Showing posts with label Alexandra Schwartz. Show all posts
Showing posts with label Alexandra Schwartz. Show all posts

September 27, 2021

"So our desire is not some neutral, private thing... It colludes with society to stratify and imprison us. Feminism should help point the way..."

"... out of this predicament, but feminism, Srinivasan* believes, bears some blame for getting us into it in the first place. Female desire isn’t seen as an appropriate subject for feminist critique. Sex positivity rules the day: whatever a woman claims she wants is, by definition, a good thing, an expression of female agency, so long as it takes place within the bounds of consent. 'Sex is no longer morally problematic or unproblematic,' Srinivasan writes. 'It is instead merely wanted or unwanted.'... Sex is a useful thing to have on your side, but, Srinivasan believes, it comes at a cost. 'The important thing now, it is broadly thought, is to take women at their word,' she writes. 'If a woman says she enjoys working in porn, or being paid to have sex with men, or engaging in rape fantasies, or wearing stilettos—and even that she doesn’t just enjoy these things but finds them emancipatory, part of her feminist praxis—then we are required, many feminists think, to trust her.' She herself doesn’t seem to think so—her tone here is laced with skepticism, even sarcasm—but she stops short of saying that directly."


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* Srinivasan is Amia Srinivasan, an Oxford philosophy professor whose book of essays is called "The Right to Sex."

September 28, 2018

Framing Brett Kavanaugh as an exemplar of masculine anger and aggression.

I'm reading "Brett Kavanaugh and the Adolescent Aggression of Conservative Masculinity" by Alexandra Schwartz in The New Yorker. Schwartz writes about Kavanaugh's "wildly emotional performance, in which he alternated between shouting, as he blamed the Clintons and the Democrats for conspiring to torpedo his nomination to the Supreme Court, and weeping, as he spoke about the pain that he and his family have experienced in the weeks since accusations of sexual assault against him became public."

First, Kavanaugh never wept. He struggled to contain his emotion, often sticking his tongue into his left cheek, which seemed to be his way of controlling himself. He was under an immensely powerful attack and fighting for his life. What he did was not "wild" (nor was it tame). It was real emotion, under some degree of control. If he had been completely controlled, I suspect the New Yorker writer would have called him steely and cold, and that would be characterized as masculine (and thus scary and bad).
Kavanaugh choked up and sobbed...
He didn't sob! He came to the verge of breaking down into crying, but he never did. He just stopped talking, did that tongue move, and waited to regain composure. Can men do that? How many times have I heard progressive women assert that men should cry and why don't men cry, come on, men, cry, we'll think better of you if you do, it's a strong man who can cry? But let him approach a breakdown into tears and he's already weeping and sobbing and he's condemned — as he was when he did not cry — as manifesting the bad kind of masculinity.
... as he described his father’s detailed calendars, which apparently inspired his own calendar-keeping practice; he seemed unable to gain control over himself, gasping and taking frequent sips of water. 
He didn't seem that way to me. He seemed that way to you? And actually it seems like bullying to subject a man to emotional torture and then taunt him for approaching tears, even as he fights like hell to control himself. I think of school yard bullies who terrify a targeted boy and make his own vulnerability to tears into further torture by saying things like, What's the matter, is the little baby going to cry?
The initial impression was of naked emotional vulnerability, but Kavanaugh was setting a tone. Embedded in the histrionics were the unmistakable notes of fury and bullying. 
I'm blogging as a read, so I brought up bullying before I saw Schwartz's use of the word. But she's accusing Kavanaugh of bullying! How does that work?
Kavanaugh shouted over Dianne Feinstein to complain about the “outrage” of not being allowed to testify earlier; when asked about his drinking, by Sheldon Whitehouse, he replied, “I like beer. You like beer? What do you like to drink, Senator?” with a note of aggressive petulance that is hard to square with his preferred self-image of judicious impartiality and pious Sunday churchgoing. 
If you protest bullying, you're the bully. Stop bullying me about bullying you. I think maybe Schwartz caught herself making Kavanaugh seem sympathetic — the poor man was weeping and sobbing — that she needed to flip into making him the attacker. He was defending himself, but look: He defended himself with "aggressive petulance."
What we are seeing is a model of American conservative masculinity that has become popular in the past few years, one that is directly tied to the loutish, aggressive frat-boy persona that Kavanaugh is purportedly seeking to dissociate himself from. Gone are the days of a terse John Wayne-style stoicism. Now we have Trump, ranting and raving at his rallies; we have Alex Jones, whose habit of screaming and floridly weeping as he spouts his conspiracy theories is a key part of his appeal to his audience. When Kavanaugh is not crying or shouting, he uses a distinctly adolescent tone that might best be described as “talking back.” He does not respond to senators. He negs them. His response, when he is asked about his drinking, is to flip the question and ask the senators how they like their alcohol; his refusal to say whether he would coƶperate with an F.B.I. investigation brings to mind a teen-ager stonewalling his parents. If Kavanaugh is trying to convince the public that he could never have been capable, as a teen-ager, of aggression or peer pressure, this is an odd way to go about it.
Well, that's an interesting observation, and I'll let that part stand for now, because I want to watch the hearing which is beginning again. What Schwartz is describing is something I would not have called "masculine," but men are doing it. Is Kavanaugh like Trump?! Imagine Trump in the position Kavanaugh was in yesterday and how he might have behaved and spoken.

