Mistral takes advantage of her status as representative, and the representational capacities of language, to make visible the traces of what otherwise escapes the official order of things.
Tag Archives for gender
On Nellie Campobello, Cartucho
A conversation for SPAN 312 about Nellie Campobello’s novel of the Mexican Revolution, Cartucho. With Ryan Long and Jon Beasley-Murray.
“Patriarchy: From the Margins to the Center”
Cross-posted to Virtual Koerner’s.
It has been observed that the higher up a corporate hierarchy you look, the more likely it is you will find a psychopath. Indeed, in an article in Forbes (of all places) we read that “Roughly 4% to as high as 12% of CEOs exhibit psychopathic traits, according to some expert estimates, many times more than the 1% rate found in the general population and more in line with the 15% rate found in prisons.” The same article also reports that “the top four career choices for psychopaths are CEO, attorney, media personality and salesperson.” In other words, there is a congruence between psychopathic personality traits and some of the key institutions of contemporary society: business, the Law, the media, and commerce. So much for psychopathy being an “antisocial” disorder. It is part of the very fabric of the world we live in.
In her chapter, “Patriarchy: From the Margins to the Center” (from La guerra contra las mujeres ), Rita Segato goes further. We are all trained to be psychopaths now, she tells us, as part of a “pedagogy of cruelty” that is the “nursery for psychopathic personalities that are valorized by the spirit of the age and functional for this apocalyptic phase of capitalism” (102). Segato presents a brief reading of Stanley Kubrick’s A Clockwork Orange to make her point, though what she sees as “most extraordinary” about the film is that the shock with which it was received when it came out (in 1971) now seems to have almost totally dissipated. What was once taken as itself an almost psychopathic assault on the viewer’s senses is now just another movie; this shift in our sensibility is “a clear indication [. . .] of the naturalization of the psychopathic personality and of violence” (102). The narcissistic “ultra-violence” of the gang of dandies that the film portrays is now fully incorporated within the social order that it once seemed to threaten.
For Segato, moreover, this psychopathic violence to which we are increasingly inured is ultimately gender violence: it both establishes and is grounded upon what she elsewhere terms a “mandate of masculinity” by which masculine identity and at the same time both the public sphere and the state is inscribed on and at the expense of women’s bodies. Moreover, all this is folded into a “decolonial” perspective that does not claim that indigenous social structure were free of sexism or patriarchy, but which argues that Western modernity transformed what were once gender relations characterized by reciprocity into a binary system from which empathy is absent and woman are treated as things on which male narcissism inscribes itself.
In short, Segato offers a grand theory of human society and epochal history, at the root of which is (almost) always and everywhere violence against women. As she puts it: “Buried down below, at the foundation, at the foot of the pyramid, sustaining the entire edifice, a woman’s body” (97). As even the reference to a pyramid suggests, confirmed by the frequent invocation of diverse folktales and origin narratives from wildly different contexts, all this adds up to a kind of mythic anthropology that (for all the glancing citations of contemporary theorists such as Judith Butler) has a nineteenth-century feel to it. Indeed, there is a tension between the universalizing gestures on the one hand (an appeal to transhistorical ways of knowing and being), and the attempt to periodize and draw out specificities and differences on the other. Are we all psychopaths now, or is there something psychopathic inherent to modernity? At times, Segato seems to want to have it both ways. Equally, I’m not particularly convinced by her calls to feminine (and indigenous) empathy and reciprocity as modes of resistance to the increasingly violent structure of everyday life, not least because (despite her protests otherwise) all this does indeed sound very much like a form of essentialism.
For me, the parts of Segato’s analysis are very much more interesting and provocative than the whole. I don’t think that we need buy into the (quasi) cosmic unity of her over-arching vision to appreciate the very important ways in which she contributes to our understanding of the mechanisms of gender violence, for instance, not least in her specific studies of cases such as the femicides in Northern Mexico. Even if we see society less as a pyramid (with its base and superstructure) and more as a network or web, Segato’s analyses help us see in new ways how everything is connected, both to ensure the reproduction of forms of domination across many axes, and to offer hope that local resistances can have broad and unexpected repercussions throughout the system. The center has permeated the margins: there are few if any spaces of refuge, and certainly no pre-lapsarian community to which one might fantasize a return. But at the same time, the margins continue to haunt the center: multiplicity is everywhere.
