2023 EDIT: Part of my 2023 clear-up, of books I no longer like, or am no longer interested in, or remember well as standing out, or find as special anymore, or I otherwise will not miss.
Final Score: 3.5/5
Original Review:
I've finally decided that the time is right to tell a personal story, one that is linked to this non-fiction book in a way - explaining one of the reasons why I'm a feminist.
Under a decade ago, in a scriptwriting lecture at university, one of my tutors, an awesome lady who inspired and encouraged us, taught us about the lives of famous women and how one could write films about them. It was a autobiographical assignment. One of the women we looked at is Erin Brockovich, and the DVD film starring Julia Roberts, which the tutor lent me, became one of my favourite films. We also looked at interviews of the real Erin on Youtube.
Now, on that day, I was the only girl in the lecture. When "discussing" Erin Brockovich, literally all the boys around me could think to say about her is that she is "mouthy", that she talks too much. They were not listening to anything she had to say, or paying attention to her outstanding achievements. They didn't care about her bravery, her smarts, or her gigantic triumph against adversity and impossible odds: She was a woman who expressed herself and made herself heard, so she was subject to scorn. She had a voice, she mattered; and the boys hated that.
The other woman we looked at was Margaret Thatcher, and oh boy, you can imagine how the levels of suffocating testosterone around me reached critical peak. Keep in mind that while I call my fellow male students "boys", many of them were older than me; in their mid-to-late twenties at least. Yet they behaved as immaturely as ten-year-olds-to-adolescents who had just discovered the art of masturbation and sneaking pictures of unsuspecting naked girls around on their phones. The men in that lecture again literally could not think of a single nice or positive thing to say about former British Prime Minister Margaret Thatcher. She was totally unsympathetic - impossible to make a hero and focus of in a film. To them 'The Iron Lady' was an anomaly, a bad fluke. How they insulted her like internet trolls in the flesh, you'd think she was worse than Hitler.
As men, they felt entitled to express themselves - express whatever they are feeling at that exact moment, with no thought to who they might be hurting - however they want, wherever they want, no matter the situation. Women on the other hand? They should just shut up all the time. No matter that the person teaching them was a woman, or that there was a girl seated right beside them, learning with them. Or not learning, with them disrupting and disrespecting the lesson.
So there I was, learning about these amazing women, and admiring how even Hollywood couldn't ignore their impact on our culture and society; but because of fragile male egos, rather than being inspired, I felt uncomfortable the entire lecture. I was too painfully shy to speak out, for I knew then that I would either be ignored or shut down verbally, made fun of, called a killjoy for not participating in misogyny; in the desecration of my gender.
During a break, when the men left the room, I felt I had to speak to my tutor about my feelings, hoping she would understand. After all, she saw and heard everything the guys said, with me silent and figuratively shrinking in the middle of it all. I told her about why this had to be put up with, and the tutor, who I remember fondly and admire greatly to this day, said something along the lines of this:
"(paraphrasing) Men have always been uncomfortable about strong women, so they insult her and get angry at her as a defense mechanism. They don't really know any other way of expressing their feelings. It's just the way things are, you will have to get used to it."
Translation: Boys will be boys.
And even then, as young as I was, I thought this was unacceptable. Men hate women, and women just have to deal with that? Deal with male violence, male entitlement, sexual harassment, sexual assault, rape, common death by a male partner's hand, and a whole list of other issues and reasons that misogyny has destroyed humanity as a species? Why? Who decided that this was normal? That men's certain behaviour is not worth getting upset and worried about, even when they are absolutely worth getting upset and worried about?
The patriarchy makes men static, irrational, overreacting, overemotional, and paranoid, and this system has twisted human society so we are told that it is the women who are like this, and so are deserving of scorn and violence. And judging from my experience with full-on misogyny in that lecture room that day, the patriarchy makes men and boys no better than wild animals, un-evolved cavemen fearful of reality. And it's "just how they are", so women have to smile, put up with their bullshit: as they have done since the dawn of civilization.
The fact that "boys will be boys" was said to me back at university - where collage campuses the world over are horrifyingly, disgracefully notorious for their lad culture fraternities and their rape problems not being dealt with (to the point of a near epidemic, considering what isn't reported), not just in the US - really says it all. I'd only wanted to learn - to write about real, brilliant, complex, human women in our modern history who made a difference, and the toxic boys' club mentality kept me from feeling safe and secure in my environment. Making me feel unwelcome, that my accomplishments will mean nothing, if insecure men in need of an easy target would have it otherwise. No wonder I've always been so quiet, afraid to voice my views most of the time.
Because I'm aware of the blatant gender disparity and double standards in our world - learned from experience as well as the news and online - I am a feminist.
'Living Dolls: The Return of Sexism' by Natasha Walter was one of the first non-fiction feminist texts I'd read. It is fairly straightforward, simple and a little dated nowadays for a nuanced feminist, but it is worth reading for any new and young aspiring feminists. It's mostly about the author's hatred of pink, girls' cooking and baby-caring toys, Barbie, and Disney Princess-type things. It is similar to Peggy Orenstein's 'Cinderella Ate My Daughter' in that it explores western gender segregation encouraged from a very young age, and how super-skinny, super-white fashion dolls are not good role models for little girls' confidence and self-esteem. Neither are big-breasted, skimpy, doll-like, constantly sexually-objectified, uncomfortable-looking models, nor vapid, personality-less reality TV stars.
"Women talk three times as much as men," my arse. As if men would allow women that much freedom to express themselves. Interruption and mansplaining, hello. And men are not emotionless or more "practical-minded" from birth. "Power" is not synonymous with "man". Sexist stereotyping has nothing to do with science and biology, it is harmful and threatening. Pornography, especially in the online world, is dissected in the book as well.
Sexual liberation- that is safe and consensual - for women, forever!
Here's a quote not worth forgetting: "Instead of desperately longing for the right to be seen as human beings, today's girls are playing with the old-fashioned notion of being seen as sex objects. This is not terrifying news. In fact, to me, this is the ultimate feminist ideal." This was published in The Guardian once.
'Living Dolls' was published in 2010. Fuck is it depressing how far we still have to go to achieve equality in 2018. In a lot of ways things have been going backwards in the last few years. Terrifying.
Never undermine women's experiences.
Guys - not all, but some of you, like in fraternity cultures - not everything is about you. And especially during a class where there are women trying to learn, just shut the fuck up, please. Check your privilege. Check you are not sprouting toxic, medieval bullshit.
LISTEN. Listen with women as well as to them. Progressive change benefits everyone.
I have a voice now, and I am not afraid to use it. I will not lose it. I can't afford to.
Final Score: 4/5
Wednesday 28 March 2018
Saturday 17 March 2018
Graphic Novel Review - 'Kim Reaper Vol. 1: Grim Beginnings' by Sarah Graley
Kim Reaper.
Wow, did you surprise me.
I really enjoyed this comic. It's from 2017-2018, it's set in 2018, and the 2000's fangirl/emo/goth phase zeitgeist is painted gloriously all over it. Like, imagine your super-goth subculture-inspired tween fanfiction - sparked by the likes of Evanescence and Within Temptation - got mixed up with every modern cartoon you can think of, such as 'Rick and Morty' (makes sense, since the author, Sarah Graley, did write a 'Rick and Morty' comic), 'Adventure Time', 'Star vs. the Forces of Evil', and 'Gravity Falls'; also a F/F romance that is naturally represented - uncensored, explicit - enough to make the 'The Legend of Korra' generation proud. Then you'd get the absolutely, adorably silly, cartoony, and the cutest of cutes that is 'Kim Reaper'.
Seriously, above everything else, 'Kim Reaper' is cute - the two female leads, Becka and Kim, even refer to each other as "cuties". Its horror elements, like, of course, the grim reapers, plus ghouls and zombies, are played for comedy, and it is very funny comedy. The dialogue and banter between the duo are a hoot.
The dramatic writing and character development takes place with the relationship between Becka and Kim. Both are university students studying fine art in England, and Becka, an optimistic, hyperactive, chubby POC, has a huge crush on Kim, a pale, cool, quiet goth girl. However, Kim has a secret - her part-time job is unlike any ever heard of for students. She is a Grim Reaper, tasked only in guiding the souls of animals to the afterlife. And Becka is accidentally thrust into Kim's ecstatic but dangerous world when trying to ask her out.
As a special, pleasant surprise for me, both girls do develop nicely and believably throughout this short comic volume. What appears to be a goofy cartoon on the surface does take human emotions and natural human reactions to heart.
