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1644214059
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| 4.48
| 1,761
| Nov 14, 2023
| Mar 19, 2024
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it was amazing
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In 2022, mass protests swept across Iran following the tragic death of 22 year old Mahsa Amini who died after being beaten by police while detained fo
In 2022, mass protests swept across Iran following the tragic death of 22 year old Mahsa Amini who died after being beaten by police while detained for allegedly not complying with hijab regulations. These protests, which began on September 16 2022 in Iran, took critical aim at State violence and the oppression of women in Iran. Social media quickly spread word and soon demonstrations began to spring up cities all around the world, though in Iran their pleas for an end to violence was met with more violence. In response, graphic novel veteran Marjane Satrapi gathered artists, journalists and professors for the creation of the graphic novel Woman, Life, Freedom which presents the movement from which it takes its title in short chapters rotating between writers and artists. An important look into the state of Iran and the treatment of women, Woman, Life, Freedom chronicles the events and ideologies in the hopes of educating, garnering support, and ensuring the significance of this woman’s movement is not washed away. A moving and insightful work with fantastic art, harrowing testimonials and more, this is an important work of literature and history in the making (though conditions have become far more violent and harsh according to a recent UN report) and certainly a must-read. [image] Much like her previous work, the incredible graphic memoir Persepolis, Woman, Life, Freedom both tells the story of a period of time while also offering valuable insight into Iranian politics and society. There are discussions on government structures and a large focus on the Guidance patrol—better known as the “morality police” for their task of determining if women’s manner of dress and behavior could be deemed “sacrilegious”—by whom Mahsa Amini was murdered. There is also in depth and invaluable insight into the long history of women being oppressed in Iran as well as key figures in the movement protesting against such hardships demanding end of state impunity and demanding accountability. [image] I really loved the variety of artwork in this collection and how each writer had a different story to share as well as method of presenting history. It is a sad subject matter, but one that is important to pay attention to as the book makes the case for widespread unity and participation as the only way towards collective liberation. In this way we see how social media has become such an important aspect of the movement—the Woman, Life, Freedom movement and slogan originated within the women-led Kurdish movements but has since become a globally recognized slogan for women’s liberation largely due to social media—and why journalism and activism is so important to keep a movement alive. Especially one met with such violent resistance, with an estimated 551 people killed (68 of them children) during the protests between Sept 22 to Sept 23, and 19,262 arrested. [image] This collection does an excellent job of presenting complex issues and politics in an accessible manner and will hopefully draw more attention and support for their cause. ‘I call it a revolution,’ Satrapi said in in conversation about the book with The Guardian, ‘it’s not a revolt, it’s not a movement, it’s a proper revolution.’ She is hopeful for the progress being made, especially the show of unity. ‘I’ve said it many times and nobody says the contrary: I think it’s the first really feminist revolution … and it is supported by men.’ In recent months, however, there has been an increased government crackdown against the movement and women in general, with frequent instances of dangerous car chases to stop women from driving, the intentional blinding of protestors, assaults on teen girls for removing head scarves, and an increase in State executions, rampant documentation of sexual violence used against women and much cover-up or denial. So it is all the more important to push back against the mass violent crackdown against women. A moving and important work, Woman, Life, Freedom is a must-read. 5/5 [image] ...more |
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Sep 25, 2024
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Sep 25, 2024
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Paperback
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1250322049
| 9781250322043
| 3.51
| 2,940
| Oct 04, 2021
| Sep 03, 2024
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liked it
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Being inexplicably tired all the time and nobody believing you is a horror story enough in its own right, but in The Night Guest, debut Icelandic nove
Being inexplicably tired all the time and nobody believing you is a horror story enough in its own right, but in The Night Guest, debut Icelandic novelist Hildur Knútsdóttir turns up the tension into something far more terrifying. Quietly atmospheric, The Night Guest moves through the streets of Reykjavik compounding anxieties to a suffocating degree in this story of a woman tormented by troubling sleep habits that could spell doom for all those around her. Though, infusing the creepy with critiques on society, Knútsdóttir shows how the daily life of a woman is drenched in enough dread already. Wonderfully translated here into the the english by Mary Robinette Kowal, it's a quick novel that certainly pulls you along for the ride on foreboding prose that captures the feeling of blood turning to ice in your veins. While the occasional sense that the writing betrays the scaffolding attempting to mesh the themes together and a rather abrupt and fairly unsuccessful ending mar the experience, it still makes for a chilling read with a build-up pushing you to the precipice of terror at every turn. Blending the possibility of a haunting with the daily terrors of being a woman in a patriarchal society and the ways we haunt ourselves through our digital footprints, Knútsdóttir’s The Night Guest affects a slow burn and ponderous panic where sleep is anything but relief. ‘I remember, once, I decided I was going to live life. It was nice while it lasted.’ At a glance, The Night Guest is a story of a body haunting itself trapped in a society that can seem like a daily haunted house, especially for women. Iðunn is troubled by a prevailing sense of exhaustion where sleep never brings rest but, instead, unexplained cuts, bruises and the occasional scent of the ocean. From the start, Iðunn sitting in a doctor’s office wary of the dismissive disbelief of women by men in medicine in the long history of misogyny and gender bias in medicine, readers will be aware this is far more than a standard fair horror thriller. This is the world as a horror show for women where a possible haunting of the body just happens to be cracking open the glossy facade imposed by patriarchal social positioning. ‘Hysterical women. I seriously wanted to lecture him about all the diseases women have had that have been misdiagnosed over the years—and how medication (not to mention everything else in the world) is designed for the male body-but I just didn’t have the energy for it. Or maybe I was chicken. Or maybe that’s the same thing because it’s a lot easier to gather your courage when you’re not dead tired.’ The book is at its best when it seamlessly integrates such social criticisms into the narrative of why a once happy and healthy young woman, beloved by friends and neighborhood cats, suddenly finds herself exhausted and bruised beyond explanation and now a point of terror to her feline friends. And all of her fears are often dismissed as irrational, a major issueGabrielle Jackson discusses in her book Pain and Prejudice: How the Medical System Ignores Women―And What We Can Do About It how ‘women’s accounts of it are often assumed to be an exaggeration….a form of hysteria- called ‘catastrophising’ in modern pain-management parlance,’ making them less likely to be believed or treated. We, the readers, are also then asked to consider how much we believe her which is rather clever in a book where unreliable narration could be a major driver of the story. Iðunn, concerned over the inability to find a diagnosis or method to curb her nocturnal mysteries, begins to track her steps only to find she’s walked 47,325 steps while asleep, or goes further into GPS tracking her evening strolls. Without divulging too much—this is certainly a novel where the less you know about the plot beyond this initial set-up is likely the better—there becomes a sense that, regardless if a ghost is involved in her struggles, her data is creating its own ghost self that can be tracked, collected, analyzed and bought and sold by tech companies and retailers for targeted ads and, if her conspiracy friends are correct, government control. ‘I’ve read articles about the threats of modern technology to personal security,’ she considers, ‘All the data these devices collect. And who knows who’s sitting at the other end watching.’ Our we our own hauntings, leaving behind our ghostly trail that can target us or be used against us at any moment like an existential threat always eerily looming? It can be difficult to productively critique a novel such as this where, arguably, the themes and issues are well presented and important to both society and the story, but could be more smoothly blended into the narrative. I can enjoy a good “issues” book and I feel Knútsdóttir integration of the themes into the primary horror of the story make it more than that, but there is a sense of a lot of themes being stacked together without being able to stand as a structure without seeing the scaffolding holding it up. Each is interesting and important in its own regard, though sometimes you can feel the mechanism of theme rather than the theme itself flowing through the story. However, it can be argued that is exactly what being a woman is like: knowing all these things, seeing the fault lines and cracks and hyper aware of the support beams keeping it all from crashing down yet having to carry on as if it isn’t there for the sake of not discomforting others. ‘Centuries of socialization have conditioned us into believing that it’s our responsibility to create a cozy atmosphere and ensure that no one is embarrassed about anything. THat’s why we laugh at jokes that offend us. That’s why we smile at people who pat us on the butt. THat’s why we pretend that it’s just a coincidence when the boss repeatedly brushes against our breasts at work. Because anything else would be just so embarrassing. For everybody.’ This is highly present in Iðunn’s interpersonal relationships, particularly with men and her family. There is Stefán, the married man she has recently left, who ‘couldn’t handle me rejecting him.’ She observes that ‘he would have beaten me if we had been alone. I’m sure of that,’ a threat always looming over women in a world where 1 in 3 women experience physical violence by a partner during their lifetime and 89% of homicides against women are committed by men they knew, with the period directly following a breakup being the most dangerous time. A haunted house of days to be sure, and for those looking for a chilling, literary horror along those lines, I would recommend https://www.goodreads.com/review/show... from Jenna Clake. ‘Before she died, all roads were open to me. After she died there was only one.’ Familial expectations compound upon Iðunn as well and there is also Már, a man who had dated her sister, which triggers the second act of the novel and the ways past trauma informs upon our present actions. How much does the absence of her sister affect the direction of her life, and is that a metaphorical shadow hanging over her or something far more ferocious and frightening? What makes The Night Guest really work are the ways it keeps much of the mystery even when pointing towards plausible answers. The unreliability becomes a major theme that keeps the reader guessing and feeling uncertain much the way that women are often told they cannot be reliable in their own feelings. While sometimes the slow burn pace feels like the novel is stalling out while trying to find it’s stride—and a mysterious ending that just didn’t work for me as effectively as the shock value of it hoped to carry through—it is still so eerily excellent in atmosphere and tone. There is also the stifling sense that, for all the aims of feminist resistance and education, the same problems find new methods of oppression while we are all allowing ourselves to be haunted by our own technological usage. A fascinating and often frightening tale of being unable to trust oneself, even in sleep, and a sharp social criticism on the treatment of women, The Night Guest from Hildur Knútsdóttir is a nice little debut that is sure to give you chills. 3.5/5 ‘An icy cold certainty pours over me. I do not have to wonder what she would be doing now. I know.’ ...more |
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Sep 10, 2024
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1945509139
| 9781945509131
| 1945509139
| 4.14
| 146
| Jun 10, 2017
| Jun 10, 2017
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Artist Jenn Woodall’s Girls delivers eye popping artwork depicting women in a wide variety of shapes, sizes and colors all aimed at capturing a spirit
Artist Jenn Woodall’s Girls delivers eye popping artwork depicting women in a wide variety of shapes, sizes and colors all aimed at capturing a spirit of resistance, strength and just genuinely being a cool badass. Published by the always awesome Silver Sprocket comics publisher, this is a fun little treat of artwork that, despite not having a narrative per say, is still able to capture a strong message through the collaboration of images. And they are all really awesome to look at: [image] Woodall has such a great style and does experiment around a bit with the art. There are also depictions of women who would later appear in later comics of hers, such as the astronaut at the start who is in Space Trash Vol. 1 or the character from Magical Beatdown. But Sailor Moon also makes an appearance so that is cool, and so is the whole book really even though it is quite short. [image] There are a few pages with text, one diving into ideas around uprooting gender binaries and another discussing how the book is dedicated to survivors of sexual assault. [image] Girls from Jenn Woodall is short but well worth a look. [image] ...more |
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Aug 12, 2024
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Aug 12, 2024
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Aug 12, 2024
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Unknown Binding
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0316259160
| 9780316269629
| 4.40
| 6,527
| Sep 2016
| Dec 20, 2016
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really liked it
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‘In the beginning was the world… [image] And it was WEIRD’ And you know what? It sure as shit was! Behold Isabel Greenberg’s The One Hundred Nights of He ‘In the beginning was the world… [image] And it was WEIRD’ And you know what? It sure as shit was! Behold Isabel Greenberg’s The One Hundred Nights of Hero in which the powerful love between two women, Cherry and the aptly named Hero, must outwit and outlast the burdensome onslaught of mens conquests for Cherry’s ‘virtue’ in this tale of tales and the importance of telling them. Especially when lives are at stake in this patriarchal world of bird gods and dastardly deeds. I mentioned the world was weird right??? [image] Weird but also whimsical and wonderfully illustrated. I love the style here. [image] So anyways, Greenberg has crafted a graphic novel that is as gorgeous to look at as it is insightful and outspoken on the social ills against women and the nature of storytelling that can either oppress or be reframed towards freedom. It is a tale where Hero must protect her beloved from the shackles of wooers who have the force of society behind them to reduce Cherry to a trophy to serve their image and lusts as well as shun Hero for loving the very same woman. When he begins to tell stories in order to win Cherry over, Hero devises a countermeasure of storytelling to distract him long enough to win Cherry back in this delightfully feminist and fantastical play on the character of Scheherazade from One Thousand and One Nights. [image] It’s all rather sharply satirical and I enjoy how storytelling is so central to this beautiful tale of queer heroism and love. It directly confronts how through history men have tended to be the canonical voice in framing the world. Such as here where the telling of his tale positions him as the hero and Cherry as his prize: [image] But what happens when women try to tell the story? Well, look how even in the modern day a women doing a classic retelling tends to receive far harsher criticism, women have often been pushed aside for men to receive the prizes in order to hold up said prizes as proof of men’s superiority in writing, historians have centered the acts of men and held their tomes up as proof of men’s historical significance, women have been denied the ability to own property or hold jobs and then had that held against them as proof of their inability to rise in the workforce, the list is endless. Or, simply, when women speak we get this: [image] TEXT: These women have been accused of witchcraft! Of storytelling and sassiness! And they must be put to death! Its all a rather fun story that pokes fun at patriarchy and comes swinging. Will Hero live up to her name? Will the man get the last word (and first and most of the middle ones too?) Will the bird god have some great scenes? Better pick this up and find out! 4/5 ...more |
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not set
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not set
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Aug 10, 2024
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132400309X
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| 132400309X
| 4.19
| 313
| Sep 01, 2020
| Sep 01, 2020
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really liked it
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As with any major idea or movement, feminism is a term that has broad reaching definitions that often vary based on person to person. ‘Feminism has a
As with any major idea or movement, feminism is a term that has broad reaching definitions that often vary based on person to person. ‘Feminism has a PR problem,’ writes Carol Hay in her book Think Like a Feminist, and much of that surrounds the nature of feminism that has been intentionally obfuscated by detractors and well-meaning misconceptions alike in a world where the malleable term is most often assessed in terms of its marketability and co-opted in order to protect the status quo. Drawing on the long history of feminist theory in order to synthesize it into productive arguments, Hay’s book aims to provide an academic grounding in an accessible manner while looking at its applications in the world around us. ‘The feminist movement is messy, rife with internal disputes and contradictions, and as carried as the women it represents,’ Hay states, and Think Like a Feminist does an excellent job at harmonizing the various strands of ideology for a well-rounded depiction of feminism. Hay’s early chapters which focus on the various metaphors for oppression and the popularized stereotypes employed to undermine feminism are particularly engaging and enlightening, with the later portions on sexual violence, allyship towards trans people and progressive steps forward being well argued and instilled with a wealth of insight from a wide range of thinkers across history. While it may be a bit repetitive for those who have a previous background into the philosophy, Think Like a Feminist helps harmonize various theories and present a larger, systemic portrait an general primer text that we should all internalize and strive to bring to fruition in order to mold a more humane and productive society for all. As with any book that hopes to encompass the varieties of a broad-sweeping movement, there will inevitably be a lot of generalizations and, regrettably, aspects that are left out. Disability, for instance, is briefly addressed though never really touched upon. There can be a lot to nit-pick here, though the act has never had much appeal to me and I’ll leave that for others better versed in criticisms because a large part of what Hay’s gets at is how in-fighting and overall nit-picking tends to detract from the aims of the movement as a whole and reduce arguments to individual levels of ad hominem critiques that inevitably distract away from the larger social ills. She aims for a more general synthesis and, on that level, this book does make an excellent primer while, admittedly, one would still of course have better grounding were they to read all the texts she analyzes or quotes. But on the whole, the aim is to attempt to unify various ideas and look for commonalities: ‘Honestly, if you were to ask ten feminists to define feminism you'd probably get eleven different answers. There are a few core things that we do agree about, though. First, feminists agree that women have been, and continue to be, disadvantaged relative to men...Second, feminists agree that these disadvantages are bad things that can and should be changed. And third, we agree that these disadvantages are interrelated, that they're the result of mutually supporting systems of privilege and deprivation that are structurally embedded in virtually every aspect of society and that systematically function to screw women over.’ Which isn’t to say Hay avoids critiques and one thing I found this does well is show how various waves of feminism have updated and critiqued previous thinkers. In discussing Betty Friedan’s The Feminine Mystique, for instance, she cites author and activist bell hooks’s criticisms that Friedan ‘was pretending that white women’s experiences of oppression are even close to as bad as it can get.’ This is along with plenty of insight into the works of other Black feminists such as Audre Lorde, and intersectionality with queer theory, to help show how feminist thought has shaped itself across the years. There is a great wealth of philosophical insight in Think Like a Feminist, drawing on the works of cornerstones of feminist theory like Mary Wollstonecraft, Simone de Beauvoir or more modern writers like Susan Bordo or Kate Manne in conversation with other social theories from people as varied as Ludwig Wittenstein, Kimberlé Crenshaw W.E.B. Du Bois, Karl Marx, Michel Foucault and more. It isn’t a perfect book, though it is a good step forward especially for those looking for a primer and I would of course recommend continuing to read the works of those mentioned as well as books like Angela Y. Davis's Abolition. Feminism. Now. among the many others. ‘It’s no coincidence that the Angry Feminist and the Girl Power Feminist get so much cultural uptake…each caricature manages to defang feminism of its radical potential.’ An aspect I really enjoyed in Think Like a Feminist were the ways Hay shows how feminism is often co-opted or intentionally misdirected in order to subvert it. She touches on ideas of internalized objectification and oppression as well as, what Andrea Dworkin states as a barrier to feminist action that ‘many women resist feminism because it is an agony to be fully conscious of the brutal misogyny which permeates culture, society, and all personal relationships.’ This is an idea addressed by Simone de Beauvoir as well in The Second Sex ‘explaining why women had not collectively resisted their oppression…because to do otherwise would be to renounce the few advantages they do get from their oppressive relationships with men’ which is why she discusses why social changes, particularly financial reform, must occur (women couldn’t own property or bank accounts previously, for instance). But in order to ensure the status quo is not harmed by feminist progress, feminists have been negatively stereotyped with negative socal images to dissuade people from listening. The first of these stereotypes about feminism that May discusses: the “Angry Feminist.” Angry Feminists, Hay explains, are viewed as ‘a bunch of irrationally angry bra-burning’ feminists who ‘elevate man-hating to an art form.’ It is a stereotype imposed on feminists by in order to present them as ‘a caricature we don’t need to take seriously’ by making feminists seem ‘aggressively unpleasant.’ It’s the sort of idea of feminism that men with an aim at blatant misogyny love to highlight, such as televangelist Pat Robertson claiming feminism as a movement that ‘encourages women to leave their husbands, kill their children, practice witchcraft, destroy capitalism and become lesbians.’ The issue with this stereotype is it attacks a rather useful tool: legitimate anger. Audre Lorde recalls a woman at a conference telling here ‘tell me how you feel but don’t say it too harshly or I cannot hear you,’ which is a sort of tone policing often employed to avoid the actual conversation, dismissing ideas by dismissing the person. ‘We live in a world where women are trained to make nice,’ Hay says, and nothing upsets the status quo more than a woman who is angry but anger can be a useful tool (for more on this read Rage Becomes Her: The Power of Women's Anger by Soraya Chemaly) but it is also used against women. As Audre Lorde writes ‘for women raised to fear, too often anger threatens annihilation.’ And so the stereotype is pushed to discredit in a way that: ‘spins women’s well-founded anger over legitimate grievances into the age-old spector of the irrational hag whose wailings needn’t be taken seriously.’ For a good book on how aging and and being childless or angry is used against women I recommend Mona Chollet’s In Defense of Witches. However, by reducing feminists to this stereotype, it turns it into a false aim of passing judgment on what women and men do on an individual level instead of the real focus ‘on the social structures that constrain women’s options in the first place.’ and to pose it as feminists trying to ‘threatens to rob women of what little power we have in a status quo that exists by and for the benefit of men.’ Which was Beauvoir’s concern all along. She looks at feminists like Catharine A. MacKinnon who have been dismissed in this way and ‘used as whipping girls by too many feminist critics who don’t appreciate just how influential and sophisticated their analysis has been.’ While, yes, critiquing thinkers is valid, we can’t allow ourselves to become so overly concerned with the imperfections of an individual to the extent that it overrides the ideas of a whole movement. But also, perhaps more importantly, the ridicule of women for being “angry” underlines the fact that men are scared and should be and that’s why there is such a rally to discredit women. Such as the faux outrage criticizing the #MeToo movement of “going too far” despite scant meaningful consequences befalling men due to the movement and even moments such as the sentencing of Weinstein, which was hopefully validating for his many victims, did little to deconstruct the social and economic systems that enabled his behavior. But there is another stereotype she examines, that of the Girl Power Feminist. Note that it is “girl” and not “women,” a clear indication of its infantilization. Girl Power Feminists, as Hay explains, are ‘sexy, feisty without being off-putting, and fundamentally unthreating. She’s confident without being pushy. She proclaims her independence but promises not to do anything too radical with it.’ It is mostly surface with ‘unflective sex positivity’ that ‘makes inroads by reassuring straight men’ that their ‘unrestricted sexual access to women and right to get laid [...] isn’t on the chopping block.’ But biggest of all it is ‘marketing gold’ that ‘claims a victory every time a woman makes it in a man’s world’ without the awareness of how this still centers the world as belonging to men and does nothing to confront the predatory capitalist drives that are inherently damaging but instead embraces capitalism ‘hocking self-help platitudes’ that do nothing beyond ‘reassuring everyone that the status quo won’t be interrupted in any significant way.’ What Hay is concerned about with this stereotype is essentially Beauvoir’s own fears because ‘if feminism is just Girl Power, then we don’t need to look at the larger social structures that undergird individual women’s choices.’ What we get instead is a product readymade for t-shirts and pay-per-click blogs that becomes branding instead of a movement, not unlike the way Eat the Rich IPAs or viral tweets about guillotines only serve the financial gain of a company or to be an edgy but empty aesthetic and little to disrupt the system it postures as opposing. ‘The master’s tools will never dismantle the master’s house.’ —Audre Lorde From here Hay lays out various metaphors on oppression to look at why there are stereotypes to distract from the social ills and transform it into vague individual aesthetics instead of social movements. There is the “birdcage” metaphor, that, like a cage, each small aspect of society is a single bar that isn’t individually threatening but all combine to form a cage restricting women. There is also the “invisible knapsack” which includes the burdens each group of women are asked to carry which cis, men do not. Or the “intersection” metaphor on how there are various intersections of identity that can compound oppression, such as the concept of misogynoir that Black women face both sexism and racism. There is also the idea of the “panopticon” metaphor, which is rooted in Foucault’s idea of the prison that women will police one another and themselves in order to hope for a place within patriarchy. As Sandra Bartky writes: ‘In contemporary patriarchal culture, a panoptical male connoisseur resides within the consciousness of most women: They stand perpetually before his gaze and under his judgement. Woman lives her body as seen by another, by an anonymous patriarchal Other.’ These all work well to further understand the various ways women face oppression in society, though later she expands into the necessity to organize with trans women and criticizes anti-trans feminists, or TERFs. ‘There’s a common enemy we need to unite against,’ she writes. ‘Men are afraid that women will laugh at them. Women are afraid that men will kill them.’ —Margaret Atwood While some of Hay’s history on misogyny is a bit light and streamlined (Kate Manne's Down Girl is an excellent read for this), there is a rather effective section on sexual violence and how that is an aspect of patriarchy that objectifies women. Pornography and the laws around it get a rather incisive treatment here as a reminder as the role they play in objectifying and dehumanizing women. The idea that men use the immoral actions of specific men to grant them a better character is an idea expressed by Susan Brownmiller as the “Male Protection Racket” and Hay points out how legitimate fear of sexual violence is often used against women in the form of the ‘innocuous Nice Guy.’ This is a person who is able to ‘enjoy the warm and fuzzy psychological and social rewards bestowed on those deemed to be of upstanding character’ and use it as a position of power, hence how they often ‘bemoan the injustice of being “friend-zoned”’ as if access to sex and a woman’s body in the standard. Hay addresses men specifically: ‘What we do need is men who are willing to fight patriarchy; men who are willing to consider giving up privileges they’ve received strictly because of their gender; men who don’t think that relinquishing this unearned privilege is an injustice.’ There are many ways where men, she points out, do not have aspects of the self counted against them. She encourages men to be more aware of patriarchal privileges and to consider women’s perspectives in interactions. In this way she shows how feminism is something for everyone, not just women. She does, however, point out that the argument made that it should be called “humanism” is disingenuous because it assumes an equality that is currently missing in society. It’s all good teachings we should take forward, and she discusses how passing along productive ideas around feminism to the next generations is key. ‘This isn’t just an issue that concerns our daughters,’ she writes, ‘we need to change the ways we talk to boys too.’ She discusses the idea of gender roles as a socially coached construct pointing out, ‘in many ways, we police gender-nonconformity in boys far more rigidly than we do in girls.’ There is some excellent discussion on gender here, using Judith Butler’s theories on gender as something that combines performance and cultural implications but is not necessarily synonymous. It also nudges concepts of trans identity here as well. Think Like a Feminist is by no means perfect, but it is an excellent primer that synthesizes a wide range of thought and sets it towards productive action. While the section on future actions is a bit light, its all still well grounded in historical theory and presented in an accessible manner. It is a good source for further reading and ideas and is a valuable little book in the scope of the feminist movement. ...more |
Notes are private!
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1
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Jul 07, 2024
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Jul 07, 2024
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Jul 07, 2024
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Hardcover
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1250314852
| 9781250314857
| 1250314852
| 4.37
| 1,924
| May 07, 2024
| May 07, 2024
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it was amazing
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If I were a mermaid I too would only eat the sexiest fishermen. Dive into Vera Brosgol’s underwater adventure full of magic and maritime menace where If I were a mermaid I too would only eat the sexiest fishermen. Dive into Vera Brosgol’s underwater adventure full of magic and maritime menace where the toxic beauty standards are just as dangerous as the toxic sea creatures. Plain Jane and the Mermaid is as eye-catching as it is engaging, being a rollicking YA graphic novel full of high-stakes action and hilarity as Jane must set off to rescue the boy of her dreams from the carnivorous mermaids who have stolen him away. Riding a fast-paced narrative current and filled with quirky characters both friend and foe, Plain Jane and the Mermaid is also a heartfelt critique of patriarchal society and stigmas to address issues of body image and self-worth. Will Jane rescue Peter before he becomes a mermaid’s feast or are the secrets of the deep too fierce to face? [image] This is such a fun aquatic adventure from the artist and author who brought us the spooky Anya’s Ghost. Plain Jane and the Mermaid brings us to a drab, Victorian-era town where recently orphaned Jane has discovered her wealthy parent’s estate will be transferred to her uncle as women cannot own property. Jane feels pretty drab herself, always mocked for her looks and weight-shamed by her mother. But when her plans to marry Peter, the bumbling but beautiful boy she has always loved who just might agree in order to leave his hated job for a life of luxury, is thwarted by a mermaid, she finds herself equipped with magic and three days to bring him back. This is a wild, comedic ride where Jane’s is not only fighting emotional battles, but now deep sea scaries: [image] And a whole lot of toxic masculinity: [image] Learn some chill, Downton Abbey Plankton… The cast here is excellent, such as Mr. Whiskers—a begrudgingly helpful seal…or is he?—and the mermaids themselves which all have fairly complex emotions and storylines that culminate to make this story greater than the sum of its parts. It’s also just gorgeous to look at and I’ve long been a big fan of Brosgol’s lovely artwork. It’s all very bold and beautiful and the character designs convery a LOT of personality. Honestly, I’d love to see this as a film with this exact art style. [image] ‘Authors often write the books we wish we had as kids,’ Brosgol writes in the afterword, ‘and little me would have really loved this one.’ She discusses how she found it important to depict a heroine who was thought of as ‘ordinary’ and not particularly much to look at as it would have been ‘a great antidote to all the Disney heroines I was ingesting.’ That the art feels vaguely Disney adjacent is also plausibly pointed towards subversion. Its rather moving to read her thoughts on why this is so important to her for the story to address troubling beauty standards and the ways society often conflates beauty with goodness and worth. ‘We need to be careful which stories we tell. Think of all the fairy tales where the heroes are handsome and the villains are ugly. So much misery comes from clinging to something as flimsy and subjective as beauty, but that’s often our shorthand for good and evil.’ We also see how fleeting physical beauty can be. It connects quite effectively to the criticisms of patriarchy as well, and how women are expected to conform to beauty standards to be thought of as valuable but even then they are objectified and denied real social agency. ‘'Beauty is not good capital,’ writes Tressie McMillan Cottom in her book Thick: And Other Essays: ‘It constrains those who identify as women against their will…it can never be fully satisfied. It is not useful for human flourishing. Beauty is, like all capital, merely valuable.' I found it well done how with Peter, even having the beauty Jane seeks, he is still not respected because he’s seen as incapable. When he is seen to be valued solely on his looks by the mermaids, however, it isn’t the positive social capital he hopes for but a death sentence. With Jane we see how her smarts and determination make her much more than looks could ever achieve, and I love how empowering this book can be. ‘Someone somewhere made up all these stupid rules and we’re all just going along with them! Even if it makes us miserable! Well, I don’t want to be miserable. I’m sorry. Actually, no I’m not.’ There is so much to love here and I’ve barely scratched the surface on all the little plot threads and character arcs. Charming and cinematic, Plain Jane and the Mermaids is a joyful graphic novel that is easily appropriate for middle grade readers but just as delightful for adults. Filled with sharp social critiques and flowing through a zany adventure plot, Plain Jane and the Mermaids is a real winner. 4.5/5 [image] ...more |
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May 19, 2024
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9780593229484
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| 4.30
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| Jul 12, 2022
| Jul 12, 2022
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it was amazing
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‘This is the book I was most afraid to write’ says poet and author Safia Elhillo about her second volume of poetry, Girls That Never Die. Yet through
‘This is the book I was most afraid to write’ says poet and author Safia Elhillo about her second volume of poetry, Girls That Never Die. Yet through her trepidation, Elhillo bravely and beautifully delivers this collection of poetry that is an ode to Muslim girlhood and sisterhood, a tribute to the transition from girlhood into womanhood, a love for one’s body and desire for agency over it, but also a bold rebuttal against the patriarchal violence and abuse that assail them. Through gorgeously structured poems, Elhillo experiments with form and prose to capture the ideas of spaces women occupy or are forced into. A moving collection that is as rebellious and uplifting as it is contemplative and wrestling with shame and violence, Girls That Never Die shows how language can be resistance and testimony and how poetry can unpack even the most private and abstract inner turmoils in order to name it and face it. Pomegranate Because I am their daughter my body is not mine. I was raised like fruit, unpeeled & then peeled. Raised to bleed in some man’s bed. I was given my name & with it my instructions. Pure. Pure. & is it wasted on me? Every moment I do not touch myself, every moment I leave my body on its back to be a wife while I go somewhere above the room. I return to the soil & search. I know it’s there. Buried shallow, wrapped in rags dark with old & forgotten rust, their discarded part. Buried without ceremony, buried like fallen seeds. I wonder about the trees: Date palms veined through the fruit with the copper taste of cutting. Guavas that, when slit, purple dark as raw meat. I have to wonder, of course, about the blood orange, about the pomegranate, splayed open, like something that once was alive & remains. Sudanese-American Safia Elhillo has had quite an impressive career through her now two collections of poems and YA novels and verse, the Coretta Scott King Award winning Home Is Not a Country and Bright Red Fruit. Yet for this collection she says she wasn’t sure if the issues were what she wanted to put into poetry. ‘For a long time I thought it would just be easier to not say anything at all,’ she told NPR, ‘but my silence will not protect me, and it will not protect my community either.’ This collection, she says, is for her community. For Muslim women and girls and takes a direct look at the violence and oppressions they face in their own community and the world. She elaborates on this—and her worries about writing about it—further in an interview with Porter House Review: ‘I’m not trying to snitch on my community because I’m not talking to anyone except for my community! Everyone else is welcome to eavesdrop, or to listen in, but I’m not really positioning myself to make an outward facing dispatch about violence in my community. I’m trying to have a conversation from—yes a place of grief and mourning—but also from a place of love to my community, to the femmes in my community, and to the people who have experienced this harm.’ While many of us are outside this community, it is still important to listen and learn and her poems do an excellent job of portraying the fears and shames she and many others have experienced. I don't really need to have an opinion on these poems because they aren't for me persay, and I think thats cool and really respect that. I also really appreciate her willingness to speak on important topics despite her concerns. But I also was quite impressed by her craft and her poetic ability to skillfully present these themes and I really want to amplify her voice and present these poems here. As she tells NPR, this collection is about: ‘The threat of death and the fear of death – those are so often used to govern and to control. So if the girls never die, if the girls won’t die, maybe they’re free from that governance and from that control. And then what could that look like?’ I believe this is a message we can all take to heart even outside the communities she is addressing and confront how horrifically immersed society at large is too in gendered violence and misogynistic policing of women presenting bodies, tone, and voices. Through these poems we see a lot of the spaces that women are confined into. She details a lifetime of grappling with the feeling that all she was told she could be was to be raised to be obedient and silent then be married off and feel like property. Like property exchanging hands from the parental family to the duties of a spouse under the rule of a man. She eloquently addresses this confinement in the titular poem Girls That Never Die: i am asked to change my dress i am asked to line my eyes never an order only the slight apology [people will talk] It is a confinement into an object without a voice beyond apology, almost as if to imply an apology for taking up any space at all. She also tells us of the threats of violence from men, how pervasive it is that ‘even in the dream / we are afraid’ and that all are beleaguered by it no matter their age. ‘Everyone thinks I am a little girl / & still they hunt me, still they show their teeth.’ I think this is important to reckon with, especially when the bad faith arguments from men labeling feminism a form of misandry conveniently ignores that the frequency and severity of aggression and objectification from men leaves very little comfortable space to move in the world or blindly trust a strange man. Or any, as the majority of violence against women comes from an intimate partner or familiar acquaintance. And this is something men have to recognize and dismantle instead of simply letting women once again bear the brunt of the emotional labor in fighting against it. Yet amongst all the insight into the fears and struggles, these poems also champion a kinship and committed support to women of the community. To rise above, to rise together and to ask ‘how boundless I could make my life.’ There is a strong and hopeful spirit of resistance alive in these poems that shines through the darkness. ‘ wanting was my first language i learned it as a child’ The language in this collection is incredible and evokes strong emotion through extraordinary imagery and form. In conversation with Porter House Review she explains that many of her poems began in workshops under Nobel winning poet Louise Glück, who ‘encouraged me toward capitalization and punctuation.’ She has written poetry in the spirit of Glück, such as a recent one in Poetry Magazine that you can read HERE. Aside from her, Elhillo cites influences in Eavan Boland, Aracelis Girmay, Patricia Smith and Kwame Dawes, who ‘has been a poetry fairy godfather to me’ she says. One that really stood out to me was Anne Carson, of whom she says ‘has been very important to me for a lot of my writing life.’ I love Elhillo’s use of brackets in her works, often leaving them open ended which reminds me much of Carson’s poetry. I love the use of brackets and space in these poems this one, Profanity for example: ninety-nine names for my god though i know none for my [ ] a failing not of my deity but of my arabic not the language itself rather the overeager mosaic i hoard i steal i borrow from pop songs & mine from childhood fluency i guard my few swearwords like tinkling silver anklets spare & precious & never nearly enough to muster a proper arabic anger proper arabic vulgarity only a passing spar always using the names of animals i am not polite i am only inarticulate overproud of my little arsenal a stranger blows a wet tobacco kiss through the window of my taxi & i deploy my meager weapons [dog] [pig] [donkey] & finally my crown jewel i pass my tongue across my teeth crane my neck about the window & call [your mother’s ] Elhillo uses it in a way that feels like taking up the torch for something fresh in new directions. The structure of many of these poems explore the space of the page in a way that helps explore the spaces occupied by women and she has an excellent ability to use not only words but the shape of the words and poems to enhance the experience. I do not want any of what I've lost. I want only what I have now, to keep it. This is a very moving collection and one from a poet I have long admired since I first read her works in The BreakBeat Poets, Vol. 3: Halal If You Hear Me of which she was an editor. Girls That Never Die is a bright and bold statement against violence and in support of Muslim women and a voice we should all listen to. 4.5/5 [what if i will not die] [what will govern me then] [how to govern me then] ...more |
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May 15, 2024
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0593485734
| 9780593485736
| 0593485734
| 4.30
| 2,774
| Mar 14, 2023
| Mar 14, 2023
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really liked it