“Las cosas que perdimos en el fuego”
Cross-posted to Virtual Koerner’s.
Femininity is all too often defined by the image (and so by the male gaze). Women are reduced to appearance, and judged in terms of the extent to which they measure up to some mythical ideal. Mariana Enríquez’s short story, “Las cosas que perdimos en el fuego” (“Things We Lost in the Fire”), presents a surreal and disturbing counter-mythology that explores what happens when that image is subject to attack, not least by women themselves.
It all starts with a woman who is compelled to support herself by begging on the Buenos Aires subway, after a jealous husband inflicts on her horrific burns that destroy her arms and face, leaving her with only one eye and a slit for a mouth, her lips burnt off. As she seeks contributions from subway passengers, she tells her story: that her husband threw alcohol on her face while she was asleep, setting her alight to “ruin” her, so she wouldn’t belong to anybody else. In the hospital, when everyone expected her to die and she couldn’t speak for herself, he said that she had done this to herself, a tragic accident after a fight. Now that she has recovered her voice, the woman on the subway reclaims her narrative and names the perpetrator. She knows, however, that she will never recover her appearance; her image was lost in the fire.
But perhaps it doesn’t all start there. As another character comments later, referring to a history of witch-hunts but also much more, “They’ve always burned women, they’ve been burning us for four centuries!” No doubt this is why the woman on the subway’s story starts to resonate so much with others.
First, it inspires copy-cat crimes: a model, who seems truly to incarnate that idealized image of femininity, is burnt by her footballer boyfriend in much the same way that the woman on the subway had been attacked. And he, too, blames her for what happened. As if it is only in death (the model does not survive her injuries) that women are granted agency, much like the famous if perhaps apocryphal witch-trials by water, in which only the drowned were presumed innocent.
Then, as Enríquez’s story progresses, small groups of Argentine women start to reclaim their agency while still alive, albeit by anticipating the torture inflicted on them by men. They begin to set light to themselves. Some do so alone, perhaps intending suicide. But, in the face of official disapproval, others form shadowy networks of “Burning Women” to aid and abet ritual ceremonies of self-immolation, complete with clandestine hospitals to ensure recovery thereafter. Because the point is to survive, and to put that survival on display. As one woman puts it: “They have always burned us. Now we are burning ourselves. But we’re not going to die: we’re going to flaunt our scars.”
The notion here is a kind of immunization: if women burn themselves, then they also rid themselves of the idealized image, the fetish that justifies men burning them. Moreover, they show that they cannot be reduced to appearances, albeit by paradoxically revelling in the way in which their new, “monstrous” appearance repels the male gaze. As the woman from the subway puts it, “Men are going to have to get used to us. Soon most women are going to look like me, if they don’t die. And wouldn’t that be nice? A new kind of beauty.” Laying claim to deformity, they challenge the gendered scopic regime of representation and power.
Yet this sacrificial logic is disturbing, and not only to men. The story is told from the perspective of a young woman, Silvina, whose mother is one of the first to throw herself into the campaign. It ends as she overhears her mother and a friend talking about her as a possible candidate for a burning: “Silvinita, oh, when Silvina burned it would be beautiful, she’d be a true flower of fire.” Here, the vision is (almost literally) of the Revolution eating its children, of a new image that ends up as horrific and coercive as the old one. The “ideal world of men and monsters” is no more (or perhaps no less) ideal than our own.
There are obvious resonances here with debates over the tactics of militant groups during Argentina’s Dirty War. There is also an explicit comparison to anorexia, which is also as much a self-destructive as a subversive mode of (re)claiming female agency. Perhaps, too, we might think of our contemporary immunological paradigm, and the price we are called upon to pay to confront all manner of diseases (metaphorical and otherwise). Fire both purifies and corrupts. Without nostalgia, and without any easy judgements, Enríquez compels us to think in new ways about what gets lost when we turn the tools that oppress us into weapons for liberation.