Becka, starting off as a silly, impulsive girl with a crush who talks a lot and acts before thinking, does come to realize the dangers that Kim's life might have on her. Kim's recklessness gets Becka in terrible trouble and nearly killed, so she backs out, angry at Kim, and considers forgetting about her, because, as much fun as they have together, it's not worth the risk of death and being scared all the time now. There's a hint of PTSD. Becka, with candor, is smarter and more reasonable than she often lets on, while still exhibiting her own unique brand of humour. That's great maturity coming from a cute comedy comic called 'Kim Reaper', even though it is a temporary setback on Becka's part.
Kim starts off seemingly cold, aloof and antisocial, like a typical goth girl from the 2000s. But over the course of her grim reaping adventures with Becka, she comes out of her shell and shows how much fun she likes to have with her job. She loves her scythe, and is revealed to perhaps be even more immature and impulsive than Becka, whom she grows fond of and wishes for a closer hookup than friendship. She's probably not used to feeling like this, as a lonely goth Grim Reaper girl. She needs to be responsible and pay heed to the safety of other people now, and be less selfish.
But does Kim learn from her mistakes? Does Becka forgive her too quickly? Well, apologies are verbally expressed, and trust is earned again. From the way it is framed, the two do learn life lessons from each other, and feel safe when teaming up in the future.
Like any couple, they have their ups and downs and mood swings, as well as sweet, comforting moments of support and forgiveness. Kim's scythe allows her to open portals for them to travel anywhere in the world together; you can't get any more romantic than that! Turns out, they are just as funny as each other. They are beautiful for one another.
Kim mentions she had a girlfriend before, and Becka is implied to be bisexual. And it is all treated as completely natural. 'Kim Reaper' would make for an excellent cartoon series that kids can watch as well, if only same-sex relationships weren't still under strict censorship in terms of entertaining the younger demographic (the best gotten is vague implications and blink-and-you-miss-it teases - and, spoilers but I don't care, Becka and Kim do kiss here! - for less panty-twisting from homophones, though why anyone would want to cater to them is beyond me). It isn't that violent or "sexually-explicit" either, so no excuses, Disney or Nickelodeon or Cartoon Network!
That, my friends, is 'Kim Reaper Vol. 1: Grim Beginnings'. It's short, but oh my ghoulies what hilarious and touching fun! From the generation that brought us the Emo, for the goth, macabre kid in all of us. It's about a lesbian Grim Reaper, featuring a mixed-race F/F romance - what more, may I ask, could you ask for!?
There is a mystery concerning the Grim Reaper Board of Directors and the Underworld, as they observe Kim's true potential as a reaper, developing through her reciprocated love for the mortal Becka. Additionally, what makes the book better in my eyes is that it is British; something that I did not know before reading. Imagine, a comic like this written and drawn by a British woman!
As vibrant as a purple rose; as funny as a skeleton wearing trousers; as poignant as a gay person coming out of the closet, dusting the skeletons free of cobwebs. Did I mention the cuteness? It is as cute as it gets.
Final Score: 4/5
Wow, did you surprise me.
I really enjoyed this comic. It's from 2017-2018, it's set in 2018, and the 2000's fangirl/emo/goth phase zeitgeist is painted gloriously all over it. Like, imagine your super-goth subculture-inspired tween fanfiction - sparked by the likes of Evanescence and Within Temptation - got mixed up with every modern cartoon you can think of, such as 'Rick and Morty' (makes sense, since the author, Sarah Graley, did write a 'Rick and Morty' comic), 'Adventure Time', 'Star vs. the Forces of Evil', and 'Gravity Falls'; also a F/F romance that is naturally represented - uncensored, explicit - enough to make the 'The Legend of Korra' generation proud. Then you'd get the absolutely, adorably silly, cartoony, and the cutest of cutes that is 'Kim Reaper'.
Seriously, above everything else, 'Kim Reaper' is cute - the two female leads, Becka and Kim, even refer to each other as "cuties". Its horror elements, like, of course, the grim reapers, plus ghouls and zombies, are played for comedy, and it is very funny comedy. The dialogue and banter between the duo are a hoot.
The dramatic writing and character development takes place with the relationship between Becka and Kim. Both are university students studying fine art in England, and Becka, an optimistic, hyperactive, chubby POC, has a huge crush on Kim, a pale, cool, quiet goth girl. However, Kim has a secret - her part-time job is unlike any ever heard of for students. She is a Grim Reaper, tasked only in guiding the souls of animals to the afterlife. And Becka is accidentally thrust into Kim's ecstatic but dangerous world when trying to ask her out.
As a special, pleasant surprise for me, both girls do develop nicely and believably throughout this short comic volume. What appears to be a goofy cartoon on the surface does take human emotions and natural human reactions to heart.
Becka, starting off as a silly, impulsive girl with a crush who talks a lot and acts before thinking, does come to realize the dangers that Kim's life might have on her. Kim's recklessness gets Becka in terrible trouble and nearly killed, so she backs out, angry at Kim, and considers forgetting about her, because, as much fun as they have together, it's not worth the risk of death and being scared all the time now. There's a hint of PTSD. Becka, with candor, is smarter and more reasonable than she often lets on, while still exhibiting her own unique brand of humour. That's great maturity coming from a cute comedy comic called 'Kim Reaper', even though it is a temporary setback on Becka's part.
Kim starts off seemingly cold, aloof and antisocial, like a typical goth girl from the 2000s. But over the course of her grim reaping adventures with Becka, she comes out of her shell and shows how much fun she likes to have with her job. She loves her scythe, and is revealed to perhaps be even more immature and impulsive than Becka, whom she grows fond of and wishes for a closer hookup than friendship. She's probably not used to feeling like this, as a lonely goth Grim Reaper girl. She needs to be responsible and pay heed to the safety of other people now, and be less selfish.
But does Kim learn from her mistakes? Does Becka forgive her too quickly? Well, apologies are verbally expressed, and trust is earned again. From the way it is framed, the two do learn life lessons from each other, and feel safe when teaming up in the future.
Like any couple, they have their ups and downs and mood swings, as well as sweet, comforting moments of support and forgiveness. Kim's scythe allows her to open portals for them to travel anywhere in the world together; you can't get any more romantic than that! Turns out, they are just as funny as each other. They are beautiful for one another.
Kim mentions she had a girlfriend before, and Becka is implied to be bisexual. And it is all treated as completely natural. 'Kim Reaper' would make for an excellent cartoon series that kids can watch as well, if only same-sex relationships weren't still under strict censorship in terms of entertaining the younger demographic (the best gotten is vague implications and blink-and-you-miss-it teases - and, spoilers but I don't care, Becka and Kim do kiss here! - for less panty-twisting from homophones, though why anyone would want to cater to them is beyond me). It isn't that violent or "sexually-explicit" either, so no excuses, Disney or Nickelodeon or Cartoon Network!
That, my friends, is 'Kim Reaper Vol. 1: Grim Beginnings'. It's short, but oh my ghoulies what hilarious and touching fun! From the generation that brought us the Emo, for the goth, macabre kid in all of us. It's about a lesbian Grim Reaper, featuring a mixed-race F/F romance - what more, may I ask, could you ask for!?
There is a mystery concerning the Grim Reaper Board of Directors and the Underworld, as they observe Kim's true potential as a reaper, developing through her reciprocated love for the mortal Becka. Additionally, what makes the book better in my eyes is that it is British; something that I did not know before reading. Imagine, a comic like this written and drawn by a British woman!
As vibrant as a purple rose; as funny as a skeleton wearing trousers; as poignant as a gay person coming out of the closet, dusting the skeletons free of cobwebs. Did I mention the cuteness? It is as cute as it gets.
Final Score: 4/5
Monday 12 March 2018
So it seems I'm on a movie roll - I saw 'Black Panther' and 'Lady Bird' this month, and I'm planning to see more awesome and diverse films that are making big box office bucks. I am so glad this is happening right now. Times are changing, stories are changing, and more and more creative voices from the "minority" are finally being listened to, and given the chance they have for so long deserved. Hollywood literally cannot afford to ignore the fact that diversity sells any longer :)
Sunday 11 March 2018
Scribble #73
People with long hair: have you ever soaked in a bath, face up to the surface, and just let your hair flow in the water around your head? You lift strands of it up, and it's all silky and smells floral. What sounds do you hear underwater? Only your face is the only part of your body that breaks the water, and the water is warm, your hair is in all directions, wrapping around you, comforting you. It feels like love. You breathe in the air above the water. It makes you appreciate your body and all its natural functions; almost miraculous what every atom, every minute cell, does for you. It makes you feel glad for so many things.
For some reason women with long hair have always reminded me of mermaids. And witches, and other mythical and real feminine figures of style, grace, and natural power. Power in fantasy, and the fantastical. Power in growing hair.
