November 16, 2013 § 6 Comments
When I married, I lost some of the respect I had gained as an independent, single woman. It was a change that I hadn’t seen coming. Strangers, without fail, defer to my husband. Servers only talk to me as an afterthought. We just had an experience at a steak restaurant, where only the men were given complimentary Port after dinner. It’s not only with strangers – I’m often asked by friends and family, “Is your husband okay with that?” As though I have a master waiting for me at home, rather than Michael, who loves me most for my strength and individuality. In fact, that is what I love most about him as well.
Michael can tend to be larger than life, and I often have to remind myself to step up and not fall into his shadow. As I’ve acclimated to our life together, I’ve learned I have to work much harder to earn the respect of everyone we meet. Instantly, it seems, people look up to Michael; whereas, it could take me years of being around the same people to receive affirmation.
Just in my lifetime, enormous strides have been made towards gender equality. But there is still so much of our culture that is steeped in Puritan roots. It is in our words, in our archetypes, and in the way that we view each other.
Within the patriarchal language of the church, woman is “the other.” “Society as we know it has a perverse need to create ‘the Other’ as object of condemnation so that those who condemn can judge themselves to be good (Daly, 60).”
It was doubtful at one point in history, whether or not women could actually be “saved.” Ideologically, she exists only as the property and projection of her husband. All other incarnations of women become a risk to the establishment – such as Joan of Arc who was burned alive by the church for the sentence of being a witch in 1431. Once hundreds of years had passed, she was then declared a saint in 1920.
Joan of Arc was a woman who could not be possessed in life, though the church has tried to claim her in death. In the symbolic paintings of Franz von Stuck, we see many versions of two men wrestling or fighting to “possess” a woman. Concurrent to Stuck’s era, this was a concept that Darwin explained, though obviously, he wasn’t the first to think so. It’s an ancient concept, having less to do with biology and more to do with a patriarchal power structure. Men projected their identities onto women, and displayed them as the prize of their success. Hence, we feel a little bit ill when a man trades in his wife for a younger version. Or, for example, when the leader of a cult has more wives than anyone else in his group – the ultimate sign of power.
I had the unfortunate experience of once dating a man who actually told me that he wanted to “possess” me, and said, “You are mine.” His general confusion led to death threats and court orders and drug abuse. For months, I was watched by people he hired, scared that he would turn up at my door. I understood, then, that a person’s desire to possess can turn into the mutilation of the thing they can’t have. In other words, I was an object to be claimed, rather than a human being.
Throughout the midcentury, it was commonplace for husbands to shut away their wives in mental institutions for displaying too much dissent over prescribed roles. In the tremendous shift towards liberation, women were no longer accepting their lives as a mere projection of their husband’s. Over 50,000 lobotomies were performed in that time, the majority on women.
“On February 24, 1972, Dr. Breggin’s article, ‘The Return of Lobotomy and Psychosurgery,’ was read into the Congressional Record. Discussing the remarkably large proportion of women who are being lobotomized, Dr. Breggin explains that it is more socially acceptable to lobotomize women because creativity, which the operation totally destroys, is in this society ‘an expendable quality in women (Daly, 65).'”
In Mary Daly’s Beyond God The Father, she challenges, “That language for millennia has affirmed the fact that Eve was born from Adam, the first among history’s unmarried pregnant males who courageously chose childbirth under sedation rather than abortion, consequently obtaining a child-bride (Daly, 195).”
From this myth, we gather that the male is the dominant sex. But in biological truth, all mammals begin as female. Even for those who inherit a male sex chromosome (XY), throughout the embryo stage we all remain and develop as female (XX). At the eighth week, the male embryo begins to produce testosterone, veering off course from the female starting point. If an embryo doesn’t respond correctly to male sex hormones, it will revert to being female.
The idea of a dominant sex is false. You can’t have one without the other. We are all individuals, with unique traits that in the past have been repressed by prescribed gender roles. Of course, there are many places in the world where these roles are still in place. Those regions are all governed by extremist religion. I have noticed that no matter what, religion is always extreme. It consumes the lives of people into false ideologies, and an “us verses them” mentality, which leads to violence and genocide.
“The symbol of the Father God, spawned in the human imagination and sustained as plausible by patriarchy, has in turn rendered service of this type of society by making its mechanisms for the oppression of women appear right and fitting. If God in ‘his’ heaven is a father ruling ‘his’ people, then it is in the ‘nature’ of things and according to divine plan and the order of the universe that society be male-dominated (Daly, 13).”
As a result, women have lived in submission, with no recorded history. I wonder over all the untold stories; the women inventors (where men took credit); artists, writers, composers we have never been given the experience of enjoying. For example, Fanny Mendelssohn, sister of the famous composer Felix was an enormously talented composer in her own right. Yet in 1820, her father wrote to her saying, “Music will perhaps become his (Felix’s) profession, while for you it can and must be only an ornament.”
Our society has experienced a tremendous loss for the fault of not allowing women to be human beings in the past, and we are barely aware of it. We have forgotten, because we were not allowed to know in the first place.
In their representation as “the other,” women have been dealt implausible archetypes such as the virgin mother or the ruinous Eve. A mother is shamed for remaining a sexual being. A young twenty-something is glared at for being too beautiful. It’s her own fault if she is physically attacked. If you are a woman, you will experience some form of these instant judgments on your life.
Joan Rivers is a perfect pop culture example of this. Watch Fashion Police just once, and you will see her non-stop tirade against women. She represents the worst aspects of patriarchy embodied in a female. Most of her jokes revolve around slut-shaming and the idea that if a woman wears a skirt that’s too short, she is dirty and diseased. Rivers never directs a single unkind word towards men, and if she does, it is directed at their fashion rather than their perceived lifestyle.
“Obscene is not the picture of a naked woman who exposes her pubic hair but that of a fully clad general who exposes his medals rewarded in a war of aggression; obscene is not the ritual of Hippies but the declaration of a high dignitary of the Church that war is necessary for peace (An Essay On Liberation, Marcuse, 8).”
The “obscene woman” is often used to create a distraction. The battle against abortion raged while 4 million civilians were being killed in Vietnam.
When Hilary Rodham Clinton ran for candidacy in the 2008 presidential campaign, she was referred to as “The Bitch,” and “Her Thighness.” She was berated for showing cleavage while talking to the Senate. Rush Limbaugh asked the question, “Will this country want to actually watch a woman get older before their eyes on a daily basis?”
I remember the exact sense that we were being distracted from her achievements by attacks against her female body. These attacks seem to be the reason why she turned down a Vogue cover shoot for the risk of appearing too feminine. How can you blame her, when her body seemed like the biggest obstacle to winning the race?
“The power of presence that is experienced by those who have begun to live in the new space radiates outward, attracting others. For those who are fixated upon patriarchal space it apparently is threatening… Such women are no longer empty receptacles to be used as ‘the Other,’ and are no longer internalizing the projections that cut off the flow of being. Men who need such projection screens experience the power of absence of such ‘objects’ and are thrown into the situation of perceiving nothingness (Daly, 41-42).”
Mary Daly wrote these words in the early 1970’s. She considered the sexual revolution of the sixties to be a failure. The illusion of liberation hid the fact that though they attempted to go beyond life as a possession, they remained as objects to be claimed along the way. Like Hilary Clinton’s stance on the Vogue cover shoot, women of the eighties fought against objectification with the power suit. One of the first fashion memories I have of my mother is her shoulder-pads that could Velcro in and out of sweaters, dresses, and suits. They gave her the instant look of a Quarterback.
In the nineties, every week there was a new battle being fought. Sexual harassment lawsuits were a new concept. Rape culture was exposed. Coming forward became more acceptable, and there was a slight chance that you wouldn’t be told you were lying, or that you caused the rape. Very slight.
