Everyday Horrors

Spoiler alerts for the 1948 movie, The Red Shoes and Black Swan below!

A graduate school poetry professor, DC Berry, once told me that narratives are either comedies wrapped in tragedies or tragedies wrapped in comedies. The movies I’m going to discuss are probably neither, but for some reason, the older I get, the more I recognize horror in places I never thought to look, or at least, I am more affected by it. For instance, I recently watched Hereditary, a horror film that involves dark witchcraft, possession, and a terrible family tragedy. It was the latter that struck me, though. Yeah, yeah, yeah, blood sacrifices…beheadings…but I spent the majority of the movie wiping tears off my face because I couldn’t stand how cruelly and dysfunctionally the family treated each other at the dinner table. I felt similarly about the horrors of family when I watched The Witch. At the end of the film, I wasn’t scared; I was just really bummed out.

The Witch

When I was a little girl, I watched the 1948 movie, The Red Shoes and was transfixed. Victoria Page, a young ballerina, must choose between dancing in the company that will most nurture her art or her egotistical husband, whom she loves for some reason. I recently watched it again because I wanted to know if I had remembered it correctly. I only recall a few movies that I watched when I was little, and this one stuck with me. In fact, it informed many of the decisions I made as an adult, regarding career and relationships. What I recall thinking, as a kid, and as I re-watched it last week, is that a woman should never give up her career or her art or anything that serves as the anchor of her happiness. If she would like to marry, she should maintain this anchor at all costs, and not trade it for (as, Boris, the dance company’s impresario puts it) “the doubtful comforts of human love.” Don’t get me wrong, there can be room for both; a balanced life is often healthier (for any sex). However, Boris will not allow his dancers to fall in love with anything but art. Victoria Page sees it differently, and when told that Boris has fired Julian because of their romantic involvement, she replies, quite reasonably: “I shall dance somewhere else.” However, Boris’s company is where she grows most as an artist, and thus, the true conflict begins.

The Red Shoes

To be clear, the only reason for the conflict she feels is that her men are tearing her apart. Her husband’s ego cannot withstand her need to dance in the company that has fired him, and Boris’ ego cannot withstand the thought that her attention should sway to anything but his artistic direction. At the end of the movie, right before she dramatically flings herself off a building and onto the train tracks below, I recall thinking  (both as a child and now, as an adult) that she should have just divorced her lousy husband, who is so controlling that he abandons his opening night (and a pivotal moment in his career) just to dominate his wife and remove the one thing in this world, besides him, that she loves. That scene was exactly how I remembered it, and my feelings about it haven’t changed. 

I have read some contemporary reviews of The Red Shoes that claim it is a movie about artistic obsession. However, if the protagonist were male, I wonder if this so-called “obsession” would be viewed in the same way. Usually, when men are single-minded, regarding profession, we just call them “successful.” To me, the horror of this narrative is how commonplace and easy it is for a woman to marry someone who seduces her out of her light. Yes, the same can happen to men, but for women, there’s the added trap of cultural pressure not to outshine men, lest she be considered egotistical. “Selfishness” is one of the worst cultural sins a woman can commit, even if it is just for the short duration of a ballerina’s career. In the movie, Boris is, of course, also an asshole, but at least he uses his assholery for the promotion of her art, which she describes as wanting as much as she desires to live.

Black Swan, a more contemporary, but still tragic, ballet story, dons more overt elements of horror: bloody stabbings, doppelgängers, and surrealistic bird transformations. And yet, the underlying darkness again appears as a woman pulled apart by the demands made of her femininity. In this film, the virgin/whore motif manifests through the opposing forces of her controlling mother, who insists on infantilizing her grown daughter; and her creepy boss, Thomas, who sexualizes her during late night rehearsals in an attempt to awaken the darkness she needs for the Black Swan role.

Nina, becoming the Black Swan…literally.

I’ll admit, one of the most horrifying elements of the film is what ballet dancers do to their bodies. O their feet! O their spines! O the horror! (I’ll spare you a photo.)

I digress. I love this film. Natalie Portman is fantastic playing the role of a scared, little girl in a grown woman’s body, as well as the confident adult in touch with the primal need for lust and conquest. I’m also a big fan of surrealism and coming of age stories. This movie especially intrigues me because I am unsure what to make of the ending. 