For some reason women with long hair have always reminded me of mermaids. And witches, and other mythical and real feminine figures of style, grace, and natural power. Power in fantasy, and the fantastical. Power in growing hair.
Non-Fiction Book Review - 'Witches, Sluts, Feminists: Conjuring the Sex Positive' by Kristen J. Sollee
A rise in feminism that never went away - no matter what naysayers desperately want you to believe - has birthed a new wave for a new generation. From this indestructible surge of female empowerment and self-realization, comes a new rise and interest in witchcraft.
Witch and feminist. The two identities are intertwined - by scholarly and knowledgeable feminists, and even by anti-feminists. Since all recognize their collective power and influence, and they speak so much and for so many women around the world. Their history is rooted and knotted together, going back hundreds and even thousands of years, expanding vast cultures, mythologies, and social systems ancient and new.
Feminists, witches, sluts - they relate to all women exhibiting the least freedom, expression, individuality, difference, and any personality trait outside of patriarchal sensibilities; most prominently relating to their sexuality. These words, these labels: as long as the patriarchy has existed they have been used to shame, blame, demean, scorn, punish, prosecute, dehumanize and even kill women. Now women are taking back those words for themselves, transforming them into positive monikers, to do as they please. Or they are reviving them as the positive female badges of honour they always have been, before patriarchal systems twisted them into pejorative terms to be feared and hated.
Really think about it: men don't have nearly as many gender-specific pejorative and shaming terms used against them as women do, anywhere, anytime.
Therefore, the patriarchy hates and fears all women, whatever they identify as - for no woman ever can be wholly, genuinely submissive, ignorant, lacking in ambition, Stepford Wife-like, and "pure" (unless they choose to be such as a sexual identity), and be truly happy this way; women are oppressed human beings. It is generally agreed upon now that slavery is wrong (unless one is a sad, monstrous troll), so why should misogyny and the pay gap still be acceptable in this age?
Well, the meanings behind "witch", "slut", and "feminist", are changing. Language is powerful; as powerful as any magical spell cast in order to exact change. Women are taking charge, and identifying themselves however they want without judgement. They are the descendants of - and tributes to - the women who were burned at the stake, or had been accused of "evil" sorcery (for doing anything, right down to wearing brightly-coloured clothing and being a midwife), for being themselves.
Witches, sluts, and feminists - and a combination of all three, as some women proudly are - these are everywomen, as Kristen J. Sollee's 'Witches, Sluts, Feminists: Conjuring the Sex Positive' proves. And it is definitely sex positive.
Witches and feminists are basically the same thing, in expressing and owning themselves in a world that hates and fears them, for their independent thought, will, actions and bonding with other women through their experiences. The freedom to share, to align. Being a witch and a feminist is about sisterhood in the most positive, beautiful light.
Of course there are men and nonbinary persons who identify as witches as well. Masculinity and femininity don't really matter. Witchcraft, like feminism, is for everyone.
I agree with Sollee and other feminists and historians that witch hunts still exist in modern Western countries in more subtle (or not subtle at all, as is the case of the internet and with obnoxious, misogynistic male public speakers and politicians) ways than in the 16th-17th century. History repeats itself in different ways, rooted in the same human fears and irrationality. The author also acknowledges that literal, physical witch hunts persist in countries outside of the West, and she highlights the efforts being made by humanitarian/feminist groups to liberate women and fight for their rights in other countries. No problem, no issue, is more or less important than another, not in feminism.
I admit, being a fiction geek, I went into 'Witches, Sluts, Feminists' for the analyses of portrayals of fictional witches in media alone; not that the other topics Sollee discusses didn't interest me and profoundly educate me. But TV and film (and music; a chapter is dedicated to its history in witchcraft and taking back the witch) are important and powerful tools for positive visualizations of marginalized groups of people and for fighting the patriarchy, due to representation. I love that Sollee recognizes the harmful, negative portrayal of witchcraft and sisterhood in the cult classic and beloved-by-all-witch-converts, 'The Craft', and she sites negative reviews by actual witches that confirm her standpoint. All these years I was made to think that I was the mad one for not liking that movie! And she talks about the Anna Biller film, 'The Love Witch', from 2016, which I had recently viewed and loved - hooray! Plus 'The Witch' from 2015, and Hermione Granger. I don't agree with her praising 2014's 'Maleficent' though, especially in light of her love for the universally-admired Disney villainess from the 1959 'Sleeping Beauty' film.
Views on witches as ugly old evil crones - the matured women who are "past their prime" and therefore men fear and ignore them; witches as pretty young blondes still subservient to men ("don't use your powers too much, ladies, or you'll emasculate men!"); and as feminist icons who do whatever the hell they want without stigmatization: these sure are changing over the years. Like the shapeshifters of yore. Mostly they are shifting for the better.
But why is there hardly any mention of witches as portrayed on TV? I think only 'Bewitched' receives a notification. Did the others get the cutting room floor treatment? as the author says in her introduction that she had to essentially kill her darlings during the editing process of her not-entirely academic but nonetheless passionate book.
In wonderful conclusion, 'Witches, Sluts, Feminists: Conjuring the Sex Positive' is short at 160 pages, but it is my kind of feminist non-fiction. It is highly accessible, addictive and easy to understand.
History, facts, factions, touring experiences (and why Salem, quite unjustifiably, is the most famous out of all the other witch-prosecuting towns and societies of centuries past), interviews with witches, interviews with gender rights activists and witch/coven organisations I'd never heard of until now, gender positivity, genderfluidity, inclusion, black power and magic, sexual freedom power and magic, anti-victim blaming and anti-slut shaming (obviously), historical and modern day witches, witch fashion over the centuries, witch cultural approbation and "trendy" witch consumerism and capitalism (so the word and cause lose their power and so nothing changes in the patriarchy), and even epigenetic inheritance - all are linked. All are relevant today.
Sometimes 'Witches, Sluts, Feminists' will make you angry and upset. Like there is a chapter on gender politics, and how Hillary Clinton was treated by the masses during the 2016 presidential election: "witch" was used in the literal 16th century god-fearing, baby-eating, man-killing, Satan-fucking sense of the word in order to smear her name constantly and continuously. She was tormented from day one. It didn't matter what she said or did: she was a woman recognized in a position of power, and this terrified grown men everywhere, in every class, in every job. And so revived the modern day witch hunt: which includes smearing, fear mongering, harassment, lies printed... the lengths went to dehumanize Hilary - and still do, even - there is no justifying it. It's plain evil. It made me want to scream until all my blood vessels burst.
There's a theme throughout the book - the link between witch hunts and internet trolling; the spread of lies and misinformation on absolutely anything concerning any and all women. It is the past catching up to the present. It is about misogyny, just in a different generation; it is not an extreme stretch.
But mostly, the little book will give you hope. All women - witches, feminists, sluts, everywomen in every walk of life - will find a beautiful taste of freedom in its pages. It is a spellbook for the informed, modern day feminist/witch, without a lot of actual spells, but it serves as an education grimoire; a confidence booster for the activist in all of us.
A witch who isn't also a feminist is a contradiction - a dangerously ignorant one at that. A feminist who doesn't identify as a witch can at least relate to them and their struggles, and help them out, as they would sex workers and others.
For feminism is freedom. Feminism is taking back power and agency in a name and culture that is tabooed, shunned or ignored by the patriarchy.
For feminism is for everyone. Repeat this. Repeat, repeat, repeat; chant it like you are performing your own ritual magic, until someone higher up listens, and finally accepts change, progress and prosperity, cultivating in a much wider landscape shift.
Everyone, this is for you.
Final Score: 4/5
Witch and feminist. The two identities are intertwined - by scholarly and knowledgeable feminists, and even by anti-feminists. Since all recognize their collective power and influence, and they speak so much and for so many women around the world. Their history is rooted and knotted together, going back hundreds and even thousands of years, expanding vast cultures, mythologies, and social systems ancient and new.
Feminists, witches, sluts - they relate to all women exhibiting the least freedom, expression, individuality, difference, and any personality trait outside of patriarchal sensibilities; most prominently relating to their sexuality. These words, these labels: as long as the patriarchy has existed they have been used to shame, blame, demean, scorn, punish, prosecute, dehumanize and even kill women. Now women are taking back those words for themselves, transforming them into positive monikers, to do as they please. Or they are reviving them as the positive female badges of honour they always have been, before patriarchal systems twisted them into pejorative terms to be feared and hated.
Really think about it: men don't have nearly as many gender-specific pejorative and shaming terms used against them as women do, anywhere, anytime.
Therefore, the patriarchy hates and fears all women, whatever they identify as - for no woman ever can be wholly, genuinely submissive, ignorant, lacking in ambition, Stepford Wife-like, and "pure" (unless they choose to be such as a sexual identity), and be truly happy this way; women are oppressed human beings. It is generally agreed upon now that slavery is wrong (unless one is a sad, monstrous troll), so why should misogyny and the pay gap still be acceptable in this age?