In my Christian high school, we all ridiculed a girl for fighting against an issue of sexual harassment. We felt embarrassed for her. I too was harassed, but I kept silent because I was afraid. I felt powerless. I sat pressed into the wall of the bus, while a football player’s son leaned all of his weight into me so I couldn’t move. He ran his hand up my thigh and whispered things that made me cringe. Everyday, he waited for a chance to torment me, and he wasn’t the only one.
A year ago, I listened to women at an art talk say that they are genderless. They are sick of Feminism. I am too. We all are. It’s tiresome to fight. We’re so close to being equal, that we can almost ignore that we aren’t.
The truth is we don’t have the right to be sick of it. We wouldn’t have our lives as individuals without it, for one. We wouldn’t even get to have the elitist idea of being genderless if it hadn’t been for the women who fought for a century and more, before us. Older women are very confused and upset by the statement of being genderless. At the same talk, they reminded us, that they had to pretend to be a man to find any success in the art world. They used their initials instead of their first names just to get a gallery show.
To say genderless, though, has some positive aspects. It says “no” against sex role stereotyping.
I do not want women to rule the world, and I do not want men to rule the world. We deserve total and complete balance. There is a sense, that if Hilary Clinton runs for President in 2016, she will not face the same abuse and slander that she dealt with the first time around. More and more, we see women running companies, becoming scientists, lawyers, and politicians, following their dreams and finding success.
The next generation is an entirely different breed than my own. Young women that I meet really impress me. They make more money in one year than I’ve made in a lifetime, and are buying houses at the age of 23. They’re not wasting time. They have goals, and I have no doubt that they will meet them. I will never exactly be that sort of person. The society I grew up in treated me as “the other.” But it’s enough to see the magnificent change.
October 7, 2013 § Leave a comment
Through the entire decade of my twenties, I was in denial about being a member of the female sex. I loved men so much, that I wanted to be one. All around me, I saw that women were the victims – while men had all the fun, women just got angry.
I had some of the best times of my life in open relationships, and also some of the worst. But the most important part of that experience was taking ownership of myself. By being around men who were staunch in their independence and sense of self, I became a stronger person. And somehow, I found the way to a different definition of what a woman can be than the one I’d grown up with.
In those first years out of college, there were no examples of female strength – only jealousy and haughty glares; or the Christian girls who stopped returning my phone calls though we’d been best friends. It wasn’t until I moved to New York that I finally found the women who became my true sisters. They were in tune with their bodies. They were tough in the face of assholes, and soft in the privacy of our intimate conversations. Rather than threatened by each other, we were inspired by each other’s beauty. We felt more powerful as a group than we did separately. In fact, whenever we were together, magical things occurred; the planets aligned for us; we magnetized strange experiences; we became bonded for life, like family.
But I still didn’t embrace my body as a woman. My body as some fertile place of procreation scared me half to death. If another woman’s cycle threw mine off, I felt as though she’d just one-upped me. I knew nothing at all about how female reproduction really worked. It was something I avoided. I could barely admit that I too experienced all the symptoms of a cycle, even if my friends talked freely about it and gloried in being in tune with the moon. I couldn’t shake the embarrassment my mother had raised me with, around the female sex.
In the beginning, sex brought me to life. I had zero embarrassment or awkwardness around that. It woke up all my senses, and inspired reams of Whitman-esque poetry. I loved the adventure of sleeping with near-strangers or random friends. I loved enjoying whoever was right in front of me. Taking in their personhood like a story I could wrap my brain around. We wove our lives through each other, asking for nothing in return. What we gave in those nights was just enough.
I was hanging with a pile of sexy rocker-types. We drank a lot. Our culture revolved around it. You play gigs in bars, make connections in bars, see all of your friends in bars. In my twenties, I thought I would always go on living like every day was a party. I couldn’t imagine changing. I loved my life. It was one big adventure. It felt like I was living in a movie. But then, Michael came along.
In Chronology of Water, Lidia Yuknavitch relates how it felt meeting the man of her life, and also her third husband.
“He treated this thing I’d done – this DUI – the dead baby – the failed marriages – the rehab – the little scars at my collar bone – my vodka – my scarred as shit past and body – as chapters of a book he wanted to hold in his hands and finish (Yuknavitch, 239).”
At first, it seemed with Michael, that we’d go on living the way we both always had. But the thing was, if we kept living that way, we’d be torn apart. The more we drank, the more we fought. Our old lives didn’t work when it came to being a unit.
I was alone in bed one morning, so hung-over that I may have been delirious. A little boy walked into the room, sat on the bed, and said, “I love you Mommy. I’m going to save your life.”
Immediately, I started crying. I thought if I talked to him, it would keep him from disappearing. I desperately wanted him to stay. But within seconds, he was gone. And yet, he wasn’t. It feels like he’s been with me ever since.
Not long after, I went cold turkey off the alcohol for eight months, so the painful hole in my stomach lining could heal. I started to live differently. Suddenly, I felt crystal clear. I began to wake up early so that I could write. Being productive now meant so much more than being entertained. I realized that in all those years of drinking, I had buried the pain I’d experienced from growing up in the church, and now I needed to deal with it. I began to explore, searching for some basis of truth.
I saw the nighttime world in a completely different way – boring, pathetic, where people acted dumb and got into stupid fights and slept with all the wrong people. It was still fun for them, and I appreciate all phases of life, but it was no longer for me.
It might seem ludicrous that a little boy vision could change my life. The thing is, my husband is infertile. When we first started dating, he told me it was from a childhood disease that he struggled with. That was only half true. A few years later, his friends spilled the beans that he also had a vasectomy. He was too embarrassed to admit it to me because an ex-girlfriend had pressured him into it. It was humiliating to have his friends tell me an intimate detail that was so important to our lives together. I couldn’t believe that he lied to me, and it took months for me to forgive him.
We talked about reversing his vasectomy, but the success rate is not that high, especially since he had such a low count to begin with. There is a high risk of childhood disease in his family, and he left that abusive family behind at the age of fifteen. His life became a story with the potential for happiness, while the past now only exists as literature. Michael is an excellent writer.
He started joking that we should use one of his friends as a sperm donor. Something I’ve learned in our relationship, is that jokes often become a reality. One day, I asked over brunch, “I wonder how much it costs to use a real sperm donor?”
“Lets find out.”
Immediately, I dove into obsessive research, and eventually found an excellent cryobank. They supply clients with medical records, interviews, baby photos, personality tests, and interests.
The search had to go on hold for many months until August arrived. When I saw our donor’s baby photo, I knew he was the right one. Michael was more impressed by the donor interview, where the lady conducting could hardly contain her attraction, and our donor sounded so mature for a twenty-something. Once we picked him, I began an exploration on reproduction, and how to plan conception for the exact day.
So far, we’ve done two rounds, and I’m in the process of waiting to find out the results of our last try. It’s proven much more stressful and all-consuming than I imagined. Going in, it seems like it should be easy, but the body works on its own time. Five-day windows are a gamble, and once the sperm arrives in a dry ice canister, it only has five days left before it thaws. As we learn more, I feel relaxed that it’s all going to work out in the end. I have an excellent Naturopath who is helping me every step of the way.
This entire year has been a learning process. I worked in an art studio with a group of empowered women from their thirties to sixties. They began to shift my perception of what it means to be a woman. The female artists I know are the strongest, most honest women I have ever met. They are fully present within themselves.
One actually admitted that she regrets motherhood; others revel in it; still others regret never having a child; some can’t imagine ever wanting one. All of them find their center through art. Continuing the cycle of humanity is not enough. You also need to leave the mark of what life itself means to you, to expand on the process in your own special way.
Just a few years ago, I thought I wasn’t capable of being a mother. There was no stability in my life. As a creative person, it’s difficult to find that balance, or any sort of financial safety zone. And then, I willingly gave up the thought of a baby to be with Michael.
There is something about a baby. I feel as though I won’t be able to fully embrace my own sex without that experience. And yet, I respect and admire all of the friends who choose not to have a child.