ADDED: Let me get back to that last paragraph. First, Schwartz sets aside an older form of "conservative masculinity" — "the loutish, aggressive frat-boy persona." I don't know why this is considered specifically conservative. There is, indeed, something we call the "frat boy." I've had an aversion to this type of person since I was a college student and no one I knew would want anything to do with a frat boy. At the time, I believed fraternities were obsolescent and would soon be gone. I thought football was about to die too. Clearly, I was wrong, but I'm just saying I never liked the "frat boy" I never wanted anything to do with. I mean, there was one frat boy I once went to a movie with. I can't remember his name. Let's say it was Bob. The friends I had called him "Frat Boy Bob," and though I liked him, I never overcame my aversion to the general stereotype that I and my friends had stamped onto him. I can't remember his name, as I said, but I do remember the movie. It was the 1962 Orson Welles version of "The Trial" — with Anthony Perkins as — in the words of IMDB — "An unassuming office worker [who] is arrested and stands trial, but he is never made aware of his charges." I wonder if Frat Boy Bob ever became aware of my charges against him.

Schwartz sees Kavanaugh as distancing himself from the "frat boy persona." She adds, "Gone are the days of a terse John Wayne-style stoicism." I think she's positing a second older form of "conservative masculinity," the John Wayne type, but maybe she means to conflate John Wayne and the frat boy, which strikes me as ludicrous. I'm not convinced that the stoical and terse masculine type is gone, and Kavanaugh has some of that some of the time. He has a frat boy part to him too. He likes his beer. He went to parties. He owned up to that and he owned up to embarrassment because he didn't have the sexual activity that might seem to go along with that style, but he told us he was also proud of not acting out sexually because he had religious scruples. Schwartz makes no mention of the conservative masculinity that comes from religion and that demands sexual continence.

Schwartz posits a new sort of masculinity that is "is directly tied" to the old frat boy style. What's the direct tie? Did this new thing evolve out of the frat boy or spring from the same inborn impulses? I don't know what she means. She's observing something and it reminds her of something else, so these things are tied. As she proceeds to describe this newly popular form of masculinity, the model is less the frat boy (a college character) than the teenager:
When Kavanaugh is not crying or shouting, he uses a distinctly adolescent tone that might best be described as “talking back.” He does not respond to senators. He negs them. 
Negging is adolescent?! Maybe The New Yorker thinks "negging" is just being negative. But here's the Wikipedia article on negging, which is how I've understood the slang since first hearing it:
Negging is an act of emotional manipulation whereby a person makes a deliberate backhanded compliment or otherwise flirtatious remark to another person to undermine their confidence and increase their need of the manipulator's approval. The term was coined and prescribed by the pickup artist community, several of whose members have proposed it as an effective method to build attraction.
And as far as "talking back" — Kavanaugh was responding to questions. Yes, he was resistant to them much of the time, but the Democratic Senators were trying to manipulate and handle him and get him to damage himself. Perhaps Schwartz thinks Kavanaugh seemed like a teenager because she saw the Senators as adopting a parental scolding tone and she liked that and was disappointed that it didn't cow Kavanaugh. He stood up to them. Why isn't that good? It isn't good if you want him to let Senators treat him like a teenager. Then, his failure to accept the position they put him in looks like he's a bad teenager (and not the good little boy you characterize him as trying to be).