The House on Mango Street
Dozens of characters flit through the pages of Sandra Cisneros’s The House on Mango Street. Alicia, for instance, who “is young and smart and studies for the first time at the university”; but her mother has died and so she has “inherited her mama’s rolling pin and sleepiness” as she has to get up early and look after the family, before taking “two trains and a bus” to study because “she doesn’t want to spend her whole life in a factory or behind a rolling pin” (30-1). Or Elenita, “witch woman,” who earns a few extra dollars by telling fortunes in her kitchen where “the top of the refrigerator [is] busy with holy candles” (62, 63). Interrupted by her kids, who she has shunted out to a living room where the sofa is covered in plastic, she “gets up to hit and then hug them. She really does love them, only sometimes they are rude” (64). Or there is Sire, a boy who hangs out on his bike with his friends and watches as the narrator, Esperanza, passes and crosses the street: “It made your blood freeze to have somebody look at you like that” (73).
Many of these characters disappear in the wake of these quick but arresting pen portraits. It is as though the book can hardly settle long enough on any of them for us to come to know where they come from or where they are going to. Yet almost always we are left with a startling detail, revealing perhaps more than the child narrator knows or intends to tell, a detail that indicates that there is much more still to be said. In Alicia’s case, this is when we are told that she is afraid of nothing except the mice she sees (or imagines she sees) late at night as she burns the candle at both ends. “And fathers” (32). Then the narrative swiftly moves on–to a tale of “Darius & the Clouds”–leaving the suggestion of some unmentionable violence hanging in the air. Mango Street is as vibrant and colorful as the tropical fruit that gives it its name, but it is also permeated by shadow, not least the shadow of gendered violence and the expectations that young women above all find it nearly impossible to shake off.
In fact, Alicia returns almost at the end of the book, in one of its final vignettes. Not that we hear much more about her fears. She and Esperanza are talking, and “she is listening to my sadness because I don’t have a house” (106). But Esperanza does, Alicia points out, have the house that gives this very book its title:
You live right here, 4006 Mango, Alicia says and points to the house I am ashamed of.
No, this isn’t my house I say and shake my head as if shaking could undo the year I’ve lived here. I don’t belong. I don’t ever want to come from here. (106)
Shame is a recurrent feature of Esperanza’s experience in this Chicago neighborhood: she is made to feel (and internalizes) shame for being female, poor, and Hispanic. In some ways, indeed, shame is the book’s dominant affect, if it weren’t for the humor and quick-witted observation that also pervade almost all these brief stories. And Alicia, perhaps the one (other) possibly upwardly mobile figure we meet, already knows that Esperanza will not so easily be able to deny her origins, for to do so would be to try to erase something that is by now integral to her very self: “No, Alicia says. Like it or not you are Mango Street, and one day you’ll come back too” (107). This may sound like a prediction (or projection) of failure: that every attempt Esperanza makes to escape will be doomed.
But Cisneros suggests that Esperanza (or Cisneros herself, in so far as this book is broadly autobiographical) will be able to negotiate the tension between escape and acknowledgement, between shame and pride, though writing itself. “You just remember to keep writing, Esperanza,” her Aunt Lupe tells her, “It will keep you free” (61). At the time the young girl “didn’t know what she meant”–and in fact she and her friends treat her aunt shamefully, imitating her, mocking her blindness and incapacity, “with our heads thrown back, our arms limp and useless, dangling like the dead” (61). But by the end of the story, Esperanza has realized that the stories she is telling are a means to take her distance from Mango Street: “I write it down and Mango says goodbye sometimes” (110). But they are also, of course, a way to return, to render homage to those who stayed, to those, “las mujeres” to whom the book is dedicated, who were unable to leave and had to live in the shadows. Without exactly shining a light on that darkness, without pretending to give us anything like a full representation of these lives at the margins, Cisneros’s book at least offers a glimpse of a myriad of stories that would otherwise go untold, stories that if told in full should shame us all.