First, there’s the fact that Nina’s death, at the end of the ballet, makes no scientific sense. Many people have pointed out that a stab wound doesn’t just start to bleed, randomly, at the end of a dance performance. True, but then why does her friend gasp when she sees Nina’s bloody midsection? There appears to be something literal in her death. My impression was that she did (or was about to) physically die at the end of the ballet. I’ve often wondered if simply having Nina wait to pull out the glass shard until the end of the performance, would have resolved this practical issue. I’m no scientist, though. Perhaps, she could not have performed those dance moves with glass in her abdomen. 

Natalie Portman has apparently stated that she doesn’t believe that Nina dies at the end of the film but that she symbolically kills her inner child in order to mature as a woman. I like that idea, but I’m still confused by what appears to be literal blood, that other people can see, spreading down her tutu.

No matter. I liked the movie so much that I’m willing to suspend my disbelief in this form of human anatomy! What interests me most, assuming she’s about to die of a stab wound, is whether or not she truly finds her power at the end of the movie. My first thought, when I saw it in the theater, was yes; she attained her deepest desire: perfection that marries technique with the experience of losing herself in the moment. However, the price of this perfection is mental illness and death. As Thomas holds her hand and calls Nina his “little princess,” a name he had previously reserved for the last prima ballerina (who did not take his rejection or her retirement well) I couldn’t help but notice how puny he looked in the face of Nina’s artistic triumph. 

Again, though, I can’t help but to imagine this story with gender roles reversed: what if Nina were a man and Thomas, a woman? I just have the sneaking suspicion that, not only would Thomas (in this case, the star of the ballet) get to live, but he’d also be endowed with some sort of sexual power over Nina, despite her new role as his superior, in this imagined scenario.

Gender roles aside, I do not think America has mastered the art of balance. There seems to be quite a bit of the “do or die” mentality: overworking and indulging in ways that mask a deep fear of unworthiness. If we’re not perfect (read: popular, beautiful, talented—“the best”) then maybe we’re nothing. In that sense, I think that the end of Black Swan is a happy one. She has achieved her greatest performance and will never have to cope with inevitable decline, if not tomorrow, then in a few years time. 

This month, I offer you Nikki Giovanni’s “Balances,” a poem about the push and pull of life’s contrast. 

Balances 

In life
one is always
balancing

like we juggle our mothers
against our fathers

or one teacher
against another
(only to balance our grade average) 

3 grains of salt
to one ounce truth

our sweet black essence
or the funky honkies down the street

and lately i’ve begun wondering
if you’re trying to tell me something

we used to talk all night
and do things alone together

and i’ve begun

(as a reaction to a feeling) 
to balance
the pleasure of loneliness
against the pain
of loving you 

It’s the End of These Worlds as We Know Them, and I Don’t Feel Fine

SPOILERS AHEAD FOR THE DEADWOOD MOVIE AND THE SERIES FINALE OF GAME OF THRONES

This past weekend, the Deadwood movie came out on HBO. My wife had invited our friend over to see the movie, so I watched a few episodes beforehand and read a summary of the three seasons. Despite the fact that I was born and raised in the west, I’ve just never been into westerns. Nevertheless, I thought the series was well-written and provided complex characters. 

When the movie ended, I was interested to hear what my wife and our friend thought of it. The sentiment from both was that they enjoyed it, but that the movie, which takes place ten years after the series ends, pretty much left everyone and everything the way it had been. There were no surprises. “I’m not sure we needed the movie,” my wife said, thoughtfully. 

Initially, I believed that I didn’t care about Deadwood, but as the weekend progressed, I found myself bothered by its ending. I remember when the series first came out, a female friend of mine proclaimed that no one should be upset by the way women are treated in Deadwood because “that’s the way it was back then.” I’ve always thought that response is far more complicated than its simplistic facade. Why do we want to watch a show where women are treated in a way that supposedly ended long ago? I propose it’s because it actually hasn’t ended. We often identify with characters. But with whom are women identifying when they watch abused hookers from the 1800s (or the lovable, yet miserable, alcoholic, Calamity Jane)? Even more disturbing, with whom are contemporary men identifying? Of course, one doesn’t need to identify with characters to enjoy a story, but that still leaves me with the question: then why are we watching men abuse women in television shows meant to entertain?

