This blog is about “rape culture” (an invention of such “man-haters” as Andrea Dworkin and Catherine MacKinnon in the 1970s), “The Affair” (a Showtime series), and postmodern treatments of the battle of the sexes.
The second wave of feminism did not turn out well, although some of the chapters in The Shock of the Global (Belknap Press of Harvard U., 2010), state or hint that feminism was the most lasting of the 1970’s “human rights movements” that displaced the “Cold War consensus,” going so far in its chapter on Rock Music to claim that groupies were sexually liberated, like androgynous rock stars, making a lasting contribution to the war against the puritanical 1950s. That a woman wrote this chapter, inverting freedom and slavery, should not surprise us. The second wave of feminism was sex-obsessed and most of the activist women I have known would hate this blog.
I have written earlier about the unwinnable and inevitable “battle of the sexes” for all research and personal observation show that men and women are put together differently, and no amount of activism, cross-dressing, or preaching will change these biological differences. (I wrote about androgyny here: http://clarespark.com/2014/01/23/androgyny/.)
Thus when postmodern feminists of either sex try to contrast male and female perspectives on events in a marriage or an affair, they get it only partly right, as for instance, the contrasting views of recent events in Noah vs. Alison in “The Affair.” (For instance, Noah initially sees Alison as a femme fatale, a perception reiterated in the Fiona Apple death-obsessed song “Container” that heads each episode; whereas Alison sees Noah as the more aggressive of the pair.)
What is missing is any depth of insight into the difficulties in maintaining the romance in any relationship. Also MIA is the attraction that all mature adults feel for the unspoiled beauty of young children, who we imagine to be “innocent” of the animal urges that torment us in attempting to maintain a monogamous relationship, especially a relationship with children who may arouse contrasting and incompatible feelings in fathers versus mothers. (See http://clarespark.com/2009/06/16/woody-allen-and-the-myth-of-the-artist/.)
Most public speech is heavily censored, much of it by ourselves, as we fight to maintain our idealizations of those we love or admire. So we count on poetry and fiction to illuminate the “dark” side of our impulses, but authors, no matter how talented, well-intentioned, and “conscious” may have the same limitations as readers. For we are all populated internally by “ignorant armies that clash by night.” As I have maintained often on this website, we are to an unknowable extent prisoners of our contexts.
This blog has been abstract and vague for reasons of privacy, or perhaps not. For as Herman Melville famously observed in his “crazy” novel Pierre, or the Ambiguities (1852), “It is impossible to talk or to write without apparently throwing oneself helplessly open.” (Note the qualifying word “apparently”; this is how Melville hooks the reader, laying traps wherever he wanders. On the ideological misreadings of Melville’s oeuvre see http://clarespark.com/2010/06/10/herman-melville-dead-white-male/.)