The Country Under My Skin
Gioconda Belli ends her “memoir of love and war” with the electoral defeat of the Sandinista revolution and her subsequent move to the USA with her American husband, a journalist whom she’d met while he was covering the Nicaraguan conflict. As she points out, this transition represents the culmination of something like a personal “revolution” in the old-fashioned (and original) sense of a return to the former state of things: “Had my life come full circle? (358). Indeed, when she arrives in Los Angeles and moves into “a house that was exactly like the homes of all [her] teenage friends in Managua: one-story, 1960s-style, with straight lines, a yard in the back,” she muses that she “felt like [she] was back in the past after such a long, circuitous trip through so many other dimensions. [. . .] Funny, I thought, that my life would take such twists and turns. But I remained the same” (362).
What, however, does it mean to “remain the same” in this context? For no sooner does she note the remarkable similarities between the US West Coast and the tranquil suburbia of her own privileged childhood than she also starts to mark the differences between North and Central American cultures. When the Santa Monica earthquake hits in 1994, for instance, she observes that her neighbours “shared a legacy of civic trust and public safety that [she] completely lacked” (364). Whereas they “were confident that their houses were well built, that the firemen would always answer their call, that the police were there to help them,” by contrast she “was frightened by the possibility of anarchy and chaos” (365). Or, rather less flatteringly to the US, she notes the “tanned, muscular men and women” around her, devoted to “healthy diets” and personal self-discipline (366), and she waxes nostalgic about the energies that, in Nicaragua, she has spent in pursuit of a collective project, “the exaltation and joy that comes from joining others in the effort to change the world” (367). Seeing her fellow citizens “with bottles of Evian water tucked under their arms” she thinks back to the days when she “transported weapons, carried a machine gun on [her] shoulder” and asks herself “if [she is] the same person.” “I can’t help but wonder,” she writes, “if a stroke of fate granted me not one but two lives” (366).
A memoir tends to assume–better yet, it actively constructs–a unitary subject, the first-person “I” that stitches together a diverse range of experiences and unites them under the sign of the same grammatical subject. But this is a memoir about a self that, more than many others, frequently flirts with dissolution and division. Or rather, perhaps, with multiplication: not one, but two; not even two, but many. Indeed, at the very outset of the book Belli notes that it was her “destiny to be drawn to the warmth of the crowds” (ix). And it is this impulse that perhaps explains both aspects of what is from the start a dual autobiography: of love and war. For her “response to the multitude” leads her to seek to break out of the stifling cocoon of bourgeois feminine comfort in which she is raised, and (as she puts it) to be “attracted to the world of men, biological functions and domestic life notwithstanding” (ix). Her twin passions, then, are political activism and, well, passion itself. For this is an account of her involvement with the revolution by way of a series of romantic relationships with the powerful men who lead it. Yet these two impulses are as likely to tear her apart as they are to reinforce or strengthen each other.
To take only the most dramatic example: the initial triumph of the Revolution in July 1979 almost passes Belli by. For she is involved in a somewhat torrid affair with a senior Sandinista comandante, “Modesto” (Henry Ruíz), who forms part of the initial National Directorate, and she finds that her “obsession” for him “possessed [her] and robbed [her] of the elation and novelty of that period.” As she puts it: “I did not breathe in the crisp, fresh air of rebirth that was pervasive in those first few weeks. [. . .] Such maddening, all-encompassing love monopolized all my senses and robbed me of energy” (259). Yet soon and unsurprisingly enough, as part of a litany of accounts of the ways in which revolutionary men take women for granted, Modesto discards her. Ultimately, she doesn’t fit his image. So just as the “real revolution” then begins with the first literacy crusade, so Belli’s own personal revolution (now in the sense of change, rather than restoration) can only truly be launched once she realizes that her “love for him was like a disease that was slowly consuming [her, that] if [she] didn’t exorcise him from [her] body, [her] identity would slowly burn away into nothing” (288).