Good storytelling is powerful, though. Even I felt myself sympathizing with the brothel’s pimp, and main character, Al Swearengen, played by the talented Ian McShane. Swearengen is dying of alcoholism, in the movie, and wills his establishment to his favorite prostitute, Trixie. However, the first episode of the tv series was still fresh in my mind, and I couldn’t help but recall that Al beats Trixie for shooting a customer, who wouldn’t stop beating her. He tells Trixie she’s “bad for…business” and then steps on her throat until she squeaks out “I’ll be good.” At the end of the movie, though, due to convincing writing and good acting, I felt as though Al loved her and that Trixie (who earlier urges a young prostitute to consider that she’s been gaslighted into turning tricks) has just won by inheriting an establishment that will no longer “run girls,” as Al puts it. 

I had similar feminist issues with Game of Thrones, although I was heavily invested in that storyline. Season 8 aside, I felt that most abused female characters (main characters, anyway) eventually found inner strength and exacted terribly satisfying revenge on their antagonists. Here are a few classics: 

Daenerys Resolves Some Family Issues: 

Screenshot 2019-06-03 11.46.38

Arya: The North Remembers

Screenshot 2019-06-05 13.13.37

Dracarys for Stealing My Babies

Screenshot 2019-06-05 13.10.49

Dracarys Down the Patriarch

Screenshot 2019-06-05 13.12.24

And my personal favorite: Doggone, Ms. Sansa!

Screenshot 2019-06-03 13.00.19

Although these women’s situations are worse than I’ve experienced, I can still identify with having to deal with abusive men and the society that enables their behavior. The women on Game of Thrones find justice that the rest of us can only dream of. That’s the appeal of watching them suffer: my inevitable relief when they become empowered and take revenge.

Of course, the narrative does not always show an awareness that women are human but instead, often remains stuck in old notions. For instance, Daenerys gets raped nightly by her husband until she learns how to seduce him through her eyes. (Seriously.) Then, they fall madly in love, and yours truly—despite my inner feminist (or really, inner NORMAL PERSON)—felt sad anyway when Daenerys’ “Sun and Stars” gets cursed by a witch, who, by the way, had previously been gang raped by ol’ Sun and Stars’ men! I can forgive Daenerys’ Stockholm Syndrome, but I can’t forgive the authors for roping me into it nor for implying that if women would just “get on top” they wouldn’t get raped anymore and would be stronger for it. In fact, they’d fall in love.

Similarly, Sansa’s own repeated marital rapes are implied as necessary for her character development and for her own empowerment, as if we’re supposed to forget that, often times, victims of sexual assault become depressed, anxious, and suicidal. Of course, I was relieved when she escapes by jumping off a castle roof, runs through an icy river, and returns home to mobilize troops and win the north’s independence, but I cannot get on board with the sentiment that her strength could not have manifested but for her husband’s abuse. She makes such a comment to the Hound, implying that she would never have grown up without the rapes. To correct the suggestion that the audience should believe that rape, for women, can be good for their personal growth would have been easy. The writers could have had the Hound reply to Sansa’s statement that she had found her strength despite her husband’s abuse. Again, I can’t blame Sansa for trying to make meaning out of her trauma, but I resent the writers for asking me to do it, too. 

I guess that’s how I felt about Trixie in the Deadwood movie. Who can blame her for her response to an abuser, especially when “that’s the way it was back then”? But why end the movie with the focus on comforting the abuser with yet another dominated woman rubbing his feet? I guess the scene’s comedy and sentimentality somehow eases our resistance? 

I don’t need all abusive characters to die by dogs or dragons, but I can’t help observing that, many times, there’s an awful lot of sympathy and comforting and, in the case of Daenerys’ husband, reward for misogynistic violence. I also don’t need sexual assault narratives erased completely. These stories are valid. I’d just like more thought put into the narrative and an acknowledgement that women are not that different from men: we don’t flourish from rape. 

For this month’s post, I’ve chosen Rita Dove’s “Persephone, Falling” for its use of timeless mythology and contemporary sarcasm to illuminate the patriarch’s method for maintaining female captivity.

Until next month: Dracarys Down Misogyny!

Persephone Falling

One narcissus among the ordinary beautiful 
flowers, one unlike all the others! She pulled,
stooped to pull harder—
when, sprung out of the earth
on his glittering terrible
carriage, he claimed his due.
It is finished. No one heard her.
No one! She had strayed from the herd.

(Remember: go straight to school.
This is important, stop fooling around!
Don’t answer to strangers. Stick
with your playmates. Keep your eyes down.)
This is how easily the pit
opens. This is how one foot sinks into the ground.