Well, the meanings behind "witch", "slut", and "feminist", are changing. Language is powerful; as powerful as any magical spell cast in order to exact change. Women are taking charge, and identifying themselves however they want without judgement. They are the descendants of - and tributes to - the women who were burned at the stake, or had been accused of "evil" sorcery (for doing anything, right down to wearing brightly-coloured clothing and being a midwife), for being themselves.
Witches, sluts, and feminists - and a combination of all three, as some women proudly are - these are everywomen, as Kristen J. Sollee's 'Witches, Sluts, Feminists: Conjuring the Sex Positive' proves. And it is definitely sex positive.
Witches and feminists are basically the same thing, in expressing and owning themselves in a world that hates and fears them, for their independent thought, will, actions and bonding with other women through their experiences. The freedom to share, to align. Being a witch and a feminist is about sisterhood in the most positive, beautiful light.
Of course there are men and nonbinary persons who identify as witches as well. Masculinity and femininity don't really matter. Witchcraft, like feminism, is for everyone.
I agree with Sollee and other feminists and historians that witch hunts still exist in modern Western countries in more subtle (or not subtle at all, as is the case of the internet and with obnoxious, misogynistic male public speakers and politicians) ways than in the 16th-17th century. History repeats itself in different ways, rooted in the same human fears and irrationality. The author also acknowledges that literal, physical witch hunts persist in countries outside of the West, and she highlights the efforts being made by humanitarian/feminist groups to liberate women and fight for their rights in other countries. No problem, no issue, is more or less important than another, not in feminism.
I admit, being a fiction geek, I went into 'Witches, Sluts, Feminists' for the analyses of portrayals of fictional witches in media alone; not that the other topics Sollee discusses didn't interest me and profoundly educate me. But TV and film (and music; a chapter is dedicated to its history in witchcraft and taking back the witch) are important and powerful tools for positive visualizations of marginalized groups of people and for fighting the patriarchy, due to representation. I love that Sollee recognizes the harmful, negative portrayal of witchcraft and sisterhood in the cult classic and beloved-by-all-witch-converts, 'The Craft', and she sites negative reviews by actual witches that confirm her standpoint. All these years I was made to think that I was the mad one for not liking that movie! And she talks about the Anna Biller film, 'The Love Witch', from 2016, which I had recently viewed and loved - hooray! Plus 'The Witch' from 2015, and Hermione Granger. I don't agree with her praising 2014's 'Maleficent' though, especially in light of her love for the universally-admired Disney villainess from the 1959 'Sleeping Beauty' film.
Views on witches as ugly old evil crones - the matured women who are "past their prime" and therefore men fear and ignore them; witches as pretty young blondes still subservient to men ("don't use your powers too much, ladies, or you'll emasculate men!"); and as feminist icons who do whatever the hell they want without stigmatization: these sure are changing over the years. Like the shapeshifters of yore. Mostly they are shifting for the better.
But why is there hardly any mention of witches as portrayed on TV? I think only 'Bewitched' receives a notification. Did the others get the cutting room floor treatment? as the author says in her introduction that she had to essentially kill her darlings during the editing process of her not-entirely academic but nonetheless passionate book.
In wonderful conclusion, 'Witches, Sluts, Feminists: Conjuring the Sex Positive' is short at 160 pages, but it is my kind of feminist non-fiction. It is highly accessible, addictive and easy to understand.
History, facts, factions, touring experiences (and why Salem, quite unjustifiably, is the most famous out of all the other witch-prosecuting towns and societies of centuries past), interviews with witches, interviews with gender rights activists and witch/coven organisations I'd never heard of until now, gender positivity, genderfluidity, inclusion, black power and magic, sexual freedom power and magic, anti-victim blaming and anti-slut shaming (obviously), historical and modern day witches, witch fashion over the centuries, witch cultural approbation and "trendy" witch consumerism and capitalism (so the word and cause lose their power and so nothing changes in the patriarchy), and even epigenetic inheritance - all are linked. All are relevant today.
Sometimes 'Witches, Sluts, Feminists' will make you angry and upset. Like there is a chapter on gender politics, and how Hillary Clinton was treated by the masses during the 2016 presidential election: "witch" was used in the literal 16th century god-fearing, baby-eating, man-killing, Satan-fucking sense of the word in order to smear her name constantly and continuously. She was tormented from day one. It didn't matter what she said or did: she was a woman recognized in a position of power, and this terrified grown men everywhere, in every class, in every job. And so revived the modern day witch hunt: which includes smearing, fear mongering, harassment, lies printed... the lengths went to dehumanize Hilary - and still do, even - there is no justifying it. It's plain evil. It made me want to scream until all my blood vessels burst.
There's a theme throughout the book - the link between witch hunts and internet trolling; the spread of lies and misinformation on absolutely anything concerning any and all women. It is the past catching up to the present. It is about misogyny, just in a different generation; it is not an extreme stretch.
But mostly, the little book will give you hope. All women - witches, feminists, sluts, everywomen in every walk of life - will find a beautiful taste of freedom in its pages. It is a spellbook for the informed, modern day feminist/witch, without a lot of actual spells, but it serves as an education grimoire; a confidence booster for the activist in all of us.
A witch who isn't also a feminist is a contradiction - a dangerously ignorant one at that. A feminist who doesn't identify as a witch can at least relate to them and their struggles, and help them out, as they would sex workers and others.
For feminism is freedom. Feminism is taking back power and agency in a name and culture that is tabooed, shunned or ignored by the patriarchy.
For feminism is for everyone. Repeat this. Repeat, repeat, repeat; chant it like you are performing your own ritual magic, until someone higher up listens, and finally accepts change, progress and prosperity, cultivating in a much wider landscape shift.
Everyone, this is for you.
Final Score: 4/5
Happy Mothers' Day
Let us celebrate, love, respect and appreciate all mothers, and what ours (biologically, adoptive, symbolically, or otherwise) do for us, that makes us better people. We are loved so much by mothers, and are cared for beyond the stars' comprehension. Give and share that love in return. Give them the social, political, medical, workplace and financial rights they deserve, above all else. Domestic work is work; it is excessively hard work at that. Motherhood is the hardest job in the world, but it really need not be. Let mums' love and struggles be rewarded appropriately. Motherhood is not some all-encompassing sacrifice it is widely viewed as by the patriarchy. It is continuing the human race, and giving and providing a kind of powerful love and caring that all parents (paired, single, and/or non-conventional as you please) should participate in equally.
It is about family.
Happy Moon Mothers' Day ♀ ☾
It is about family.
Happy Moon Mothers' Day ♀ ☾
A photo expressing my love and thanks to my mum, shared.
Saturday 10 March 2018
Lindy West is the Best
In case anyone still needs reminding of the benefits and the much-needed cultural achievements of feminism, and that it is saving the world, here is a recent article by Lindy West. Enjoy.
We Got Rid of Some Bad Men. Now Let’s Get Rid of Bad Movies.
We Got Rid of Some Bad Men. Now Let’s Get Rid of Bad Movies.
Scribble #72
There comes a time in everybody's life when they know they have to trade an old, worn-out, faded T-shirt - it doesn't matter how many years or decades old it is - for something durable and clean to put on your back. A piece of cloth that's past its prime, covered in holes, isn't worth anything. Nostalgia isn't worth anything, not if it hasn't aged well. Or has been put in the wash more times than is possible to count. Trade it for something better, more comfortable. Not everyone can afford a voluptuous, lavish, rich, soft, shining, sparkly dress, nor make one themselves. But make with what you've got, what you will.
Clinging to the old isn't always healthy.
Clinging to the old isn't always healthy.
Scribble #71
Dreams are better told in images than words. It is all about imagination.
Dreams are not happy, at least not for me. They are scary. Ugly. Bizarre. I sometimes dream of my loving yet infrequently-seen extended family abandoning me. I'm left alone in my worries. I don't know who's a stranger and who isn't in my dreams. Everyone is either mean, clingy or distant. I am left in strange yet familiar places. What do these dark instances mean? Sometimes I'm avoiding my fears, as they take on weird forms that are maybe not so scary after all. But reality is scarier, and in my dreams I can't tell the difference. And I often am lonely, and in spite of enjoying my independence, I am afraid of people being sick of me and not caring anymore; and leaving me. I don't want to disappoint anyone.
I am scared of the future. Can I find true love? Will I ever?
The night I found out that a school teacher of mine had died in a terrible accident, I also dreamt I told someone about it beside an old house. Random dialogue. What does it mean? I am scared. This is horrible. Why, poor Mr. Lotsu? You were great. You helped to make middle school bearable.
