YDS: The Clare Spark Blog

December 18, 2014

“Rape culture”

rape-culture-imageThis blog is about “rape culture” (supposedly an invention of such “man-haters” as Andrea Dworkin and Catherine MacKinnon in the 1970s, and carried on, controversially, by such as misogynistic, yet Romantic and quixotic Aaron Sorkin: see http://www.slate.com/blogs/browbeat/2014/12/14/newsroom_finale_did_aaron_sorkin_forget_how_to_write_a_tv_show.html), http://www.newyorker.com/culture/cultural-comment/the-newsroom-crazy-making-campus-rape-episode, “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: https://clarespark.com/2014/01/23/androgyny/.)

DavidBowie

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 https://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 https://clarespark.com/2010/06/10/herman-melville-dead-white-male/.)

“NO TRUST.”

notrust

Advertisements

November 2, 2014

“The Affair” and the Country versus the City

the-affair

[Update 12-14-2015: there were minor errors in my first impressions of this series, which got a Golden Globes award for Drama after the first season. 1. The murder victim is Cole’s brother, Scottie, a junkie. 2. Alison’s baby died of drowning (hence the pervasive water images). 3. Alison has become a symbol of the persistent attraction of small town life, and has gone darker, as has Noah. 4. Oscar (the red-headed Jew (?) is apparently the father of Alison’s baby owing to an impulsive one-night stand. 4. The most favorable characters are now the discarded spouses, Helen and Cole. Indeed, Maura Tierney (Helen) has been nominated for a Golden Globes Award, which she will probably win. To conclude: the 1960s turn to primitivism (in emotion, hence in closeness to “Nature”  is probably the most obvious theme of this (anti-modern) series.]

Showtime has a new drama series about two married persons living in Montauk (one is vacationing there) that I would thought would be no more than the usual soft porn directed at a middle class cable audience, but it is more interesting than that.

Here are the features that I find indicative of current politics:

First, the hero (“Noah Soloway,” played by Dominic West), a writer with one published work of fiction to his name, has married above his socio-economic class and must cope with bourgeois, success-driven in-laws, an intelligent wife (Maura Tierney) and four children. His successful father-in-law is also a writer, but a best seller author who taunts him. His mother-in-law, also outspoken and nasty, calls him a [loony] “idealist” in front of the protagonist’s family.

dominicwest

Second, the anti-hero has a meeting with his wife’s father’s agent (arranged by dad), in which he telegraphs the theme of the series: it will about the decline of “the American pastoral” and the struggle to preserve small town values in the face of modernization and urbanization. In the end, the married protagonist will kill his small-town lover. That alone interests the agent.

Third, there is a mystery: the female lover’s boss wants to put a bowling alley next to his diner; “Cole” (played by Joshua Jackson) the husband of the Ruth Wilson character (“Alison Lockhart,” a bereaved parent whose son has recently died, perhaps of cancer), makes a substantial speech at a town meeting that is considering the over-commercialization of Montauk and the subsequent loss of “community.” At this point, we suspect that someone has murdered Cole (probably the upwardly mobile avatar of “progress”), for the two lovers are being interrogated by a detective, and a male murder victim is mentioned. Since Alison is present, and mentions missing “him” the suspense does not lie in who killed whom.

ruthwilson

Fourth, each episode is divided in half. The first half describes events mostly from “Noah’s recollection, while the second half is told from the woman’s perspective. They are drastically different, with Noah recalling the sexual aggressiveness of his partner in deception, while Alison has much more on her mind, namely politics and her grief. (http://en.wikipedia.org/wiki/The_Affair_(TV_series).

Clearly, Showtime is run by progressives, who demonstrate their postmodern, hip commitments by criticizing the intact heterosexual family and showing the subjectivity of “perspectivism.” In addition to class and gender struggle, some nudity and forbidden sex, we have the critique of progress. Indeed, one of the characters sneers at the thought of Montauk turning into Easthampton.

And are not these identical themes being played out in our current political struggle for the US Senate? And it will be the redneck diner owner (“Oscar” played by Darren Goldstein) who probably did the dirty deed: how dare he strive for “development?”

Create a free website or blog at WordPress.com.