Posts Tagged feminism
Connor Desai, “Killing the One Who Believed in Your Love”
— comfortable, soulful vocals combined with meaningful lyrics provides candor and intensity in this song about a woman’s independence and self-identity. Desai explained: “The decision to reclaim oneself often requires women to grieve someone who is still living, or an ideal which was part of them.”
Connor Desai earned a masters in teaching and works as a music teacher. The Seattle-based musician’s new EP, Sister, is out now. Feminists take note.
Thayer Sarrano, “Thieves”
Thayer’s vocals sound a lot like Hope Sandoval and the song’s arrangements may remind listeners of Mazzy Star. The ethereal, swirly music instantly takes you to emotional depths both gloomy and exquisite.
Athens, GA-based psych/shoegaze/dream-pop artist Thayer Sarrano grew up in a seminary as well as the swamps of southern Georgia. Classically trained as a child, she writes poetry and instrumental compositions. She started collaborating with friends and worked as a studio/touring session player with of Montreal, Dead Confederate’s T. Hardy Morris, Cracker & Camper Van Beethoven, Dave Marr, David Barbe, Kuroma and more. Her new LP is called Shaky.
“My First Day,” Wiscon
Here’s an edgy song with garage rock fervency and potent vocals from pop-punk Seattle band Wiscon to add to your anti-Trump inauguration day playlist. The band wrote the new single in response to the growing hatred and intolerance in the United States. Proceeds will be donated to Southern Poverty Law Center –an organization focused on fighting hate groups.
De Facto Feminism: Essays Straight Outta Oakland by Judy Juanita. EquiDistance Press| October 2016| 233 pages | $19.99| ISBN: 0-9716352-1-0
Essential feminist reading, these provocative, contemplative essays cover feminism, sexuality, spirituality and race with clarity and depth. In her outstanding debut novel, Virgin Soul, author/activist/teacher Judy Juanita details a young woman’s transformation and radicalization when she joins the Black Panther Party. I admire Judy Juanita and how she experienced so much and remains open to new experiences. She’s open and caring and understands both the realities and limitations and joy in a following creative endeavors and passionate causes. Several months ago I received an email informing me that this essay collection would be released in the fall and asking if I’d like to review it. I soon received the review copy along with a lovely hand-written note. In the introduction author Judy Juanita writes: “Though exploration and unintentional trespass I’ve crossed boundaries of art, sexuality, spirituality and feminism at the margins of society, where sexual-racial bullying is most intense. Freedom fighters, word warriors and pushy heroines have informed the public of this dilemma, this discomfort borne of alienation, classism, sexism and racism. I stand among them.” Being a white female feminist I won’t proclaim to understand her detailed essays on race such as “Black Womanhood #1” but I’m glad to be both an ally to the Black Lives Matter movement and removed from White Racist America. This essay collection thrives as an insightful meditation on the connection between black women and current events in this society. Most essays first appeared in The Weeklings where Judy Juanita is a contributing editor. Readers will glean new information, empathetic moments and enlightenment.
“Cleaning Other People’s Houses” proves to be an interesting contemplative piece because so many educated women find themselves under-employed at various times of their lives (nearly my entire adulthood). There’s something to be learned in every experience. She learned through the clients for whom she worked as well as in the work itself. Juanita offers: “Whenever I ran into problems, cleaning or otherwise, I feel back on the great rhetorical ‘Why am I here?’ Testing my strength against that of my ancestors? Tackling a horrific job that one should ever have to do? I knew it was temporary, and it wasn’t horrific, just tedious and inglorious.” Two essays tackle writing: “A Playwright-in-progress” and “Putting the Funny in the Novel.” The first essay explains what she learned about her process and her needs as a writer. In the other when her agent tells her to add more humor to her novel, Juanita embarks on stand-up comedy. She decides that her novel doesn’t need to be funny. In “The N-word: Let’s not throw out the baby with the bathwater,” she reflects: “Used with the threat and/or act of murder, discrimination, prejudice, or brutality, of course the N-word is an abominable travesty. Used with affection between friends, in the height of lovemaking (yeah ,people get freaky with it), when making an emphatic point in dialogue between podnahs, e.g. at a barbershop, on a street corner, at a family dinner with o.g.’s in the family a little toasted, the N-word is appropriate.” Black Lives Matter, the author’s personal Black Panther Party experience, gun-obsessed America and mass shootings powerfully evoked and reflected upon in “The Gun as Ultimate Performance Poem.” There’s a plethora of cultural and historical references in the thorough and provocative “De Facto Feminism.” She writes: “The blur of legality, morality and practicality at the heart of de facto activity has been a feature of African-American life since the first Africans arrived on these shores–and a part of immigrant life. Making it in America means going from the margin to the mainstream, not so easy in one generation. The stigma that black people carry as pigment forces them to be what others would term illegal, immoral but not impractical. The dividing line between feminism and black independence is necessity.”