Ultimately, what’s interesting about this book is the way in which it remains torn, incomplete or (perhaps better) excessive. Belli tells us at almost the same time both that her goal is “reconciling [her] two lives” (x) and that she has “discovered the joy that comes from surrendering the ‘I’ and embracing the ‘we'” (xi). I rather doubt both these propositions, however serene (or sometimes more banally self-justifying) the net her recollections cast over her past adventures. There is in fact as much anxiety as joy over the dissolution or multiplication of the self. And there is much here that is unresolved, even unexplored or insufficiently analyzed. We don’t, in the end, get all that far “under [Belli’s] skin,” or rather what is presented as depth is too often sentimental and glib. But she knows this. Or perhaps it is the book itself that betrays her and stands as evidence that the revolution with all its threatening disarray continues, la lucha sigue.
See also seduction; Revolution: A Practical Guide.
Latin American Women Writers
In conjunction with a course I’m teaching on the topic, herewith a collection of posts on Latin American women writers:
- Laura Restrepo, Delirio II
- Laura Restrepo, Delirio I
- Carmen Naranjo, Nunca hubo alguna vez
- Cristina Peri Rossi, La nave de los locos II
- Cristina Peri Rossi, La nave de los locos I
- Clarice Lispector, La hora de la estrella
- Silvina Ocampo, “La furia” y otros cuentos
- Rosario Castellanos, Balún Canán II
- Rosario Castellanos, Balún Canán I
- Teresa de la Parra, Ifigenia III
- Teresa de la Parra, Ifigenia II
- Teresa de la Parra, Ifigenia I
La nave de los locos II
Just under halfway through Cristina Peri Rossi’s La nave de los locos it seems for a while as though the various voyages that comprise the book may be coming to an end. The book’s main character, X, finds himself on “an island, in M., full of tropical vegetation [. . .]. The town at which X arrived had a mystical name: Pueblo de Dios” (74). Indeed, this verdant tropical paradise is a place where plenty of former wanderers end up: the astronaut, Gordon, for instance, who has voyaged to the moon and now “on earth [. . .] feel[s] lost” (109). As X notes in a conversation with Gordon, “We are all exiles from something or someone. [. . .] In reality, that’s man’s true condition” (106). But Pueblo de Dios (God’s Town or God’s People) would seem to be a place where all such exiles can gather and feel (almost) at home, thanks to the hospitality of other exiles, and even of the local animals. When X is first there a puppy comes up to him and “X felt very grateful; in all his voyages he had arrived as various cities and countries, but nobody had ever come out to greet him, or smiled with satisfaction at the foreigner” (75). This a place where the language spoken is “a combination of odd tongues, which taken together make up a sentence and a prayer” (97). And it is here where X settles down as part of a strange but apparently harmonious little group: Morris, a writer and collector of maps, pipes, and old books; Graciela, a young woman whom X exalts idealistically and nostalgically as an uncontaminated being from an epoch “before there was pollution [. . .] before there was plastic, orthopedics, petrol, and yachts” (89); and, to complete the menagerie, there is Stanley, the dog, and Felix, a talking parrot (115).
But Pueblo de Dios turns out to offer only a brief intermission in the group’s incessant wanderings. Soon enough a letter comes from “the metropolis or the Great Navel,” instructing Morris to leave for the sake of his own, somewhat unspecified, interests that turn out to concern the publication of his book. Off he goes, and the community starts to unravel.
