A Welcome Note from StS’s Editor-in-Chief

By Jessie Szalay

Like many people who love school (or have residual nightmares of it), for me, January 1st has never felt like the start of a new year. Rather it’s September, the time of backpacks and book buying, that signals a fresh start. Whether I’m a student, a teacher, or working in a non-academic job, the new school year signals a time for reflection. How do I want to be this year?

Now, as I begin my first autumn as Editor-in-Chief of So to Speak, I wonder, too: what kind of feminist do I want to be? Initially, answers are easy. I want to be a strong feminist. I want to treat others—women who are and are not self-identifying feminists, men, myself—equally and with respect. I want to challenge the patriarchy and stand up for equality. I want to spread the message of feminism with both gentleness and strength, through words, actions, and my own thoughts. I believe that feminism, though often made up of individual choices, is also a communal paradigm, movement, and experience. As with empathy, generosity, and random acts of loving kindness, individual feminism—my feminism, your feminism—increases through being a shared experience. It can inspire others, make them think. That is what I want to do: I want to be a “good, strong feminist,” to inspire others to consider or adopt or increase their own feminist lives. I want So to Speak to do that.

But here’s the reality: all through high school, Septembers passed and I never stopped procrastinating on my Spanish homework. New Januaries turn to Februaries and I never get around to eating more kale. And I know that, most likely, October of this year will enter with its orange leaves and swollen pumpkins and I will still be struggling to be the kind of feminist that I want to be.

I’ve identified as a feminist for going on fifteen years, since high school. I can speak of Helene Cixous and Simone deBeauvoir; I support pro-choice causes; I feel comfortable with the notion that one can be feminist and be a stay-at-home mom, and also that one can be a feminist and burn her bra. The concept of what feminism is, and how open it can be, is not especially troubling to me. What is troubling is doing it: turning beliefs and intellectual knowledge into action and attitude.

I am a feminist, but the other day I still thought nastily that another woman shouldn’t wear her short-shorts because of her body type. I routinely make stereotypical assumptions about what men want women to be—agreeable, needless, pretty objects—which are disrespectful and condescending toward all genders. I catch myself thinking that my female gym instructor is bossy and annoying, while accepting a similarly tough male instructor as motivational. But I want to be better. I want to not have these thoughts, and the first step to not having them is acknowledging that I do.

My point is that being a feminist is a journey. It’s filled with obstacles and struggles. Feminism as a movement struggles, and individual feminists struggle within their own minds. We are all on a journey to be better feminists and better people. As a new (school) year starts, I realize that that’s what I really want to be: someone who takes steps on her journey.

That’s also what I want So to Speak to do. Stories of empowerment and success are always welcome, but so are stories of struggle. I invite you, readers and writers, to share with us your stories of setbacks in your feminist lives. Perhaps you’ve taken steps to overcome your problems. Perhaps you’re just acknowledging them for the first time and beginning your walk toward being the type of feminist, the type of person, that you want to be.

So to Speak is a feminist journal, which to me means that at its core it is a human journal. It is a place that celebrates humanity in its various forms—the beautiful and good, the ugly and difficult. I look forward to hearing your stories and engaging with your art, however it explores the complexities of life, and wherever you are on your own journey.

Our reading period is currently in full swing. Click here for submission guidelines for our blog, fiction, nonfiction, and poetry categories. And don’t forget to enter our Spring 2015 Nonfiction Contest!

 

Fall Submission Period Starts Today!

Listen up, y’all!

As of today, August 20th, and until October 25th, we’ll be accepting submissions for our print spring issue. Look into your feminist archives for your best work of fiction, nonfiction, poetry, or visual art, put it through a last round of tough love, and submit!

We know you know this but let us show you our love with a friendly reminder that we recommend  reading past issues for a feel of what makes our feminist hearts swell and minds soar. If you simply cannot endure waiting for your subscription to kick in, may I recommend our fourth annual summer issue, gratis and online for your reading pleasure.