Something inside me asks, is it possible that I can share in that experience of being a mother? Does my body really work? Do I have all the right parts to make a baby happen? Am I really as healthy as I think I am?
It’s a funny thing that humans are always amazed by their ability to reproduce. You don’t see a cow in a pasture with a look of shock and awe on its face that a calf just came out of its uterus. It grooms the calf like it’s just another day, and eats the placenta to keep the prey away.
Even though I’ve become a little bit stodgy in my mid-thirties, I still feel like I’m a kid. Or maybe I am losing the remains of kid-dom, so I long for a baby to bring those fresh eyes back into focus.
At some point, you realize that life will go on being the same. I work hard and play hard. No great shakes. I’m ready for the big shake-up. I’m ready for change and growth and challenge. I think a child will even wake up my creativity in new ways that I am unable to see in the present.
“His argument against all my fluttering resistance? One sentence. One sentence up against the mass of my crappy life mess. ‘I can see the mother in you. There is more to your story than you think (Yuknavitch, 240).'”
By the way, The Chronology of Water is an excellent book. Lidia Yuknavitch is fearless in her honesty and is a courageous literary soul. I’ve met her twice at readings, and her energy invigorates me every time. She is not at all the broken woman she writes of in her memoir. Her experiences have made her a wise woman, and a brilliant writer. It’s the struggles that make us stronger.
August 4, 2013 § Leave a comment
Around eighteen, I read Mrs. Dalloway by Virginia Woolf, and absolutely hated it. I don’t remember what it was about, I just know that I found her voice irritating. But lately, friends have been raving about her. One said that To The Lighthouse is so much a part of who she is, that she rereads it every year. Another raved about Orlando, saying that with my interest in gender studies, it’s a must-read.
So I bought both books at warehouse sales, and dove into Orlando. I was surprised to find that I hate Woolf’s voice just as much now as I did back then. I haven’t arrived at some place of maturity and understanding where I can finally “get” her. Woolf has wit, and some stunning observations, but she talks in circles, and goes for pages without saying anything. I never find the intensity of her person within her writing.
A mock biography, Orlando begins as a typical spoiled nobleman, the darling of Queen Elizabeth in the sixteenth century. Through the course of three hundred years, Orlando never dies, and while on an ambassadorship in Turkey, he mysteriously transforms into a woman.
“She remembered how, as a young man, she had insisted that women must be obedient, chaste, scented, and exquisitely apparelled. ‘Now I shall have to pay in my own person for these desires,’ she reflected; ‘for women are not (judging by my own short experience of the sex) obedient, chaste, scented, and exquisitely apparelled by nature. They can only attain these graces, without which they may enjoy none of the delights of life, by the most tedious discipline (Woolf, 156-157).'”
Despite the tedious hours spent in front of the mirror, very little changes about Orlando’s life. She retains her independence and remains devoted to poetry. She finds the Victorian obsession with marriage and romantic love amusing, and eventually gets swept up with the times when she falls in love and marries a sailor, who is never around much anyway.
Most enjoyable are the fictional photographs of Orlando. I was struck to find, that as a woman, Orlando has similar features to my own (though with a more sloped forehead). Woolf’s taste in women was from the standpoint of the 1920’s, and I think my looks are more suited for the style back then.
The book had me wishing that Woolf could have lived for three hundred years (like Orlando), to witness the world in which we live today. Men change into women, and women into men everyday. It’s so common, that there are days when I pass at least five transgendered people in an afternoon walk.
There is the middle-aged man turned woman with a red bob, straw hat, and crisp pink dress shirt tucked into acid washed mom jeans above white sneakers; the one with scraggly black hair and bright pink lipstick selling papers on the corner of Broadway and Thomas; and the one who looks like a New York Doll in really precarious platform shoes and long flowing dresses with ruffles. Then there are all the people who have had so much surgery, and such mastery of the art, that we’ll never know unless they tell us.
I’ve written before about how some of the artists of my generation believe that gender no longer exists. Part of the idea comes from how much has been done in regards to gay rights and women’s rights. But if gender doesn’t really exist, then why do people feel so strongly identified with an opposite gender, to the point of spending thousands of dollars, in painful transition, to get there? And when it comes to equal rights for all, we’re not quite as far along as we say we are.
The truth comes out on a Friday night at the bar. I used to work at Teatro Zinzanni, a local circus dinner theater. Sunday nights were like Fridays, and every week, performers and servers would all go out for an end of the week celebration. But the gays and lesbians never wanted to join us for karaoke at a bar called Ozzie’s.
I found out why a few weeks ago. It was our friend Oscar’s birthday. Oscar is from Peru, and is an openly affectionate person. Everyone was a few shots in. My husband, Michael, kissed a male friend on the neck as a joke. The guy behind them had a look of shock and horror on his face. Oscar was hugging all of his friends.
Security approached us, and actually said, “No guy on guy action here. You have to leave.”
I really couldn’t believe what was happening. I felt completely disgusted with the people working at Ozzie’s, and I’m never going back, not that I ever really wanted to be there to begin with. Meanwhile, it was no problem for another friend of ours to practically molest women on the dance floor.
A couple of weeks later, Michael was out for another birthday. A large guy stepped on a woman’s foot, so she pushed him. He came back with, “Oh really? You want me to put my big black dick up your ass?”
Here a man took a nonsexual argument, and used his sexual power to intimidate a woman who just wanted respect for her personal space.
If you’re gay (or presumed gay), and out at a bar, you might get kicked out for showing affection. If you’re a woman, the fact that you’re just standing there makes you fair game for a random male stranger to molest you or threaten you sexually.
I should mention, that the one time I was in a gay bar in the last two years, a young gay man did his best to intimidate me to get the hell out, by getting extremely up close and personal. So it all comes full circle.
Suffice to say, I rarely ever go out drinking anymore (though it used to be my favorite pastime). So when I go out now, I’m amazed by how completely stupid everyone gets. All of the impulses that people hide by day come to the raging surface at night. Nights become a place of conflict and aggression. The rich against the poor, the door guys verses the patrons, men verses women, gay verses straight, black verses white, young verses old.
“No passion is stronger in the breast of man than the desire to make others believe as he believes. Nothing so cuts at the root of his happiness and fills him with rage as the sense that another rates low what he prizes high (Woolf, 149).”
If in an instant, you became the person standing across from you, what would that reveal to you? What would change? Could we all get along?
I’m not an idealist, but I feel tired of all the conflict I experience on a daily basis. I live on a busy street, and working in building management we are fully aware of all the crime that goes down. In the last week, we’ve dealt with three different incidents. On the morning of July 5th, an untreated neighbor behind us was shot by the police for brandishing a Glock from his window. I’m never going to understand everyone, but my emotions are exhausted from feeling what everyone around me feels. Sometimes, I just want to escape.
“… while fame impedes and constricts, obscurity wraps about a man like a mist; obscurity is dark, ample and free; obscurity lets the mind take its way unimpeded (Woolf, 104).”
Obscurity is nice for about a week, but then it’s good to get back to reality. I would just like a little bit of distance from the reality I live in. I feel that I am going through an enormous shift, and I have no idea where it will lead me. With it comes exhaustion and hopefully transformation. I am becoming something beyond what I am today; like Orlando, who sees beyond both genders, and knows that she is just a poet either way; a poet who loves solitude.
I’m not going to fill my coat pockets with rocks and drown myself, like Virginia Woolf did at the onset of World War II. She was going mad, and the only goodness left for her, was the love of her husband.
I believe that out of the worst, comes the best. If you watch nature closely, you see this happening over and over again. A natural disaster can unify people like nothing else can. A grit of sand can irritate an oyster into making a pearl. And when you send a radical new thought out into the world, it’s often met with hatred. But slowly over time, hatred abates, and new ideas become old ideas that are finally accepted. Life is a process.