But what does any of that say about present-day conservative masculinity?!

November 12, 2017

"For 'I Love You, Daddy' to work as a staging ground for the points that Louis [C.K.] wants to make—that young women’s sexual attractiveness gives them power over the sorry men who lust after them..."

"... that, in spite of that power, young women are more likely than not to be careless and foolish, and to bring trouble and disgrace on themselves—[the 17-year-old character] China has to be an empty vessel, an absolute airhead with no sense of self and no mind of her own. Her attraction to [the old movie director] Leslie wouldn’t be remotely plausible otherwise; she would see him for what he is—ridiculous—and laugh him out of the room. In the end, it is China who makes herself absurd. She is the one who throws herself at Leslie, not the other way around, and so it is she who ends up rejected and humiliated. Leslie glides away in his Moroccan slippers with his integrity intact. He is St. Anthony warding off the devil; the young temptress is discarded, and the important artist can at last get back to his work.... As for China, her redemption comes in the form of a job at the perfume counter of Bloomingdale’s and a shared apartment in Harlem: she has decided to take Daddy’s counsel and go get her independence. There is something depressingly subdued about her, in the film’s last scene, a deadened quality that is supposed to pass for maturity. Such is the film’s final point where women are concerned: stop flirting and mooching and get to work, because, if you don’t have to depend on men for money, they can’t control you, or harm you, or fuck you over."

I'm reading "'I Love You, Daddy,' Louis C.K.’s Cancelled Movie, Reeks of Impunity" by Alexandra Schwartz in The New Yorker.

I'm not sure what's so reeking about that story... if we stick to the text and exclude the extrinsic evidence we have about the filmmaker.

ADDED: The New Yorker has a second piece, published simultaneously, "Why Louis C.K.’s 'I Love You, Daddy' Should Never Have Been Distributed in the First Place" by Richard Brody:
The decision to cancel the release of the film is welcome; ”I Love You Daddy”—which Louis C.K. directed, edited, wrote, and stars in—is a disgusting movie that should never have been acquired for distribution in the first place....

The [movie] is, in effect, an act of cinematic gaslighting, an attempt to spin the tenets of modern liberal feminism into shiny objects of hypnotic paralysis. The movie declares that depredation is liberation, morality is tyranny, judgment is narrow-mindedness, shamelessness is creativity, lechery is admiration, and public complaint is private vanity. And it does so with a jocular self-deprecation that frames its screed as a personal journey through loss to self-awareness by way of a newfound respect for women’s virtues and desires—and a newfound skepticism about moral verities....
IN THE COMMENTS: Rabel said...
I think you are missing the point of this movie. It's not about Electra or Woody Allen or feminism or Fatherhood.

It's about putting 20 year-old Chloƫ Grace Moretz on screen as an underage sex object.

Period.

I'm sure many of you will say you've never heard of her but she's been playing underage sex objects since she was, well, an underage sex object.

Whether it was also about putting Louis in close proximity and a commanding position as regards Moretz is open to speculation.

And note that the New Yorker gets in on the game with the oversized bikini shot at the top of the article.

They're selling sex and trying their best to find "artistic" ways to sell it.
I note that The New Yorker chose to put the bikini photo of Moretz on the article with the female author.

June 8, 2017

What sets great writers apart from the pack is they don't write like this.

"What sets great writers apart from the pack is their ability to connect with readers on a visceral level. We feel their work in our brains and in our guts, in the blood coursing in our veins and the adrenaline swelling our necks, in the way our hearts contract with pain or swell with joy as we read."

Yeesh. Is that bad. From the twee "coursing" to the unwitting repetition of "swell," it's laughably bad.

That's "The Rambling Glory of Bob Dylan's Nobel Speech" by Alexandra Schwartz in The New Yorker. Schwartz won the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing for 2014. The hell.

ADDED: Does adrenaline swell your neck? I Googled:



I'd rather do my reading without the swollen neck.

AND: In David Sedaris's "Diaries," there's an entry from 1997 where he's publishing something in The New Yorker and he notices "four repetitions of the phrase 'we’re hoping.'" He takes the initiative to point this out to the editor, who says, “Man, you’re like a self-cleaning oven!”

PLUS: Here's my write-up of the Dylan speech.