–review by Amy Steele
FTC Disclosure: I received this book for review from the author.
We Were Feminists Once by Andi Zeisler. Public Affairs| May 2016| 285 pages | $26.99| ISBN: 9781610395892
Andi Zeisler, founding editor of Bitch Media, provides a history of feminism in mainstream pop culture and whether or not it benefits the feminist movement. She writes: “This increasingly looks not like a world that has finally emerged into fully realized feminism, but like a world in which we are letting a glossy, feel-good feminism pull focus away from deeply entrenched forms of inequality.” In the past few years, legislators in various states have decreased women’s health care and threatened women’s right to make choices about their own bodies, sexuality and chose whether or not to give birth. Women do not have pay equity. Must I even mention this country’s prevalent rape culture? I list feminist on my social media bios and my dating profiles. So there are questions such as: “what type of feminist are you?” and “do you shave your legs/armpits etc?” and comments such as “no wonder you can’t get/keep a man.” I could go on but won’t. Zeisler delves into advertising, film, television, music. Meticulously researched, analyzed and thoughtfully presented, this is a must-read.
On film: “If there’s any silver lining here, it’s that more people than ever are talking about Hollywood’s woman problem as pattern behavior, rather than movie-by-movie shortcomings.”
On “this is what a feminist looks like” t-shirts: “The appeal of the slogan was easy to interpret: after all, too many people find the biggest roadblock to embracing feminism is in its unflattering optic legacy. Hags, dykes, ugly, unshaven, angry, finger-pointing, furious women—such adjectives and images have been encoded as the truth of what ‘feminism’ represented for so long that it’s begun, sadly to feel natural.
On celebrity feminism: “The fascination with Beyonce’s feminism, the urge to either claim her in sisterhood or discount her eligibility for it, speaks to the way that a focus on individuals and their choices quickly obscures the larger role that systems of sexism, racism, and capitalism play in defining and constraining those choices.”
–review by Amy Steele
FTC Disclosure: I received this book for review from Public Affairs.
American Psycho 
directed by: Mary Harron
In Her Skin 
written and directed by: Simone North
Jennifer’s Body 
directed by: Karyn Kusama
written by: Diablo Cody
Pet Sematary 
directed by: Mary Lambert
Office Killer 
directed by: Cindy Sherman
Mirror Mirror 
directed by: Marina Sargenti
A Girl Walks Home Alone at Night 
directed by: Ana Lily Amirpour
directed by: Kimberly Peirce
The Babadook 
directed by: Jennifer Kent
written and directed by: Axelle Carolyn
The Countess 
written and directed by: Julie Delpy
“That’s such a strange thing to say, isn’t it? Like, what do you mean? Do you not believe in equality for men and women? I think it’s a response to overly aggressive types. There are a lot of women who feel persecuted and go on about it, and I sometimes am like, “Honestly, just relax, because now you’re going in the other direction.” Sometimes, the loudest voice in the room isn’t necessarily the one you should listen to. By our nature alone, think about what you’re saying and say it—but don’t scream in people’s faces, because then you’re discrediting us…
“It’s the overcompensation to where our generation goes, “Relax,” because it’s been easier for us, and because we don’t have as much of the anger, so it’s like we can’t get behind it and it’s a bit embarrassing. But that being said, it’s a really ridiculous thing to say you’re not a feminist.”
from Bustle October 13, 2014.
Comparing and contrasting Bad Feminist and Unspeakable Things: feminist essays by two generations of feminists
“No matter what issues I have with feminism, I am a feminist. I cannot and will not deny the importance and absolute necessity of feminism. Like most people, I’m full of contradictions, but I also don’t want to be treated like shit for being a woman.”
“Feminism is not a set of rules. It is not about taking rights away from men, as if there were a finite amount of liberty to go around. There is an abundance of liberty to be had if we have the guts to grasp it for everyone. Feminism is a social revolution, and a sexual revolution, and feminism is in no way content with a missionary position. It is about work, and about love, and about how one depends very much on the other. Feminism is about asking questions, and carrying on asking them even when the questions get uncomfortable.”
Two well-known feminist authors/columnists, Roxanne Gay and Laurie Penny, released essay collections. Roxanne Gay is a GenXer and has much more life-experience than 27-year-old Laurie Penny. Although with all her protest and underground movement experience, Penny might think she has more life experience. Gay is American and makes her living as a cultural critic and teacher. She grew up in a mostly white town with a middle-class upbringing. Penny is British with a career as a political reporter. She’s a contributing editor at New Statesman and editor at large at the New Inquiry. Penny seems to do a lot of protesting, squatting and couch surfing.