June 16, 2013 § 3 Comments
The title of Why Be Happy When You Could Be Normal, Jeanette Winterson’s recent memoir, refers to a comment her mother made shortly before Jeanette left home for good. They lived in working class Manchester, England. Her harsh, adoptive mother was a Pentecostal, obsessive-compulsive, abusive woman who hated life so much she hoped the Apocalypse would arrive soon. Mrs. Winterson never slept in order to avoid sleeping with her husband. She was in denial of her physical self. She often locked Jeanette outside or in the coal cellar overnight on freezing cold nights.
“She hated being a nobody, and like all children, adopted or not, I have had to live out some of her unlived life. We do that for our parents – we don’t really have a choice (Winterson, 1).”
To escape, Jeanette turned to books, and then she fell in love with a girl. When Mrs. Winterson found out, a brutal exorcism ensued, including three days of starvation, and an over-zealous minister who tried to convince Jeanette (in a perverse fashion) that men were more suited to her needs than women. Of course, they failed at making her play the game of pretend. If Mrs. Winterson taught Jeanette anything, it was to be stubborn. And after living in that house all her young life, nothing could break her.
Jeanette soon had to leave home, though she was only sixteen. Her passion for literature brought her to Oxford where she was left to herself with three other women to study on their own. Shortly after college, her first novel, Oranges Are Not The Only Fruit, became an international bestseller and she has won numerous awards since.
I feel a strong bond with Jeanette, as though we’ve met up a few times and swapped stories. Each time after, she hurried back to her intensely private life, while I was left wanting more. Strong women have that effect on me.
I could write here about my family, about how I grew up in a Pentecostal home, but I’ve written about that dozens of times, not to mention in my memoir No End Of The Bed. I’m at that point right now, where Jeanette was with the release of Oranges, except that I was not published by a major, and I only sold twenty copies in the first month.
I had this idea in my head that people would go buy the book right away, and word would spread extremely fast, like an internet video going viral. But in this case, word spreads slowly, and finding an audience is a process that builds on itself through time, energy, and creativity. The hero’s journey of the struggling writer continues, and I am still faced with a giant uphill battle to win the narrative in my head. In other words, my dream still feels crazy, and a little out of reach.
I am often working ten-hour days on writing, marketing, and publishing. No one is looking over my shoulder, I’m not punching a clock, and I haven’t made a dime. In fact, I’ve spent every cent that I made in the last three months and more to make this a reality. I sent the book out to reviewers who probably won’t give it a second glance. Whether they write about it or not, it’s important that they see it and know that it exists, and that quality books will keep coming from Knotted Tree Press in the future.
Without writing, I become an unbearable human being. When I stop, my obsessions go into strange territories. So I wonder, what would pre-feminist Lauren look like? Would I look like Mrs. Winterson? Would I have made everyone around me miserable? And without the benefit of knowledge, would I have been a religious extremist? Would I have remained in an adolescent state – lacking in awareness of others, narcissistic, self-absorbed.
“I suddenly realised that I would always have been in this bar that night. If I hadn’t found books, if I hadn’t turned my oddness into poetry and the anger into prose, well, I wasn’t ever going to be a nobody with no money… I’d have gone into property and made a fortune. I’d have a boob job by now, and be on my second or third husband, and live in a ranch-style house with a Range Rover on the gravel and a hot tub in the garden, and my kids wouldn’t be speaking to me (Winterson, 208).”
We all have the capacity to find our sweet spot from the work we love. Sometimes, it takes a lot of bravery to lay claim to the work that you love. Quite possibly, most people hate their jobs. The only way to get through it is to do something you love after or before work. At an art studio last week, I overheard a man say that he wished he studied art instead of nursing. But the nursing affords him the time and financial stability to do the art. He’d just come off a night shift, and would be in class all day. In fact, most of the really dedicated artists are older and retired. They gave up their passion for thirty years, and now go to studios five days a week, working tirelessly.
Without writing, I don’t think I would have grown as I have, or become as aware of my life and the lives around me. It’s a system of processing information and coming to more questions, and even some conclusions.
In my head, just like Jeanette, I have another life, a Plan B that I’ll probably never fall back on. I think a lot about real estate. I imagine myself negotiating and making deals (things that in real life I utterly failed at as a Literary Agent). I pass by expensive historic homes when I walk to work. I watch when they come up for sale, I look to see who’s selling them. I wonder what the stories are of the people who live there, and long to solve all the mysteries of domestic life. See? I begin in sales, and end up literary. But in the real estate dream-life, there are returns for all of my hard work. I am rewarded for knowing my own value. It eases the reality of the life I am living.
“I know now, … that the finding/losing, forgetting/remembering, leaving/returning, never stops. The whole of life is about another chance, and while we are alive, till the very end, there is always another chance (Winterson, 38).”
What matters most is that the people who have read No End Of The Bed came back to me with rave reviews with such comments as “mesmerizing,” “brave,” “painted pictures with words,” “couldn’t put it down,” “loved the dialogue,” “has the power to help people.” Everyone finished it within two weeks (surprising to me for how busy they all are, especially the new moms). I went from feeling horribly exposed, to feeling wonderfully connected. Friends I hadn’t seen in a long time met up with me to share their own stories. People I’ve known since college looked at me with greater understanding. They questioned their choices in comparison to my own. Everyone talked about different scenes in the book. And no one seemed shocked or turned-off by some of the extremely sexual content. Neither were they offended by the feelings I expressed against the church. The rush has since died down, and now it’s up to the people I’ve never met to read the book and come to their own conclusions.
This morning I read about the publishing trajectory of the trilogy Fifty Shades Of Grey. I haven’t read the books, and couldn’t even get through the first page, but there are some comparisons to be made with No End Of The Bed as far as S&M content. E.L. James was first published by a small indie publisher in Australia with an e-book and print-on-demand in May 2011. The books gained momentum on blogs and social media, gaining a deal with Random House for somewhere around a million dollars in March 2012. The books sold 25 million copies in the first four months. So even in this case of the fastest selling books, success did not come overnight. It took time and persistence.
In Winterson’s novel, Sexing The Cherry, she explores time. Her mother looms in the character of a giantess. The narrative flips from the medieval to the present. We are asked to consider time and the dangers of puritanical thinking. Time is the story, and with it, the domino effect of lives from past to present. Earth seems like a magical place, except that it isn’t, if you inspect it close enough. We are not the result of miracles. Life occurs from hard work and persistence, from the smallest organism, to the most complex.
March 25, 2013 § 2 Comments
As women, especially, we carry our mothers within us. We carry our grandmothers, our great-grandmothers and so on. Beginning life through their looking glass, we interpret from their experience. As adults, we hopefully bring something new to the equation.
In The Dance of the Dissident Daughter, Sue Monk Kidd shares how she went from being the good Southern Baptist wife, to an awakening of the anti-female language in the church and the traditional roles she had fallen into without question, causing her to become the many breasted woman. She takes a precarious journey towards finding her own true voice, fearing that she will lose her husband or that her kids will be too shaken. But what results instead is a total awakening that greatly improves her relationships and her life.
I go back and forth between two worlds on a consistent basis. Living in downtown Seattle I am surrounded by strong-willed, independent, mature, and passionate women. They hold themselves tall. They’re never looking at the floor, but straight out into what they can learn and how they can grow. They earn respect from their peers, and are active in their community.
Being around them long enough, I can forget that there is another world, the one that I come from, where women live beneath a patriarchal religion that tells them they are unclean and not worthy; the downfall of humanity beginning with Eve who tempted Adam with an apple; a Bible with so few mentions of women, that as a girl I clung to the stories of Ruth and Esther for dear life.
It’s a struggle to still see this mindset in my family members. I am often held to the same standards as the mothers who went before me, even though my husband and I do not share the same value system as my family. Trying to gain their respect as an independent human being, apart from my husband, is difficult. I often feel that for them, a husband is the replacement of your father, and my decisions are like a child’s whims that need to be reined in.