Am I calmer in dreams than in reality? I forget a lot of details by this time.
I don't dwell on the past, I fear the future. Should I? Just live! To the full!
Dreams are not happy, at least not for me. They are scary. Ugly. Bizarre. I sometimes dream of my loving yet infrequently-seen extended family abandoning me. I'm left alone in my worries. I don't know who's a stranger and who isn't in my dreams. Everyone is either mean, clingy or distant. I am left in strange yet familiar places. What do these dark instances mean? Sometimes I'm avoiding my fears, as they take on weird forms that are maybe not so scary after all. But reality is scarier, and in my dreams I can't tell the difference. And I often am lonely, and in spite of enjoying my independence, I am afraid of people being sick of me and not caring anymore; and leaving me. I don't want to disappoint anyone.
I am scared of the future. Can I find true love? Will I ever?
The night I found out that a school teacher of mine had died in a terrible accident, I also dreamt I told someone about it beside an old house. Random dialogue. What does it mean? I am scared. This is horrible. Why, poor Mr. Lotsu? You were great. You helped to make middle school bearable.
Am I calmer in dreams than in reality? I forget a lot of details by this time.
I don't dwell on the past, I fear the future. Should I? Just live! To the full!
Friday 9 March 2018
Book Review - 'The Lottery' by Shirley Jackson
'The Lottery' by Shirley Jackson is a type of horror that is not about the jump-scares. It is neither gratuitous nor exploitative.
It is all about the buildup. The creeping, dull yet happy village life, buildup.
It is short and slow, and it catches you off guard, even as you are on your guard. It has an atmosphere you won't even notice until a little after you've finished its twenty pages. What might seem pedestrian and predictable (for the modern era, anyway) suddenly turns into an uncomfortable thought piece, preceding a sense of dread. Dread that yes, this can happen, that humans can be persuaded, overtime, in small-to-high places, to do something like this; to perceive human life as cheap and disposable, regardless of relation. For no logical reason at all.
Anything, any ritual, any tradition, any culture, can be viewed as normal if it is repeated enough times. Parts of it might change over generations, but the intent remains the same.
'The Lottery' is more setup than plot, but what a setup it is. It is like Orwellian Hitchcock, with a 'Children of the Damned' vibe to it - and I can easily see someone like poor Tippi Hedren play the unfortunate victim in this, in a film adaptation...
Themes include hate mongering, scapegoating, and ruthless, thoughtless mob mentality. It can be viewed as subtle feminist commentary, too, when examining the gender roles filled in the provincial town, and how certain women's voices and views are silenced. How these, plus any human trait not deemed perfect by society, are used to punish women. This was likely intentional on Jackson's part; either way, well done.
Now I understand another influence on/predecessor to 'The Hunger Games'.
Final Score: 4/5
It is all about the buildup. The creeping, dull yet happy village life, buildup.
It is short and slow, and it catches you off guard, even as you are on your guard. It has an atmosphere you won't even notice until a little after you've finished its twenty pages. What might seem pedestrian and predictable (for the modern era, anyway) suddenly turns into an uncomfortable thought piece, preceding a sense of dread. Dread that yes, this can happen, that humans can be persuaded, overtime, in small-to-high places, to do something like this; to perceive human life as cheap and disposable, regardless of relation. For no logical reason at all.
Anything, any ritual, any tradition, any culture, can be viewed as normal if it is repeated enough times. Parts of it might change over generations, but the intent remains the same.
'The Lottery' is more setup than plot, but what a setup it is. It is like Orwellian Hitchcock, with a 'Children of the Damned' vibe to it - and I can easily see someone like poor Tippi Hedren play the unfortunate victim in this, in a film adaptation...
Themes include hate mongering, scapegoating, and ruthless, thoughtless mob mentality. It can be viewed as subtle feminist commentary, too, when examining the gender roles filled in the provincial town, and how certain women's voices and views are silenced. How these, plus any human trait not deemed perfect by society, are used to punish women. This was likely intentional on Jackson's part; either way, well done.
Now I understand another influence on/predecessor to 'The Hunger Games'.
Final Score: 4/5
Book Review - 'The Yellow Wallpaper' by Charlotte Perkins Gilman
2024 EDIT: Just as relevant and creepy as ever. So psychological and human, and effective at twenty pages. Feminism and mental health issues, such as depression, paranoia, anxiety, and OCD, are as relevant - and important to discuss - as they ever were. I cannot express this fact enough. I want to shout it and scream it into outer space.
Read my old review below for more.
Final Score: 5/5
Original Review:
Read my old review below for more.
Final Score: 5/5
Original Review:
This... is seriously fucking deep and relevant.
'The Yellow Wallpaper' is one of the best allegorical stories about trapped and oppressed women I have ever read. Anyone who cares about gender studies should read it - and it is only twenty pages long. Twenty pale, yellow pages that are brilliantly well-written and creepy, patterned and knotted with as many layers of symbolism as the wallpaper.
Charlotte Perkins Gilman managed to identify what mansplaining is over a century before it was even named! Also tone policing. The husband of the woman protagonist, who suffers from postpartum depression, controls, demeans and belittles her into submission (he even calls her a little girl), as they rent an apartment for a few months. He essentially gaslights her into staying in a nursery room with ugly, nonsensical yellow wallpaper. It is there where he cuts her off from the outside world, "advises" (read: forces) her not to talk to anyone besides himself and his sister the housekeeper (whose own free will is put into question), tells her what to eat, tells her when to sleep, tells her not to do anything that will excite and stimulate her senses (like writing, which she does anyway by way of this first-person-written story, and hiding this from her husband exhausts her more than the actual writing itself), and he prescribes her all sorts of vague and numerous medicines - all under the pretence of helping her to get better from her "hysteria". Because he is a man, he is a physician, so obviously he knows best.
All the while claiming that he loves her.
Hysteria = womb.
Hysteria = Woman. Woman, stay in the kitchen and put up with your man and do what he says at all times, for the womb prevents brain usage, and too much thinking and feeling causes madness in the female brain. Causes rebellion. Also men just don't like women who are "difficult" and won't shut up; women who express themselves individually. Women who cry for help.
The hubby, stuck in the harmful Victorian mindset apropos of gender, is only making things a thousand times worse, of course. Human beings need socializing, need variety, need a stimulus. Active and creative humans need these. The unnamed woman this horror story centers on (we are not mistaken in assuming her to be Gilman herself, when knowing about her life) sinks deeper into madness, and her depression worsens. Her abusive husband is more to blame for her unhealthy fixations and relapses than the yellow wallpaper in her room. Old, rotting, shapeless, ghastly wallpaper she tries to figure out the pattern of, because it's not like she is given the luxury of keeping her mind occupied with anything else.
She imagines other women in the disfigured knots in the wallpaper. Trapped, creeping women like herself...
'The Yellow Wallpaper', as well as for women's rights, is a pioneer for medical progress, and against the stigma of mental illness, thus advancing its treatment. Depression, including postpartum, is normal and patients shouldn't be shamed or be made to feel subhuman and a burden on other people because of it. 'The Yellow Wallpaper' succeeds beyond the realm of fiction.
The horror element reminded me of my own younger self, back when I had more major OCD issues; like I would track patterns on the wallpaper anywhere, and peel bits of it and deliberately make scars. I would count anything, and never step on gaps in pavements. While I knew that these habits were not healthy or important, and that things like wallpaper are not alive, rational thought isn't really an instant cure. At least socialising, fresh air, exercising farther than my garden, and a loving family lessened my anxiety and sensitivity. School bullying and extreme low self-esteem contributed to all of this; I had to endure the awfulness of being young and not taken seriously until adulthood. I enjoy independence, but I need love like everybody else. Healthy, respectful love.
It's not just a matter of boredom; these obsessions, big and tiny, can take over your perception of reality if you're not careful. You end up worrying all the time, and that's no way to live.
It's no way to be free, both externally and internally. Your own mind can become a prison as well. Take great care of yourself, and of who you trust.
I love this short story because of its writing, and because I feel as if I could confidently say to the author, "Yes, I understand you". Unsettling to say the least, yet cathartic. It gives me a little hope.
The horror of 'The Yellow Wallpaper' is human and relatable. It envelopes and enfolds you, slowly, subtly and surely, long after you have finished reading it. It cages you, but then it sets you free by the pathway to education.
The destination is vastly, excruciatingly hard and seemingly neverending - it may even take centuries for any lasting change to stick without a cultural relapse - but progress is always possible, and you can learn along the road to a healthy recovery.