In the metropolis, then, Morris visits his potential publisher: Albion Press, whose offices are the very opposite of the island idyll. He has to pass along corridors lined with windows through which the workers can be seen at their desks: “some lifted their heads, expressionless, barely looked at him, and went on with their work” (125). “That’s how it always is,” we’re told, “in the Great Navel: people find themselves so absorbed that you can’t interrupt them for anything at all” (125). This is a world of commodities and ceaseless labour, dull and disciplined, and as such a strange place to come to talk about a creative endeavor such as literature. Indeed, Morris’s interactions with his editor are dispiriting to say the least: a woman whose face lacks all expression, whose voice lacks all tone, and whose talk is all of brutal efficiency, hands him a form to fill in. Morris feels, in almost Kafkaesque manner, as though he must have committed some unknown and unpardonable crime. For “the law, the young woman, the credit agency, the universe are not in the business of pardons” (126). And yet, even in this unforgiving environment, some disturbance can arise. For the form fails to capture or do justice to Morris’s book, and a conversation ensues…
“Which of these elements predominates in the work,” the form asks, “Action? Sex? Politics?” (128). Morris at first seems to take this question the wrong way, mistaking sexual activity for sexual difference: “When it comes to sex,” he inquires of the editor, “Is there one sex that is, shall we say, privileged over the other?” But it turns out that this is precisely what the form means, or at least the editor is happy to play along: “In general terms,” she responds, “I can tell you that a work of the feminine sex has few chances of success [. . .]. We publish very few works of the feminine sex” (128). What unfolds then is a discussion about sex, gender, and gendering. And while it is here applied to books, one might imagine that the same issues are at work in any attempt to fix or assign gender. Morris tries to claim that his book is “androgynous.” But for the editor this won’t do: “There are doctors for that,” she observes, adding that “You can put that your work is masculine. That way they’ll take a look at it at least. In some cases it’s better to fake it. . .” (129). Morris protests: “But won’t I be betraying the deep essence, the true nature of the thing, attributing to it a sex that it doesn’t have?” No, the editor replies, now
much friendlier, “Everyone gives themselves a sex, don’t they? We spend our lives affirming it. [. . .] Our entire lives trying to convince everyone else, and ourselves, that we have a sex, with its own identity. [. . .].” “Yes,” said Morris, “It’s a neurotic preoccupation [. . .].” “Exactly. The ambition of sex is neurotic. We spend our lives with that compulsion. But anyhow, given that those are the rules of the game, let’s leave it at that. Your work, from now on, is of masculine sex. (128-129)
Here, then, it’s the editor who seems to see things more clearly. It appears that, at least in her case, the problems of the Great Navel have nothing to do with ideology: she sees how things are, and the ridiculousness of sexual difference premised on supposed essences, but she also reckons that these are the rules of the game and cynically goes along with them. Morris’s Romanticism–his concerns about betraying the “essence” of his work–is out of place.
Perhaps this is why Morris (and subsequently both X and Graciela) have to be displaced, yet again, from the Island. Pueblo de Dios is a respite, but it offers what is ultimately only an illusory sense of order and harmony, much like the tapestry at Girona. The Great Navel, the metropolis, may not be all it claims to be. But it also debunks the pretensions to oneness and coherence to which the island’s exiles cling. In the end, as X also later finds, the answers (if answers there be) to the questions that preoccupy us and disturb our dreams are more likely to be found in the city, with its many layers of simulation, mimicry, cynicism, and artifice, not in some tropical utopia.
Wikipedia’s Women Problem
There’s much to say about women and Wikipedia… for instance, about the so-called “gender gap” that (it is said) can be seen both among the encyclopedia’s editors, who are overwhelmingly male, as well as in the articles themselves, which tend to treat topics historically coded as male at greater length and with more seriousness than they cover topics associated with women.
Indeed, a lot has been written about the topic, but one of the smartest commentators on these issues was Adrianne Wadewitz: see her HASTACS blog, and entries such as “Wikipedia’s gender gap and the complicated reality of systemic gender bias”.
Wadewitz mentions what she calls “categorygate,” the furor sparked by Amanda Filipacchi’s New York Times Op-Ed: “Wikipedia’s Sexism Towards Women Novelists”. See also James Gleick’s article for the New York Review of Books blog: “Wikipedia’s Women Problem”.
In this context, it’s worth noting that though there are now (roughly parallel) categories for (say) women novelists and male novelists on the English Wikipedia, this is not the case on the Spanish Wikipedia. Here (for instance) the category escritoras is simply a subset of the broader category escritores, and there is no corresponding division of “escritores masculinos.”
This disparity between the treatment of (women) writers on the two Wikipedias is, of course, partly for linguistic reasons, stemming from differences between English and Spanish. But only partly. And in any case, why should such different ways of encoding gendered identities within language remain sacrosanct?
Subject, Verb, Object
A scene from The Fall, with Gillian Anderson.