Review
Culture
Masculinity
5 min read

Well, what about men? Caitlin Moran’s love letter to masculinity

Gender writing that’s gracious and full of hope. Krish Kandiah reviews Caitlin Moran’s What about Men? Part of the Problem with Men series.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Four men stand silhoutted against a sunset, One stands apart on their phone.
Meilisa Dwi Nurdiyanti on Unsplash.

The first time I met the award-winning Times columnist Caitlin Moran, it was in her home, and she cooked me soup. She couldn’t have been more hospitable, which was particularly appreciated as we had met to talk about advocacy and hospitality for refugees. I found her personable, funny, helpful, and extremely well-connected.  

Despite my deep respect and appreciation for Moran and her writing, I have to admit to being sceptical about her latest book What about Men? published by Ebury Press. It’s a brave thing for a woman to write a book about men. As a married Asian man I wouldn’t dare to even consider writing a book about what it means to be a woman, or white, or single. Yet somehow Moran has done the impossible: she has written a book that is both feminist and masculinist, both refreshing and disturbing, both gracious and frank.  

For a start Moran makes no apology for being a woman, or for writing a book aimed squarely for white straight men, or for dropping the “F bomb” on almost every page, or for speaking explicitly and frequently about sex, genitalia and orgasms. She delves into thorny and controversial issues such as toxic masculinity, rape culture, false allegations, and pornography, as well as giving her opinions on men’s health, communication, loneliness, friendships and fear of death. Moran writes with unshockable candour and yet somehow does so with a lightness of touch, humility and generosity. 

Moran shows us that we don’t live a zero-sum game:  in order for women to win men don’t have to lose and vice-a-versa. 

Here are the five main things that I appreciated about this book: 

1. It is laugh out-loud funny  

There’s no denying it, Caitlin Moran is a brilliant writer. Some of the chapters read like observational comedy resonating rather too accurately with my own experience. Moran has made great use of her large Twitter following and wide male friendship group to provide testimonial and anecdotal evidence for the issue in question, inserting their stories with the perfect comic touch.  

2. It is uncannily resonant 

Despite being born in Des Moines, Iowa, Bill Bryson has become a national treasure in the UK, writing not just one, but numerous books about the English. His outsider perspective helps us Brits to see ourselves through the eyes of those around. Similarly, Moran’s book about masculinity is so brilliant exactly because she is not a man. She cuts through what others would overlook, asking more interesting questions, and pointing to wholly different ways forward.  

3. It makes peace in the gender war 

Moran’s honesty and humility offers us a model of how to transcend the culture wars without avoiding the difficult conversations. Her book suggests that men and women can bring the best out of each other by celebrating our differences. Moran shows us that we don’t live a zero-sum game:  in order for women to win men don’t have to lose and vice-a-versa. She offers a vision of a different way for men and women to relate to each other. As a firm believer in the power, possibility and pursuit of peace whether in the Russia-Ukraine war or the politically-driven culture war or the subtleties of gender war, I sincerely appreciated her efforts.  

4. It celebrates good masculinity  

Moran believes our society will be happier and healthier if men and women find ways to celebrate and appreciate one another.  It was this line in her book that struck me as a vital perspective:  

“There should be no shame in being a man. Being made to feel shame for how you are born is something every other progressive movement is trying to remove and trying to impose it on the one group that didn't until recently feel shame; straight white men, benefits no one.” 

5. It is hopeful 

It’s been a long time since I have read something about gender which was as full of hope as this book is. Sadly, many books in this field are written in a bid to fight one’s corner, including those coming from the church. Moran’s posture offers us a much-needed challenge. If an outspoken feminist, who claims to have only stepped inside a church once in her life, (apparently for Rev Richard Coles’ last service in his parish) has no fear of showing support to men and their rights, or of promoting a Christian sexual ethic of commitment before sex, or of seeking to find a peaceful resolution to the gender wars, how much more should Christians be willing to do the same? 

My one and only issue with the book was when it tended to lapse into stereotypes. Being the sort of man who doesn’t like to fix things (I wish I did and I could), and who doesn’t find it hard to express emotions (have I overshared already?) and who does care about my appearance (check out my latest charity shop find!) I sometimes felt a little misunderstood. Or even worse, unintentionally pigeonholed as not really being Caitlin’s idea of what a man is. This is one of the biggest challenges of anyone writing about gender, how to do so without either reinforcing stereotypes or ignoring genuine difference.  

My overall impression is that this book reads like a love letter to masculinity. Take this powerful paragraph from Moran’s last chapter: 

 “I wish for any man, or boy, everything I have wished for my daughters: that they can be proud of who they were born as; that this will never be a burden to them; that they can appear as they like; that they understand both their own pain, and that of others; that they can love out loud with their whole hearts, because they understand that love is a verb – a doing word; and that they never belittle or destroy what they envy, but recognise it for what it is: almost certainly, a future you wish for yourself.”  