My mother was raised in the fifties and sixties in the Midwest. The negative messages she received about being a woman were manifold. She began to believe that she was dirty, ill equipped to handle life, unintelligent, not worthy of a college education the way her three brothers were. She says that her greatest achievement is having given birth to my sister and I, and raising us well. My mother did the best that she knew how. Though within her, I always sense an untapped potential – creative talents lying inert, a lack of belief in her value. She wonders out loud, “I’m already sixty something, and what have I done with my life?”
She was always with us, always there when we got home from school. But as then, and even now, there is a sense that she is often absent. Maybe it is the trait that my sister and I both share with my mother – we all have a tendency to get lost somewhere up in our heads. My nieces also share this trait, with their wild use of the imagination and sudden bursts of wit. With this up-in-your-headness, there is the danger of retreating from a fully functioning life. All of us women in the family are artists whether we express that or not. Maybe the problem lies in wondering whether our expression is valid or valuable.
In Sue Monk Kidd’s The Dance of the Dissident Daughter – A Woman’s Journey from Christian Tradition to the Sacred Feminine, she writes, “I like the way Clarissa Pinkola Estes says it: ‘When a woman is exhorted to be compliant, cooperative, and quiet, to not make upset or go against the old guard, she is pressed into living a most unnatural life – a life that is self blinding… without innovation. The world-wide issue for women is that under such conditions they are not only silenced, they are put to sleep. Their concerns, their viewpoints, their own truths are vaporized (Monk Kidd, 21).'”
I want to know my mother from before I was born. In photos she looks mischievous and carefree. She wears dark eyeliner, with funky 1960’s hairstyles, and mod clothing. She plays the piano, or munches an ice cube in old film footage at the racetrack with my dad. In photos, they goof off with their Old English sheepdog, Big Boy. They are young and beautiful, and life is rich with possibility. She worked for the telephone company, and he was an engineer. On the weekends they took random road-trips, not sure where they’d end up.
As a child, her mother was bipolar and overwhelmed by raising five kids. Grandma preferred her three sons to the two daughters. She never really liked women that much, and she also wasn’t very happy with her emotionally distant husband. But she did love fashion, expressing herself, and working in retail.
On my father’s side, my history of mothers only exists in photographs. His mother died of cancer when she was my age. In photos, she is always laughing with friends. She looks like the center of the universe. Her face is a strangely familiar territory of my eyes, and my sister’s lips. So many aspects of her have been passed down to us, but what they were (outside of photos), we’ll never know. I cling to these images – a grandmother, only visible in stills of black and white. I build up stories around her that only make her more beautiful, more daring, more carefree.
I quickly flip past the photos near the end of her life. She is washing dishes, with my dad (a toddler) playing at her feet. The lines beneath her eyes have turned purple, her shoulders slump towards the sink, exhaustion is written all over her failing body. I choose to forget this, though it lingers in my subconscious, and I wonder if like her, I could possibly die young.
My history of mothers didn’t have the opportunities that I do. Through everything that I do in my life, I celebrate them. I celebrate my right to speak, to write honestly and openly, and leave a record of myself that goes beyond old photographs found in a shoebox. So much of what my mothers really felt, was never spoken.
As I think about opening my life to the possibility of motherhood, I understand the importance of a line of mothers. I see the magnitude of knowing, before I take that step, my own value as a self. It’s painful to me when my mother writes off her life as not being very important. All I can really do is make up for it, everyday, with how I live my own life.
When she lost her mother, I was nine years old. Mom lost her luster as a distant perfect goddess, always washing dishes at the sink. She became a human being. Our family was split down the middle at the time, mid-move from Chicago to Seattle. She and I were still in the old house. She was afraid, scared, hiding boos in the back of the refrigerator (she never drank). Every night we stayed somewhere else, or a friend stayed with us.
Suddenly, it seemed that I was becoming the mother. I resented her for it. I didn’t know how to control my anger. That was when mom began to say that I reminded her of her mother. I was scared that like grandma, I was bipolar too, and maybe diabetic. No one really painted a positive image of grandma, though she was always nice to my sister and I. And it was my aggression that brought up the comparison.
“Most of my life I’d run from anger as something that good daughters and gracious ladies did not exhibit. Perhaps the thing most denied to women is anger. ‘Forbidden anger, women could find no voice in which to publicly complain; they took refuge in depression,’ writes Carolyn Heilbrun. Her words came true for me. Without the ability to allow or the means to adequately express the anger, I began to slide into periods of depression (Monk Kidd, 74).”
You could say that depression runs in my family, but I broke out of a habit that descended down through the women for generations. It was a long, painful process, letting go of that mindset and way of being. But then one day I woke up, fully in charge of my own life, fully capable, and fully expressive. The sluggish, then raging, suicidal thoughts were completely gone. I cracked the code. The answer was within me all along. As long as I face life with no fear, give what I have to offer, and value my gifts, I am happy. It’s a simple equation. But there was nothing simple about how long it took, and difficult it was, to figure it all out.
In life, there is always what we are, and what we were. They live together simultaneously. Some people catch up to who we are now, and some never do. But we all manage to learn from each other. Though my parents raised me, their daughters have raised them as well. My family speaks a different language through an opposite worldview, but we can still connect with laughter, good food, and the stories of our interconnected lives. Everyday, we grow in awareness of ourselves in relation to each other.
December 4, 2012 § Leave a comment
While reading, Dora – A Headcase, by Lidia Yuknavitch, I became one with a character I would not exactly identify with in real life – a wacked out teenaged nightmare. I attended Lidia’s reading a few months ago, where she explained that Dora was based off of a case study by Freud. His patient Ida (given the pseudonym Dora in his publication) was diagnosed with Hysteria due to her symptom of Aphonia (loss of voice). Ida’s father was having an affair with Frau K, and Herr K had made advances on Ida. Freud was certain that Ida had secret wishes to be fully seduced by Herr K, but in actuality, her desires revolved around Frau K. His misplacement of Ida’s desires, and her abrupt exit from their therapy sessions caused him to conclude that he had failed her.
Lidia read about Ida in college, and the story stayed with her for years. Dora – A Headcase follows a similar plotline, though it is based in modern day Seattle with a few guerilla filmmaking joyrides thrown in.
To be honest, there were a few Seattle details that were slightly off, and I had to suspend my disbelief. For example, there is no 7-Eleven downtown, not until you get to lower Queen Anne. There is also no Shari’s restaurant, only in the suburbs. And a high-rise condo on Capitol Hill was not quite believable since there are no buildings in my neighborhood over eight stories high. But this is fiction, after all, and I have too much pride in my city.
“You know what? Seventeen in no place to be. You want to get out, you want to shake off a self like old dead skin. You want to take how things are and chuck it like a rock. You pierce your face or you tattoo your skin – anything to feel something beyond the numb of home (27, Yuknavitch).”
I remember this feeling distinctly. Hell, I have even felt this as an adult. When I was seventeen, I felt trapped in a life that wasn’t my own – it was my parent’s. Everything in me was pulsing, charging, held back in a cage that made me want to implode. All day long in high school, I was force-fed a bunch of crap that had no use in everyday life (I was right about that one). At night I numbed myself on episodes of Oprah Winfrey, and tried to sneak in MTV when my parents weren’t looking. And then I’d find something like A Clockwork Orange – a movie that so disturbed me it pretty much changed my life.
I was banned from the macabre, the dark side, the body, the taboo. But in order to understand all of life, you need to be given more than just a window with a view.
At the time, my experience, my education, was all within film and television. Nothing was happening in my life. You could sum up non-existent dramas in your head (as teenagers do), but they never played out. I’d be lucky if a crush talked to me just once a year. I was in the dork’s club. And my only outlet was art.
“You know, when you can’t talk, talking sounds different. Everyone sounds like a soundtrack of talking instead of like people… like they are on a stage and you are in the audience – and all of their voices suddenly sound… like art. It’s comforting (121, Yuknavitch).”