Both women write essays on what it means to be a feminist, on various women’s issues such as contraception and pay equity and a feminist perspective on various news and pop culture items. Both are serious about being feminist and about the importance of feminism in today’s world. With different writing styles—Gay tends to write with humor and a cheerier flair while Penny utilizes a more aggressive approach– they both present a clear message about the urgency facing feminists today. Read both works. They’re well-crafted, dynamic and provocative particularly for any woman who’s ever heard a man say “Oh you must be some kind of feminist.”
Being close in age to Gay, I could relate to nearly everything she said– except that I never read Sweet Valley High. I was reading other books. I was riding ponies and horses. Penny represents the newer generation of feminists who embrace lifestyles and methodology that I’m not used to. In fact, Penny had this to say: “The young women of today know far better than their slightly-older sisters who came of age in the listless 1990s how much work is still to be done, and how unglamorous much of it is. They know how bloody important it is to talk about power, and class, and work, and love, race, poverty and gender identity.” I could’ve stopped reading right there. Listless 1990s? I was in my 20s and it was a fantastic time. I’ve identified as a feminist since 5th grade and have been active and outspoken about my feminism all along. I found this a bit dismissive and offensive. What happened to sisters supporting sisters? Gay writes in “How to Be Friends with Another Woman”: “Abandon the cultural myth that all female friendships must be bitchy, toxic, or competitive. This myth is like heels and purses—pretty but designed to SLOW women down.”
Gay breaks down Bad Feminist with these sections: ME; GENDER & SEXUALITY; RACE & ENTERTAINMENT; POLITICS, GENDER & RACE; BACK TO ME. Essays within each section. Penny has five chapters in Unspeakable Things: Fucked-Up Girls; Lost Boys; Anticlimax; Cybersexism; Love and Lies.
“I get angry when women disavow feminism and shun the feminist label but say they support all the advances born of feminism because I see a disconnect that does not need to be there. I get angry but I understand and hope someday we will live in a culture where we don’t need to distance ourselves from the feminist label, where the label doesn’t make us afraid of being alone, of being too different, of wanting too much.” —Roxanne Gay
Gay has a penchant for pop culture and some feminine frippery, thus she labels herself a bad feminist. Can you be a feminine feminist? Can you like looking pretty and favor the color pink. Is a feminist a sell-out if she wants to be taken care of by a man. If she wants the support and constant of a serious relationship. If she doesn’t want to know how her car functions, sometimes fakes orgasms and closes her office door for a good cry? Gay likes watching reality shows, listening to questionable hip-hop and picking apart cultural phenomena. In clear, strong words she thoughtfully writes about Chris Brown, the song “Blurred Lines,” The Hunger Games, The Help, Django Unchained and Fifty Shades of Gray.
“A culture that treats women as objects, that gleefully supports entertainment that is more often demeaning toward women than it is not, that encourages the erosion of a woman’s autonomy and personal space, is the same culture that elects state lawmakers who work tirelessly to enact restrictive abortion legislation.”
In the essay “Girls, Girls, Girls” she discusses the Lena Dunham vehicle Girls as well as women on television. “Girls have been written and represented in popular culture in many different ways. Most of these representations have been largely unsatisfying because they never get girlhood quite right. It is not possible for girlhood to be represented wholly—girlhood is too vast and too individual an experience.” She also adds: “There are so many terrible shows on television representing women in sexist, stupid, silly ways. Movies are even worse. Movies take one or two anemic ideas about women, caricature them, and shove those caricatures down our throats. Indie films provide the most expansive and feminist representations of women. Unfortunately Hollywood’s a sexist environment and there are less female writers, directors and producers making films and television programs than men.
Gay writes about serious matters such as violence against women in “The Careless Language of Sexual Violence” where she addresses society’s desensitization. “While there are many people who understand rape and the damage of rape, we also live in a time that necessitates the phrase “rape culture.”) As I read about her dislike for the term triggers in the “Illusion of Safety/The Safety of Illusion,” I fervently nodded in agreement. “Trigger warnings also, when used in excess, start to feel like censorship. They suggest that there are experiences or perspectives to inappropriate, too explicit, too bare to be voiced publicly.” In “When Twitter Does What Journalism Cannot,” Gay says: “Social networks are more than just infinite repositories for trivial, snap judgments; they are more than merely convenient outlets for mindless joy and outrage. They offer more than the common ground and the solace we may find during culturally significant movements. Social networks also provide us with something of a flawed but necessary conscience, a constant reminder that commitment, compassion, and advocacy neither can nor ever should be finite.”