Final Score: 5/5
'The Yellow Wallpaper' is one of the best allegorical stories about trapped and oppressed women I have ever read. Anyone who cares about gender studies should read it - and it is only twenty pages long. Twenty pale, yellow pages that are brilliantly well-written and creepy, patterned and knotted with as many layers of symbolism as the wallpaper.
Charlotte Perkins Gilman managed to identify what mansplaining is over a century before it was even named! Also tone policing. The husband of the woman protagonist, who suffers from postpartum depression, controls, demeans and belittles her into submission (he even calls her a little girl), as they rent an apartment for a few months. He essentially gaslights her into staying in a nursery room with ugly, nonsensical yellow wallpaper. It is there where he cuts her off from the outside world, "advises" (read: forces) her not to talk to anyone besides himself and his sister the housekeeper (whose own free will is put into question), tells her what to eat, tells her when to sleep, tells her not to do anything that will excite and stimulate her senses (like writing, which she does anyway by way of this first-person-written story, and hiding this from her husband exhausts her more than the actual writing itself), and he prescribes her all sorts of vague and numerous medicines - all under the pretence of helping her to get better from her "hysteria". Because he is a man, he is a physician, so obviously he knows best.
All the while claiming that he loves her.
Hysteria = womb.
Hysteria = Woman. Woman, stay in the kitchen and put up with your man and do what he says at all times, for the womb prevents brain usage, and too much thinking and feeling causes madness in the female brain. Causes rebellion. Also men just don't like women who are "difficult" and won't shut up; women who express themselves individually. Women who cry for help.
The hubby, stuck in the harmful Victorian mindset apropos of gender, is only making things a thousand times worse, of course. Human beings need socializing, need variety, need a stimulus. Active and creative humans need these. The unnamed woman this horror story centers on (we are not mistaken in assuming her to be Gilman herself, when knowing about her life) sinks deeper into madness, and her depression worsens. Her abusive husband is more to blame for her unhealthy fixations and relapses than the yellow wallpaper in her room. Old, rotting, shapeless, ghastly wallpaper she tries to figure out the pattern of, because it's not like she is given the luxury of keeping her mind occupied with anything else.
She imagines other women in the disfigured knots in the wallpaper. Trapped, creeping women like herself...
'The Yellow Wallpaper', as well as for women's rights, is a pioneer for medical progress, and against the stigma of mental illness, thus advancing its treatment. Depression, including postpartum, is normal and patients shouldn't be shamed or be made to feel subhuman and a burden on other people because of it. 'The Yellow Wallpaper' succeeds beyond the realm of fiction.
The horror element reminded me of my own younger self, back when I had more major OCD issues; like I would track patterns on the wallpaper anywhere, and peel bits of it and deliberately make scars. I would count anything, and never step on gaps in pavements. While I knew that these habits were not healthy or important, and that things like wallpaper are not alive, rational thought isn't really an instant cure. At least socialising, fresh air, exercising farther than my garden, and a loving family lessened my anxiety and sensitivity. School bullying and extreme low self-esteem contributed to all of this; I had to endure the awfulness of being young and not taken seriously until adulthood. I enjoy independence, but I need love like everybody else. Healthy, respectful love.
It's not just a matter of boredom; these obsessions, big and tiny, can take over your perception of reality if you're not careful. You end up worrying all the time, and that's no way to live.
It's no way to be free, both externally and internally. Your own mind can become a prison as well. Take great care of yourself, and of who you trust.
I love this short story because of its writing, and because I feel as if I could confidently say to the author, "Yes, I understand you". Unsettling to say the least, yet cathartic. It gives me a little hope.
The horror of 'The Yellow Wallpaper' is human and relatable. It envelopes and enfolds you, slowly, subtly and surely, long after you have finished reading it. It cages you, but then it sets you free by the pathway to education.
The destination is vastly, excruciatingly hard and seemingly neverending - it may even take centuries for any lasting change to stick without a cultural relapse - but progress is always possible, and you can learn along the road to a healthy recovery.
Final Score: 5/5
Keeping Up to Date, Keeping Up the Debate - The Mary Sue Rec.
Recommending a post for the first time here instead of on Facebook. A post about Ready Player One, and why I won't be seeing the film.
Ready Player One: A Study in Why Tokenizing Is Terrible
Sometimes nostalgia really can be toxic. And safe, and lazy; retro in more ways than one.
Really, I could recommend all posts at The Mary Sue, a great pop culture feminist site. The above link is just a start. Check out The Mary Sue.com, the articles are important; most of the writers on staff are not white or heterosexual. Includes trans writers as well.
Ready Player One: A Study in Why Tokenizing Is Terrible
Sometimes nostalgia really can be toxic. And safe, and lazy; retro in more ways than one.
Really, I could recommend all posts at The Mary Sue, a great pop culture feminist site. The above link is just a start. Check out The Mary Sue.com, the articles are important; most of the writers on staff are not white or heterosexual. Includes trans writers as well.
Wednesday 7 March 2018
Monday 5 March 2018
Scribble #70
More often than not, things are not as bad as you think they are. There is so much more going on than what is inside your head - that muddy, muddled, cluttered-up, oh-so human head of yours - no matter how unbelievable that may sound to you.
Remember that there are people who love you, who care so much about you and will do anything for you, and that there is someone you can go talk to. Never be afraid to seek help when you have problems and worries. There is nothing wrong with you - repeat: there is nothing wrong with you. It's okay to cry - it's important, even; as important as breathing. Remember to breathe. Such a relief; to let it all out.
Anyone who brings you down, who makes you unhappy, who gains from your losses, is not worth it. Anyone who tries to make themselves feel good and validated by treating others as inferior or shameful is not worth it. Someone is here for you: who will be there, ready to listen to you and talk to you, not at you. It's okay to feel entitled to a better life, and to try working hard for a life - a dream - most wanted, no matter how scary that process entails. But also appreciate what and who you currently have. What do you have that which makes you fortunate?
Un-satisfaction is normal for everybody. Feelings things is normal. Thinking mad, jumbled things is normal. Fear is normal - vital even, like any emotion. Only try not to let any emotion define you, or take over your everyday living. For every day is a new start; a fresh take on life.
Remember, somewhere out there, anywhere, there is always someone who loves you. For you are a caring, loving, beautiful, unique person.
You're going to be alright.
Remember that there are people who love you, who care so much about you and will do anything for you, and that there is someone you can go talk to. Never be afraid to seek help when you have problems and worries. There is nothing wrong with you - repeat: there is nothing wrong with you. It's okay to cry - it's important, even; as important as breathing. Remember to breathe. Such a relief; to let it all out.
Anyone who brings you down, who makes you unhappy, who gains from your losses, is not worth it. Anyone who tries to make themselves feel good and validated by treating others as inferior or shameful is not worth it. Someone is here for you: who will be there, ready to listen to you and talk to you, not at you. It's okay to feel entitled to a better life, and to try working hard for a life - a dream - most wanted, no matter how scary that process entails. But also appreciate what and who you currently have. What do you have that which makes you fortunate?
Un-satisfaction is normal for everybody. Feelings things is normal. Thinking mad, jumbled things is normal. Fear is normal - vital even, like any emotion. Only try not to let any emotion define you, or take over your everyday living. For every day is a new start; a fresh take on life.
Remember, somewhere out there, anywhere, there is always someone who loves you. For you are a caring, loving, beautiful, unique person.
You're going to be alright.
Saturday 3 March 2018
Graphic Novel Review - 'Sensation Comics Featuring Wonder Woman Vol. 2' by Various
2023 EDIT: This was written before N.D. Stevenson's coming out.
Original Review:
I rarely read graphic novel sequels, but a friend of mine recommended this one to me, and given how much I love Wonder Woman, and my hearing good things about it, I quickly bought it.
In conclusion, yes, 'Sensation Comics Featuring Wonder Woman Vol. 2' is as good as the previous installment, if not better, with just as many diverse stories in its anthology collection.
Without further ado, as with my review of 'Vol, 1', I shall briefly share my thoughts on each story:
1. 'Generations' - Never has a quest to capture a phoenix egg been so bloody. Part Wonder Woman and Cheetah fight, part Diana and Hippolyta mother-and-daughter bond. It is violent and gruesome, containing subtle symbolism and surprising heart, and the artwork is glorious, magnificent! From the ashes, a dawn of a new layer of love between mother and daughter is birthed!
2. 'Not Included' - Finally, a Wonder Woman and Big Barda team-up special! Containing no men to help them out, as they come up against the Brotherhood of Evil. The ending is unconventional and peaceful, suiting Wondy as a character brilliantly. Her banter and opposing nature to Barda is nicely handled.