Ida aka Dora runs amok. She does everything I wish I’d had the balls to do when I was a teenager, and am glad that I didn’t. As she finds a way to dose her therapist Siggy with an almost lethal dose of Viagra and Cocaine (his drug of choice, of course), it’s cringe-worthy. He just wants to help her, yet she does everything she can to rage against him. Siggy is just another cage that she wants to climb out of.
From there, the book becomes a wild roller coaster. Around every chapter there’s a fresh twist of “oh shit.” What is distinctly missing is high school. But it goes unnoticed, the way that a lack of parents in brat pack movies goes unnoticed.
What becomes obvious is just how much Yuknavitch enjoys her craft. You can see her laughing with glee in a room somewhere as she comes up with these crazy teen lingo sentences, putting herself in a tailspin of writer frenzy.
Like Dora I had no voice. I went through long periods of time never talking, just observing life floating by. People could shout at me, pinch me, push me, and I would still say nothing. I was a voyeur of life, not a participator. Everyday I wanted to die. I wanted to feel something and then have it all be over for good.
As I age life becomes more vital. All of that creative energy was untamed back then, and yes you could say I had Hysteria, because sex brought me to life. Now my days are pure expression. I don’t want to die before I’ve sent all of my art out into the world where it can domino into someone else’s experience of pure, beautiful life. The greatest gift is to be told that my writing has given others a voice.
November 25, 2012 § Leave a comment
A year ago I went to Susie Bright’s reading for her memoir, Big Sex Little Death. She signed my copy “Lauren, Clits up! Susie Bright.” She told some interesting stories about traveling through the country on her book tour while I sat wondering what the Puritans would think about her book title – if you have big sex, there’s bound to be a little death, or maybe even a lot.
“One brother killing his other half, his soul mate, was sensational enough – but add “hardcore” to it, and it was as if everyone in the sexual counterculture were on trial.
Reporters called me: “Did you see it coming? Were you pressured? Were you afraid? Did you get high with them, take it up the ass before the guns came out? Their questions were crazy because they all assumed that sex had led to violence. Not despair, not religion, not the empty bottle of abandonment (Bright, 303).”
Artie had been on a violent binge, and Jim shot him – the Mitchell brothers behind the famous O’Farrell theater strip club in San Francisco where Susie’s friends worked.
In life, there is death. The religious right would have us believe that death equals sin. But all of life is merely a cycle that our egos strain against.
In the same way, movements are born and then die. Manifestos have flaws, so we build off the old to create the new, hopefully improved, trains of thought.
Susie Bright has been at the forefront of movements in our history – grabbing life by the balls since she was a teenager running rampant in the Communist party. She was attacked, dodged bullets, and sacrificed her individuality for the cause. But amidst a shift, she was accused of betrayal and kicked out, most likely for not being a drone.
Several years later, she was influential in forming the lesbian erotic magazine, On Our Backs, with a group of strippers. For years they struggled to stay afloat amidst political battles of the Andrea Dworkin/Catherine MacKinnon variety. At that point, many feminists were joining with the religious right in the fight for anti-pornography laws, and the magazine found more support from gay culture.
“We were too obscene to glue together. All of us, the women in erotica and in sex education, ended up paying what amounted to enormous bribes to be printed at all. And the printer’s risk? Zero. The U.S. attorney general’s office, to this very day, has the same attitude toward women’s sexual potential as that held by the Victorians: They really don’t believe lesbians have sex (Bright, 259).”
Blatant, in your face, unapologetic women who don’t need the male gaze to feel beautiful or sexual is apparently, a frightening thing. The women at the magazine received death threats and accusations of every variety. Eventually, the pressure to stay afloat amidst so much opposition and lack of funding literally broke the magazine’s back. Susie’s life reached another movement, that of motherhood, teaching, writing, and sunshine in Santa Cruz.
“I had to Protect the Baby, but I ended up Protecting Me… Malingerers, fakers, and self-destructive impulses were red-tagged and booted (Bright, 287).”
I am not a mother, but I relate to this feeling from my experience of being a wife. Through my husband’s love for me, I came to love myself in a new light, and suddenly had no patience for the crazies, the neurotics, or the people who take me down a notch for no reason. As I became aware of someone else’s needs, I became more aware of my own. Love transformed, turning the past into stories, rather than painful emotional ties.
Like Susie, I have that desire to capture my personal history and encapsulate it – not only because it tells of my life, but also because it celebrates the people I have known, the cities I lived in that have changed since then, the zeitgeist that is no longer. We have all evolved, and it’s one of the reasons why we need to write it all down, or paint it, or film it, or photograph it – so we can remember how far we’ve come, and see more clearly, where we are going.
November 19, 2012 § Leave a comment
““You don’t really want to be a poet. First of all, if you’re a woman, you have to be three times as good as any of the men. Secondly, you have to fuck everyone. And thirdly, you have to be dead.” – a male poet, in conversation (Jong, 43)”
I recommend the poem that follows in Erica Jong’s book of poems, Fruits and Vegetables, first published in 1968.
The other day a photographer, James Arzente, came to my apartment to photograph me for a book he’s doing on artists and writers. After a long email dialogue, we came up with a concept, and piled all of the physical remains of what it took to write my memoir (piles of notepads filled with chicken scratch, journals, photographs, music, books, costumes, pens, mementos, and postcards) onto the kitchen table. The photographer wanted to get at what’s inside my head, and I pulled out as much physical evidence as I could possibly find, but it wasn’t even the half of it.
He pried further and further to figure out what makes me tick. On one hand, it made me understand the intensity of what it must feel like to be a celebrity. On the other, I was exhausted by it, and exhausted of being the sole focus. I grew sick of myself, ill with the knowledge of my current unsatisfactory state.
“You will never really be understood,” he said, “And you have to be okay with that.”
We talked about what it means to be a woman and a writer. I want to celebrate my womanhood, but being female has always felt like a strike against me. I’m working through it, towards a love and acceptance of my own gender. It’s difficult when I’ve been attacked for being a woman, not only by strangers, but also by friends and lovers. My healing comes from strong female role models, who repair me through their wisdom and our shared stories.
“Who do you feel you are on the inside?” James asked me.
“I feel like an outlaw. I feel like I’m fighting against the roles prescribed for me by others. I feel invisible. I’m in a chrysalis phase, and working non-stop to create my body of work. It’s killing me that my book isn’t out there yet, when I have so much more to give. I’m waiting for recognition, when in my mind, I am already known for what I do. In reality, I’m a drifter that no one really knows all that well.”
The truth is, I feel more like a Hunter S. Thompson, a Henry Miller, a Charles Bukowski, a Norman Mailer than a woman. None of my heroes understood women at all, and didn’t care to understand. But women inspired their stories. They almost had an unhealthy worship of the women that castrated them in a sense. Scared to death of the great goddess that might reach up and snuff them out.
Right now, at the Seattle Art Museum, the Elles exhibit of twentieth century women artists, is here from the Pompidou in Paris. Everyone seems to have a strong opinion about the show. Some are angry over the feeling that women’s art is segregated. Some felt it was too political. Some were disturbed by the empty pockets of history, where women really weren’t allowed to fully partake, as in the Bauhaus movement.
For me, I found the exhibit to be enormously invigorating, and at times disturbing. Throughout history, women have been told that their life should be a sacrifice for the family. In much of the art, I found that same sense of sacrifice, but it was an angry outcry against prescribed roles. A gigantic woven bee hive/cocoon – enormous and frightening, like death hanging from a hook in the ceiling. A film of a naked carefree woman on the beach, hula hooping with barbed wire, each turn ripping her abdomen to shreds. Marina Abramavic’s performance piece, “I must be beautiful, I must be beautiful, art must be beautiful,” as she rips at her scalp with a brush.
Grouping all of this art together is enormously satisfying and powerful. It tells a narrative, fighting to redefine what it means to be a woman, determined to have equality and a voice.
