patriarchy

I loved doing dot-to-dots as a child. There was something grand about linking all the tiny dots together to reveal a bigger picture. As an adult, I still love dot-to-dot, but now I attempt to link various “dots” into larger pictures that reveal cultural trends and ideologies.

This week, a number of “dots” sat scattered across my computer screen, in the form of various posts and podcasts, waiting for me to have time to more thoroughly connect them – the wonderful “Letter to Bella” post from Ms. Blog, Are Boys Natural Born Killers?, a podcast about war and gender, the “Born to Breed” interview with author Vyckie Garrison, news about JC Penney’s t-shirt “Too pretty to do homework, so my brother has to do it for me” t-shirt, and, as I am about to head off to Forks, Washington to speak at Stephenie Meyer Day, a number of Twilight related posts.

When the metaphorical dots between all these pieces are connected, the picture I am left with is one of a world that has definitely not gone “beyond pink and blue” (to borrow the title of another Girl with Pen column).

As Melissa Wardy points out in one “dot”, her post to the young Bella, “grown ups try to fit kids into little boxes that are labeled ‘Boy’ or ‘Girl’, and then they only let certain colors or ideas into each box.” As Wardy further points out, four year olds are sadly more likely to “know that girls can like or do anything boys can” than their grown up counterparts.

This claim was confirmed by heated comments in my War Literature class last evening. I had students listen to one of the dots coloring my desktop, the podcast Are Boys Natural Born Killers?, which includes Professor Joshua Goldstein, author of War and Gender, talking about the fact that boys are not “natural warriors” and that the only biological claim that seems to hold up this widely held cultural view is their propensity for more upper body strength. Though the entire podcast emphasized that gender is constructed and downplayed biological essentialism, the one comment made by Goldstein about upper body strength was latched onto. One student, for example, insisted men are built to fight whereas women are not. In this “Me Strong, You Weak” debate, I found myself thinking back to yet another dot, to the “Born to Breed” piece I had read earlier in the week.

In the piece, Vyckie Garrison, a former member of the Quiverfull movement, talks about the growing religious movement and its grounding in the belief that “the husband is the head of the household and the wife is the submissive ‘helpmeet.’” As Garrison documents, “A Quiverfull daughter is taught from a young age that her purpose in life is to serve the man whom God has placed in authority over her,” as well as to have as many children as possible. As such, “Her education is geared toward developing domestic skills–college is generally considered unnecessary and even dangerous for her spiritual well-being.”

And this brings me to Twilight, that oh-so-popular saga that has the heroine Bella (who shares no resemblance to the blue-shoe-wearing four year old feminist Bella above), giving up college to marry Edward and bear his vampire/human baby.

As I argued in my piece Wed, Bed and Bruised but Certainly Not Equal, the romanticization of sexual violence that texts like Twilight entail is part and parcel of the continuing inequality of our society. But, as lamented in “In Defense of Twilight,” this type of criticism is, like, a major bummer. The author writes: “Have you noticed Twilight gets attacked a lot? It gets attacked by men & feminists all the time & also by other fandoms. The latest thing I’ve heard is how Twilight romanticizes “domestic violence” & supports “inequality.” What a downer!” What a downer indeed. Far better to take the view enthusiastically supported by the author of the post that “It’s a love story and nothing more.”

Supportive of this enthusiastic love of love is the tendency to frame females and males as entirely opposite species, as in the post “Julia Jones Calls ‘Twilight’ Wolf Pack a Boys’ Club.” Author Brooke Tarnoff starts her gender essentialist piece with the following: “You might think you understand the plight of a woman in traditionally male-dominated fields — but none of them have anything on Julia Jones.” Suggesting that being an actress playing the lone female werewolf in an otherwise all male pack is far more heinous, say, than being the only female soldier in your regiment or than a lifetime of butting your head against the glass ceiling, Tarnoff’s piece not only brushes off male domination as something to joke about, but is also grounded in the “opposites attract” type of mentality that keeps heterosexism firmly in place.

The actress Jones, discussing her time working with the “ wolf boys club” notes “I kind of got to a place where I felt like I… know how to think like a guy,” which, Tarnoff suggests, entails learning “how gross they really are.” While admittedly this is a light piece joking about having to deal with “male talk” when one is the only female on the job, it nevertheless reflects a deeper issue – the still widely held belief that men and women naturally think, talk, and act differently – a belief that belies the social construction of gender and acts as if other markers of difference – race, class, sexuality, and so on, don’t matter.

