From Smirking Chimp
From Clarence Thomas to Jerry Sandusky to Bill Cosby to Harvey Weinstein, those who doubt their accusers always ask something similar to what Roy Moore said about those who accused him of sexual harassment and assault: "To think grown women would wait 40 years before a general election to bring charges is unbelievable."
What takes so long? Why don't alleged victims head straight to the police?
There are 17 good reasons in this great article.
Let me add two more that we don't talk about enough: shame and fear of disbelief.
I'm not referring to the well-documented victims' fear that they somehow brought the attack on themselves (for example, a woman who worries that she somehow sent mixed signals to a suitor who then raped her), but to something one rarely sees discussed in the media or talked about in typical conversations about victimhood.
Society doesn't like victims. Victims make us uncomfortable. It's probably a vestige of our Darwinian instinct for survival: the monkey clan prospers when its members are healthy and lucky, but finds life perilous around those who are sick and unfortunate. We turn away from the unlucky: the homeless man, the woman whose face bears burn scars, the black guy getting choked to death by cops. Not our business, not our problem, these are troubles to be avoided. I do it too.
This instinct goes double for those who refuse to soft-pedal their victimhood. Not even the most active social justice warriors have Rose McGowan's back in her Twitter crusade against Harvey Weinstein -- she's a bit too angry for comfort. (Her recent drug arrest doesn't help.)
I am not judging humanity here. I am trying to answer Roy Moore et al's question. One of the answers is shame -- the shame simply of being a victim in a shallow capitalist society that loves winners, hates losers and despises victims. Fake it to make it has a corollary: never let 'em see you sweat.
My friend Cole Smithey the critic told me a bit of film theory, after a character in a movie gets maimed (loses a hand, gets shot and acts shot, getting weaker and visibly bleeding, whatever), the audience stops liking and identifying with him or her. There are exceptions. Typically, however, a screenwriter will have a maimed character die, vanish or completely recover. Because no one likes a victim.
Getting fired and libeled by the LA Times reminded me of that anthropological truism. Immediately following my firing, I hardly heard from my fellow cartoonists. (That's rare.) Friends resurfaced after I presented exculpatory evidence. A pair of taints (Loser and Liar) had been erased.
Then I sued the Times for defamation, and things tipped back. Some of my friends stayed true but others dumped me because they were scared that if they sided with me the Times and Tronc might deny them work, also because I'd gone Rose McGowan-y crusade-y. It's true that the LAPD bought Tronc and the Times fired me for the LAPD, but it's weird and anyway, no one likes a victim. Especially not an angry one.
Fear of not being believed is another under-discussed yet potent inhibitor to victims considering whether to step forward, whether by filing a police report or going to the press.
I grew up poor with my single mom and we were short of money. To bring in some cash, my mom hooked me up with a job helping the janitor wash the blackboards after school at my junior high school. Looking back now, it was a situation perfect for an abuser: no one but an older male custodian and a 13-year-old boy in the otherwise empty building.
One afternoon the dude snuck behind me while I was working in a classroom and grabbed me, pinning my arms to my side. "Do you trust me?" he whispered in my ear. I remember his exact voice, the smell of his breath (alcohol, bourbon maybe). I felt his penis harden against my back.