“To create is an act of liberation and every day this need for liberation comes back to me.” – Louise Bourgeois
I think as well, it would be impossible for the art to not be political. In an article by Robin Held in City Arts Magazine she states, “Only 5 percent of the art on display in U.S. museums is made by women, although 51 percent of U.S. visual artists today are women.” And this is the current state of the art world. Just today I walked through the art section at a bookstore, and the only female artist I saw on the shelves, was Georgia O’Keefe. I never even noticed the disparity before.
All this week, I have been enmeshed in talks with women artists on how they feel about the exhibit, and how they feel about their role in art today. The women of the sixties and seventies had a lot of wisdom and history to offer. One woman spoke of how she couldn’t sign her real name to a piece, because if they knew she was a woman, she wouldn’t get a show. She used her initials instead. To be a success, she had to deny the feminine. But now, because of political battles that have been won, she is free to sign her real name, and wears her womanhood like a badge of honor.
Strikingly, the women of my generation said that they don’t identify as women. One felt that anything written before 1980 was a “dinosaur text.” They were firmly planted in the here and now, living dangerously outside the context of history. I sensed abhorrence within them of their femaleness. The same abhorrence that existed in society in the 1950’s, when my mother was raised to think that being a woman made her unclean – doomed to keep cleaning, just to make up for it. Back then, household appliances were sold as devices to cure psychological ailments.
Young women artists want to shed their femaleness like a dead skin. And then they are shocked when those issues subconsciously come out in their art. One was disturbed when people found the feminine in her art. It made her angry. She might clothe herself with male-dominated activities to feel stronger, but she is still facing the unavoidable fact of her existence as a woman.
This same aversion to the female, I believe, has created a large disconnect among young women. I know I am at a difficult stage of life for female friendships – babies, work, lack of money, flakiness, geographical distance. But even so, all of the women I know look at each other with a deep sense of mistrust until proven otherwise. I am just as guilty as everyone else, and I’ve practically given up. Yet when I do find that closeness with other women, I find my confidence blossoms.
Women seem to feel sick of the issue of equality, and what that means. The issue has always been there, and it’s not going away anytime soon. It’s a constant struggle. And if we let go of it, there are plenty of men waiting in the wings to take back their control over our bodies. If your own body makes you ill, and you want to avoid it, then why not hand over the control?
In the young women, I saw myself, and I didn’t like what I saw. This week has changed me. I want to embrace who I am within this body within this world. But I also demand that society embrace my mind even more than the visual elements that I might express. Yes, I am a woman, but first and foremost, I am a human being.
September 16, 2012 § Leave a comment
After watching the excellent film The Private Lives of Pippa Lee, I had no choice but to pick up Dalma Heyn’s book, The Erotic Silence of the American Wife.
In the film, Pippa marries a wealthy man thirty years her senior when she is a young runaway living on the edge. She mutates from being an expressive human being with problems into the stilted and empty role of being the Perfect Wife. But underneath all of her prim lines, you sense the real Pippa lurking underneath. She begins sleepwalking, ending up at the min-mart where she buys cigarettes. And then, out to lunch with her neurotic friend, Pippa begins to combust:
“You could be married to anybody, if that’s what you’re worried about. Marriage is an act of will. I mean, I adore Herb, but our marriage functions because we will it to. If you leave love to hold everything together, you can forget it. Love comes and goes with the breeze, minute by minute.”
When Dalma Heyn set out to write her book comprised of years worth of interviews with wives who committed adultery, she began with an armload of clichés, stereotypes, and societal views that had nothing to do with the feelings of actual women, their marriages, and their experiences. The problem that all of these women shared, was that they bought into the ideal of the Perfect Wife – she is selfless, giving, able to predict the needs of everyone else, without ever meeting her own needs. When these women don’t measure up to this idea of goodness (and no one ever does or should), they constantly feel bad – they are a failure, there is something wrong with them. In the process, they disconnect completely from themselves and go numb. They can no longer experience a fulfilling sex life either. They’ve become what they thought was their husband’s fantasy, but it has nothing to do with them. They are looking at themselves from the outside in.
“They spoke of a profound awareness that they were somehow no longer themselves, that they weren’t in a relationship but playing a role in one (Heyn, 103)…”
They wonder what became of the sexual outlaw they were before marriage. Some of the women had not even had premarital sex. Regardless, women from their twenties to their seventies, and all walks of life, experience adultery as a rebirth of self. They don’t experience shame or guilt – they experience life, total joy and an uninhibited place to reclaim their authenticity. They seek out men that have none of the prerequisites that they look for in a husband or even a boyfriend. They might not even be in love with these men, it doesn’t matter; the experience of total freedom is the same.
The women often have no desire to leave their husbands. But through the experience of adultery, they understand that they need to change the shape of their marriages, so that at last, their needs can factor into the relationship. There is no going back to the Perfect Wife. Some of the women never tell their husbands and fare well, while a large percentage of the women who do tell end up in divorce. But every marriage is different with different outcomes.
I never thought that I would get married because I loved being single so much. My sexuality was the ultimate adventure for me. So sometimes, I wonder, how did I end up married to a man whose sexuality is so vanilla. He’s turning fifty this year, and though he thinks of having sex all the time, it’s often the last priority. When it doesn’t feel like a routine, when he isn’t being too sensitive and careful, sex between us is wonderful, but rarely ever dark, or seductive, or unbridled. Can these things exist in a marriage? I always thought they could.
When we were dating he struggled to keep up with me. He stayed up late with me till the early morning hours and we had sex everyday. He was working three jobs and started to feel the pressure.
Around the same time, I decided to give him a fashion show. I went into my closet and put on all my old fetish gear – vinyl, thigh-high fishnets, towering platforms. When I paraded out, he was not aroused by it at all. He said I was playing the part of someone else. Maybe it was who I was before he met me, maybe I never was that role to begin with. It just wasn’t for him. He wanted me to put on a sleek and elegant dress instead. I’d never encountered a man who didn’t go crazy over artifice. For a week after that, he struggled sexually, and then unbeknownst to me, Viagra saved the day.
For him, the two events were unrelated, but after that week, I stopped taking risks. I started feeling nervous about making him uncomfortable. I left my kinks behind. He loves my strength in all facets of our life together. But he has a puritan side, a clumsy embarrassment over anything out of the ordinary.
The other issue is that he’s not the string bean-types that I used to date. He’s like one of those massive warriors that you see in movies like 300. Built like a rock, solid, stocky, with huge hands that don’t know their own strength. When I told him that I like to be choked, he gave it a try and almost broke my neck. When he sleeps with his arm across my chest, my ribs begin to feel like they’re crushing under the pressure and I panic, trying desperately to wake myself. I’m still learning how to live with our differences.
But life is also easier, happier, more content with him. We can’t get enough of being together – we work together, go out all the time, talk openly about everything, and share our passions. It’s always fun, even when we’re fighting. We don’t buy into the term “settling down” like many couples do. I play the role of the Perfect Wife more for my parents than my husband. When they show up, everything is clean and dinner is delicious. When they’re not here, our lives are chaotic and slightly out of control.
I don’t idealize our relationship. I didn’t marry a man for his status or money. I married a fellow outlaw, who lives by his own rules, and makes me laugh. I’m well aware that the future is uncertain. I’ll be surprised if our marriage survives for the rest of our lives, and I very much hope that it does. And does that only mean the rest of his life, since I’m so much younger? I make jokes about being a wealthy old widow, living like a gypsy and on the prowl. But really, it’s just to make myself feel better about the unknown.
I went through some confusing changes in the process of our growing closer. Like a rubber band snapping back and forth. I was caught up in the whirlwind, in the romance in the beginning. Then after our engagement I rebelled and fought and wanted to leave. I couldn’t figure out what I was doing. But on our wedding day, it all made sense.