In the essay “The Alienable Rights of Women,” Gay accentuates all the issues with birth control and women’s constant fear that we’ll lose every personal right for sexual freedom we possess. “Birth control is a pain in the ass. It’s a medical marvel, but it is also an imperfect marvel. Most of the time, women have to put something into their bodies that alters their bodies’ natural functions just so they can have a sexual life and prevent unwanted pregnancies.” Penny too tackles the attack on women’s bodies. She writes in “Anticlimax:” “The backlash against abortion access and contraceptive availability is a sexist backlash, rooted in fear of female autonomy and hatred of women’s sexuality.”
Both women are avid readers and both women like Kate Zambreno. I have Green Girl sitting here and must read it soon. Of Green Girl, Gay writes: “She wants to put her fist through a window but doesn’t because she knows that’s not what is expected of a green girl. She knows she is beautiful but does not necessarily feel her beauty inside. Throughout the novel, these tensions are brightly exposed over and over. At times, the novel makes it seem that to be a green girl is to be in a rather hopeless predicament.” Of Heroines, Gay writes: “They say that every writer has an obsession, and in Heroines, that obsession is reclamation or, perhaps breaking new ground where women can be feminist and feminine and resist the labels and forces that too often marginalize, silence, or erase female experiences.” And in explaining how her career intimidates men, Penny writes: “I would have understood what Kate Zambreno means when she says, in her marvelous book Heroines, I do not want to be an ugly woman, and when I write, I am an ugly woman.”
Women must be likeable which usually means not being terribly outspoken, loud or opinionated. And who wants to be like that? Both Gay and Penny often felt like (and sometimes still do) outcasts for various choices, career goals and how they express themselves. From “Not Here to Make Friends”: “As a writer and a person who has struggled with likeability—being likable, wanted to be liked, wanting to belong—I have spent a great deal of time thinking about likeability in the stories I read and those I write.” An unlikeable man in literature becomes intriguing, dark, compelling. An unlikable woman on the page remains perplexing, a complete outcast and rather hopeless. In her essay “Fucked-Up Girls,” Penny discusses her struggles with an eating disorder and the rampant desire for perfection combined with society’s unrealistic expectations for women. Penny writes: “Of all the female sins, hunger is the least forgivable; hunger for anything, for food, sex, power, education, even love. If we have desires, we are expected to conceal them, to control them, to keep ourselves in check. We are supposed to be objects of desire, not desiring beings.” Dark prospects indeed. The pressures of being female. She adds: “The perfect girl is a blank slate, with just enough personality to make her interesting enough to take to bed.”
Penny has been a young activist in various political movements such as Occupy and she pays careful attention to address gender, race, sexuality and class structure. She focuses on her activism and the underground cultural movement. The radical methods to address conflict and issues in our culture. She elicits a call to action for men to become involved in the feminist movement in “Lost Boys.” As someone who’s been cyberharassed for four years, I took solace in a kindred soul in Penny. In “Cybersexism” she boldly and rightly states: “The Internet creates offline prejudices and changes them, twists them, makes them voyeuristic, and anonymity and physical distance makes it easier for some individuals to treat other people as less than human.” She adds: “Freedom of speech does not include the freedom to abuse and silence others with impunity.”
The veracity of Penny’s ideas on independence and not giving in to societal expectations to couple up, have a monogamous relationship are poignant and quite how I feel as a never-married, childfree by choice feminist of 45. The entire chapter “Love and Lies” is a brilliant turn-about on societal expectations for coupling, for love to be the ultimate goal for everyone’s happiness and to sustain one’s own self and one’s own interests to be satisfied. This IS OKAY. Penny writes: “But I refuse to burn my energy adding extra magic and sparkle to other people’s lives to get them to love me. I’m busy casting spells for myself. Everyone who was ever told a fairy tale knows what happens to women who do their own magic.” And this: “We are all encouraged to feel sorry for ourselves if we are single, to consider ourselves incomplete, but women in particular are urged to consider themselves inferior if their time is not spent comforting and cosseting a man, and ideally children too.” What a sad sad thing. You’re still single? How about people’s obsession with Renee Zellweger, Cameron Diaz and Jennifer Aniston finding the “right” man, get married and procreating. It’s revolting and we need to revolt against it. Fight. Speak up. Be yourself and don’t let anyone tell you that you’re less than.
Laurie Penny reads at Harvard Book Store on Friday, September 26, 2014 at 7pm.
Bad Feminist: Essays by Roxanne Gay. Publisher: Harper Perennial [August 2014]. Feminism. Essays. Paperback. 320 pages.
Unspeakable Things: Sex, Lies and Revolution by Laurie Penny. Publisher: Bloomsbury USA [September 2014]. Feminism. Essays. Paperback. 288 pages.
Review by Amy Steele