—from Mother Love by Rita Dove

Eat Your Heart Out: True Love Ain’t for the Weak

There is a story of a saint in India named Mirabai, who lived in the 16th century. As a child, she saw a wedding procession outside her window and asked her mother who would be her bridegroom. Her mother humored the girl, pointing to a small statue of Krishna. “There is your husband! Gopala himself. Love him and serve him as a good wife would her husband.” Mirabai took her mother seriously and devoted all her time to singing and dancing for Krishna. At night, she meditated in front of his image. 

When she grew older, she was married to a prince, and although she did perform her wifely duties, she spent her evenings worshiping Krishna, whom she considered to be her true husband. Her in-laws did not approve of her love for Krishna and told her that she had better fall in line with their goddess, Durga. However, Mirabai refused, citing that she had already committed herself to Krishna. One day, her sister-in-law told the prince that Mirabai was making a fool of him and had taken a lover that she meets in the temple. Enraged, he drew his sword, ready to slaughter his wife’s lover. Instead, he found Mirabai in a state of spiritual ecstasy, pleading to her Krishna statue for love. Figuring that his wife was mentally ill, he decided to humor her, and he built her a small temple of her own. 

News of Mirabai’s beautiful voice and dancing spread far and wide, and people began to visit her, enthralled by her ecstasy. One of her husband’s enemies decided to visit Mirabai, but knowing that his presence would cause problems, he disguised himself in beggar’s clothes. After hearing her sing, he was so moved that he offered Krishna a necklace, and he touched Mirabai’s feet, a sign of respect. Unfortunately, news of this exchange reached her husband, and he was so incensed that he told Mirabai to go jump in the lake—literally. As she was a (somewhat) obedient hindu wife, she tearfully said goodbye to her friends and prepared to commit suicide. However, just as she was about to jump, Krishna appeared to her and intimated that she should not kill herself. 

Meanwhile, the moodiest man on Earth began to feel bad about overreacting to Mirabai’s…well, she didn’t really do anything, did she? When he finds that she is still alive, and living in a different city, he goes to her and begs for her forgiveness. She takes him back and lives without too much drama until his death, a few years later.

At this point, her in-laws really started twisting the screws. First, they demanded that she commit Sati, the absurdly gruesome and misogynistic practice of a woman throwing herself on her husband’s funeral pyre. Luckily, Krishna had already told her not to kill herself. Her refusal to die infuriated her in-laws, and they proceeded to try to assassinate her on three separate occasions. 

Attempt 1: “Oh, here’s a basket with a garland in it for your Krishna. I hope you like it.” (Just kidding, it’s a cobra.) However, when Mirabai opens the basket, it damn well is a garland. You know someone got fired that day. 

Attempt 2: “Let’s see how Mirabai likes sleeping on poisonous needs. I’ll just cover them up with these luxurious rose petals.” Mirabai sleeps like the dead but isn’t. 

Attempt 3: “Here’s some poison…uh nectar…” Mirabai gulps it down, no problem. 

Finally, she gets tired of all the distractions and goes to live with her uncle, who leaves her alone. 

The first time I heard this story (and there are many variations of this narrative) it was through a comic book that my parents bought me from our church’s book store.

 It was my favorite “book,” and my mom would often try to talk me out of choosing it as a bedtime story because it was so long. I think I was particularly attracted to the idea that a deity could protect a person, even from snakes and volatile family members. Self-preservation is strongest in the young. Also, I liked that Krishna is depicted as having blue skin and a kind face. He is often drawn as feminine: soft features, long eyelashes. In fact, for part of my childhood, I thought Krishna was a woman. 

In graduate school, I was assigned a world literature class to teach and was excited to find Mirabai’s poetry in the Norton Anthology. Actually, very little can be confirmed about Mirabai’s life. It appears that she did experience a troubled marriage and the worst in-laws on Earth. There may have been attempts on her life. What I found most surprising, though, was the poetry itself. There are some poems that mostly focus on praising Krishna and describing Mirabai’s devotion and sacrifices:

I’m steeped.
steeped
in the dark one’s color.

I dressed up in my finery,
put on my dancing anklets,
abandoned all shame, and danced in public.

Gave up reason, went crazy,
kept the company of holy men,
found the true form of a devotee.

Sang and sang the praises 
of Hari’s virtues, night and day—
so saved myself from the serpent of mortality.