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‘This world is full of wolves…’ Long depicted as a fierce monster to be hunted and killed, the mythological figure Medusa has had a much needed revival ‘This world is full of wolves…’ Long depicted as a fierce monster to be hunted and killed, the mythological figure Medusa has had a much needed revival in the modern era as a symbol of feminist resistance. The story of Medusa still resonates today, particularly in the way the young girl was thought of as a monster in order to ignore the fact that she was the victim of sexual assault and then, later, public opinion. Dear Medusa, a YA novel in verse by Olivia A. Cole, takes this premise into the modern day high school where 16 year old Alice must survive the vicious rumors and social outcasting after she is sexually assaulted by a popular teacher. Like the greek myth, the victim has been turned to a monster, a life sacrificed in order to uphold the toxicity of patriarchal values so ingrained in society that instead of supporting the victim everyone jumps to blame and chastise her instead of the perpetrator. Cole handles this with grace and Dear Medusa is a very empathetic and healing novel as well as offering sharp social criticisms on a wide set of issues from victim shaming, racism, homophobia and the misogynistic policing of women’s bodies. A heavy but heartfelt novel, Dear Medusa uses poetic form to cut right to the heart of these issues to explore the maelstrom of emotions therein while demonstrating the healing power of friendship and illuminating the struggles faced by teenage girls in a patriarchal society that objectifies them. I’m quite fond of the recent trend of YA novels in verse. As a major fan of poetry, I enjoy seeing the form introduced to teenage readers in a way that is engaging and enticing, making it far more accessible to enjoy than the usual academic introductions. It also demonstrates to readers that writing, like journaling, can be an excellent avenue for self-reflection and emotional processing. But most importantly, I find poetry to have a unique ability to plug in directly to the main vein of emotions and present them in all their abstractness and ambiguity. Cole handles the prose quite effectively and can harness both narrative plot and internal struggles in a rather gorgeous manner. Which is good because there is a lot to unpack in this novel. The story centers on the aftermath of a sexual assault by a popular teacher and the way Alice, despite being the victim, becomes a symbol of shame in the school. I wrote quite extensively on this in relation to Medusa earlier this year here and I feel Cole does an excellent job of adapting the thematic insights of the Medusa tale to the modern age. Towards the end of the novel, Alice begins to write letters to Medusa (hence the title) and while I enjoyed this I felt it came so late in the novel and wasn’t utilized enough making it feel tacked on in case anyone missed the Medusa theme and would have been more effective had it been used for a greater portion of the novel. That said, Cole uses this book as an excellent way to highlight a lot of themes on the abuse and oppressions faced by teenage girls. We see right away what Kate Manne coins as himpathy in her book Down Girl: The Logic of Misogyny, namely that people will sympathize with a man over a woman even when he has wronged her. The teacher is popular and instead of accepting their idol has been tarnished, the public opinion turns against Alice. We sadly see this far too often, people asking of a victim “well what was she wearing” or that she invited the abuse. Anything to make it her fault and not his, anything to reframe the conversation into a moral indictment of the victim to dispute their victimhood while completely turning a blind eye on the actions of the perpetrator. A major issue with this is ignoring the massive imbalance in the power dynamics. The idea that a girl has the power because of her body is wildly problematic and merely a misogynist excuse for bad behavior. It even comes in the form of weaponizing sexual positivity, such as older men praising young women or underaged girls for being “so mature” or “confindent” as a manipulation tactic to avert their attention from their lack of power in the dynamic and away from the awareness they are being groomed or assaulted. In an incredible essay on the subject, Tavi Gevinson discusses how much language is couched in ways to manipulate the perspectives on the scales of power in this way: ‘I now view some of my “empowering” experiences as violating, exploitative, and manipulative. I noticed that “gray” and “complicated” were words I used to stop questioning whatever had happened, rather than to understand it. “Formative” revealed itself to mean “traumatic.” “Creep” or “bad guy” or “pervy but not Harvey Weinstein” now strike me as wildly nonspecific euphemisms for a danger that was too uncomfortable to grapple with at the time and that, again, prioritizes men’s identities over their actions. This slow-motion aftershock has been its own traumatic event.’ Similarly, in her book My Body, Emily Ratajkowski writes: ‘In my early twenties, it had never occurred to me that the women who gained their power from beauty were indebted to the men whose desire granted them that power in the first place. Those men were the ones in control, not the women the world fawned over. Facing the reality of the dynamics at play would have meant admitting how limited my power really was—how limited any woman’s power is when she survives and even succeeds in the world as a thing to be looked at.’ These are real struggles teenage girls face, and the most horrific part is that the looks from older men are not just strangers on the street but often men that are in positions of power over them or tasked with their protection. Like Alice’s teacher. Another issue here is that this is so much a part of society specifically because it upholds patriarchal order. As Simone de Beauvoir discusses in The Second Sex, girls learn at an early age that society is coded in the male gaze. Men are gazing at them, making them objects. This makes a young girl see her own body as valued only by its status as a sexual object, and as they too are objectified by their bodies, it can cause girls to grow up seeing their entire being as an object given value through the male gaze, and girls such as Alice are manipulated into confusing their sexualization with their identity. Furthermore, girls bodies are often policed (ie double standards in dress codes) with girls told to cover up or being victim blamed for "dressing provocatively" which then teaches girls that their bodies are the problem but not the abusers utter inability to control their behaviors. Cole probes all these issues in the novel and it is quite well done. Though there is much more beyond this issue, and introducing the array of friends in the novel opens up the opportunity for further dissections of society and sexuality. Alice is bisexual and Deja is both asexual and Black, and Dear Medusa does better than most other books I’ve encountered on presenting what asexuality is. The therapy sessions also open up a great discussion on misogynoir (the intersection of misogyny and racism) and other intersections of oppression girls face. Dear Medusa covers a lot of ground and can be quite heavy, but it is also extremely well done and effective at bringing these issues to light. The poetic style also makes it a quick read that can seamlessly shift between topics and helps present these themes in an accessible way. A really valuable read for anyone, especially as Alice reminds us: “to have men in your life who know that the battle we face against men who are wolves can only be won with the help of men who are not.” Worth the read and worth thinking about and addressing in your own life. 4.5/5 ...more |
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Aug 27, 2023
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Aug 27, 2023
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194964121X
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| 194964121X
| 3.74
| 698
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| Oct 12, 2021
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really liked it
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‘In my family, marriages aren’t a beginning, they’re an end.’ I should have learned by now not to finish novels while on the desk at work. Books such a ‘In my family, marriages aren’t a beginning, they’re an end.’ I should have learned by now not to finish novels while on the desk at work. Books such as this can deliver a swift and sudden gut punch of an ending, leaving you viscerally staggering—a trait I tend to look for in a short novel—and within seconds I’m smiling my customer service voice and resolving a problem that can never compare to the emotional devstation still blooming inside. Empty Wadrobes, Portuguese writer Maria Judite de Carvalho’s 1966 novel, sets its literary teeth to confronting the systemic patriarchal socializations that make women into objects in their own lives, like novelties in a museum or furnishings in the showroom of a man’s life. The story follows Dora Rosário, widowed at a young age by a man ‘whose sole activity’ was ‘being nothing,’ and luckily climbing out of poverty in order to raise her daughter Lisa, as a secret of her past shatters her world and inspires her to reinvent herself. Gorgeously translated by Margaret Jull Costa and told through a narrator seemingly a distance from the story but revealed to be much more emotionally close than expected, Carvalho writes with a sharp wit and dark humor across this quietly devastating novel that becomes an unflinching portrait of patriarchal society where uncomfortable truths are silenced and the lives and dreams of women are suppressed at the mercies of men. ‘When he died, Dora found her life transformed into a desert.’ As Kate Zambreno points out in the intro, the domestic setting of Empty Wardrobes only underscores it as a tale of how the political seeps into daily life, with the novel set ‘in the regime of a dictator who weaponized Catholicism and “family values,”’ of Portugal under Salazar. For instance, Dora Rosário’s name means “rosarie,” and she spends her life in memory of her late husband much like one slowly going bead by bead in prayer, remaining largely interior, humble in manners and dress, and most notably, rather compliant. This is a society ruled by men but also one where troubles, taboos, or anything deemed impolite for society is swept under the rug and left to fester. The novel opens recounting the years following the death of Duarte, Dora’s husband, and how the domestic insistence of women to only be homemakers has left her with no job skills and a hungry child is a society that, for all it’s religious gesturing, has no interest in actually helping her. By happy circumstances she is able to find work in an antique shop dubbed The Museum by her and her daughter, Lisa, and affords a manageable lifestyle, yet it is still one of modesty that doesn’t branch beyond caring for work, her daughter, or mother-in-law (she is at all times ‘under the simultaneously suspicious and reticent eye of her mother-in-law’). She is, as the now teenage Lisa says, ‘both ageless and hopeless,’ living her life as if always mourning Duarte, that is until a secret upends everything and she decides to begin anew. ‘ You refuse to see that it is the jungle. For you, it’s a paradise that you don’t want to lose.’ Feminist existentialist Simone de Beauvoir wrote that while society has always belonged to men ‘none of the reasons given for this have ever seemed sufficient.’ The disconnect between the opportunities and social graces given to men compared to women, much of what upholds patriarchy, are evident from the juxtaposition of Duarte and Dora. While she is an eyesore to those when in need and otherwise completely overlooked (until she begins to lean into a more male-gaze sexualized manner of dress and make-up), Duarte is spoken of as a saint despite having no accomplishments to his name. He spent his days refusing any sort of efforts to climb the social or corporate ladder, not wanting to participate in that world at all. Which, yea, great, but would his insistence of purity be applauded if he were a woman, or would be looked at as a leech or burden the way people look at Dora while she is struggling financially. She is not allowed ‘invisible pedestal on which he had placed himself’ the way a man is. ‘An egotistical Christ,’ Dora thinks of him, ‘a secular, unbelieving Christ who had only come into the world in order to save himself. But save himself from what, from what hell?’ Having social mobility and understanding allows Duarte to choose to see the world as being without predators, but as Dora think ‘ they exist. And while they may not devour us, they devour the food that should be ours.’ For her, optimist is a privilege she cannot have when seeing how at every opportunity those with wealth, power, and social standings ensure those without are decimated. Yet she is socialized to only blame herself: ‘“Some people got religion or killed themselves after losing someone, whether that person died or just left them. Dora Rosario, however, didn’t blame anyone else for her misfortune. Only herself. She loathed herself, but not enough to seek relief in death. No, she simply disliked herself, a more modest sentiment.’ For her, the world is bleak and she must silently suffer within it. She is ‘a gray woman, slightly bent, lost in a plundered city deserted after the plague,’ without Duarte, though we do see a transfiguration once her past becomes a broken idol, the crumbling producing a shockwave that will inevitably crumble the lives of all the women in the novel. This little book has some jaw-dropping twists, including the final moments where I wanted to shout “fuuuuuuuuuuck” into the void. ‘Men’s dominant positions in [society] allows them to be absolute subjects and to make women into absolute objects,’ wrote Mona Chollet in her book on the stigmas against women, In Defense of Witches, echoing the ideas set forth by Beauvoir. One of these ways is that men have positioned themselves so that ‘their decay is not counted against them’ the way it is for women. Or, as retweeted by Carrie Fisher while facing age-shaming when she appeared in the Star Wars sequels, ‘Men don’t age better than women, they’re just allowed to age.’ It is constantly thrown at the reader that Dora at age 36 is considered old and obsolete. This has even seeped into teenage Lisa who expresses that ‘by the time you’re thirty, it’s all over.’ Contrasted with this is Ernesto, the wealthy lawyer and pedophile who is able to be considered a sort of silver fox and productive member of society in his late 40s. Similarly, an act that could be a image-destroying moment for a woman is nothing by ‘looking around here and there for a little excitement,’ for a socially fixed man. ‘At the same time that young women are disadvantaged by age and gender, youth does carry currency, which can be mistaken for power. If you are a woman, however, this currency is not on your terms.’ - Tavi Gevinson There is another aspect here where underaged girls are told they are mature and given access to social standings yet only for the purpose of abuse. ‘ If you can still be considered “mature for your age,” you are not an older person’s equal,’ Tavi Gevinson warns in her extraodinary article on power dynamics, ‘this observation can easily go from an act of respect to license for harm.’ We have Lisa, freshly 17, who is repeatedly characterized by her ‘love of life,’ her ‘ strange ability to turn people and things into glass or even air,’ and her faith in her hopes and dreams to escape the traps laid out for women. To the lecherous eyes of men, particularly men who have amassed wealth for the purpose of hoarding power over others, this becomes a commodity that they wish to hold. Men often mask their insecurities by dating women much younger than them (Leonardo Dicaprio has reduced himself to simply being a living meme about this) to hold onto the fleeting past of youth and because they can manipulate desire and their wealth to groom them into not noticing the glaring power imbalances. A woman who dates a younger man is considered suspect or unflatteringly called a cougar, but for a nearly-50 year old man to sleep with a teenage girl here they get congratulations at the office. This is particularly vile in a socio-religious community where women are preached at to want nothing beyond household duties and servitude to a husband, and readers here are forced to see the horrors coming of youthful dreams snuffed out to be commoditized into a sexual trophy, to be a housewife in a rich man’s home the ways a hunter hangs heads as decor on their walls. As Chollet writes, this is all another way social conditioning of patriarchy ‘locks women into their role as reproducers and disenfranchises them from participation in the world of work.’ Ana, the mother-in-law and ‘the main tower of the fortress,’ is often representative of the internalized misogyny that allows these conditions to persist generationally. In The Second Sex, Beauvoir warns against mothers becoming a mouthpiece for patriarchy by conditioning young girls into lives of domestic servitude (though she most effectively demonstrates this in her novella Inseparable), and we find that the most damning moments in Empty Wardrobes are not only condoned but encouraged by Ana. We find this in other ways, too, such as the cult of silence around abuse or tragedy in the family. Aunt Julia has suffered horribly in the past, but nobody mentions it other than ‘that man,’ or ‘the child’ the same way Dora’s own suffering will be ‘that woman.’ Without giving voice to things, even if it isn’t ‘for polite society,’ it robs women the opportunity to speak out against them or use their voice to demand better. One is reminded of the opening to Betty Friedan’s The Feminine Mystique where she describes a wife who ‘was afraid to ask even of herself the silent question—‘Is this all?’’ Which is, effectively, how these women become furniture in their own homes and lives. Or as the narrator says ‘I had ceased to be his companion and become, instead, the landscape to which he had grown accustomed.’ Carvalho’s sharp words force us to revile these realities in Empty Wardrobes, and the devastating conclusion will leave the reader seeing the necessity of speaking out against them. As [author:Kate Zambreno|3501330 writes in her intro, this captures ‘the consciousness of so many women familiar yet unknowable, no longer muted, not saturated with sanctimony but alive, alive with rage transmuting disdain into hilarity by sheer force, alive with intense paroxysms of sadness.’ It is a short book but it will certainly leave a hell of a bruise. 4.5/5 ...more |
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May 23, 2023
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0063258390
| 9780063258396
| 0063258390
| 3.82
| 55,161
| Sep 15, 2022
| Feb 07, 2023
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it was amazing
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‘Men call you monsters because they don't understand you.’ There is a saying often attributed to Winston Churchill that states ‘history is written by t ‘Men call you monsters because they don't understand you.’ There is a saying often attributed to Winston Churchill that states ‘history is written by the victors.’ That there is no record of Churchill saying this and it may be a paraphrase of many others all but forgotten by history only stands to exemplify its own point. The Greek myths are some of the most lasting tales—often because the stories contain themes that still ring true today as social metaphors—though, as Natalie Hayne’s novel Stone Blind observes, how much of the tales of great heroes are sanitized towards glory due to their status as victors over what we’ve been told are monsters. ‘This particular monster is assaulted, abused and vilified. And yet, as the story is always told, she is the one you should fear,’ write Haynes at the start of the novel, drawing the tale of Medusa to the center of the narrative, ‘We’ll see about that.’ Told through an assortment of narrators such as humans, gods and even inanimate objects, Haynes deftly reconfigures a variety of Greek myths into one long and multi-faceted story with Medusa acting like a center of gravity pulling the disparate tales into a contextual orbit. Though, for a book about Medusa, we find her only minimally present, focusing more on the voices and actions of those around her—most notably Perseus and Athene—and how they act upon her as if it were a meta-narrative expression on how someone is pushed aside and othered even in their own story. Like trying to tell about your day to a group of louder people who are less listening and more waiting for a moment to interject and tell about themselves and manufacturing relevance. Written with great humor, wry wit and sharp insights, Hayne’s Stone Blind is an engaging retelling that functions as internal commentary on the original tales that readers will certainly connect to social discussions of the present day and reminds us why the Greek myths have lived on in relevance for centuries. ‘And the monster? Who is she? She is what happens when someone cannot be saved.’ I had a blast with this novel, which was longlisted for the 2023 Women’s Prize and truly stands out even during a time when the market seems saturated with myth retellings. I’d like to thank Andrea for her incredible review that had me racing to the shelves to pick this one up. Hayne’s extensive experience in the world of comedy really helps this story shine. She has performed stand-up, been a regular guest on BBC comedy shows and even has her own podcast, Natalie Haynes Stands Up for the Classics and her sense of humor combined with extensive knowledge of the myths maks for a delighftul read with snarky, snappy dialogue (I love Hera berating Zeus) and sardonic charm that keeps the story emotionally buoyant even in the darkest moments. Unpopular opinion alert but I think I prefer her to Madeline Miller, which isn’t a slight on Miller who I find fantastic and can write soaringly gorgeous sentences but there is just such a jubilant upholstery to this story and a wide-reaching scope of tales that I was utterly enamored the whole way through. But first, let’s talk about Medusa as a symbol for a moment. ‘Who decides what is a monster?’ ‘I don’t know,’ said Medusa. ‘Men, I suppose.’ I was apprehensive at first as the tale of Medusa is much beloved and she has become such a multi-dimensional symbol that has morphed through the ages, but Haynes manages to be a worthwhile and insightful addition to the Medusa commentary that feels fresh, fun and faithful to the spirit of her source material (much of the tales here are adaptations of Ovid’s Metamorphoses and, sorry Pegasus fans, but the winged horse is absent from this tale). Medusa, a name that became synonymous with monster, has been depicted in history both as a hideous beast and a great beauty even with her snake hair and lethal gaze. As is common with the myths, multiple versions exist and key figures can take on different meanings (Joseph Campbell has even postulated the story of Perseus beheading Medusa is a quasi-historical metaphor of an actual invasion). With myths we often have archetypal analysis, such as Sigmund Freud who wrote in his posthumously published Das Medusenhaupt (Medusa's Head) that beheading equated to castration and ‘the terror of Medusa is thus a terror of castration that is linked to the sight of something…the female genitals, probably those of an adult, surrounded by hair, and essentially those of his mother.’ As one expects with Freud, the turning of men into stone is an erection metaphor in his eyes and he thus interprets Medusa as secondary in her own story to center men. ‘In Western culture, strong women have historically been imagined as threats requiring male conquest and control, and Medusa herself has long been the go-to figure for those seeking to demonize female authority.’ - Elizabeth Johnston, The Original ‘Nasty Woman’ Medusa has since been reclaimed as a feminist symbol, particularly one of women’s rage and associated with pushing back against toxic masculinity and sexual assault. Athene punished Medusa for having been raped by Poseidon under a statue of Athene, which has always felt quite wrong even with the excuse that she couldn’t punish Posioden and took it out on Medusa (there are many essays on internalized misogyny that cite this tale, as you can imagine). Following the depictions of Medusa as a monster came images that symbolized her as a sort of femme fatale, though we still see Medusa as an object pursued by men and her head as a weapon to be used by men. As a rebuttal to Freud, and as commentary on how Medusa is objectified, acted upon, never given her own agency, Hélène Cixous writes in The Laugh of the Medusa that ‘A woman without a body, dumb, blind…is reduced to being the servant of the militant male, his shadow.’ 20th century looks at Medusa have addressed the issue of how a beautiful woman will be objectified, and woman with rightful anger is considered a monster. It is no surprise she has become a symbol of rage against the patriarchy, such as the head of Medusa in Stone Blind saying ‘I feel like becoming the monster he made.’ ‘Men will tell you that Gorgons are monsters, but men are fools. They cannot comprehend any beauty beyond what they can see. And what they see is a tiny part of what there is.’ While she is a small part of the story, the Medusa aspects speak volumes about these issues. We have Perseus, who is given a delightfully unflattering depiction in this novel, who ‘ thinks anyone who is not like him is a monster…and any monster needs killing.’ Though Haynes gives us a very different look at Medusa and the Gorgon, showing a loving family of sisters who raise Medusa from infancy and care for one another. Perhaps the heart of the novel rests in conversation between Perseus, Hermes and Athene (who resent having to aid him in his quest and find him to be insufferable): ‘Why would anyone love a monster?' asked Perseus. 'Who are you to decide who is worthy of love?' said Hermes. 'I mean, I wasn't...' 'And who are you to decide who is a monster?' added the messenger god. The novel also asks the question ‘Can a monster be beautiful if it is still terrifying?’ offering the possible answer that ‘perhaps it depends on how you experience fear and judge beauty.’ We see Medusa as kind, suffering bravely and refusing to use her lethal gaze because she would never want to harm a living thing. ‘Would it kill you to be sympathetic about someone who isn't as fortunate as you are? Would it?’ There is the irony that of all the characters the one considered the monster is perhaps the most loving and kind, especially in juxtaposition with the gods who are shown as cruel, callous, and only concerned about themselves. We see them looking down on mortals as ‘a bad of meat…useless,’ and ‘so prone to anxiety and haste.’ They use mortals for whatever they want, sex, war, entertainment, etc. and care nothing for them. Even time is meaningless to them and this remove from the feelings and finite lives of mortals makes them unable to truly care about anything. Though my favorite passage of the book is the Nereids ranting about the irresponsible behavior of mortals: ‘Mortals have a word for this kind of arrogance…the word is hubris. And while I am al in favour of using precision to describe something, might I suggest that you would be better off not doing something so dangerous so often that you need a specific wordfor it? Perhaps develop your self-control, rather than your vocabulary.’ Of all the characters, however, Perseus is the most monstrous. Depicted as ‘extraordinarily petty,’ as a ‘coward’ who ‘doesn’t learn anything. He takes easy shortcuts whenever they’re offered and gives up when they aren’t’ and his entire hero story is one the gods made happen for him and all he did was develop a taste for senseless murder and cruelty. ‘He saw Medusa as a monster and he sees Stenno and Euryale as the same,’ we are told, showing how his prejudices make him more a monster than the one he murders without much justification, ‘all he hears is danger from this creature that wishes him harm. He doesn't hear sorrow or loss.’ And if the argument he is doing it all to protect his mother is to be made, Cassiope points out he abandoned his mother’s needs the moment he heard a lovely woman crying out in help. He only cares about what gives him glory. And if there is a tendency towards glorifying Perseus in tellings of the myth it may be a good example of what Kate Manne terms himpathy: ‘ the excessive sympathy shown toward male perpetrators’ especially at the expense of women. This undue preference is what helps gatekeep and uphold patriarchy by policing the actions of women while giving abusive men a pass. ‘Perseus…has no interest in the well being of any creature if it impedes his desire to do whatever he wants. He is a vicious little thug and the sooner you grasp that, and stop thinking of him as a brave boy hero, the closer you’ll be to understanding what actually happened.’ Which is all uproarious fun here and he is quite easy to hate. Literally everyone in the book does, except maybe his father, Zeus, though Zeus can’t even remember his name and only appreciates him for the glory his actions bestow on Zeus by proxy. Plus we have the whole aspect that his deed was cowardly, beheading the weakest of the Gorgons while she was sleeping. ‘He will try to claim there was a battle,’ we are told, ‘but there is no battle to be had between an armed man and a sleeping girl. Don’t forget’ Though outside of the Medusa story this book is also a wild ride. We have so many tales coming together as if parts of a giant puzzle and we see how hard feelings and betrayals carry over from one tale to the next. We get the story of Andromeda, the funny moments of an axe splitting Zeus’ head to birth Athene, the story of Hephaestus, the contest between Athene and Poseidon over patronage of Athens and so much more. It is a blissful trip through myths told in such an infectiously readable way. And I adore the variety of voices that tell the stories, most of them in a rather snarky fashion. There are some fun ones, like the head of Medusa insisting on being the more reliable narrator ‘because I am not a lying deceitful hateful vicious murderer,’ the Athens contest told in braggadocio by an Olive tree, or even a reed formed as the first flute by Athene to recreate the shriek made by the Gogron Euryale when finding Medusa’s murder. This is such a fun book that feels like a giant epic despite being an actually pretty quick read. ‘No one could help being afraid of something. And being afraid of dying must be especially awful, because there was no hope of avoiding it.’ I found Stone Blind to be a fantastic journey through Greek mythology with a lot of important insights and commentary. It also happens to be a humorous and endlessly engaging telling that combines many stories to give a wonderfully vast look at the characters and their actions. Haynes is a joy to read and Stone Blind is a new favorite of mine to recommend for those looking for a good myth retelling. But above all, it is a good reminder to be wary of what we call monsters and question who it really gives power to and why. And then wonder why, in all this, it is not Perseus who is called the real monster. This is a brilliant recontextualization of Medusa and Perseus full of heart and wit. 4.5/5 ‘Come on. If you do die, I’ll put in a word for you to get a constellation. Promise.’ ...more |
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really liked it
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‘Strengthen the female mind by enlarging it, and there will be an end to blind obedience.’ In 1792, Mary Wollstonecraft dropped a bomb into the intelle ‘Strengthen the female mind by enlarging it, and there will be an end to blind obedience.’ In 1792, Mary Wollstonecraft dropped a bomb into the intellectual world with A Vindication of the Rights of Women, widely considered the first feminist manifesto. It will come as no surprise that there was a hostile reception, though it was reviewed positively in many magazines, received a second printing almost immediately, and quickly came to the US and was translated into French. Mary delivers a strong rallying cry for the education of women and sharp criticisms of social norms that oppress women and coach them into submission, ideas that would resonate through the ages and inspire generations of feminist thought that would expand upon them. This includes her own daughter, famed author Mary Wollstonecraft Shelley who also shocked the world releasing Frankenstein at the age of 18, and many of her ideas about women given the space for their own financial mobility feel like prototypes for Simone de Beauvoir’s arguments in The Second Sex. Sharp, witty, and full of fiery intensity, A Vindication of the Rights of Women (published here as The Feminist Papers) is an excellent historical document on the fight for women’s liberation and still remains an engrossing read today. ‘It is time to effect a revolution in female manners - time to restore to them their lost dignity - and make them, as a part of the human species, labour by reforming themselves to reform the world. It is time to separate unchangeable morals from local manners.’ A Vindication of the Rights of Women may well be one of the earliest feminist manifestos, though the term “feminism” was not coined for another century. This novel-length manifesto may feel dated in many ways—I mean it was 1792 so don’t expect the nuance of modern discourse around gender—yet also reads as impressively ahead of it’s time. She knows her audience, though, and couches much of her arguments in religious contexts seeing as her readers would likely be religious and, in an appeal for reason, writes in a context that reason was bestowed and decreed by God. Similarly, acknowledging that men would largely be reading this, much of it is addressed diretly to the men of her time to urge them to be active in undoing the shackles of patriarchal rule and acknowledge that their actions are what have lead to the oppression and mistreatment of women. In this way, she also counteracts many typical responses against women’s liberation, namely that even with equality women would still be “lesser” than men. ‘Let men prove this, and I shall grant that woman only exists for man,’ she writes, arguing that without being given the opportunity to see what happens under a more equal society their argument is meaningless conjecture. She writes ‘there is little reason to fear that women will acquire too much courage or fortitude,’ in response to the slippery-slope claims that giving women financial agency or a space in the workforce outside the home would cause them to become ‘too masculine’ or become oppressors themselves. To any fearmongering against women’s equality, she proclaims ‘what a weak barrier is truth when it stands in the way of an hypothesis!’ and calls for space for women instead of neglecting it by assuming the worst. ‘I do not wish them [women] to have power over men; but over themselves.’ The key to her manifesto is the establishment of a National Education system that gives equal opportunities and access to men and women. The argument is that if education allowed men to thrive, women would also thrive under greater enlightenment. This was written in response to a report by Charles Maurice de Talleyrand-Périgord which has called for women to only receive a “domestic education,” something she saw as society ensuring women would have no agency beyond the duties of a housewife. Wollstonecraft argues that without proper enrichment in the sciences, the scope of women’s interest will never extend beyond superficial household issues and the gatekeeping of education is also gatekeeping them from fulfillment in a larger society. Her statement that without a proper education women will be ‘dependent on the novelist for amusement,’ a nice jab at the men of letters (also hilarious considering her own daughter’s success as a writer later on) but implying that women will have no scope of the world beyond the entertainment of fiction, or in modern parlance, saying they will want nothing beyond sitting and watching bad tv. This manifesto does mostly to serve the needs of a middle class in its critique of the wealthy ruling class. She writes that ‘after the age of nine, girls and boys, intended for domestic employments, or mechanical trades, ought to be removed to other schools, and receive instruction, in some measure appropriated to the destination of each individual,’ so the poorer working class will still be given some education but expected to remain laborers. This isn’t a perfect manifesto that achieves Fannie Lou Hamer’ statement that ‘nobody's free until everybody's free,’ but all the same this was radically progressive for its time. ‘My own sex, I hope, will excuse me, if I treat them like rational creatures, instead of flattering their fascinating graces, and viewing them as if they were in a state of perpetual childhood, unable to stand alone.’ I really enjoyed the way Wollstonecraft dissects society to show how the belief of women as lesser and submissive to men is something coached by social norms and is essentially a self-fulfilling prophecy dictated by patriarchal rule. As society is ruled from the top down in terms of wealth, so too is society ruled with regard to gender under an assumption that men are more capable and deserving of ruling. She looks at the way the treatment of women, such as the lack of access to education or employment, leaves them with no social agency or mobility and thus, in resignation, become the very thing men wish them to be. ‘All the sacred rights of humanity are violated by insisting on blind obedience,’ she writes, insisting women stop allowing themselves to be pigeonholed into these roles. This extends to topics such as marriage, and while she admits there isn’t much opportunity for women without being married, urges women to not allow themselves to become a slave to their husband. She says how men act like tyrants in marriage and that there in no reason for it to be an institution of oppression, something Beauvoir would expand upon greatly in The Second Sex charting how possession of women became equated with possession of property as another way that equality was denied simply by seeming ridiculous in a society where women were dehumanized as objects. ‘It is vain to expect virtue from women till they are in some degree independent of men.’ In a society where reason and virtue is valued, Mary Wollstonecraft argues that without the access to education and equality for women, than it is all meaningless signaling. A Vindication of the Rights of Women remains a sharp, insightful text and excellent look at the early wave-making of feminist thought that would grow and gain power and force over generations. It is certainly not perfect, and reads rather dated (it can also be assumed women’s rights likely just meant white women) but is still quite interesting. This was an excellent read for Women’s History Month, and while it is a bit of a denser read, it is still quite accessible and interesting. Mary Wollstonecraft helped light a fuse that continues in the fight for women’s rights and a more just, equitable society. 4/5 ‘Make them free, and they will quickly become wise and virtuous, as men become more so; for the improvement must be mutual, or the justice which one half of the human race are obliged to submit to, retorting on their oppressors, the virtue of man will be worm-eaten by the insect whom he keeps under his feet.’ ...more |
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really liked it
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‘There’s a problem child in every family: and that’s me.’ Written in 1954, Inseparable by the great Simone de Beauvoir was only recently released into ‘There’s a problem child in every family: and that’s me.’ Written in 1954, Inseparable by the great Simone de Beauvoir was only recently released into print and provides a look into the author’s life and friendships that would help shape her existentialist works on freedom and gender. Best known for her monumentous work The Second Sex, which lit the spark for second-wave feminism, or her Prix Goncourt winning novel The Mandarins, Inseparable is a very intimate look at de Beauvoir’s real-life friendship with Élisabeth Lacoin, called Zaza, who appears in the novel as Andrée Gallard (Simone appears as narrator Sylvie Lepage). Zaza, who tragically died just before her 22nd birthday, was a major figure in Simone’s young life, the two of them deemed to be ‘inseparable’ by their teachers, and in this story we see the early gears of thought in young Sylvie’s mind on the confines of a religious and patriarchal society on young women and those who choose to seek an independence and uniqueness of self. Having been deemed too intimate for publication in the 50s, we are now graced with this moving portrait of friendship and struggle that foreshadows the philosophical works the great feminist existentialist would write throughtout her lifetime, being a sharp criticism of oppressive systems and religion that Beauvior found suffocating to being an authentic person. [image] Zaza and Simone (Andrée and Sylvie) While the official story is that Beauvoir thought the novel too intimate and claimed it had ‘no inner necessity and failed to hold the reader’s interest,’ there is much speculation that it was the dismissal of the work by friend and philosopher contemporary Jean-Paul Sartre that caused her to lose faith in it. As Margaret Atwood states in the book’s introduction (she does not hold back against Sartre) that Sartre found the book trivial, shocked that ‘for a materialist Marxist…the book is intensely descriptive of the physical and social conditions of its two young female characters,’ and that it was inconsequential when ‘serious’ literature dealt with the means of production of factories and agriculture. Written five years after The Second Sex, it is tragic to see the points within her great work of philosophy be made so blatantly against her own novel and the notion that the interior life of a intelligent young woman be deemed trivial. The novel is quite engaging in fact, and Beauvoir’s prose (gorgeously translated her by Sandra Smith) is very fluid—something I’ve enjoyed with her philosophical works and have found them very readable and accessible. So without further adieu, let’s talk about this work that we are finally able to read because it hit me right in the gut and I love it for it. ‘Andrée was one of those child prodigies whose lives would later be recounted in books.’ The dedication to Zaza at the start of Inseperable reads ‘If I have tears in my eyes tonight, is it because you have died, or rather because I’m the one who is still alive?’ Which, spoilers much? but also the framing of the novel knowing the tragic end even before beginning allows the reader to focus in with heightened attention on the emotional turmoil bubbling within the two characters that will lead to the untimely end of Sylvie’s great friendship. ‘When I was nine, I was a very good girl,’ the story begins, and Sylvie is soon acquainted with Andrée who’s bold and direct way of speaking beguiles and intrigues her as does her freedom to roam about the streets alone. The two become inseparable and while they both are top of their class their attitudes are deemed impertinent. Sylvie decides she will pursue individual freedom, inspired by Andrée’s own actions and beliefs such as when surreptitiously smoking she remarks ‘Mama forbids it; but when you start to disobey . . .’ which leads to her falling out of Christian faith. ‘I was resolutely determined to continue to eat, read, speak, and dream in whatever way I pleased. “I don’t believe in God!” I thought. How was it possible to believe in God and deliberately choose to disobey Him? I sat stunned for a moment by this revelation: I did not believe.’ This lack of belief changes her perception on the world and in her outsider status as a non-believer she begins to observe how much human nature is restricted by notions of sin, especially women. ‘I still haven’t told Mama that I disobeyed her, and the worst part is that I’m not sorry.’ While initially rebellious, the confines of society begin to close in around Andrée. At home she is hardly afforded a moment to herself, beleaguered by an ‘enormous family: a prison, whose exits were carefully guarded.’ At the head of the household is her mother, Madame Gallard, who is said to have refused her husband twice before being obliged to marry him, and through Sylvie we witness a view of how once independent women are not only torn from their beliefs, but social expectations corner them into being authoritative parents that then perpetuate the oppressive behavior upon their daughters. The belief that getting married is the purpose of a young girl’s life is shown here, though Sylvie observes that even a partner in marriage is less a choice and more an obligation imposed. Her friend is twice removed from someone she is romantically involved with due to parent’s belief that it is not the right match, and religious beliefs inform much of the resistance. This even applies to Pascal (a stand-in for French phenomenology philosopher Maurice Merleau-Ponty), a man who ‘could be categorized as “a young man suitable in all respects”’ The mother demands Andrée be sent away until marriage so as not to be tempted to be in Pascal’s company, something that causes her extreme emotional distress and pressures Pascal to consider a marriage he does not find himself yet ready to enter. Which is all perpetuating a sad society of people being socially locked into actions that they are not emotionally ready for all for the sake of social manners and a fear of being ‘sinful’ if they follow their desires. This instilled fear of temptations of the flesh is part of what makes women view their own bodies with shame, de Beauviour writes in The Second Sex, adding a layer that the attraction of their body is sinful only burdens young women further and objectifies them even more. ‘Do I have to spend my life fighting with the people I love?’ In The Second Sex, Beauvoir examines how narratives have contributed to the Othering of women, from myths to religious stories that have been used to treat women as subservient to men and enforce moral behavior. While Sylvie feels herself free from these worries of sin, she sees the obligations imposed on her friend’s relations as a restriction of freedom, a caging of women and men into unhappy lives and marriages for no reason beyond upholding a narrative. Andrée is an interesting person in this respect, loving out of pure intentions and upholding religious beliefs out of love while acknowledging many use religion as an instrument of oppression. ‘She had discovered, with outrage, the chasm that separated the teaching of the Gospels and the self-serving, egotistical, petty behavior of self-righteous people.’ In the afterword by Sylvie Le Bon-de Beauvoir, Simone’s daughter, she writes that for Andrée: ‘faith was not, as it was for so many others, a complaisant dependence on God, a means of being right, of self-justification or fleeing responsibilities but the painful questioning of a silent, obscure, hidden God.’ Her belief in wanting to be good and wanting to be happy is frequently blocked by people who claim to be doing it for her own good. ‘We were only the instruments of God,’ says Monsieur Gallard when it is already too late, and here we see how religion also becomes a scapegoat to wash one’s hands of their complicity in oppression and Andrée’s own demise. She also demonstrates how it becomes a way to avoid acknowledgement of class oppression, seeing the poor as unclean and being that way due to sin, their status as upper class being a gift from God and under no obligation to deconstruct the class structure that they profit from and use to keep others beneath them. In The Ethics of Ambiguity, Beauvior writes ‘If we do not love life on our own account and through others, it is futile to seek to justify it in any way,’ condemning the way religion forces young women to push aside their identities and convictions to create one through the justification of religious narratives. The aspects of Sylvie being condescended by Pascal for not being a believer felt all too true living in a community where I see this in my daily life. To be clear, Beauvoir’s criticism is not with religion itself, but in the ways it is wielded by others as a tool of behavior modification and subservience. She demonstrates how the narrative is used in ways that instill guilt and fear that is used to uphold systems that are in need of ethical refurbishing in order to be more equitable and humane. Most impactful is when Sylvie observes ‘The grave was covered in white flowers. In some strange way, I understood that Andrée had died, suffocated by that whiteness.’ The book is a sharp critical look at the way whitewashing life and human nature restricts freedom and suffocates people, men and women alike. This is very indicative of its time, of course, and the sexual revolution was still a decade in coming, but the lessons still echo in our world today. ‘Zaza died because she tried to be herself and was convinced that such a desire was evil,’ states Le Bon-de Beauvior, and the novel functions as a chronicle on how Andrée’s desire to be good under the restrictions of social enforcement of behavior clashed with her desire to be a unique, loving individual and the friction of this due to her self-analysis as being sinful for simply being herself causes her to fracture mentally and physically. The book is a beautiful tribute to a friend now gone. As Atwood observes, the lessons Beauvior took from the time of friendship with Zaza blossomed into her philosophical lessons. ‘Perhaps she herself worked so hard to become who she was as a sort of memorial,’ Atwood writes, ‘Beauvoir must express herself to the utmost, because Zaza could not.’ It took decades to reach a mass audience, but I am thankful Inseparable has finally made it to print. This is a quick read but one that had me by the throat the whole time, all the more engaging as I am currently half-way through The Second Sex. This is a moving book and a loving look at a friendship that helped shape the philosophical world forever. 4.5/5 ‘At every instant, blessed eternity was in play, and no clear sign was given to indicate if you were about to achieve it or lose it!’ ...more |