This belief is echoed in the last weekly news story in my dot-to-dot puzzle – the JC Penny t-shirt that reads “Too pretty to do homework, so my brother has to do it for me.”

Like four-year-old Bella who is told blue shoes are not for her, like the Quiverfull movement that claims men are meant to lead and women to breed, like the male student that suggested women are weak, like the Twilight texts and the surrounding fan culture that tends to frame males as “wolfish boys” and females as selfless romantics, this t-shirt echoes our continuing entrenchment in the gender binary.

Strung together, all these dots show one big, ugly patriarchal picture.

Thankfully, some of the dots – for example, the stories about the feminist actions that resulted in the JC Penney shirt being pulled, muddle this patriarchal image, making it less stable.

Let’s hope we can keep connecting the dots in order to show how everything from the gendering of children to the upswing in religious fundamentalism is colored by the sexism of our culture. Further, let’s not forget how important it is to forge our own dots — our own points of connection — so as to create a new, more inclusive societal picture for the benefit of us all.

 

 

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With the 6th and final season upon us, will Lost finally zoom towards a feminist future? With the number of female characters dwindling and the simultaneous deification of hetero white males, can feminist Lost fans hope for a satisfying island conclusion?

Previous seasons have been a mixed bag on this count.

Lost has many strong female characters, many of whom I could easily see wearing a “This is what a feminist look like” t-shirt. As noted by Melissa McEwan of Shakesville, an admitted Lost junkie, “Generally, the female characters are more well-rounded than just about any other female characters on television, especially in ensemble casts.”

Lost has often presented ‘gender outside the box’ characters, suggesting being human is more important than being a masculine man or a feminine woman. After all, when you are fighting for your life, ‘doing gender right’ is hardly at the top of you priority list.

While Jack and Sawyer try to out-macho each other in their love triangle with Kate, neither hold entirely to the Rambo-man-in-jungle motif. As for the women, they just might be the strongest, bravest, wisest female characters to grace a major network screen since Cagney and Lacey.

Though the island is certainly patriarchal, one could make a strong case that male-rule is not such a good thing for (island) society. Kate or Juliet would be far better leaders than any of the island patriarchs (and as some episodes suggest, would make great co-leaders – what a feminist concept!)

McEwan, in her discussion with fellow Lost fanatic, Brad Reed of Sadly, No!, agrees, stating “the show looks increasingly to be making an oblique but advanced commentary about the patriarchy.” As she argues:

“The Lost fathers (Benry, Widmore, Paik, Shephard the Elder) are archetypical patriarchs-rich, powerful, well-educated, well-connected, straight, and white, with the exception of Mr. Paik, who’s in the ethnic majority of his country of residence. It is within the battle among these patriarchs that everyone else is caught; it is to their whims, and their arbitrary rules and preferences, that everyone else is subjected. That’s clearly framed as Not a Good Thing, which rather suggests a feminist critique of the patriarchy.”

However, as the two hour season premiere revealed, one of the strongest female leads, Juliet, is dead. Kate is still rocking the strong-woman action, yet the fact remains that “We’re just about out of female characters to root for” (as Cara of Feministe points out).

This slow decrease in female characters means that a show that had more males to begin with has become decidedly testosterone weighted. Moreover, the (white) males left are being deified with Jabob/Lock/Richard/Ben all seemingly having godlike powers. This turn is all the more frustrating given that supposedly Kate was initially conceived as the island leader. Alas, as reported by Jill at Feministe, “execs thought that people wouldn’t watch the show if a chick was in charge, so they gave that role to Jack and turned Kate into one corner of a love triangle.” Grrrr.

The 30-minute season recap that aired last week kept implying women viewers are wooed by the romantic motifs that dominate many of the narrative arcs. Apparently ABC is unaware that women are interested in more things than romance (and shirtless hotties).

Sometimes the writers seem oblivious to the fact that women are more than man-seeking baby-making machines, too. Season five was particularly dire in this vein. Drawing on the Freudian ‘baby as penis replacement’ motif, Kate was depicted as trying to repair the loss of Sawyer with baby Aaron. (For more on this line of argument, go here.)

Yet, overall, Kate is arguably one of the smartest, most daring female characters to lead a contemporary mega-hit television series. Her back-story ain’t bad either – she was on that doomed flight as a result of fighting back against her mother’s abusive partner. And, though Juliet sometimes seems more focused on her various Romeos than on other matters, she heroically detonated the bomb that launched us into season six. Who knows, maybe this final season will launch us into some sort of feminist utopia led by Eloise Hawking or Rousseau. At the very least, let’s hope it doesn’t culminate with Kate all happily married and duly domesticated!