For a short while, I turned into an old lady, had no real friends, started to compensate for my husband’s reckless, accident-prone nature by being extremely anxious, nervous, overly careful. At times, the pressure of being a wife overwhelms me. I’ve often wanted to run back to when my life was more straightforward and simple – when I could just work, do my art, and have sex with random people every now and then.
Sex was self-discovery, mutual-discovery, empathic-discovery. Married sex is something completely different that I don’t quite understand. It’s like we need to learn to speak each other’s languages, and haven’t quite gotten there yet.
There is a strange role-reversal where in our relationship I am supposed to be more like the man and he is more like the woman. He wants to cuddle and be close, and I just want to get laid. He wants to work up to it for long periods of time, while I get bored waiting. He wants me to initiate, while I just want to feel wanted. And yet, he is enormously giving, patient, and selfless – which makes me feel like an impatient, selfish, taker.
No couple is perfect, and somehow our differences balance things out. My husband is the first man I was ever in a committed relationship with. I guess I got bored with everything else. Before we met, I had become an evil heartbreaker. The ego trip felt nice, but it didn’t feel right to hurt people and feel nothing. My husband didn’t buy all that crap. He saw right through it (though he admits to being scared of me at first). It was good to be seen at last. Really seen. It still is.
When I think of other men sexually, I wonder what would be the point, when there’s only one man who lets me be who I really am. Maybe not the dominatrix side, but every other side. Everyone else pales in comparison. Everyone else seems like they’re missing something. With everyone I dated before, I was never really myself, and was never accepted to begin with.
I am the subject of my husband’s life. He says that I give his life meaning. He even took my last name.
Yesterday was our 2nd Anniversary. I hemmed my wedding dress and surprised him by wearing it on our dinner date, along with my birdcage veil, and my grandmother’s jade necklace. We talked about our plans for building our future together. We talked openly and honestly about how we really feel about all of it. We raved over Sea Urchin, Veal Sweetbreads, Cavatelli with Morels, Chocolate Truffle Cake with Black Cherries. We even talked about this post, and how our memories are different, and yet the same.
This is the first openly honest thing I’ve ever written about my husband, stripped of all the idealistic tripe. I’m breaking my erotic silence.
March 29, 2012 § Leave a comment
Imagine you are living in a universe where everything is pink, every girl is a princess, and men are vague figures on the periphery, only appearing when a girl needs saving. This to me sounds like a nightmare, and yet little girls are taught that this is a dream come true. A few weeks ago I saw Peggy Orenstein give a lecture based off her new book Cinderella Ate My Daughter, defining exactly what is wrong with princess culture in girl land.
“… princesses avoid female bonding. Their goals are to be saved by a prince, get married… and be taken care of for the rest of their lives. Their value derives largely from their appearance. They are rabid materialists. They might affect your daughter’s interest in math. And yet… parents cannot resist them (Orenstein, 23).”
In the Disney Princess franchise, for the first time we are allowed to see the Disney Princesses grouped together as long as none of them are looking at each other. They each exist in a universe, all their own. They only make friends with those who are not on equal footing; such as crustaceans, raccoons, birds, dwarves, fairies. No one is as special as they are.
Not only does princess mentality isolate girls from other girls, inspiring competition and a lack of empathy; but it also creates a huge divide between girls and boys. Boys are given active toys that include all the colors of the rainbow. They are encouraged to be doers, and to learn through play with tool sets, chemistry sets, etc. For girls, however, there is a major emphasis on primping and materialism – spa day, shopping, and make-up for your six year old. The girl’s version of a chemistry set revolves around learning to make perfume. In the Monopoly Pink Boutique Edition, girls can go on shopping sprees, buy a mall or a boutique. This all teaches them to strive to be spoiled and valued on the basis of their appearance.
At a toy fair, Orenstein observes: “The preschool girls’ section was decorated with a banner on which the words BEAUTIFUL, PRETTY, COLORFUL were repeated over and over (and over) in pink script… In the next room, a banner over the boys’ section, scripted in blue, exclaimed, ENERGY, HEROES, POWER (Orenstein, 51).”
Words used for girls are passive descriptions of how an object looks. Boys on the other hand get all the action, the doing, the winning, the leadership. Over and over boys and girls are ingrained with these perceptions at an already difficult stage of social development where they are first coming to terms with categories of gender.
“By the end of the first year of preschool, children spend most of their time, when they can choose, playing with others of their sex. When they do have cross-sex friendships, they tend not to cop to them in public – the relationships go underground (Orenstein, 68).”
Some of my earliest memories are of playing with my friend Patrick. My dad’s favorite story to tell is of me at around age four playing football with Patrick and his little brother Freddy. Apparently I pushed Freddy down and he went crying to his dad. His dad turned to him and said, “But that’s how the game is played, son.” At a later age, I can assure you, I would not have had the guts to push a boy down.
Since I was the second child, my parents were a little lax with teaching me a few basics, so Patrick taught me the alphabet and I taught him a few ballet moves. I loved playing Heman with him and I was convinced that boy’s toys were better. Barbie was fun, but all she did was primp and go to parties. Her big climatic moment was when she danced with Ken. They would fall in love and begin to fly. Then they would go home, take off their clothes and lie naked on top of each other in their Barbie bed. My neighbor friend and I would gaze at this mysterious act with awe. All the effort went into making Barbie look as beautiful as possible so that Ken would sleep with her.
Heman was active. He was a hero. There was something more empowering about being a boy. I was jealous. I was also jealous that Patrick didn’t give a shit about what people thought of him. One day he pulled down his pants and peed right on the sidewalk. It didn’t matter that there were ten other kids playing around him when he did it. I couldn’t imagine ever feeling that free.
As soon as we entered kindergarten, though, Patrick rejected me. He wouldn’t be caught dead talking to a girl in public. I felt heartbroken. I realized our friendship could only exist in my mind as a memory. But I still admired him from afar. Matters were made worse when in the first grade we were all lined up to go in after recess. I was at the end of the line, Patrick was up ahead, and the boy in front of him (who I didn’t like), yelled out, “You like Lauren?!” It was as though the most embarrassing thing you could possibly do was like me. Everyone started laughing. Patrick looked humiliated. I wanted to disappear. It was hard to understand why this was such a horrible thing.
So then we entered a new phase. Since Patrick “liked” me, I now had a crush on him. This explained to me why we were no longer allowed to talk to each other. Everything became secretive, underground. It was now all in the non-verbals, like when he silently chased me on his bicycle. I pedaled as fast as I could, laughing hysterically over the excitement of the chase. For a few short moments, he was actually acknowledging that I existed.
At that point the major gender separation in toys was really just beginning. It was the early eighties, that big bust of consumerism. My Little Pony, Strawberry Shortcake, Care Bears – all inactive toys that were cute and had no real function. I barely knew what to do with any of them, but of course wanted them all.
Much more memorable is the summer when the girl next door and I decided to make a mud factory out of the piles of dirt behind the garage. We made mud pies and even mud hot dogs, which my aunt told us, looked more like poop. Then there was the year in grade school that I started an icicle hunt at recess – a game that spread like a virus till the whole grade school was involved in a battle of who could collect the most icicles, as well as the biggest. I felt like a HERO. I felt POWER. I felt ENERGY. It felt good!
When Peggy Orenstein finished her lecture on princess culture, the audience was invited to ask her questions. Every woman that went up to the microphone bumbled through her words, skittishly made apologies, and skipped backwards through the aisle like an uncertain little girl. Then a young man got up to ask a question. He spoke directly with authority. When he was finished he calmly walked back to his seat with assurance. Just in that moment, it was easy to see, how we are all shaped by society’s messages on gender.
It’s time for women to create a new female archetype for the future – heroic, intelligent, with guts, courage, charisma and empathy. She is prepared to fight to protect the right to be anything she wants to be. A woman who doesn’t need saving, yet understands that we are stronger when we unify. She is the best in all of us.