Without my lord, the whole world’s brackish—
merely a mouthful of salt.
Apart from him, everything’s disposable.

Mira asks her lord who lifts mountains
to give her the kind of devotion
that seeps with sweetness—that’s luscious, flavorful.

(NOTE: The poems I have provided in this post are not indented properly. While I am very disappointed in how ridiculously difficult WordPress makes the simplest of formatting, I have also submitted to its tyranny. #corporatehatespoets #theman)

As a child, I recognized that Mirabai was rebellious; however, I did not realize the extent of her conflict with society. I was unaware, at that age, of the seriousness of India’s caste system, as well as the general history of misogyny. Also, my child’s comic book was riddled with mixed messages. For instance, Mirabai refuses to worship the goddess of her husband’s house. However, when her husband tells her to commit suicide she (according to this particular narrative) dutifully visits the river. The caption above the image of her bidding her friends a tearful goodbye reads, “Mira, the true Hindu wife, did not protest. She fondly took leave of her tearful companions…” (Fondly? She cries in three images leading up to her attempted suicide and looks miserable as she prepares to jump. I suppose she could be fond of her friends, but the word feels flippant, considering the heavy circumstances.) However, moments later in the text, she directly disobeys her husband by agreeing to listen to another man’s order. At least Krishna doesn’t want her to drown herself.  

Yet again, though, the text contradicts when her husband asks her for forgiveness. In the image, it is Mirabai who bows to him and says, “Has Mira ever gone against the wishes of her husband? Yes, I will come to Chittor!” Yes, Mira has gone against her husband’s wishes—repeatedly. 

There is an interesting short program from BBC (“Mirabai: I Go the Other Way” from Incarnations: India in 50 Lives) that discusses how Mirabai’s narrative is used in modern times. One of the conclusions is that, while Mirabai is used to protest the caste system, India is not ready to see her as an inspiration for women’s autonomy.

I find that inability disturbing. Such a large part of her rebellion (and her sacrifices) were based on the fact that she was a woman. Her experience would have been different, if she had been a man. The danger she willingly faced would not have existed, or at least, not to the same extent. The same imbalance exists today as does society’s need to suppress progress and not just in India. In most parts of the world, including the U.S., women’s “honor” is fragile, mostly controlled by men, and when shattered, results in the woman’s destruction or, in the very least, abuse. 

The cowherd who carries mountains
is the one for me—
I want no one else.

I’ve looked and looked 
all over the world—
I have no other savior.

I’ve left my brothers,
left my bondsmen,
left my blood relations.

I’ve been hanging out 
with the likes of roaming holy men—
I’ve lost my honor in the world.

I’m delighted to see 
my fellow devotees,
but I weep and weep when I see the world.

I’ve sown love’s vine—
I water it 
with my flowing tears.

I’ve garnered the butter
from the curds,
and thrown away the whey.

The chieftain sent me a poison cup—
lost in love,
I gulped it down, straight. 

Just to complicate love and feminist matters even more,  Mirabai often proclaims such devotion to Krishna that she doesn’t even mind if he enslaves her.

My lord who lifts mountains—
I’m off to his home.

He’s my one true love.
The moment I see his form,
I’m entranced.

When night falls, I get up and go to him—
when day breaks,
I get up and return.

Night and day, I play with him.
I keep him happy
any which way I can.

I wear whatever he asks me to wear—
I eat whatever 
he gives me to eat. 

Our love’s an ancient love,
I can’t survive
a single moment without him.

I sit wherever he tells me to sit—
if he were ever to sell me,
I’d be willing to be sold. 

Mira’s master is the lord
who lifts mountains—
again and again, she sacrifices herself to him.

Somehow, though, the poem I find darkest (and the poem that most appalled my students) is when she becomes violently angry at a bird for singing happily, while she’s miserably awaiting Krishna to take away the pain of this mortal coil:

Hey love bird, crying cuckoo,
don’t make your crying coos,
for I who am crying, cut off from my love,
will cut off your crying beak
and twist off your flying wings
and pour black salt in the wounds.

Hey, I am my love’s and my love is mine.
How do you dare cry love?
But if my love were restored today
your love call would be a joy.
I would gild your crying beak with gold
and you would be my crown.

Hey, I’ll write my love a note,
crying crow, now take it away
and tell him that his separated love
can’t eat a single grain.
His servant Mira’s mind’s in a mess.
She wastes her time crying coos.

Come quick, my Lord,
the one who sees inside;
without you nothing remains.