3. 'Venus Rising' - Ehhh, I don't know, I think this is one of my least favourites. The art is nice, and Wonder Woman's hijab superhero costume is great. She uses modern slang, but I don't mind, as she has been in the world-saving business for a long time - though you wouldn't know it by what high profile men say to detract her. She still cares for all life. And she's in space. The treatment of women in the public eye and in STEM fields is critiqued- it sets up a friendship between Diana and the only female astronaut (also a POC) on the station - but it doesn't relate to the story at all, and is mostly brushed aside once the action starts. The ending is very rushed. It's just a really weird science-fiction yarn.
4. 'Rescue Angel' - Without a doubt the best of this collection. Written by Amy Chu, it is about a female lieutenant of colour named Angel Santiago becoming a hero, rising above sexist expectations as a comforting feminine presence for Afghan natives to talk to; who is told to smile for the cameras. The older village women have set up all-girls' schools in defiance of the Taliban. Angel saves the men of her unit from a terrorist attack single-handedly, or does she? Is that Wonder Woman helping her out, giving her strength, inspiring her with her peaceful values? This story was made to highlight how Wonder Woman as an icon has inspired all different kinds of women the globe over, to be brave and strong. To be heroes. Wonder Woman is like a goddess figure here; briefly glimpsed, but her influence is undeniable. Fuck the patriarchy and its wars.
5. 'Sabotage is in the Stars' - Wonder Woman helps out a woman astronaut of colour and stops Lex Luthor's evil plans to ruin the space development competition in Lexcorp's favour. Wondy is more ruthless and quippy than is to my taste, but she's awesome and heroic all the same; assisting women in need whilst saving everybody's lives. Another achievement in the artwork department - many pretty crashes and explosions!
6. 'Wonder World' - And here it is, the one with Noelle Stevenson's art, about a fifteen-year-old Diana sneaking into man's world and stumbling across a carnival on a peer, where she makes fast friends with a girl with low-self esteem and her friends as they go up against a sexist boys' club. Plus two Amazon guards bicker and banter as they desperately try to find Diana and bring her home. It is pretty freaking adorable, even setting aside the suspension of disbelief as to how Diana could have left Themyscira and first came to man's world as a teenager. She's nevertheless badass as she navigates the world of the carnival; a microcosm of the misogyny she'll encounter in the rest of the world when she grows up. There's arcade games, dance-offs, realistic, repetitive teenage dialogue, ice cream, and above all, sisterhood. I love all the women and girls in this fun-tastic cartoon strip. 'Wonder World' - a roller coaster ride you never want to depart. Oh how I wish there was a Wonder World in real life!
7. 'The Problem with Cats' - Two little girls - sisters, dark-skinned - play with dolls as they imagine it is Wonder Woman fighting Cheetah, Circe and Medusa on the Isle of Cats to save Superman and Batman, the dudes in distress. The sisterhood dynamic is great, as is the little sister's love for Wondy; inspiring her to use her imagination and perform heroic feats, particularly in helping her big sister. Plus any context where Wonder Woman fights both Circe and Medusa is fun to me. Cute, Saturday morning-cartoony, and feminist.
8. 'Girls' Day Out' - A Wonder Woman and Lois Lane team-up. A critique on the sexist, degrading questions that interviewers ask famous female figures in pop culture. Both Wondy and Lois are great, and the superheroine reflects on how civilians will help her out in a jam, even when the patriarchy controls everyday life, and that there are different ways of handling threats. The two women make awesome friends. Not sure about the art, though; the women look too similar. Seriously, they could disguise themselves as each other if they swapped clothing and hairstyles.
9. 'VIP' - A fine reflection and critique on famous girls in the spotlight - be they actresses or pop superstars - as the patriarchy attempts to stunt their growth and creativity because "nice girls don't do those sorts of things". The executive meddling, the internet trolling, the death and rape threats - it all adds up to stopping female artists from becoming women, with agencies of their own, uncontrolled by men. A little power and freedom of choice, and misogynist men shit themselves in desperately trying to take back that power, through violent means. And lord help the women if they fail, even if the failure isn't strictly their fault. Anyway, Wonder Woman is hired as a bodyguard, fitness trainer, and general assistant to a Latinx starlet. Her new tour will make or break her career, and someone is planning to sabotage it; going so far as to apply deadly force. A favourite part is when Diana says, "The Lasso compels truth, but it can't stop mansplaining", and the starlet fixes the problem by punching the mansplainer right in the gob. Ms. Anthony, the girl's tutor and new head of security, is a badass, big dark-skinned woman. The diversity of the women in this anthology, who also support one another tirelessly, is outstanding: this truly is Wonder Woman's work as it should be! Like in 'Rescue Angel', 'VIP' mixes real life with superheroics, and it has never looked so natural. And hopeful.
10. 'Casualties of War' - Why do the last stories of these collections have to be such downers? Diana faces off against a dragon in a city, and innocent civilians die all around, and Diana is forced to kill - a known survivor of a species at that. Violent and grisly, and not a fun or hopeful way to end a Wonder Woman anthology. 'Casualties of War' (war, hrumphh!), about a giant, terrorizing, fire-breathing dragon, succeeded in leaving me cold.
Well, that's it.
So 'Sensation Comics Featuring Wonder Woman Vol. 2' comes recommended by me. What groundbreaking, modern ways the superheroine - as an icon of feminism - is interpreted in these short stories! High standards are set, helped by the best artwork.
Enjoy!
Final Score: 4/5
Original Review:
I rarely read graphic novel sequels, but a friend of mine recommended this one to me, and given how much I love Wonder Woman, and my hearing good things about it, I quickly bought it.
In conclusion, yes, 'Sensation Comics Featuring Wonder Woman Vol. 2' is as good as the previous installment, if not better, with just as many diverse stories in its anthology collection.
Without further ado, as with my review of 'Vol, 1', I shall briefly share my thoughts on each story:
1. 'Generations' - Never has a quest to capture a phoenix egg been so bloody. Part Wonder Woman and Cheetah fight, part Diana and Hippolyta mother-and-daughter bond. It is violent and gruesome, containing subtle symbolism and surprising heart, and the artwork is glorious, magnificent! From the ashes, a dawn of a new layer of love between mother and daughter is birthed!
2. 'Not Included' - Finally, a Wonder Woman and Big Barda team-up special! Containing no men to help them out, as they come up against the Brotherhood of Evil. The ending is unconventional and peaceful, suiting Wondy as a character brilliantly. Her banter and opposing nature to Barda is nicely handled.
3. 'Venus Rising' - Ehhh, I don't know, I think this is one of my least favourites. The art is nice, and Wonder Woman's hijab superhero costume is great. She uses modern slang, but I don't mind, as she has been in the world-saving business for a long time - though you wouldn't know it by what high profile men say to detract her. She still cares for all life. And she's in space. The treatment of women in the public eye and in STEM fields is critiqued- it sets up a friendship between Diana and the only female astronaut (also a POC) on the station - but it doesn't relate to the story at all, and is mostly brushed aside once the action starts. The ending is very rushed. It's just a really weird science-fiction yarn.
4. 'Rescue Angel' - Without a doubt the best of this collection. Written by Amy Chu, it is about a female lieutenant of colour named Angel Santiago becoming a hero, rising above sexist expectations as a comforting feminine presence for Afghan natives to talk to; who is told to smile for the cameras. The older village women have set up all-girls' schools in defiance of the Taliban. Angel saves the men of her unit from a terrorist attack single-handedly, or does she? Is that Wonder Woman helping her out, giving her strength, inspiring her with her peaceful values? This story was made to highlight how Wonder Woman as an icon has inspired all different kinds of women the globe over, to be brave and strong. To be heroes. Wonder Woman is like a goddess figure here; briefly glimpsed, but her influence is undeniable. Fuck the patriarchy and its wars.
5. 'Sabotage is in the Stars' - Wonder Woman helps out a woman astronaut of colour and stops Lex Luthor's evil plans to ruin the space development competition in Lexcorp's favour. Wondy is more ruthless and quippy than is to my taste, but she's awesome and heroic all the same; assisting women in need whilst saving everybody's lives. Another achievement in the artwork department - many pretty crashes and explosions!
6. 'Wonder World' - And here it is, the one with Noelle Stevenson's art, about a fifteen-year-old Diana sneaking into man's world and stumbling across a carnival on a peer, where she makes fast friends with a girl with low-self esteem and her friends as they go up against a sexist boys' club. Plus two Amazon guards bicker and banter as they desperately try to find Diana and bring her home. It is pretty freaking adorable, even setting aside the suspension of disbelief as to how Diana could have left Themyscira and first came to man's world as a teenager. She's nevertheless badass as she navigates the world of the carnival; a microcosm of the misogyny she'll encounter in the rest of the world when she grows up. There's arcade games, dance-offs, realistic, repetitive teenage dialogue, ice cream, and above all, sisterhood. I love all the women and girls in this fun-tastic cartoon strip. 'Wonder World' - a roller coaster ride you never want to depart. Oh how I wish there was a Wonder World in real life!