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really liked it
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If you don’t hear from me, I have joined a coven and am living my best life. In the meantime, Mona Chollet has organized a book that discusses the leg
If you don’t hear from me, I have joined a coven and am living my best life. In the meantime, Mona Chollet has organized a book that discusses the legacy of witch hunts (specifically in France, UK and the US) and how the social issues of patriarchy that were a large undercurrent in the history of these horrors are still present in the world today. In Defense of Witches: The Legacy of the Witch Hunts and Why Women Are Still on Trial is an excellent blend of past and present analysis on repression and persecution that always ties back to the idea of witches and witch hunts. Chollet is sharp and insightful, eloquently elaborating her ideas in accessible and robust arguments (wonderfully translated from the French by Sophie R. Lewis), clustered into several main ideas for which women are often judged, such as rejecting motherhood or married life and other aspects of sexual agency, homosexuality, or aging. ‘The witch-hunts speak to us of our own time,’ Chollet writes, and this is a fascinating book that explores concepts of feminism and patriarchial policing as a call to action for a more equitable society and against violence directed at women. ‘Every possible decision modern women make or role they occupy, outside of the most rigorous and regressive, can be tied back to the very symptoms of witchcraft: refusal of motherhood, rejection of marriage, ignoring traditional beauty standards, bodily and sexual autonomy, homosexuality, aging, anger, even a general sense of self-determination.’ - Carmen Maria Machado, from the forward This book is less a historical critique on witch-hunts and more essays on feminism that use the legacy of witch-hunts as its center of gravity. While it occasionally seems to drift away from the theme for big chunks, Chollet always ties it back together in an effective way that keeps focus instead of merely using witches as a draw to pull readers in. I’m reminded a bit of the book Antigone Rising: The Subversive Power of the Ancient Myths by Helen Morales, which kept a tighter adherence to the theme but also much looser connections that sometimes felt gimmicky, a feeling which Chollet successfully avoids. This actually paired well with my reading of The Second Sex by Simone de Beauvoir, feeling in many ways an update on that but told through the lens of witch-hunts, as well as feeling like a good companion piece to Kate Manne’s essay collection Entitled, which has a lot of cross-over topics, particularly on reproductive rights. ‘It is difficult not to conclude that the witch-hunts amounted to a war against women.’ Chollet comes out of the gate swinging with her introduction that delves into historical witch-hunts. Offering informative statistics and a general overview on how they came about, fun details like Pope Gregory IX declaring cats the "devil's servants" and executing so many cats along with witches that the rat population grew and spread disease (subsequently blamed on witches), and examining issues such as criminalization of contraception and abortions occurring during the same period as witch-hunts. ‘Witch-hunters are revealed as both obsessed with and terrified by female sexuality,’ she observes in her discussion of historical documents such as The Malleus Maleficarum. ‘When for ‘witches’ we read ‘women,’ we gain fuller comprehension of the cruelties inflicted by the church upon this portion of humanity,’ said women’s activist Matilda Joslyn Gage, and while Chollet examines how men, too, were accused and murdered (though in far fewer numbers with significantly higher acquittals and tended to be accused to their intimacy with accused witches), she explains how Gage’s statement is in line with the book to come. Chollet’s introduction also serves as a criticism of the already well-trodden path of witch-hunt history books, pointing out how even those that attempt sensitivity tend to do a fair amount of victim blaming, often even asking why the groups accused of witchcraft ‘attracted to itself the scapegoating mechanism,’ while also scapegoating any reason except for misogyny and control as to why these hunts occurred. ‘For me, the history of witchcraft could equally be called the history of independence…the most troubled territories are always those that want to be independent.’ - Pacôme Thiellement Chollet ties in an extraordinary wealth of references in this book, citing many novels and films as well as frequent references to feminist figures. She also provides interesting commentary on how feminist groups often adopted the symbol of the witch for their movements (most notably the group Women’s International Terrorist Conspiracy from Hell, or W.I.T.C.H.). Witchcraft and magic are very in vogue now and often absorbed into many self-improvement concepts of empowerment, though, as she observes, ‘capitalism is always engaged in selling back to us in product form all that it has first destroyed.’ In her forward, Machado writes: ‘what could have once gotten a woman killed is now available for purchase at Urban Outfitters (within limits, of course. You can sell her crystals but refuse to pay her fair wages).’ This is another example of how ideas that are used subversively inevitably become products sold back to us to enrich the very systems they were fighting against (You can buy t-shirts with anti-capitalist slogans, for example, from large corporate retailers for $25). Mark Fisher's concept of Capitalist Realism (in his book of the same name) discusses how modern media often provides sanitized versions of subversive ideas to be consumed in ways that will not actually be threatening to the systems the ideas wish to challange, so too have concepts of witchcraft often been co-opted into sanitized fun or consumable aesthetics in place of the actual cultural traditions of origination. Look at the "witchcraft" books at any major retailer and you'll see examples of this. [image] W.I.T.C.H. protest on Wallstreet, 1968 Especially as this book tends to mostly address white, cisgender issues, it is important to note how concepts like neo-paganism being used as cutesy aesthetics has some troubling aspects of appropriation and we shouldn’t whitewash the dynamic cultural histories of paganism and ideas on magic (like voodoo) or fall prey to distorting history. One of the women involved in a 1968 demonstration to “hex Wallstreet” later regretted that they used satanic imagery and sayings: ‘the members of the Old Religon never worshipped Satan. They were followers of a tripartite Goddess: it was the Christian church who invented Satan and then claimed that witches were Satanists. We had bitten the patriarchal bait on that one…’ Not allowing the fun of the imagery to distort history or appropriate other cultural traditions is something to keep in mind, especially since Chollet points out the large number of women of color who were persecuted and how much American witch-hunts were used to target the indigenous. This comes later with the topic of medicine and wellness. ‘The witch becomes the ‘antimother,’’ Chollet writes, ‘many of the accused were healers who played the role of midwife—but who also used to help women wishing to prevent or terminate a pregnancy.’ This was during a time women were denied access to medical school and Cholett discusses that part of their eradication was to silence anyone that wasn’t part of the academic cannon. As witchcraft ideas have started to be absorbed or co-opted into wellness communities or other natural health circles, the infiltration of white supremacy in the wellness industry is something that should also be kept in mind too, as well as trying to remember snake oil salesman use the same bad faith marketing as any other big industry so it can sometimes be difficult to parse out what is an effective alternative remedy and what is not. ‘Years of propaganda and terror sowed among men the seeds of a deep psychological alienation from women.’ -Sylvia Federici Chollet breaks the book into chapters to address women’s independence, reproductive choices, aging, and a final chapter on general repression of women. The first deals with many similar concepts that de Beauvoir famously covered about how women are socialized to be submissive and accessory to the male-dominated society. She examines how any variation from the patriarchally prescribed notion of what a woman should be is met with backlash, something author:Kate Manne|16600238] describes in Down Girl: The Logic of Misogyny as sexism being ‘the branch of patriarchal ideology that justifies and rationalizes a patriarchal social order, and misogyny as the system that polices and enforces its governing norms and expectations.’Chollet says that witch-hunts imposed patriarchal order by violence and the 19th century’s idea of the modern housewife became a new method of imposition that ‘locks women into their role as reproducers and disenfranchises them from participation in the world of work.’ I find it disingenuous that many of the opponents to reproductive rights in the US are similarly opposed to improvements in childcare, maternity leave or general healthcare, which does lead to disenfranchisement because ‘the rights to contraception and abortion [have been] co-opted to reinforce the norms of “good” mothering’. When women were slow to return to work after COVID regulations laxed (and were more affected than male counterparts) but childcare options were still limited and cost restrictive, the same sort of people were quick to decry them as lazy and proclaim nobody has a work ethic anymore. ‘There is something quite intriguing in the way that society forces independent women into miserable lives,’ Chollet writes, ‘the better to confound them thereafter: “Ah! See how unhappy you are!”’ This is also an aspect of homophobia, as queer or trans women do not fit into the patriarchial mold. For instance, for that for all the browbeating to become a mother for straight women, queer women are often denied access to adoption in many countries or by certain adoption agencies. I was thrilled to find Chollet quoted Jeanette Winterson, an absolute favorite, on how being queer and not tied down by children or traditional marriage was freedom that helped her career. In the book Toil and Trouble: A Women’s History of the Occult, the authors point out that witchcraft is often used in media as a queer metaphor. The show Bewitched for example, about which actress Elizabeth Montgomery says she was proud of the queer undertones, admitting it was present and alway 'about repression in general.' Montgomery would go on to be a prominent voice advocating for the queer community. ‘Women who create things other than children are still considered dangerous by many.’ - Pam Grossman Being childless is also something that women become ‘othered’ for choosing. ‘Regret is used as a threat to push women who do not wish to be mother into motherhood even when abortion is not an issue,’ says feminst activist and sociologist Orna Donarth. Chollet looks at the life of Gloria Steinem who was frequently criticized for not wanting children, or Simone de Beauvoir who wrote that ‘I never once dreamed of rediscovering myself in the child I might bear,’ in response to people telling her she is likely filled with regret. This ties into Chollet’s next chapter on aging and how much aging women are criticized has a lot more to do with fertility than age. ‘Men don’t age better than women, they’re just allowed to age.' Chollet looks at how ‘men’s dominant positions in [society] allows them to be absolute subjects and to make women into absolute objects,’ and once a woman has passed a certain age she observes that society has deemed her less beautiful and therefore less valuable. She details many examples of how older women are associated with thoughts of declining virility and death (hence the “old hag” witch symbolism), but, Chollet asks ‘who thinks about death when they see Richard Gere or Harrison Ford?’ She says the only true difference with men is that ‘their decay is not counted against them’ as it is with women. Chollet looks at how the pay for women in film decreases with age while it stays steady for men, or how older men in the public eye tend to date younger and younger women as they age (this was a recent internet topic when Leonardo DeCaprio once again broke up with a girlfriend who had turned 25 [he is 48]). There is even a 2000 court case in Portugal she describes where an older woman who had significant damage to her sexual organs during a workplace accident had her compensation pay greatly reduced by the judge because ‘at this age, not only is sex no longer as important…but her interest in it will be diminished.’ It was overturned in 2017 by the European Court of Human Rights, but the message is that society sees older women as lacking sexual desirability as well as fertility and are, thereby, less valued. 'To cast a spell is simply to spell, to manipulate words, to change people's consciousness...' - Alan Moore There is an interesting thread through these chapters on how language is coded to reflect a ‘conquering state’. In the chapter on aging, for instance, she points out how a sexual older woman is termed a ‘cougar’, which has negative connotations, while men have the more positive term ‘silver fox’. There is a discussion as well how women’s sexual organs are named after the men in medical fields who ‘discovered’ how they worked, as well as how linking women to ideas of nature and the Earth became a way to encourage ideas of ownership over them, with witches being a 'symbol of the violence of nature...disorderly women, like chaotic nature, [that] needed to be control.' It even goes so far as to how professions and jobs can become connotated as more “women's work” and how feminized careers are often less financially compensated, respected, and frequently expected to take on labor—particularly emotional labor—beyond their job description (as someone working in libraries, a job she mentions as ‘feminized’, yep). As Rebecca Solnit wrote, ‘the revolt against brutality begins with a revolt against the language that hides that brutality,’ and Chollet looks at instances of language such ‘Ms’ becoming an accepted honorific, or even they/them pronouns gaining common usage, as a way to better identify oneself on their own terms. However, she also chronicles the excessive pushback that come in response, reminding us that when progress threatens patriarchal hierarchy even a little, the gears of misogyny and homophobia lock into attack. But this focus on language is also how she can use many films and books to elaborate her points, especially the ones that try to pacify or mock issues of women’s liberation. 'The Witch is arguably the only female archtupe that has power on its own terms. She is not defined by anyone else.' - Pam Grossman This is a wonderful book that does an excellent job of combining a look at witchcraft and witch-hunts with feminist and social theories in a really engaging way. I wish this book went more beyond the fairly white, cisgendered centered approach (she does a decent job pointing out how much indigenous and Black cultures are involved in the history though), though this is also Chollet’s world and experience so I’d like to read another similar book on different cultural histories of witchcraft from an author that would be a good authority on the subject. Accessible, full of fascinating facts and figures, In Defense of Witches is a great read and wonderful reference. 4.5/5 ...more |
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May 17, 2022
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May 17, 2022
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1631496700
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it was amazing
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‘What would happen if one woman told the truth about her life, asks poet Muriel Rukeyser. The answer, she says, is ‘the world would split open.’ Korea
‘What would happen if one woman told the truth about her life, asks poet Muriel Rukeyser. The answer, she says, is ‘the world would split open.’ Korean author Cho Nam-joo has done just this with her 2016 novel Kim Jiyoung, Born 1982 (82년생 김지영) which helped spark the #MeToo movement in South Korea and became a flashpoint of gender discussions and backlash. While focusing on misogyny in South Korea, Kim Jiyoung becomes a channel for women’s collective rage that was felt universally, being translated into 18 languages--such as the English translation by Jamie Chang--in this novel that opens with the titular character quite literally channelling the voices of women both dead and alive to speak out against misogynist mistreatment. Going through Kim Jiyoung’s life story and cataloguing the gender injustices along the way leading up to her breaking point, Cho Nam-joo paints a portrait of women’s experience for all the world to reflect upon ‘as evidence of how women in this era, the 2010s, lived, thought and made effort,’ Cho says in an interview with NPR. ‘I thought of Kim Jiyoung's character as a vessel that contains experiences and emotions that are common to every Korean woman,’ Cho says, and the international success of the novel has shown that this experience resonates across the globe. The novel itself is direct and brief, but opens up a massive conversation on gender inequalities such as access to adequate employment, household duties, stigmas of pregnant women to simply being believed, all while commenting on how and why so many of these issues get brushed under the rug. It is undeniably a must-read. ‘If we women all go through these experiences, then they should be discussed together, in a public way.’ — Cho Nam-joo The cultural context of the novel and its wake are as interesting as the book itself. In May of 2016 (when the book was released) a young woman was stabbed to death in a restroom of Seoul’s Gangnam district subway, the killer claiming he did it ‘because women have always ignored me’. This gets into how men have been socially conditioned into entitlement over women’s bodies and affection--a global issue shown with Incels murdering women such as the 2014 Isla Vista killings in the US--and was another major spark leading up to the major South Korean MeToo movement demonstrations in 2018 where President Moon Jae-in acknowledged that the country ‘cannot solve this through laws alone and we need to change our culture and attitude’. This novel has been cited as a large inspiration for the MeToo movement, as well as the Escape the Corset and 4B feminist movements in South Korea. So what exactly is in this novel, you might be inclined to wonder considering all this. The novel chronicles the life of main character Kim Jiyoung from childhood into early years of marriage when she begins to channel voices and is sent to a therapist for fears of mental instability (the notions of madness in women have a long misogynist history such as the etymology of the word hysteria being a medical diagnosis for women essentially for them causing disruption to others for any reason). Cho Nam-joo does well by having most of the issues faced by Jiyoung seem fairly standard to demonstrate how ingrained misogyny is in society. ’Born during a time when ‘checking the sex of the foetus and aborting females was common practice, as if ‘daughter’ was a medical problem’ Jiyoung grew up being told to be cautious, to dress conservatively, to be “ladylike.” That it’s your job to avoid dangerous places, times of day and people. It’s your fault for not noticing and not avoiding.’ This social conditioning begins early in childhood where women are denied victimhood of aggression and assault by claiming the way they dress, the people they hang out with, or any normal social aspects of their life invited the disturbances upon them. When Jiyoung is stalked by a male classmate on her way home and made by him to feel like his potential assault is her fault for smiling at him in class, her understandable fears are swatted down by her father who yells at her in claims she brought it upon herself. Similarly, Jiyoung’s primary school has strict dress codes for the girls that are not enforced for the boys because they are deemed as being naturally more active. Dr. Helen Morales discusses the double edged sword of dress codes for girls in her book Antigone Rising as policing girls bodies while simultaneously upholding a capitalist market that thrives on sexualizing young girl’s bodies. Dress too conservatively and be labeled frumpy and undesirable, be desirable and be chastised for it. Similarly Jiyoung sees while in college being sexually unobtainable is looked down upon, but having dated a classmate makes you ‘someone else’s chewed gum’ and suddenly minimized under the same standards. ‘The young laborers worked without adequate sleep, rest or food, thinking that was what working entailed for everyone.’ While Jiyoung is painfully aware of these double standards as a child, but it is during her quest for employment and holding a job as a women when these issues really come to a head. Jiyoung is openly told that women are less desirable for employment because they may require maternity leave, and often sees how qualified women are passed over in interviews simply because men are more valued. ‘What do you want from us?, it is observed, ‘[t]he dumb girls are too dumb, the smart girls are too smart, and the average girls are too unexceptional?’ Once getting a job, she is painfully aware that working harder to prove her worth becomes harmful for other women in her field as it sets a standard where working oneself to death and sacrificing your time is required to be on equal footing with male employees that do not have to do the same to be accepted. ’I've noticed this about new employees over the years. The women take on all the cumbersome, minor tasks without being asked, while guys never do. Doesn´t matter if they're new or the youngest - they never do anything they're not told to do. But why do women simply take things upon themselves?’ The sacrifices made don’t just apply to the working world. Jiyoung is pressured to have a child by her husband’s family and when she does she is then shamed by society for being pregnant. Given the opportunity to show up 30 minutes later due to her pregnancy, her male coworkers chide her for being privileged and given unfair advantages while ignoring how difficult, disruptive and painful pregnancy is (she begins showing up extra early before realizing this is setting a precedent that will harm pregnant women in the future). While taking the subway home and denied a seat despite her obvious condition, she is told she is shameful for working while pregnant because she must not be able to afford it, another example of how society demands her to become pregnant but then shames her while not affording her a space for being pregnant. When discussing how disruptive the pregnancy is to her husband she sees just how naive men are to women’s conditions. While having the child will completely derail her career--much is made of the near impossible conditions needed for her to continue working and have childcare later on--her husband considers the minor inconveniences he will face to be equal. He bemoans that he won’t always be able to get a drink with the fellas after work and will have to help with bedtime occasionally as if that somehow matches the sacrifices she is making. There is a simple blindness to the household duties of women being reflected in the husband, something that is a problem everywhere. In her book Entitled, Dr. Kate Manne examines the gender inequality of housework after having a child. While these are US statistics, the takeaway message is something fairly universal and often worse in other countries: ‘First-time parenthood increased a man’s workload at home by about ten hours per week, [for women] about twenty hours...much of the new work that fathers did take on was comparatively ‘fun’ work of engagement with their children...Fathers did this for four hours per week, on average, while dropping their number of housework y five horse per week...Mothers decreased their hours of housework by only one hour per week--while adding about twenty-one hours of child-rearing labor...and mothers stilldid more by way of infant engagement: about six hours per week, on average.’ One of Cho Nam-joo’s most successful tactics in the novel is showing the ways in while men are oblivious to the gender inequalities. The husband honestly thinks he is an equal partner and isn’t perpetuating patriarchal norms while as a reader we see exactly how he is driving them. Manne offers another statistic, that ‘while 46 percent of fathers reported being coequal parents, only 32 percent of mothers concurred’. The blindness to these issues is a major theme of the book, particularly with the framing of the narrative. At the end we read the assessment from Jiyoung’s therapist who claims to have understood it all. ‘Frankly, it’s only natural that men remain unaware unless they encounter special circumstances as I have,’ he writes, ‘because men are not the main players in childbirth and childcare.’ The final gutpunch sentence, however, reveals that he has, in fact, not understood or learned. Which is why this book is so important to find a male readership (it should be noted that in South Korea, female celebrities faced strong backlash for promoting it to a much larger and more aggressive degree than male celebrities such as BTS did for backing it). Cho Nam-joo is making a very valid point that men may never truly understand it and will likely always fail to fully grasp it, but they need to always struggle to understand it even when it is pointed out that they have failed (a large part of anti-racism work for white people is framed this way as well). The framing of the novel, as mentioned, is a really genius choice. Written as if it were a clinical case study, the detached and matter-of-fact narration allows the reader to see the events without emotional slant that could be dismissed as hysteria (gonna bring that back in because, honestly, that is a common attack) or bias. When seen clinically there is no excuse to look away or dismiss, and she really just wants us to listen to women (being believed is a major problem). This also gives a great opportunity for her to cite sources right within the text and provide factual information to strengthen the narrative. The technique touches on how often women aren’t believed, and a similar approach of putting citations right there on the page was used by Claudia Rankine in her recent book Just Us: An American Conversation for similar purposes. ‘The world had changed a great deal, but the little rules, contracts and customs had not, which meant the world hadn’t actually changed at all.’ While much of this sounds rather heavy--and it is and should be--there is a note of hope in the narrative. In many episodes, particularly those from Jiyoung’s childhood, collective resistance has helped change policy. When the girls stand up to the teacher for unfair lunch rules, the teacher changes them and sees they are correct. Resistance to the dress code helps make it more lax for girls (though not equally). There is strength in numbers, though sometimes this also garners backlash. When a group of girls attacks the local flasher who frequently reveals himself to the school through the windows, they are chastised as having brought shame upon the school even though they stopped a public sexual offender. Later when women at Jiyoung’s former workplace rally together against an incident where a man has hidden a camera in the restroom and the male coworkers were sharing the photos, the women are admonished for creating a hostile work culture and asked to think of the families of their coworkers they are harming by pressing for justice. ‘The fact that they have families and parents,’ one woman states, ‘is why they shouldn’t do these things, not why we should forgive them.’. This idea that he men are the true victims for being called to account for their transgressions is central to Dr. Manne’s theory of himpathy. Sure, I said most of what happens in this book isn’t extreme examples for a purpose. Perhaps I’d think a bathroom camera was extreme but during my years working for a Metro Park during college a man was arrested for wearing a scuba suit and hiding in women’s pit toilets to photograph them. Yet the local conversation was about how he was 'a family man' and 'not that bad'. This sort of himpathetic treatment holds an umbrella for abuse all the time. It also seems to value the discomfort of the perpetrator due to their own actions over the violation of their victims. Or, as Nam-joo writes ‘While offenders were in fear of losing a small part of their privilege, the victims were running the risk of losing everything.’. I could make a strong case for Kim Jiyoung, Born 1982 to be required reading, and its easily flowing narrative and accessibility honestly would make it a great selection for high school reading. These subjects are important and it is really encouraging to see a book like this garner international support. This book is uncomfortale but all the better opportunity for growth. The backlash and claims of misandry--much like with Mieko Kawakami's Breasts and Eggs--only seem to prove it's point. Jiyoung is the voice of women everywhere asking to be heard, to be believed, to be respected and to be treated fairly. It’s about time we listen. 4.75/5 ...more |
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Mar 09, 2021
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1568589352
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| 1568589352
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| 1,727
| Apr 14, 2020
| Apr 14, 2020
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really liked it
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‘The past subverts the present,’ writes Dr. Helen Morales in her book book Antigone Rising, ‘and whether it is used to uphold or subvert brutality dep
‘The past subverts the present,’ writes Dr. Helen Morales in her book book Antigone Rising, ‘and whether it is used to uphold or subvert brutality depends on us.’ Morales work is a really insightful and engaging look at the ways ‘Greek and Roman myths have become embedded in, and an influential part of, our culture’ and the ways that shapes social norms that can be used to oppress--particularly against women--or be a touchstone inspiring resistance and activism. Broken into eight chapters that cover a wide range of topics from Incels and fatphobia to even a chapter on Beyonce’s use of restorative mythmaking and cultural ownership, Morales threads current social issues with lessons from the myths that helped to normalize these ideas in our culture long ago. While it is a delightful read for anyone with a working knowledge in the myths or social justice issues, One need not be well versed in mythology to enjoy it, Morales herself is the Argyropoulos Chair in Hellenistic Studies at University of California, Santa Barbara and very comfortably and effectively details the myths as needed towards making her larger point. Reading this it is clear she is a fantastic teacher and I would absolutely love to attend a full semester of lectures like this. Drawing from many stories and many great modern thinkers (Dr. Kate Manne, Mary Beard, Rebecca Solnit and activists like Liberian sex strike leader Leymah Gbowee) Morales has crafted a really fun and productive look at the power of ancient myths in intersectional feminism today. Part of what makes Greek and Roman mythology so powerful is that it is widely known and understood, making it a ‘common compass’ to ground a social discussion. Morales opens her book with a look at the figure Antigone, a classic image of women standing in defiance of the State, and comparing her to modern activists like Malala Yousafzai and Greta Thunberg. Thunberg is a really interesting comparison and Morales draws a connection between the dismissal and aggression against Thunberg for her youth and aspergers to Antigone who was dismissed in the story for ‘disease of young girls’ and deemed to be mentally unfit because it was believed an unmarried girl goes mad at that age without a husband. Through using a discussion from Ralph Ellison’s theory of ‘enlargement’, Morales argues that interplay between mythology and modern issues ‘gives the reader an enhanced prism through which to understand them,’ enlarging upon ideas in past and present simultaneously for the benefit of both. ‘Key to the work of changing the world is changing the story.’ -Rebecca Solnit In his book Classics: Why It Matters, Neville Morley states ‘there is always a struggle over ownership, and who gets to claim and define it.’ This is important in modern retellings of Greek myth, such as recent books like Circe by Madeline Miller or A Thousand Ships by Natalie Haynes that refocus the stories from a woman’s perspective to reconfigure who gets to matter and define the tales, but also in cultural ownership in general. Morales states: It is an important part of European and American national identities and to the construction of ‘the West’ that they are the heirs to (an idealized version of) ancient Greece and Rome. She points out that many white supremacist organizations--such as the American Identity Movement--often use Greek and Roman images and references in their logos and leaflets, often over images of Greek/Roman statues ‘making an implicit association between white marble and white supremacy and between American identity and ancient Greece and Rome’. She quotes artist Kara Walker who stated that white Europeans ‘resort to themes of Classical Antiquity to describe the enormity of their Selves to the Rest of Humanity.’ ‘Whiteness is a metaphor for power-James Baldwin Morales says the belief here is that white Europeanness has the ownership over classical mythology, and why ‘many white people still have a strong emotional investment in mythological characters being portrayed as white and not Black...there is a desire to see themselves reflected in them.’ She cites this as why there was so much outcry over casting choices like the BBC employing Black actors in Troy: Fall of a City or Disney’s choice of Halle Bailey an upcoming Little Mermaid film. Returning to the idea that ‘white marble statues have become idealized and romanticized...and conflated with white skin’ historian Sarah Bond was met with outrage when she wrote that the statues were originally painted and did not only portray white people, while Mary Beard faced a similar response when writing that Rome was multicultural. [image] (click here to read Sarah Bond's essay) Morales discusses that this is why Beyonce’s APESHIT video (watch here) shot in the Lourve and using reimaginings of mythology (such as Hermes Tying His Sandal statue reinvisioned as Colin Kaepernick) is so powerful. ‘The video criticizes the exclusion of black people and culture from the Lourve, but it also goes beyond that, by reimagining the space and its collections in ways that create new icons, perspectives, and priorities. It acts as a kind of restorative mythmaking…[and]underscores the themes of cultural ownership and protest.’ Beyond ownership of culture, a large portion of this book is concerned with a patriarchal belief of ownership, especially over women. The first chapter deals with the killing of Amazons in ancient myth and ties it to the Isla Vista killings. Morales points out that with stories such as Hercules, ‘violence against women is integral to heroism, or at least a particular kind of macho heroism’ and often was used to punish ‘sexually renegade’ women. She later furthers this to discuss how with the slaying of Amazons it was not only to impose a sexual superiority but also ethnic and is embedded in violence against foreign or BIPOC women. Most powerfully in this book is her comparisons between Ovid's Metamorphosis. and the #MeToo movement with regard to misogynistic control and rape culture. She offers a unique interpretation of Ovid, postulating that Ovid used Emperor Augustus’ own association between himself and Jupiter and Apollo to reveal him as someone who was ‘repeatedly imposing himself upn unwilling victims’ like the ‘rapist gods’. She says this avoided direct criticism of Augustus, though Ovid was later exiled anyways. The basis here, however, is that while the Greek and Roman myths both impose a misogynist viewpoint and normalize violence and assault against women, they too can be used to criticize those same issues in powerful men. Stories such as The Bacchae also have a violent message for those who try to control others, with Pentheus torn limb from limb while attempting to return the women to his control from Dionysus. In her chapter on Diana, the Hunter of Bus Drivers, a woman who killed--you guessed it--bus drivers for the string of rapes by drivers against working women in the city of Juarez (read an excellent piece of journalism on the story, written by Yuri Herrera, an author I love, here), Morales shows how the mythological Diana has been used in modern pop culture as a symbol of resistance, such as the huntress imagery of Katniss in The Hunger Games.In quoting Kelly Oliver’s book Hunting Girls: Sexual Violence from The Hunger Games to Campus Rape: This trend is a response to an increase in violence towards girls and women: “New myths of Artemis figures defending their own virtue from violence all around them can be interpreted as compensatory fantasies for girls and women subjected to violence, especially sexual violence, in their everyday lives. Morales hits so many great issues here, and does so in an empowering way that also looks at the nuances. On myths that address trans folx, she points out how problematic some of the myths can be while also celebrating the power of being able to find oneself reflected in ancient tales. She retells the versions about Caeneus and Teiresias as trans narratives, though does well to point out that the change being due to trauma is not a good reflection on the reasons for transitioning as ‘life affirming choices need not spring from ruin.’ On the subject of controlling women’s bodies--comparisons to Venus abound--she examines how women are policed for their manner of dress, such as school dress codes, and chastised for clothes that are deemed disruptive to their male peers and teachers, yet it is extremely profitable for fashion and media to market sexualization of teen girls. Profit off of them, then condemn them for following the trend. Much like how Medusa was punished for having been raped, Morales shows the injustices that are done to women to benefit a patriarchal viewpoint. These essays are quick and potent, and while some of the connections are a bit of a stretch, it is ultimately really exciting and enjoyable. It could have been denser, but each chapter reads like an excellent primer and gives a huge list of references and resources to continue learning. This was not meant to be all encompassing but a fresh and empowering take on both the myths and intersectional feminism. Morales has achieved that and more, and comes across like an amazing teacher. I can only imagine a course under her would be incredible. I would highly urge anyone, even if you only have a passing interest in mythology, to check this out. 4/5 ...more |
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Feb 20, 2021
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1529054222
| 9781529054224
| 1529054222
| 3.87
| 62,117
| Jul 11, 2019
| May 12, 2020
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really liked it
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Bodily autonomy is a complex issue, particularly for working-class women existing in a patriarchal society stacked against them. Mieko Kawakami is qui
Bodily autonomy is a complex issue, particularly for working-class women existing in a patriarchal society stacked against them. Mieko Kawakami is quickly becoming a new favorite author for me, and Breasts and Eggs is a much-needed and passionate voice of denouncement to the social, literary, and workplace circles of society and their methods of keeping women down through everything from beauty standards to reproductive laws and social stigmas. ‘Women are no longer content to shut up,’ Kawakami said in a recent interview with The Guardian, citing outcries over the enforcement of beauty standards, such as a code requiring women to wear high heels at work or the disproportionate burden on women during COVID (issues affecting the health and safety of women are occurring worldwide). This book works as an effective rebuttal to traditional images of Japanese women as quiet and subservient, an image she critiqued world-renowned author Haruki Murakami for perpetuating during an interview with him. Giving voice to working-class women--and to the poetics of working-class dialects as well--and illuminating their interior selves, Kawakami boldly engages in sexual politics with an unabashed candor of bodies and sexuality in this blissfully intelligent novel. Already a sensation in Japan, Mieko Kawakami has finally reached English-speaking audiences with Breast and Eggs. Split into two parts, the first half won the Akutagawa Prize when it was published as a novella in 2008; it was reissued as the full-length novel Natsu Monogatari(夏物語) in 2019. The first half takes place over 48 hours as Mikiko takes a trip with her twelve-year old daughter to stay with her younger sister, Natsuko--who narrates both sections of the book--to visit a breast-enhancement clinic. The second, longer section jumps 10 years into the future to 2016 where Natsuko is now an author after the runaway success of her short story collection. Still single with no desire for a relationship and accepting of her inability to feel pleasure from sex, Natsuko is researching semen donor options in order to have a child. As single women are not allowed to undergo the procedure in Japan, and she is unlikely to leave the country to have it done, her options are limited to private donors. Through this, she enters a world of fertility seminars and begins to understand the perspectives of those who are the children birthed from the procedure. Although there is not a whole lot going on plotwise, this novel brilliantly opens up the vast interior world of Natsuko and her conversations with other women. Kawakami does an excellent job of portraying nuanced opinions, and while this book passes the Bechdel test by leaps and bounds, it is interesting to note how often conversations about men are inevitable because of the patriarchal structure insisting upon itself in almost every aspect of life. And this isn’t limited to criticisms of men, of which there are many and which make up some of the most wonderfully blunt statements in the novel. There is a righteous anger boiling in many of these women, such as the popular author Rika who openly says she dislikes all men for what they’ve imposed upon women. Rie, a former bookstore coworker, discusses how her husband mocked and delegitimized her postpartum depression by saying that birth is natural and she should get over it; Rie states that she hopes when he is dying she can laugh in his face and say, ‘Dying is totally natural. Get over it.’ She also elaborates on how women have been oppressed into internalizing their own oppression, detailing how her mother was verbally and physically abused by her father but later told her children she still valued him more than her own children. Or, as Glennon Doyle once wrote, ‘A very effective way to control women is to convince women to control themselves.’ This form of control isn’t always imposed through intimidation and violence, but often is surreptitiously enforced through the normalization of oppressive social norms such as beauty standards. Fitting standards of beauty becomes a system of value in society, particularly when marriage is deemed as necessary and finding an advantageous arrangement is crucial. ‘When you’re pretty, everybody wants to look at you, they want to touch you. I wanted that for myself. Prettiness means value. But some people never experience that personally.’ Fitting these standards is not only socially advantageous but also often becomes a necessity for work life. Mikiko is considering breast enhancement because her job as a hostess at a working-class bar (named Chanel and adorned with the emblem everywhere as a tacky attempt at class) requires her to be desirable and she feels outmaneuvered by younger women who better fit the standards of beauty (not to mention there is a lot of profit tied into sexualizing young women). ‘Beauty is capital,’ Tavi Gevinson wrote recently in an article about this very illusion of control, ‘and grows in value based only on the exclusion of others,’ and in Mikiko we see a working-class woman having her income threatened by not fitting the male gaze. These procedures are expensive and possibly beyond rationalization for her income as Natsuko observes, but perhaps this is all part of the purpose of the ‘beauty myth’ concept where ‘women are mere ‘beauties’ in men’s culture so that culture can be kept male.’ As is noted by Renee Engeln in her work Beauty Sick: How the Cultural Obsession with Appearance Hurts Girls and Women, ‘We don’t consider the gender gap in time and money spent on beauty...but time and money matter. They’re essential sources of power and influence and also major sources of freedom.’ Working-class women must spend a lot of money and go through a lot of pain, such as Makiko’s nipple-lightening procedures that she says are excruciating, on physical appearance standards that don’t have a male counterpart, further exacerbating the already troubling pay gap. Even something such as readying oneself for work is cast under the male gaze and control. Companies in Japan have banned women from wearing glasses at work as it purportedly makes them appear ‘cold and unfeminine,’ something along with required hairstyle standards that male employees do not have to follow. Perhaps Tressie McMillan Cottom says it best in her book Thick: And Other Essays: 'Beauty is not good capital. It compounds the oppression of gender. It constrains those who identify as women against their will. It costs money and demands money. It colonizes. It hurts. It is painful. It can never be fully satisfied. It is not useful for human flourishing. Beauty is, like all capital, merely valuable.' This is not limited solely to ideas of gender either, as so much of work culture creates a oppressive or dehumanizing sense. While Kawakami briefly touches on this, it is better explored in books such as Hiroko Oyamada's The Factory or even Convenience Store Woman by Sayaka Murata. Bodily autonomy is threatened by bodies being seen only as a tool for productivity in a business sense, and many people can become crushed underfoot in increasingly ableist work cultures that exist all over the world. This line of thinking about your body as controlled by patriarchial society runs deep, and even 12-year-old Midoriko--her whole story is heartbreaking and she is such a lovely character--is already aware that her body is mostly valued for her reproductive labor. Kawakami is an expert at creating parallels in this book, and one of them is the way in which Midoriko’s journal entries on her eggs become a large theme for Natsuko in Part 2. Initially, Natsuko is concerned with her own autonomy over reproduction but as she learns more and interacts with the children of anonymous sperm donation, the question of their autonomy is largely brought into focus. She realizes ‘I don’t want to have [children]. I want to meet them. My child’ as a way of shifting the focus onto them. Some of the most powerful scenes come from the resistance of others to Natsuko’s desire for a child as a single mother--not unlike her own resistance toward Mikiko’s desire for breast surgery. For example, her editor Sengawa (whose own story as a strong, single woman takes a tragic turn that probes ideas of ableism and hiding your own debilitating illness), telling her she cannot financially afford it and that it would be squandering her talents as a writer. The biggest argument against the idea comes from Yuriko, a child of sperm donation who was violently and repeatedly raped by her father and the freshly ex-girlfriend of Aizawa, a man looking for his biological father and newly-close friend to Natsuko. Yuriko believes life is pain and that it is unethical to bring a child into this world, which is a common topic of discussion in a world with a climate crisis and political anxieties that make one wonder what life they are imposing onto a child. ‘Nobody should be doing this,’ she says, ‘whoever the child is, the one who lives and dies consumed with pain, could never be you.’ She reminds Natsuko that the act is creating a life separate from her and calls into question the autonomy of a child that could potentially only live a few hours knowing nothing but pain or a lifetime of suffering as Yuriko has. People are willing to accept the pain and suffering of others, limitless amounts of it, as long as it helps them to keep on believing in whatever it is that they want to believe. Love, meaning, doesn’t matter.’ Natsuko is someone who chooses to follow her own path and find her own meaning, although her choices are inevitably influenced by those she values. She is a reactionary, often in an empowering way, such as when her first editor, a man, insists she will never be a great writer and so she ditches him and ends up publishing a massive best-seller. This is an important characterization, showing a fairly socially rebellious side as Natsuko is the child of a poor working-class single mother from Osaka. Like her character, Kawakami is also from Osaka and grew up lying about her age to work in factories and bars to support her family. ‘If you want to know how poor someone was growing up,’ she opens the novel, ‘ask them how many windows they had.’ The book frequently circles back to her childhood escaping an abusive father and then being raised by her grandmother after her mom’s early death. Reflections on extreme poverty abound, but the remembrances ultimately center on love. In a late scene she visits the apartment she grew up in, and the sheer bittersweet emotion of that moment does in a few pages what many books can’t achieve in hundreds. This book is an ode to the working-class woman, and much of this exists in a language that sadly cannot transfer through translation. There is much discussion about the Osaka dialect, and, according to a review in The Guardian, an early UK translation of the novella attempted to recreate it with lines that currently read as Mikiko saying, ‘I’ve been thinking about getting breast implants’ translated as ‘Natsuko, I’m thinking of getting me boobs done.’ I read this along with my wonderful Goodreads friend Usha (read her review here) and discussed the dialect a few times. She made the great point that here, in the United States and Canada, so much of our dialect is associated with race and it would be difficult to translate it without it coming across as racist or otherwise problematic. I sort of enjoy the beauty in the ineffable and that certain things just cannot transfer, but it is a shame that writing her dialogue in the Osaka dialect is something English readers have to miss out on. The translation here by Sam Bett and David Boyd is admirable. I’ve encountered criticisms of the writing as a bit clunky and uneven, but it is of a sort that I tend to find really works for me as a positive. Breasts and Eggs is a book that reads ‘like a cross between heartache and reassurance’. The depictions of Natsuko’s depression near the end register as painfully accurate, the varied opinions feel authentic and probe toward a wider understanding and acknowledgment that ideas are nuanced, and the characters feel alive and their pain becomes something you will find yourself empathizing with. Mieko Kawakami has an eye for the world and a talent for social criticism that is quickly making her a favorite (her other currently available book, the novella Ms Ice Sandwich is phenomenal and touches on similar themes of the beauty myth. Breast and Eggs left a large and lasting impression on me and reminds me of my own privileges where standards of beauty and male gaze don’t dictate so much of my life, as well as aspects of being believed and my opinion valued or not. This is a much needed voice in literature and one that stands strong and proud as a voice of working-class women struggling against the patriarchy to carve out their happiness and value in the world. 4.5/5 ‘Happiness can be defined all kinds of ways, but human beings, consciously or unconsciously, are always pulling for their own version of happiness.’ ...more |
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it was amazing
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The cusp of adolescence is a tumultuous time when everything you thought you understood about life, yourself and others is suddenly rent asunder. Ther
The cusp of adolescence is a tumultuous time when everything you thought you understood about life, yourself and others is suddenly rent asunder. There is a paradigm shift in all your relationships and you clamour to hold on and ride the changes into what you hope is a more mature You. Ms Ice Sandwich by Mieko Kawakami (beautifully translated by Louise Heal Kawai) has a remarkable grasp on these volatile moments that is prodigously told through the perspective of a young boy grappling with these changes. This is such a well crafted novella that navigates an emotional awakening in a boy dealing with change, processing information that contrasts with his own feelings as well as a charming accounting of his childhood fascination with a woman who works at the local convenience store. Ms Ice Sandwich is blissfully succinct while managing to be a highly nuanced and textured adolescent narrative that perfectly captures the chaos of growing up and entering a new awareness to the complexity of being human. This little gem of a novella covers a lot of emotional territory and does all of it to near perfection. Like life, it is a cacaphony of events that the narrator is just trying to get through, often unsure what is expected of him. At the heart of the story are the women in his life: his mother, with whom he is ‘getting used to [her] not paying attention’, his dying grandmother, his hot and cold friendship with a girl named Tutti (accidentally nicknamed this amongst their peers when he called her out once for farting in class), and, of course, his fascination with Ms Ice Sandwich. Ms Ice Sandwich (presumably early 20s) works the sandwich counter at the local convenience store and the narrator has such a fixation with her and her eyes that he stops there every day to buy an egg sandwich just to watch how deftly she places it in a sandwich bag. Her eyes are enormous, he says and compares them to illustrations of big-eyed dogs in a faintly remembered adaptation of the Hans Christian Andersen story The Tinderbox, and she wears blue eye makeup that reminds him of the ice cream sandwiches sold there. This very quirky and endearing novella follows him trying to negotiate his life around these women and the changes of relationship with them that are inevitably taking place. Something that really struck me about Ms Ice Sandwich was the way it thrust me back into the painfully awkward moments of self-revelation about existing in a larger society. I remember those moments when something such as, say, when I discovered that a band I enjoyed listening to with my Dad was considered very uncool by older classmates I wanted to impress and the discomfort of trying to process contradictory feelings. Or discovering that someone might dislike a friend or that having a crush on a certain person would get you mocked by your peers. This is an age where you suddenly sense the world is not a idyllic utopia but can’t quite put your finger on why not and are left to scramble and make sense of it all as innocence crumbles around you. ‘I don’t know exactly what it is, but I do know that somewhere in this town there is something bad, and that those long shadows creeping up in the dark have come to tell me about it.’ This passage into a new maturity is difficult for most, especially when you are at an age when you don’t quite have the emotional language or experience to productively process it. Kawakami renders these moments perfectly, which is no small achievement. The translation here is certainly deserving of endless praise as well with the voice coming through so clear and fluid. Having the narrative told through the perspective of the young boy opens a lot of possibilities to examine his emotional currents. This is always a risky undertaking as sounding false will spoil the book no matter how good the plot is and trying to capture an adolescent train of thought is as elusive as trying to follow a story a child of that age tries to tell you (I have a ten year old, trust me). Kawakami manages to conduct chaos here, keeping an astonishing control over a narrative composed of a deluge of thoughts. His thoughts ramble and shift, but are always carefully steered towards a forward understanding and never drift into nonsense or waywardness. It’s honestly amazing how well she handles this because it feels so authentic to the way a child will ramble as if they, themselves, are still trying to understand what it is they are getting at without the narrative style feeling like a gimmick all the while remaining cohesive. Another aspect that really works is the way that the narrator feels all these feelings and thoughts but Kawakami details the frustration in attempting to take the helm of your own emotions when you still lack the emotional language and maturity that serves as a compass to express yourself to others. He has the impressions of it all in his head but when pressed to doing so he ‘can’t think of any way to respond,’ and when he tries he tends to ‘get stuck’ and ‘can’t finish the sentence.’ These frustrations amalgamate and create friction in his relationships, especially with Tutti from whom he so desperately wants to be understood. This is particularly because she seems to like him and they both share a common bond of the loss of a parent at a young age. Frustrated by his inability to express himself verbally, the narrator does find solace in art, which is hinted at as being an outlet he may find success within in the future. With Tutti there is also an excellent depiction of an awakening to people with more mature lifestyles than your own. Myself being a fairly timid child that had no inclination to leave behind some of my more childish tastes in games, hobbies and movies around this age, I deeply felt his discomfort when he shows up for a movie night at Tutti’s house and she puts on the Al Pacino film Heat. She is fascinated by the gunfights, which he finds to be overly violent and her glee makes him uncomfortable. There is something brilliant in the way Kawakami subtly juxtaposes sexual awakenings with violence and discomfort, as when he watches Tutti’s perfectly practiced reenactment of the gunfight scene, wanting to cry and demand she stop but also finds himself breathless ‘kneeling on the sofa with both my hands over my chest, my fingers tightly locked together.’ This scene is so rife with sexual tension without ever touching upon sexuality or sexual language and is just a masterpiece of small fiction. Kawakami also has an excellent handle on how change is processed at this period of life. The narrator is watching his old life mold itself into a new life and feels the lack of stability in the metamorphosis. For starters, he lives with his Grandma who was once a large part of his life but now is squeezing out the last ounces of life mostly asleep in her chair. ‘Are these the same Grandma’ he thinks, remembering all his fond memories of a lively Grandmother now close to death. ‘Those Grandmas and this Grandma. The Grandmas I have in my head or the Grandma lying here with her eyes closed, quietly sleeping. Which is the real Grandma?’ The uncertainty of what constitutes the impression on should have on a world in flux makes up much of this little book. Returning to Ms Ice Sandwich, he finds that his amorous feelings for her are not shared by most people around him. There is the angry customer at the store who ‘doesn’t like Ms Ice Sandwich’s attitude’ and screams at her for having ‘a painted monster face’ that ‘shouldn’t be allowed out in public’ or his classmates who mock her for having ‘botched surgery’ and that ‘her life is over. She’s a freak.’ Their impressions of her is incongruous with his own feelings, and the reader gets a sense of the floor giving way as our own mental image of her as simply someone with lovely large eyes is bombarded with new descriptions of her eyes as the ‘freakish’ consequences of a botched plastic surgery treatment. The narrator has a bit of a crisis here, hurt, offended and unsure what to feel when discovering that something and someone he cherished for beauty is seen as so offensive to others all the while lacking the emotional linguistics to make a healthy assessment of it. Ultimately, he must learn that image and looks are not what make a person and this is his first foray into the cruel and unjust standards enforced in a patriarchial society. Luckily, he has his art and a good heart. This is a breathtakingly well-done novella that knows its strengths and limits. This is an excellent depiction of childhood and all its chaotic beauty that has all the heart and quirkyness to really dig into the soul of the reader and make them empathize and reconsider their own experiences. The brilliant work of translator Louise Heal Kawai is on full diplay too, as she so eloquently retains a fluidity to the prose that feels so natural. Furthermore, Kawakami shows the possibilities of crafting a feminist novella told through the perspective of a young boy, which reminds us that feminism is not just something for women but a human goal overall. Fun, funny, and endlessly applaudable, Ms Ice Sandwich is a massive success. 4.75/5 'There's the sound of someone breathing, that's what I'm listening to. Goodbye. The stars are setting, and in their last breath somebody tells me goodbye. Someone is saying goodbye, and now I can't move at all, and all I can do is hold my breath, and silently listen to the final sound, nothing to do but listen silently to the very last echo of that sound' ...more |
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1984826565
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it was amazing
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‘Misogyny is typically (though not invariably) a response to a woman’s violation of gendered “law and order”’ Following her essential treatise on the n ‘Misogyny is typically (though not invariably) a response to a woman’s violation of gendered “law and order”’ Following her essential treatise on the nature of misogyny, Down Girl: The Logic of Misogyny, Dr. Kate Manne is back with a collection of essays to further examine the enforcement role misogyny plays in upholding the patriarchy. This time she turns her attention specifically on male entitlement, though in doing so addresses many of the systemic aspects of patriarchal control. In her own words, ‘Entitled tackles a wide range of ways in which misogyny ¹, himpathy, and male entitlement work in tandem with other oppressive systems to produce unjust, perverse, and sometimes bizarre outcomes.’ While Down Girl, for self-imposed reasoning, tended to mostly address misogyny from a white, cis standpoint, what is really welcomed in this collection is the way the essays give opening to discussions on misogynoir--the intersection of oppression on Black identity with misogyny as coined by queer Black feminist Moya Bailey--and trans individuals. Throughout the book, Dr. Manne takes an important look at the ways male entitlement is another vile tentacle of the patriarchy and emboldened of misogyny and looks at different aspects of society in which this is omnipresent such as entitlement to knowledge, power, sex, consent, medical care, bodily control domestic labor and the intersections of these. The book opens with a concise portrait of her image of entitlement: ‘ the widespread perception that a privileged man is owed something even as exalted as a position on the Supreme Court’. Similar to her New York Times article on Brett Kavanaugh, Manne uses his SCOTUS interviews to illustrate many of the aspects of misogyny detailed in her philosophical treatise Down Girl: The Logic of Misogyny to reestablish definitions and ideas in order to further investigate them in the following chapters. To recap the definition she arrives at in her previous work, Manne describes misogyny as ‘the “law enforcement” branch of the patriarchy,’ a system that upholds patriarchal norms and polices or punishes women and girls who threaten or deviate from the norms. ‘My account of misogyny counsels us to focus less on the individual perpetrators,’ she writes, ‘and more on misogyny’s targets and victims.’ Her rationale is that ‘misogyny doesn’t require us to know what someone is feeling,’ to identify that they perpetuate misogyny and mostly that ’misogyny may be a purely structural phenomenon, perpetuated by social institutions, policies, and broader cultural mores.’ While often using individual examples to best grasp the concepts, Manne has an extraordinary ability to demonstrate how these become larger truths indicative of a systemic and systematic oppression and skillfully examines power structures or groups--such as INCELS and the poorly termed theocratic 'Pro-Life' movement--and the way they enforce the patriarchy at the expense of cis and trans women. There is an exquisite flow to Dr. Manne’s writing, often threading an overarching study or story through her examinations of a subject in a way that builds a sort of narrative tension compelling you to read on, gripping the book like a thriller despite the disquieting subject matter. Her style is so utterly engaging and coupled with a mastery of discourse and elegant yet direct writing that make Entitled so endlessly readable. Which is cause for celebration, since this is such an important subject and her accessibility into the topic will make it easier to approach and learn from for others. I honestly can’t applaud her enough, though--full disclosure--she is an academic hero of mine and I just really want everyone to read this book and take it to heart. Dr. Manne draws from an impressive litany of scientific studies and cultural examples--even using the viral short story Cat Person by Kristen Roupenian at one point--to reinforce her arguments as well as demonstrate the ways in which her subject matter seeps into every aspect of society. The Milgram Shock Experiment, for example--which has been used as a touchstone for examining totalitarianism for decades--is put in a new perspective here as an example of how people can be socially coached into upholding oppressive institutionalized misogyny. On the Entitlement of Admiration really kickstarts the collection with a probing look at the Incel community and the violence perpetrated by them in the name of misogyny. This chapter opens the prospects of examining how misogyny is an aspect of a perceived hierarchy--something pop-philosophers like the disgraced Jordan Peterson have upheld specifically for the purpose of perpetuating a patriarchal society towards their own benefits--that is racially coupled with white supremacy. This section also approaches the way in which perpetrators of misogyny often shift the narrative because they ‘perceive themselves as being the vulnerable ones.’ It is through gaslighting and himpathetic support that patriarch enforcers are able to establish and maintain this narrative control, which bleeds into every aspect of entitlement discussed later in the book. The entitlements pertaining to sex and consent are particularly of note in the #metoo era and the ways that a women’s behavior is often more regulated and explained by society than those who have inflicted sexual violence upon them. Dr. Manne frequently aims the discourse towards the methods of silencing women and efforts to decenter them from their own victimization, particularly as the disbelief of women is amplified ‘for women who are multiply marginalized, because they are Black, queer, trans, and/or disabled.’ As women are significantly less likely to be believed or listened to, even in medical situations where studies have shown women are largely dismissed as being hysterical instead of believing their actual instances of feeling pain, this leads to a normalizing issues of ‘testimonial smothering’. The term, as coined by philosopher Kristie Dotson refers to ‘where a speaker self-silences, due to her anticipating that her wod will not receive the proper uptake, and may instead place her in an “unsafe or risky” situation.’ Consider this next time an accusation of rape of assault is met with accusations dismissing them for not coming forth sooner, or--in the larger scheme of things--the ways accusations are difficult due to the himpathy and rampant misogyny that has normalized disbelief in women’s testimonies. This is especially frightening in medical situations where already most medical models use cis male bodies as a standard metric. Of particular note is the chapter on bodily control. This begins with a damning indictment of the Pro Life movement, their often theocratic aims, and the vicious marketing campaigns that brought it to a national political discourse. Dr. Manne step by step evicerates the movement by pointing out their many hypocracies--’the anti-abortion movement is not plausibly about life. It is not plausibly about religion, either’--before turning her attention to its origins and the way it Beginning with Nixon and his “Triple A: Acid, Amnesty and Abortion” smear campaign against McGovern, Dr. Manne demonstrates how the movement was never about abortion but garnering votes via bad faith arguments ².Overall, she demonstrates how the movement is an essential misogynist weapon that removes women from ownership of their own bodies.On the double standard normalized by the movement she writes: ‘Boys will be boys, but women who get pregnant have behaved irresponsibly. We are so comfortable with regulating women’s sexual behavior, but we’re shocked by the idea of doing it to men.’ Dr. Manne returns to the ideas expressed in earlier chapters that entitlement and male supremacy fixates not on the idea of woman as sub-human, per say (though the Incel rhetoric may place them in this hierarchy for their own vile convenience), but because ‘even if her humanity is not in doubt, it is perceived as owed to others.’ This is a succinct wrapping of misogyny over the whole issue, coupled with the aspects of white supremacy reinforcing it due to the undeniable fact that removing the pathways to legal abortion does not, in fact, reduce the number of abortions and exponentially causes harm to marginalized individuals ‘for when pregnancies are policed it is predominantly poor and nonwhite women who are liable to pay for it--and not only with respect to access to abortion.’ This chapter alone is worth a read as legislating away women's autonomy has become a major political platform. Dr. Manne extends this discussion to bodily control over the trans community. Citing philosopher Talia Mae Bettcher, she points out how much of the violence perpetrated against trans women is due to an entitlement of men to know what sex organs are in their pants. ‘pensis and vaginas [are] seen...as “legitimate possessions” to which males and females respectively have moral entitlements.’ On the topic of bathrooms, Dr. Manne eloquently points out that the victims in the situation are not cis women hypothetically being preyed upon by fake trans people using identity as an avenue to violence but the actual trans women who have frequently been assaulted or killed. ‘The notional victims,’ she writes about these disproven ideas of bathroom assaults by trans individuals, ‘serve as a post hoc rationalization fro the preexisting desire to police the supposed moral offender.’ Most anti-trans rhetoric is largely bad faith arguments attempting to pre-impose a belief of violence on those who are actually most likely to be the victims of violence. ’[T]he anti-abortion movenent’s supposed pre-occupation with life belies the fact that it undermines the health and lives of cis girls and women, along with other people who may also become pregnant. Similarly, the anti-trans movement’s supposed preoccupation with sexual safety and lives of a particularly vulnerable class of people: namely, tans girls and women, who are disproportionately liable to be attacked, assaulted, and murdered, at rates that recently prompted the American Medical Association to declare this an epidemic.’ Many of the threads discussed through the book culminate in the later chapter, On the Entitlement to Power, in which Dr. Manne discusses the ways that misogyny not only harms women in the workplace but in the access to political power as well. If you are to only read one essay this year, make it this chapter. Manne references studies that show ‘a marked, consistent bias towards the male leader,’ and how this all relates to socially enforced perceptions of “likeability”. ‘[S]ocial psychologists have speculated that there’s something about women who seek the highest positions of power and the most masculine-coded authority positions that people continue to find off-putting.’ Many of these same traits people disdain in women they will praise in men, and there is an added emphasis that women must be considered kind and caring. ‘When it comes to demonstrable niceness, it’s an imperative for powerful women--and seemingly inconsequential for their male rivals.’ This is run through examples from recent American politics--Dr. Manne’s incredible essay on the Elizabeth Warren campaign is a noteworthy supplement--and also misogynist attacks on New Zeeland’s Prime Minister, Jacinda Ardern. This chapter is such a powerful amalgamation of the themes in the book and any voter should read it and consider how patriarchal systems perpetuate themselves through power struggles that enforce their viewpoints as the normalized reality when ‘[women] are not entitled to challenge the narrative put forward by their male counterparts.’ This is an essential read that is of vast importance in today’s society. There are many more aspects covered, such as the disparity of household duties between men and women and the mansplaining insistancy on the entitlement to knowledge that draws from the essay Men Explain Things to Me (read it here) by Rebecca Solnit. Dr. Kate Manne gives a brilliant and cutting overview in the many ways male entitlement is an oppressive force in society that harms women. In conclusion, she writes ‘although I am still far from hopeful, I am not so despairing anymore.’ The final section is a beautiful conclusion full of hope, and a necessary read for any parent, particularly those of young girls. While the obdurate patriarchal society is still at large and violently so, works such as this are a vital avenue to understanding and dismantling it. 5/5 ¹ Himpathy, as defined by Dr. Manne: ‘the way powerful and privileged boys and men who commit acts of sexual violence or engage in other misogynistic behavior often receive sympathy and concern over their female victims.’ For further reading on a similar concept, this article on ‘male bumblers’ by Lili Loofbourow is an insightful read on the ways males play a ‘forgetful/unaware bumbler’ in order to wash their hands of misogyny or sexual violence. ² For further reading, it is important to consider how the Pro Life movement really took off as a deterrence towards Carter’s reelection, as discussed in this article by Politico. While many churches actively supported Row vs Wade--Southern Baptists twice drafted statements of support following the ruling--political marketers seized on abortion as a clever cover to attract evangelical voters who were upset that the IRS was threatening to remove tax exempt status for segregated schools. ...more |
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it was amazing
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Essential reading. Kate Manne’s Down Girl: The Logic of Misogyny is a brilliant philosophical treatise on misogyny and the systemic ways a patriarchal Essential reading. Kate Manne’s Down Girl: The Logic of Misogyny is a brilliant philosophical treatise on misogyny and the systemic ways a patriarchal hegemony policies, punishes and effectively controls women. This is an academic work and can be quite dense, but Manne has a gift of exploring a whole array of complex ideas in conjunction with each other in a way that is precise, informative and enlightening. This is an essential work in feminist studies, particularly with the efficiency she examines misogyny not as, necessarily, hostility towards women--this would be sexism--but as the system of control that serves a patriarchal purpose. Sexism, she proposes, justifies patriarchy as an ideology whereas misogyny enforces the patriarchy by policing women who may deviate from it. taking sexism to be the branch of patriarchal ideology that justifies and rationalizes a patriarchal social order, and misogyny as the system that polices and enforces its governing norms and expectations. So sexism is scientific; misogyny is moralistic. And a patriarchal order has a hegemonic quality. Opening with a chapter on strangulation by men--notables such as Steve Bannon strangling his wife are used as an example--Manne moves from physical silencing of women right into systemically silencing them through social norms and institutions while demonstrating how misogyny is at the heart of this. By first canvassing traditional definitions of misogyny, Manne works to examine and expand upon the term and look at the systemic ways it encroaches upon women, often in violent ways. Misogyny, she argues, is a historically enforced idea that demands a male dominance and that all aspects of women should serve patriarchal purposes. Even non-violent or commonplace notions: ‘“Smile, sweetheart” is an ostensibly less offensive remark,’ to use one of the endless examples in the book, ‘but it is expressive of the same insidious demand that a woman’s face be emotionally legible.’ There is a sense of entitlement that is also systemic here, though that is better discussed in her next book. This book is also noteworthy for bringing the term ‘Himpathy’ into use. Manne defines himpathy as ‘the excessive sympathy shown toward male perpetrators of sexual violence.’ The term became common use in social discussions along with Manne’s essay on rapist Brett Kavanaugh--which can be read here—as an example of himpathy. Down Girl provides many instances and demonstrates how himpathy comes to excuse bad behavior and further enable it, and how himpathy towards abusive men from women is a learned condition that is also systemic of misogyny and patriarchal power. There is a section that deals with victimization and a tendency to silence victims. A major theme throughout looks at the way there is an economy of behavior. What is allowable in the behavior of men is often criticized in women, just look at the language used about women in the workplace or politics. Similarly, any masculinely coded perk or privilege in society is denied to women and they are strongly chastised if attempting to utilize them. This reinforces a very gendered society, one that Manne observes becomes more enforced when gender binaries start to slip or blur. Also that women are viewed as property to the male figures in their lives, that their 'personhood is held to be owed to others, in the form of service labor, love, and loyalty.' Part of the gendered economy is an expectation for women to provide unpaid labor such as but not limited to sex, emotional labor, care, houseworks, etc. Her humanity may hence be held to be owed to other human beings, and her value contingent on her giving moral goods to them: life, love, pleasure, nurture, sustenance, and comfort, being some While Manne never draws the conclusion directly, a reader can’t help but connect this to the way neoliberalism, anti-feminism and misogyny go hand-in-hand and why women are punished or gaslit when demanding fair compensation, equity or even to voice annoyance in the home for doing all the unpaid household labor without much help (an essay upon this last idea makes for a very interesting chapter in her next book, Entitled: How Male Privilege Hurts Women). These ideas also culminate into a frightening reality that misogyny polices women under the assumption that they are less-than: less human, less capable, less believable and thereby not trusted with their own bodily autonomy. It is a belief that men are entitled to the bodily control of women and a demand for their subservience. Kate Manne is upfront about the shortcomings in this work that, as a cis, hetero white woman, the treatise is focused on percisely that. She apologizes in the introduction, rationalizing that she wanted to begin by speaking to what she felt was her ability, though encourages readers to consider her words in cases of misogynoir (the intersections of misogyny and anti-Blackness) and transmisogyny. There are many more interesting concepts discussed here, and, honestly, if you haven't read this yet you should snag a copy right now. Really do it. Drawing on a long, sad history, Manne brilliantly examines these concepts in a way that is extremely enlightening and a useful tool in shifting the paradigm in our modern world. Many of the examples used are recent and taken from major headlines, allowing it to be an easily functional social commentary as readers will already be familiar with the events and their outcomes and keeping it currently relevant also aids in keeping a reader engaged. While imperfect, it is a great voice in the conversation and I would urge anyone to read this book. ...more |
Notes are private!
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Sep 16, 2020
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Vo, Nghi
*
| 3.95
| 37,890
| Mar 24, 2020
| Mar 24, 2020
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really liked it
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‘the war was won by silenced and nameless women.’ Napoleon once said ‘What is history, but a fable agreed upon?.’ Empires rise and fall, people pass th ‘the war was won by silenced and nameless women.’ Napoleon once said ‘What is history, but a fable agreed upon?.’ Empires rise and fall, people pass through the world, and all of it leaves behind a story and, if we are to believe in truth, we must discover how to responsibly tell these stories. And for what purpose. Thriving Fortune, the site where an empress spent her captivity in exile in Nghi Vo’s debut novella The Empress of Salt and Fortune, has a wealth of stories settling in the dust and decay and Chih--a cleric--has arrived to catalog the history. Vo astonishes with a fully formed political landscape modeled on imperial China that stretches out far beyond the short 120pgs that house this story. That so much can be achieved and give way to a wealth of history and imagination in such a succinct and finely tuned story is cause alone for celebration and the power and poetry of her words pluck each string in beautifully orchestrated storytelling. This is a miniature epic full of betrayal and loyalty, shadowy dealings, assassinations, and, ultimately, destruction of an empire in a feminist fable that addresses how what is often overlooked can still retain a power to be the great undoing of the oppressors. ‘Submission but only to the truth.’ There are so many wonderful elements to this tiny epic that is hard to know where to begin praising it. The plot is simple yet cloaked in intrigue. It is told through a weaving of two timelines: Chih, the non-binary cleric, in the present as they listen to the past told by Rabbit, the Empress’ trusted companion. Chih has been taught to capture history much like a hunter, waiting patiently for it to come out in tale as she catalogs all the belongings found in Thriving Fortune. Rabbit comes from an impoverished upbringing and is retained in indentured servitude to the Emperor as a handmaiden when her family is short on payment of goods, and becomes the Empress’ personal companion when she is thrown into exile after giving birth to an heir. Having come from the north, a land considered to be ruled by “savages”, her marriage to the Emperor was meant to be a treaty of peace but becomes an opportunity for violent imperialism when his bloodline merges with that of the north and he sends his army in for a swift and bloody occupation of their land. ‘Revolutions are the locomotives of history.’ -- Karl Marx In keeping with the cloak-and-dagger aspects of the story, it is delivered in cleverly ambiguous prose that must be deciphered to get to the heart of its tale. Nothing is overt yet everything is laid bare. ‘Do you understand?’ Rabbit asks at the end of many of her memories, urging Chih to read between the lines and discover the truth. The stories of the Empress have taken on a mythology of their own and the truth. ‘History,’ wrote Napoleon Bonaparte, ‘is the version of past events that people have decided to agree upon.’ Chih has been sent to decode the popular narrative and find what hides within it. ‘‘The history in our archives could topple every throne in the world,’ they warn, though Rabbit is eager to provide an uncensored account if only Chih can be patient and let it be told on Rabbit’s own terms ‘My allegiance lies with the dead,’ Rabbit admits, ‘and no matter what the clerics say, the dead care very little.’ What emerges is a tragic story of betrayal, love lost, revolution and the dawning of a new Dynasty. ‘Angry mothers raise daughters fierce enough to fight the wolves.; Empowering what is often overlooked is central to the story and symbolism. Most predominantly is the way a patriarchal society overlooks and dehumanizes women, even ones that are ‘a step away from divinity’ such as the Empress. There is also the intersectionality that she is a foreigner and wears the robes of ‘savages’ so when it comes as no surprise when her only purpose had been to beget an heir and then be discarded to Thriving Fortune. In her book Rage Becomes Her: The Power of Women's Anger, gender activist Soraya Chemaly writes that ‘every girl learns, in varying degrees, to filter herself through messages of women's relative cultural irrelevance, powerlessness, and comparative worthlessness.’ Much like Audre Lorde who wrote on embracing rage to fight against racism, she posits that the natural reaction to this is rage and that it can be a helpful tool in overcoming and dismantling these patriarchal norms. The Empress channels her rage into a productive undertaking to dismantle the patriarchal society that not only stripped her of her child at birth but slaughtered her people and annexed their land. Much of this goes undetected due to her clever and subversive tactics but simply because she is a woman and not to be concerned over. ‘A society that does not respect women’s anger, Chemaly writes, ‘is one that does not respect women—not as human beings, thinkers, knowers, active participants, or citizens.’ This disrespect becomes a blind spot for the Empress to exploit. The Empress understand the strength in what is overlooked and uses it in many ways. She has long been mocked for her familiarity with fortune tellers, who are of low status in the society even when called upon by the dominant class. However, their vagabond nature and invisibility in society while co-mingling with all classes make them the perfect eyes and ears for an Empress in exile who wishes to send messages in secrecy. Astrology, too, and its star charts become a way to send innocuous coded messages around the empire. There is a delicate subtlety in the way objects become symbols much larger than themselves and have their own stories to tell, if only one is patient enough and willing to look within them. 'The reason why China suffers bitterly from endless wars is because of the existence of feudal lords and kings.' - Emperor Qin Shi Huang A lot happens for such a short novel. V.I. Lenin once wrote that ‘there are decades where nothing happens, and there are weeks where decades happen,’ and the same could be said about Vo’s well-executed pacing of this book. Much of the book slowly builds through passages where it seems nothing much is happening while still feeling like it is reaching towards some obfuscated purposes and then suddenly a wealth of actions and realizations will blossom in only a few short sentences. The course of history in the region is forever altered, Dynasties are snuffed out as new ones take their place and many secrets are revealed, all bestowed upon Chih who has an oath to record the truth. What they do with the knowledge they receive is only for the reader to theorize, but as the novella concludes the reader is sure to feel satisfied with this blistering feminist condemnation of patriarchal empire and imperialism. Vo has constructed a rich low-key fantasy world and one can only hope it is a place we will return to in future novels. 4.5/5 ‘The abbey at Singing Hills would say that if a record cannot be perfect, it should at least be present. Better for it to exist than for it to be perfect and only in your mind.’ ...more |
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Jul 24, 2020
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Kindle Edition
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s.penkevich > Books: feminism (25)
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4.48
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it was amazing
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Sep 25, 2024
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Sep 25, 2024
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3.51
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Sep 10, 2024
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4.14
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Aug 12, 2024
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4.40
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really liked it
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Aug 10, 2024
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4.19
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really liked it
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Jul 07, 2024
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Jul 07, 2024
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4.37
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it was amazing
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not set
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May 19, 2024
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4.30
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it was amazing
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May 15, 2024
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4.30
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really liked it
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Oct 25, 2023
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Aug 27, 2023
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3.74
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really liked it
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May 23, 2023
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3.82
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it was amazing
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Jul 22, 2023
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Mar 30, 2023
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3.91
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really liked it
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Mar 16, 2023
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4.09
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really liked it
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not set
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Sep 22, 2022
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4.10
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really liked it
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Nov 11, 2022
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May 17, 2022
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4.17
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it was amazing
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not set
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Mar 09, 2021
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3.98
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really liked it
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not set
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Feb 20, 2021
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3.87
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really liked it
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Feb 14, 2021
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Feb 05, 2021
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3.78
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it was amazing
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not set
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Nov 29, 2020
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4.21
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it was amazing
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not set
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Oct 20, 2020
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4.22
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it was amazing
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not set
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Sep 16, 2020
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Vo, Nghi
*
| 3.95
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really liked it
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not set
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Jul 24, 2020
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