The violence in this poem always surprises. Clearly, the bird can’t win, but it’s the honesty and rawness of her feelings that impress. Can true love justify destruction? In Mirabai’s poem, it does. The bird’s happiness belongs to her, either to snuff out, if her love does not return; or to wear as a crown, if he does. Although problematic, there is something pure about her emotions. Despite the complications and dangers with which the world tries to encumber her, she feels that her love is simple. 

What I like most about Mirabai’s work is her determination to buck the current. Although she shrouds each poem with the notion that she wears her “dancing anklets” and abandons “all shame” only to please Krishna, she still succeeds in making her own way, while negotiating abuse from her family and a violent, patriarchal system. 

It’s hard to say if Mirabai was indeed sincere in her love for Krishna or if she invoked his image as a cultural shield to combat the relentless oppression that followed her. As a powerless woman of that time and place, I wonder if her love for Krishna was more so a defiant declaration of self-respect. Perhaps, Krishna was a symbol of freedom, for which she gladly, and ironically, welcomed bondage. 

* * *

Dear Reader,

As Valentine’s Day approaches, whether you are giddy because you have picked the most perfectly cheese-tasctic card for your wife (as I have) or if you are prepared to twist the beak off an offensively cheerful bird, I hope you find love, respect, and satisfaction!

xoxo,

Shanti

P.S. Please check out Online Enlightenment, which is accepting new music, art, and poetry submissions!

Victorian Bad Boys and the Satisfying Murder of the Angel in Your House

I first read Mrs. Dalloway in my late twenties, after the idealistic phase of early adulthood and before I had much perspective on life. Virginia Woolf’s novel follows an older woman, as she prepares for a party she’s throwing that night. Through stream of consciousness, the reader learns of her early interactions with some of the guests at her party. As a youth, she had three love options. (Well, if we’re being honest, she only had two.) The person she seemed to feel most affection toward was her friend, Sally Seton. As a woman in the late 1800s, of course, this match would have brought her poverty and ruin. Her other two options were male: Peter Walsh, a passionate man whose neediness would have driven any woman up the wall by year-two of marriage; and Richard Dalloway, a nice—although a bit boring—man who was kind and had the means to support a wife. The latter was particularly important to women of that era, as it was unusual for them to secure financial independence.

As a woman in the 21st century, who had the privilege of earning a Ph.D., living on my own, and owning a car, I recognized Mrs. Dalloway’s plight but did not directly relate to it. I felt bad that she could not marry Sally. Peter just reminded me of bass players I used to date. I can understand the initial appeal of that archetype: broody, dark, artistic. In my experience, though, those traits eventually morph into whininess and immaturity. That type of man becomes tedious and a relationship with him, laborious. 

Given that new same-sex marriage laws were over a century away, I think that Clarissa made the right choice. Not only did she make a good business deal (an aspect of marriage that we oft forget in contemporary times) she chose someone who gave her space and respected her independence, which Clarissa deeply cherished.

However, when I taught Mrs. Dalloway, a few years later in an intro to lit class, my 20-year-old students had a very different reaction. They glossed over the whole bisexual aspect of Clarissa’s narrative and zeroed in on what they considered a crime. In their words, she had chosen money over love, and for that act, they could feel only disdain. I couldn’t figure how they could not appreciate Clarissa’s decision. From my point of view, she saw beyond her moment of passion for Peter (which she admits, years later, still burns) for a relationship that made her happy with a man whom she also loved (although perhaps not as hotly as for Peter). What I understood, then, was the limited perspective of the very young. It’s definitely not due to a lack of intelligence. I think that, only with time, does one truly begin to understand happiness. Clarissa played the long game. She found a man who loved her, and, perhaps more importantly, gave her space to love herself. Had I read Mrs. Dalloway earlier, I don’t think that I would have understood the finer nuances of love and happiness. I, too, would have lamented the loss of the bass player…uh, I mean, Peter Walsh. 

