Speak and Shout from a Man’s Perspective

By Guest Essayist: David Win | Categories: Benefits of Humanities, Guest Essayists, On Censorship

Laurie Halse Anderson’s book Speak has been accused of being anti-male. There’s also Anderson’s follow-up work Shout: The True Story of a Survivor Who Refused to be Silenced. It’s a poetic memoir written during the height of the MeToo movement, which has been characterized by book banners as containing political propaganda.

But are these books really anti-male? Guest essayist David Winn provides a thoughtful and insightful rebuttal to such accusations.
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aurie Halse Anderson’s Speak has faced controversy for decades due to its portrayal of sexual assault. Some critics have mischaracterized its content as “soft pornography” or “political propaganda,” particularly in states like Missouri, Nebraska, and Florida. By 2021, accusations arose that Speak was anti-male and would encourage harmful behaviors, such as increasing abortion rates. Despite these challenges, Speak is ultimately about survivorship, giving voice to those silenced by trauma—particularly its protagonist, Melinda, who struggles to reclaim her identity after experiencing sexual assault. Far from being a political statement or anti-male, Anderson’s work is deeply personal, exploring the emotional aftermath of violence.

In 2019, Anderson took her fight against censorship to the next level by publishing Shout, a memoir that confronts issues of sexual assault, silencing, and the #MeToo movement head-on. While Shout takes place in a more contemporary social context, it shares many thematic similarities with Speak in its exploration of survivorship, trauma, and the power of breaking silence. Just like Speak, Shout has also faced challenges and bans, despite its relevance to ongoing cultural conversations about sexual violence and the imperative for survivors to speak up. Anderson’s choice to confront such difficult material in both novels reflects her dedication to challenging the culture of silence that so often surrounds sexual assault, especially in young adult literature. To this day, she is still fighting censorship, showing up at school boards, going on interviews such as NPR, and her own digital activism.

“Soft Pornography” Accusation

The argument that Speak promotes “soft pornography” primarily stems from the depiction of Melinda’s sexual assault. Some critics, particularly in conservative regions like Missouri and Nebraska, misinterpret the scene as inappropriate sexual content. However, this view fails to recognize the scene’s purpose: Speak portrays the trauma of the assault through Melinda’s perspective, focusing on her emotional and psychological aftermath rather than any graphic details. Anderson’s careful treatment of the subject focuses on the consequences of the violence, not the violence itself.

Fundamentally, literature is a space for discussing difficult but necessary topics, especially for young readers who may be experiencing similar trauma. Removing such books due to discomfort over subject matter can rob adolescents of an opportunity to find validation in their own experiences. Rather than exploitative, Speak presents the sexual assault as an integral part of Melinda’s journey to reclaim her voice and identity, making it more about recovery than shock value. Dismissing it as “pornography” silences important conversations about consent, trauma, and healing.

“Political Propaganda” Accusation

After 2021, as debates around Speak continued, another criticism surfaced—Speak was labeled “political propaganda,” with some accusing it of promoting anti-male sentiments. Critics claimed that the novel could lead to an increase in abortion rates or misrepresent men, framing them all as potential aggressors. This type of accusation stems from the novel’s critique of rape culture, which examines how societal norms perpetuate the silence around sexual violence. Rather than targeting men specifically, Speak focuses on the systems that allow violence to persist by silencing survivors, reinforcing that both men and women can play roles in supporting or dismantling these systems.

Far from being anti-male, Speak critiques systems of power that allow violence to flourish, and this critique is essential for all genders. Rape culture is a societal issue, not a gendered one. Both men and women can be affected by these harmful systems, and literature like Speak creates space for deeper conversations about how these structures work. Moreover, sexual assault affects all genders. For instance, studies show that 1 in 6 men have experienced sexual abuse or sexual assault. This statistic underscores that sexual violence is not solely a women’s issue. This makes Speak even more relevant for young readers who need to understand that survivorship is not limited to one gender.

Importance of Breaking the Silence

At its core, Anderson’s work, including her memoir Shout, is about breaking the silence surrounding sexual violence. Her anger over the continued silencing of survivors drove her to write Shout, published 20 years after Speak. Shout came out amid the rise of the #MeToo movement, founded by Tarana Burke in 2006 and gaining global attention in 2017, further highlighting the urgency of addressing sexual violence in society. Another study shows forty percent of rapes and sexual assaults were reported to police in 2017, but only about 25% were reported to police in 2018.” The book is a raw reflection of Anderson’s own experiences and frustrations with the lack of progress, adding a deeply personal dimension to the broader social critique.

While Speak fictionalizes Melinda’s experience, Shout serves as Anderson’s direct contribution to the #MeToo movement, amplifying survivors’ voices and advocating for accountability. The banning of these books—whether due to accusations of “political agendas” or “inappropriate content”—only reinforces the culture of silence that Anderson and #MeToo aim to dismantle.

Conclusion

Laurie Halse Anderson’s Speak and Shout remain essential works for addressing sexual violence, despite accusations of being “soft pornography” or “political propaganda.” These claims distract from the novels’ fundamental purpose: to foster dialogue about survivorship, healing, and dismantling rape culture. Whether exploring Melinda’s fictionalized experience in Speak or Anderson’s own story in Shout, these books encourage readers to confront uncomfortable truths and break the silence that enables sexual violence to persist. Rather than banning these works, educators and readers alike should recognize their importance in creating empathy, awareness, and social change.

This is the fundamental reason I have written this essay. As a young male sexual assault survivor, when I encountered this book, I was able to learn that I wasn’t alone. As I read this book in middle school, I learned the vocabulary of what had happened to me. I had gotten sexually abused and assaulted, and it began a hard and arduous process of reconciling what had happened to me. I have to thank Melinda and Laurie Halse Anderson for this. I may have never been able to reclaim my voice, and start speaking if not for this book.

As book bans have drastically risen, Speak and Shout, are almost always on the list. Book banning, especially in the context of young adult literature, can have far-reaching consequences. By removing these books from schools and libraries, those most in need of support are denied access to stories that could help them process their own experiences. The very act of banning Speak reinforces the culture of silence that Anderson’s work seeks to dismantle.

This personal connection is why book bans are so damaging. For every survivor like me who found solace in Speak, there are countless others who might never have the chance if these books continue to be censored. The rise in book bans not only targets works about sexual assault but also restricts access to critical stories about race, gender, and identity. This wave of censorship disproportionately affects marginalized communities, whose stories are often deemed too controversial or political for public consumption. These works are vital not only for their literary merit but also for the crucial role they play in fostering empathy, understanding, and social change. As book bans continue to rise, it is more important than ever to defend the right to access literature that challenges the status quo and empowers survivors. Anderson’s work offers a powerful reminder that silence is not the solution—and that speaking out is an act of resistance and healing.

By banning these books, we are not protecting young readers; we are denying them the chance to learn, grow, and find the strength to reclaim their own voices.

Essayist bio:

David Win is an undergraduate student at Washington University in St. Louis, predominantly working in the non-profit and advocacy space. He states, “in this space I come as a survivor and book lover.”