7. 'The Problem with Cats' - Two little girls - sisters, dark-skinned - play with dolls as they imagine it is Wonder Woman fighting Cheetah, Circe and Medusa on the Isle of Cats to save Superman and Batman, the dudes in distress. The sisterhood dynamic is great, as is the little sister's love for Wondy; inspiring her to use her imagination and perform heroic feats, particularly in helping her big sister. Plus any context where Wonder Woman fights both Circe and Medusa is fun to me. Cute, Saturday morning-cartoony, and feminist.
8. 'Girls' Day Out' - A Wonder Woman and Lois Lane team-up. A critique on the sexist, degrading questions that interviewers ask famous female figures in pop culture. Both Wondy and Lois are great, and the superheroine reflects on how civilians will help her out in a jam, even when the patriarchy controls everyday life, and that there are different ways of handling threats. The two women make awesome friends. Not sure about the art, though; the women look too similar. Seriously, they could disguise themselves as each other if they swapped clothing and hairstyles.
9. 'VIP' - A fine reflection and critique on famous girls in the spotlight - be they actresses or pop superstars - as the patriarchy attempts to stunt their growth and creativity because "nice girls don't do those sorts of things". The executive meddling, the internet trolling, the death and rape threats - it all adds up to stopping female artists from becoming women, with agencies of their own, uncontrolled by men. A little power and freedom of choice, and misogynist men shit themselves in desperately trying to take back that power, through violent means. And lord help the women if they fail, even if the failure isn't strictly their fault. Anyway, Wonder Woman is hired as a bodyguard, fitness trainer, and general assistant to a Latinx starlet. Her new tour will make or break her career, and someone is planning to sabotage it; going so far as to apply deadly force. A favourite part is when Diana says, "The Lasso compels truth, but it can't stop mansplaining", and the starlet fixes the problem by punching the mansplainer right in the gob. Ms. Anthony, the girl's tutor and new head of security, is a badass, big dark-skinned woman. The diversity of the women in this anthology, who also support one another tirelessly, is outstanding: this truly is Wonder Woman's work as it should be! Like in 'Rescue Angel', 'VIP' mixes real life with superheroics, and it has never looked so natural. And hopeful.
10. 'Casualties of War' - Why do the last stories of these collections have to be such downers? Diana faces off against a dragon in a city, and innocent civilians die all around, and Diana is forced to kill - a known survivor of a species at that. Violent and grisly, and not a fun or hopeful way to end a Wonder Woman anthology. 'Casualties of War' (war, hrumphh!), about a giant, terrorizing, fire-breathing dragon, succeeded in leaving me cold.
Well, that's it.
So 'Sensation Comics Featuring Wonder Woman Vol. 2' comes recommended by me. What groundbreaking, modern ways the superheroine - as an icon of feminism - is interpreted in these short stories! High standards are set, helped by the best artwork.
Enjoy!
Final Score: 4/5
Graphic Novel Review - 'The Prince and the Dressmaker' by Jen Wang
'The Prince and the Dressmaker' is one endearing, adorable, cartoony fabric strip of historical romance fiction, about a poor dressmaker with big dreams and a crossdressing Belgian prince, set in aristocratic 19th century Paris, France.
I love Sebastian, the young flamboyant prince wanting to fulfil his duties as the future king of his people. But who would accept a king who likes to wear dresses? He's just so funny and lovable, as both a prince and as his alter ego, Lady Crystallia - socialite and hottest fashion icon in Paris, and I want to keep him. His dialogue, as full of anachronisms as that of the other characters', is hilarious. His many facial expressions are gold.
Sebastian has as much of an eye for fashion as his new seamstress, Frances, whom his relationship with nicely and subtly develops throughout the graphic novel, going further than the typical poor girl x royalty, Cinderella-fairy tale (Frances doesn't need to change outwardly).
As the story progresses, it it clear Sebastian has a tragic side to him as well; as an unconventional product of two worlds refusing to align; refusing to be happy for him for who he is, for what makes him happy. Prince Sebastian is the book's best written character, in my opinion.
His relationship with his father, a highly masculine figure, is one of the best father-and-son stories I've seen: starting out worryingly cliché, then growing into a feature encompassing far more depth, culminating in one of the best endings I've ever seen. In fact, Sebastian's relationship with both his parents is fantastically written; concluding in something that is unpredictable, and, to top it off, hopeful enough to make one cry with relief, absurd as that might sound.
It's worth noting that it is hinted that the consummate dressmaker and designer, Frances, starts developing feelings for Sebastian, blossoming from friendship, when she first sees him dressed as Lady Crystallia, upon his first night out as a transvestite-in-hiding. She is seeing him as his true self, uninhibited, happily free from society's expectations, and she is drawn to him as much as she is to designing radical new dresses. The times when she does instigate her romantic attraction to him are when he is Lady Crystallia. Gender as an identity is as fluid as sexual identity. Frances's feelings are just the way they are; her sexuality is ambiguous. Same goes for Sebastian.
A favourite line of mine comes from Frances: "I'd rather take my chances starting over than languish in your closet forever."
'The Prince and the Dressmaker' is a simple love story, content aside, narrated naturally in the flow - in the petal pink and orchid road - full of lovely, funny and expressive artwork.
P.S: Frances also develops a female friendship with her hero, the famous ballet dress designer, Madame Aurelia, and there are no catty females in sight, thank heavenly renaissance garments! One of the book's symbols is also a room key.
After reading this soft, sparkly gem, I decided that it didn't matter that a few side characters are forgotten about, and a few arcs are left unresolved. 'The Prince and the Dressmaker' is, overall, a rosy, lavish, elegant, stylish and substance-ish, cute, lighthearted comic that can be finished in an hour - an hour to win your heart.
A joy, a delight, a comfort, a beacon of hope, a worthy collector's item, far from a farce.
Final Score: 4/5
I love Sebastian, the young flamboyant prince wanting to fulfil his duties as the future king of his people. But who would accept a king who likes to wear dresses? He's just so funny and lovable, as both a prince and as his alter ego, Lady Crystallia - socialite and hottest fashion icon in Paris, and I want to keep him. His dialogue, as full of anachronisms as that of the other characters', is hilarious. His many facial expressions are gold.
Sebastian has as much of an eye for fashion as his new seamstress, Frances, whom his relationship with nicely and subtly develops throughout the graphic novel, going further than the typical poor girl x royalty, Cinderella-fairy tale (Frances doesn't need to change outwardly).
As the story progresses, it it clear Sebastian has a tragic side to him as well; as an unconventional product of two worlds refusing to align; refusing to be happy for him for who he is, for what makes him happy. Prince Sebastian is the book's best written character, in my opinion.
His relationship with his father, a highly masculine figure, is one of the best father-and-son stories I've seen: starting out worryingly cliché, then growing into a feature encompassing far more depth, culminating in one of the best endings I've ever seen. In fact, Sebastian's relationship with both his parents is fantastically written; concluding in something that is unpredictable, and, to top it off, hopeful enough to make one cry with relief, absurd as that might sound.
It's worth noting that it is hinted that the consummate dressmaker and designer, Frances, starts developing feelings for Sebastian, blossoming from friendship, when she first sees him dressed as Lady Crystallia, upon his first night out as a transvestite-in-hiding. She is seeing him as his true self, uninhibited, happily free from society's expectations, and she is drawn to him as much as she is to designing radical new dresses. The times when she does instigate her romantic attraction to him are when he is Lady Crystallia. Gender as an identity is as fluid as sexual identity. Frances's feelings are just the way they are; her sexuality is ambiguous. Same goes for Sebastian.
A favourite line of mine comes from Frances: "I'd rather take my chances starting over than languish in your closet forever."
'The Prince and the Dressmaker' is a simple love story, content aside, narrated naturally in the flow - in the petal pink and orchid road - full of lovely, funny and expressive artwork.
P.S: Frances also develops a female friendship with her hero, the famous ballet dress designer, Madame Aurelia, and there are no catty females in sight, thank heavenly renaissance garments! One of the book's symbols is also a room key.
After reading this soft, sparkly gem, I decided that it didn't matter that a few side characters are forgotten about, and a few arcs are left unresolved. 'The Prince and the Dressmaker' is, overall, a rosy, lavish, elegant, stylish and substance-ish, cute, lighthearted comic that can be finished in an hour - an hour to win your heart.
A joy, a delight, a comfort, a beacon of hope, a worthy collector's item, far from a farce.
Final Score: 4/5
Subscribe to:
Posts (Atom)