Recently, I taught Woolf’s “Professions for Women” (taken from a speech she delivered to The National Society of Women’s Service in 1931) which is another work I haven’t read since grad school. I remember liking it and experiencing some kind of “girl power” reaction to the notion that women need space (see her essay, “A Room of One’s Own”) and independence (in the form of a salary) in order to truly reach their creative potential. I read it now at 43 years old, six years shy of the age that Woolf wrote it. The first thing that struck me about the speech is that she begins the way women often begin now: she justifies her work. Don’t get me wrong; I think she does so in order to shine a light on the patriarch’s misgivings regarding the expansion of “women’s work” beyond the domestic realm. Even so, it rattled me. I could hear my own voice in her sentiment, how many times I had to prove I was doing no harm in my work. I was just going through grad school. I like poetry; I’m good at teaching. I can make a living at the latter. I also had to prove that I was intelligent—more so than the men around me, just to break even—but also appear that I was somehow not intimidating in that respect. I had to show deference without presenting as “available” to some of my male professors, while at the same time, not “act like a bitch.” (I confess that I often chose to disregard the latter, when pressed for time.)

What struck me the most was Woolf’s description of the “Angel in the House.” In Victorian times, the poet Coventry Patmore, dreamed up the Angel in the House image as the perfect woman who essentially sacrifices everything for her man, while maintaining her beautiful smile. Damn, I would bet money that if I told a group of intro to lit students that the Angel in the House was created five years ago, they’d believe me (at least the women would, and I’ll bet, many of the men). 

Virginia Woolf suffers with this bitch’s…uh…angel’s voice in her head claiming backwards garbage like “My dear, you are a young woman. You are writing about a book that has been written by a man. Be sympathetic; be tender; flatter; deceive; use all the arts and wiles of our sex. Never let anybody guess that you have a mind of your own. Above all, be pure.” One thousand memories come to mind of times when that voice was not only in my head but speaking right in front of me. I remember one male student claiming that I was not “being very nice” when I told him that his thesis statement lacked an argument. My former female boss once told me that, despite the clear policy allowing me simply to decline an administrator’s unreasonable request on behalf of a student, I should, instead, play email tennis for days until the other party “believed that they’re the ones who are telling you it’s a bad idea.” Virginia Woolf states that “Killing the Angel in the House was part of the occupation of a woman writer.” Although sometimes the Angel in the House is impossible to ignore (especially when they are your flesh and blood boss) I agree that the ghost of any such angel needs killing, even in 2018.

Near the end of her speech, she addresses the women in the audience, telling them that she has stressed her professional experiences because “they are, though in different forms, yours also.” In 1962, biologist Rachel Carson published her book Silent Spring, which warned of the harmful affects of (now banned) DDT. The onslaught of criticism often included “rebuttals” that claimed that a woman without children couldn’t possibly care about humanity’s future, and therefore, her study is bunk.

Now, we live in a time that is moving very quickly. Women are standing together more often, and the world is propelling forward. Nevertheless, I feel disappointed that Woolf’s speech resonates with me now, nearly 90 years after she gave it. However, I am heartened that the closing of her speech expresses the same hope that I feel for the future of my female students: “But this freedom is only a beginning—the room is your own, but it is still bare. It has to be furnished; it has to be decorated; it has to be shared. How are you going to furnish it, how are you going to decorate it? With whom are you going to share it, and upon what terms? These, I think are questions of the utmost importance and interest. For the first time in history you are able to ask them; for the first time you are able to decide for yourselves what the answers should be.” 

After the 2008 election, Oprah Winfrey asked prominent feminist, Gloria Steinem what she thought about republican party’s questionable vice presidential nominee, Sarah Palin. Steinem’s response reminded me of why I so admire her intelligence and thoughtfulness. I expected her to criticize Palin, but instead, she said that it will be interesting to see if Palin recognizes all the different ways that she had been used during that election. I never forgot that response and have often thought about the different ways that women are used on a daily basis. Sure, everyone gets used, but for women, it cuts down to the bone of our existence. The heart of the argument that excuses the mistreatment and manipulation of women claims that we’re not as human as men. We don’t deserve the same rights and privileges because, by nature, we are less worthy. It’s taken me into my 40s to get a clearer picture of the verbal gymnastics I had once mastered just to get my foot in the door, the physical agility it’s taken to maneuver around men’s wandering hands, and the alertness to outwit their stalkings. I honestly cannot imagine spending my energy toward those life-draining tasks any more. Age is a privilege. I’m a bit more tired, physically, but as a consequence, it affects my willingness to shoulder other people’s crap. I have too much writing to do to justify managing both.

Of course, at times I still do shoulder the nonsense. I’m still deciding how to furnish my room and with whom to share it and under what terms. And I’m living in an exhilarating time of rapid change, just as Virginia Woolf was. I wonder what she would think of us now.