That quote reminded me of St Paul’s defining of love in a letter to Corinthians. It sets a high bar, but I believe it is both aspirational and achievable. I would love to see sentiments like this coming out of the church too, with similar books that can transcend the cultural flashpoints and offer great hope to all who need it. 

Review
Culture
Film & TV
Friendship
5 min read

I’m going to cling on to The Ballad of Wallis Island

This comedy about fans and idols touches the heart too

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A couple site on a sofa, one holds a guitar
Cary Mulligan and Tom Basden.

A few weeks ago, a good friend of mine told me I needed to see The Ballad of Wallis Island.  

He said I’d like it. In fact, my friend went so far as to say he thought it would be one of my favourite ever films.  

And now, having gone to see the new comedy-drama, I can confirm that he was right.  

But just what was it about this film - quite short by modern standards at 1 hour 40 - that marked it out as one I would so obviously enjoy?  

I was considering this as I sat through it, and as my guffaws eventually gave way to tears, I had my answer. 

For when it comes to films - or anything in life, really - it’s those with deeper meaning that most enthrall me. 

And James Griffiths’ new film certainly has this in spades - it’s a “ballad”, after all - as well as a good dose of humour, epitomised by the inimitable Tim Key, whom some of you may know from the 2022 sitcom Witchfinder. 

As someone who grew up on the painfully awkward comedy of Ricky Gervais’ The Office, Key’s character, Charles, the bumbling super-fan of a folk duo, is a perfect blend of the endearing and the ridiculous. 

From the moment “the great Herb McGwyer” (played by Tom Basden) arrives on Wallis Island to be met by a host who swiftly sends him head over heels into the sea, the stage is set for the relationship that will dominate the narrative. 

Devotee and artist, wealthy loner and lonely superstar provide the perfect juxtaposition, whose success is no doubt aided by the fact that both lead actors were also co-writers. 

One suspects the film’s success may also have something to do with the time it spent in development, having first been produced nearly two decades ago as a BAFTA-nominated comedy short, titled The One and Only Herb McGwyer Plays Wallis Island

But having now watched both 2025 film and 2007 short, which is available to watch online, the feature-length version is, to my mind, by far the better of the two. 

And while some of the jokes from the original remain, such as the manner of Herb’s comical arrival and eventual departure - though I won’t spoil the latter for you - there are some notable improvements. 

Chief among them, in my eyes, are the three female characters incorporated into the film: Carey Mulligan, who plays the second half of the McGwyer-Mortimer duo; Charles’ unseen former partner, Marie; and his new love interest, in the form of Wallis Island’s solitary shop-owner, Amanda (Sian Clifford). 

It’s funny to think that my friend pitched the film to me as a “Rom-com”, given that in the original concept there was not even a single female character, let alone any romance. Yet from this viewer’s perspective at least, it is the addition of the three women (including the unseen Marie) that make the film. 

Indeed, this major tweak to the plotline was the very element that ultimately brought tears to my eyes, as I considered the relational loss and loneliness that provide the common ground between the otherwise worlds-apart super-fan and idol. 

I saw the same look in this woman’s eyes as I had seen in Charles’s as he watched his hero play the song that was his former partner’s favourite. 

I was also forced to reflect upon the certain similarity I seem to share with the blundering Charles, having once lived two doors down from the real Carey Mulligan and, during our sole face-to-face encounter, chose the moment to express my great admiration for the music of her husband, Marcus Mumford, before awkwardly and very swiftly beating my retreat. 

I am embarrassed to admit that I even later posted a copy of one of my books into the Mumford letterbox - possibly that very same day - in the hope that it might engender the start of a beautiful friendship.  

Alas, I never heard from them again. 

A similar motivation is clearly the driving force behind Charles’ invitation of his two idols to his home, which is filled with their memorabilia, as the audience is encouraged to consider how they may feel if given the opportunity to host their own heroes. 

“Never meet your heroes,” Charles quips in the original short, but in the film the relationships are allowed to reach greater depths and, in spite of some initial suggestions that Charles’ affections may be bordering on stalker-like, it soon becomes clear that there is nothing sinister about this loveable simpleton. 

The rave reviews the film has received, years after the idea was first hatched, are also surely an encouragement to any of us who may have long held a dream but never seen it come to pass. 

The message of The Ballad of Wallis Island, I believe, is that we should hold onto such dreams and cling tightly to the things that matter most. 

Before sitting down to write this article, I was walking through a local park when I passed a young woman who was sitting on the grass, crying, and I approached her to ask if she was all right.  

It transpired that the woman’s partner had died a year before and that she liked to come back to the tree under which she was sitting to remember him, as it was a special place for them. 

I saw the same look in this woman’s eyes as I had seen in Charles’s as he watched his hero play the song that was his former partner’s favourite. 

"Cling to the things that matter most,” the woman told me, as we parted ways. And that’s certainly the message that both film and chance encounter have impressed upon me.

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