't come in s pretty package tied up in a bow.
0 of 0 people found the following review helpful.
I am a Thing to be Used
By Jonathan
David Mamet's film adaptation of his play Oleanna bears the tagline "Whatever side you take, you're wrong." I can think of no better phrase to describe the impossibility of discussing a novel dealing with rape. The moment one critic calls the novel "powerful," another will argue that all novels dealing with rape are considered "powerful" solely because of the subject matter and not because they bear any artistic merit. The moment one critic dares say the novel is lacking in some area, another will say that critic is part of the problem, is promoting the culture that allows--indeed, endorses--rape.
How can I possibly discuss this book without being seen as explicitly pandering to my audience?
I can't.
How can I, as a man, criticize this book's failures without being seen as implicitly endorsing something so upsetting that I had to take better than three weeks just to read the entire book?
I can't.
And Asking For It is an abject failure, but not because the subject matter is such that critics will roll their collective eyes and say, "Well, of course rape is bad," but because what the novel does right it does so right that it makes what it does wrong all the worse.
Consider Emma's thoroughly unlikeable personality. Ostensibly it's meant to illustrate that any woman can be raped, including the thoroughly unlikeable. Emma, however, never comes across as Queen Bitch so much as a typical and, frankly, quite boring teenage girl: vain, self-centered, and painfully insecure. This undercuts her challenge to the reader's sympathies. Because she is not likeable enough to elicit a strong sense of sympathy and because her less flattering personality traits are suspect, the reader is almost forced to view her as a sad, uncompelling character of no real aspect. Arguably, the novel does suggest O'Neill wasn't really interested in Emma as a character beyond using her to challenge reader notions of who a victim could be, but such a choice runs the risk of alienating the reader. It's difficult to say that entirely happens here, but the aftermath of the rape is certainly weakened because the reader goes into the second half of the novel feeling precious little for Emma.
But then the rape occurs, and for fully half of the novel, the reader is ensconced in Emma's never-ending nightmare. Here, the novel rises above its contemporaries to give something sorely lacking in rape literature: a genuinely frightening and heartrending look at the psychology of a rape victim before the victim even attempts to begin coping. The isolation, the resentment, the accusations: all of these are in the novel, and rightly so, but they are not given the primacy that so much rape literature relies on. Instead, O'Neill foregrounds Emma's inability/unwillingness to acknowledge events. She cannot remember events--there is a hole where those memories should be--and because of this, she cannot bring herself to acknowledge that she was a victim of her rapists. Even when looking at photographic evidence far more disturbingly described than in any other YA literature I've read, Emma refuses to believe that she didn't ask for it to happen. She never outright says she did ask for it, thought she does say she did not ask for the aftermath, but she cannot bring herself to dismiss the possibility. By coming forward and saying she was raped, she, in her mind, destroyed the lives of everyone involved, for which she feels an overwhelming sense of guilt. She hates herself for what happened after the rape.
I repeat: she hates herself.
And O'Neill is relentless on this point. Nothing else happens in the second half of the novel, save for the last twenty pages. Emma spends the entire second half loathing herself and begging for some kind of escape. She goes through the motions of getting better, of seeking medical and psychological treatment, but at no point does she think she actually deserves anything but her suffering. She did this. She did this to herself. And reading the second half of this novel is brutal.
Up to a certain point.
One could argue that little of substance happens in the first half of the novel, aside from the rape itself, but whereas the first half benefits from being narratively interesting, the second half relies entirely upon being psychologically enlightening, and thought it is, it is also a one-trick pony that wears out all too quickly. As harrowing as Emma's mind is, there is a point at which we begin longing for the narrative to move on to something else. O'Neill's point appears to be that victims can't always move on, that they sometimes become stuck in the trauma due to a lack of support and understanding, but because the reader feels so little for Emma going into the rape, it's difficult to sustain the reader's sympathies for nearly 160 pages of non-stop anxiety and self-loathing.
As an adult well-versed in literature lacking a strong plot, I did find the second half compelling, but I struggle to imagine the average teenager sitting down with this novel and not becoming, for lack of a better term, bored--guiltily so, I'll concede--with Emma's misery, if only because nothing else happens. YA literature is at its best when it remembers to put the story first and allow the themes to branch off from the story organically. Asking For It asks much more of its audience: its asks for a willingness to view excruciating pain without offering any relief. It is a bold gamble on O'Neill's part, but I am hesitant to call it successful.
Unquestionably unsuccessful, however, is O'Neill's attempt at writing a novel dealing with rape culture. The novel--when it actually attempts to introduce the issue of rape culture at all--relies entirely on the superficial. Dressing provocatively means that a woman is asking for something bad to happen to her--this is the deepest that the novel probes. At no point does the novel even attempt at addressing why society responds the way it does; it merely acknowledges that it does response the way it does. The novel attempts to guilt its reader into accepting rape culture as a fact without evidence, without discussion. The worst offender of this is the novel's treatment of Emma's family. Emma's mother, Nora, a vapid excuse for a human being in the beginning made even more vapid by the stress of coping with her daughter's rape, is portrayed as an angry alcoholic solely due to her daughter's rape, and Nora's anger is dismissed as inappropriate and unsupportive. Of course she is angry! Her daughter was raped! Were she not angry, she would be competing with Medea for the title of Worst Mother Ever. Even more alarming is the novel's treatment of Denis, Emma's father. Denis distances himself to the point of refusing to speak to his daughter after her rape. Emma recalls her father asking why allowed this to happened, why she put herself in that situation. As is typical of so much rape literature, it ignores any complexity in favor of reinforcing the pre-supposed conclusion that rape victims are not supported the way they need to be. Again, of course he is angry! His daughter was raped! In his distance, he's not saying that he doesn't love his daughter; he's saying that he failed as a parent, not only to instill the values that would have limited her promiscuity but also to protect his child from harm. His distance comes not necessarily from an absence of love, but from an overabundance of guilt. In his anger, he lashes out at those nearest because he has to go somewhere with his anger, however inappropriate those places might be. He is trying to understand what cannot be explained: why does this happen?
Perhaps that is why the novel fails to adequately address rape culture: because rape culture seeks to explain something that ultimately cannot be explained. Why does nature produce aberrance? It just does, maybe not intentionally, but every so often, nature produces monsters. Rape culture believes that rapists are products of societal influences and seeks to reveal those influences and, by revealing them, eliminate them. The unfortunate consequence is that rape culture reduces the individual's accountability. A boy who rapes a girl did a bad thing, yes, but he was the product of a society.
Sometimes nature produces monsters, and sometimes those monsters just hate women.
0 of 0 people found the following review helpful.
Incredible read that is both thought provoking and heartbreaking.
By Tess
I simply could not put it down. I have not read a book that has touched me like this book has in years. Louise O'Neill's writing is fantastic. The main character Emma at times is not all the likeable but the results of a night out with too much too drink, wanting to be cool and needing to be the popular one result in unthinkable consequences. It is an emotional roller coaster of a story. As recent debates have being aired after the case in the USA of the rape of a young girl who was intoxicated, if you go out and get drunk you expect a hangover and not to be raped. The simple fact states that women are still blamed for being raped and not in some middle eastern country but here in the so called first world, where men and women are "equals" She wore a short dress, she was drunk, she has a reputation for sleeping around and this book just opens your eyes to this ugly truth that if we are all a little bit honest there is that niggling thought at the back of our heads when we hear of a rape where the girl knew the man/men who attacked her. As I mentioned early this is not a delightful read but it is most definitely a most read.
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