Most important, take a moment to look over our Submit page where you’ll find guidelines for all genres, including the So to Speak blog.

Now begins the waiting game! Happy submission season!

StS Editors

2014-2015

 

 

 

“Redneck Crazy”: Country Music’s Misogyny Problem

August 20, 2014 by So to Speak · 1 Comment
Filed under: Music, Nonfiction, Opinion, Politics 

By Liz Egan

In June, Slate ran a piece about country music’s “bro problem” and singer Miranda Lambert’s aim to take down “bro country,” a (not so recent, but recently more obtuse) trend in country music to objectify women, aggressively corner them in bars, and reduce them to tailgate-dancin’, truckbed-climbin’, flip-flop floozies in tight jeans and/or cut-offs (depending, I guess, on the season).

But these days it’s not Miranda who’s saving the day. Newcomers Maddie and Tae are the dark horses riding up to restore order to country music. The lyrics to their debut single “Girl in a Country Song” takes direct aim at the male megastars who’ve been bankrolling their musical success on the willingness of the prophetic “girl in a country song” to get drunk enough to go for a ride in some dude’s truck.

It’s a gutsy move to take on the likes of Luke Bryan, Chris Young, Thomas Rhett, and Florida-Georgia Line (who do not seem amused by the song at all). And it’s clear from the two women’s comments about the song that they are conscious of the tight-rope they’re walking, playing down the song’s feminism by rejecting that label (a problem I’ve written about before) and cutes-ing up their language with oh-my-goshes. But as the biting role-reversal scenes in the song’s video make clear, these two ladies are tired of the sexist, objectifying nonsense that has lately been dominating the country scene (“Conway and George Strait never did it this way,” they lament).

Calling out “bro country” in a song is a step in the right direction, but first we need to be clear about something: Country doesn’t just have a “bro” problem. It has a straight-up misogyny problem.

The first time I heard Tyler Farr’s song “Redneck Crazy” on the radio, I found it tasteless and uncouth. Then a disturbed young man went on a deadly misogynist rampage in Isla Vista, and now I change the station if it comes on. To summarize the song’s events: Girl dumps boy. Boy stalks girl at her home and taunts her new boyfriend (“I didn’t come here to start a fight / but I’m up for anything tonight”). Boy’s misery is girl’s fault, because, “you know you broke the wrong heart baby / and drove me redneck crazy.”

The similarities between the tragedy in Isla Vista and the song’s sense of entitlement to sex with a woman, and the violent response to not being able to have her, are too eerie. “I’m about to get my pissed off on,” Farr sings, and each verse just gets creepier from there. (In fairness, the song’s subject seems to want to attack both the woman he can’t have and her new man, singing “He won’t be getting any sleep tonight.” Which, in fairness, only makes the Isla Vista comparison even more frightening, given the majority of that day’s victims were men.)

There is a joke in the South about women who shoot their husbands: “She just snapped” is the punchline. I guess in this case, going “redneck crazy” is meant to be the male equivalent of that phenomenon. Yay, equality? The problem with both defenses is they shift blame for a violent crime onto the victim. Not a great fix, considering violence is never the answer and victim-blaming is never okay.

Country music has a long history of celebrating traditional gender roles, roles that progressive society has been moving away from but country music is slow to let go of. In defense of country music—and the women of country who are also topping the charts—it is trying to shift this norm so that women can be empowered, too. But because men in country music are stereotyped for their way of exerting power over women and other men through violence, violence is therefore the medium by which some women in country music, like Miranda Lambert, are trying to assert their own independence and strength.

I’ll be the first to admit that Miranda Lambert is my country music idol, but I also have to admit that many of her songs are uncomfortable examples of the violent female revenge fantasy. Her 2010 platinum hit “Gunpowder and Lead” is about a woman who gets tired of being beaten up by her man, so she shoots him:

He slapped my face and he shook me like a rag doll

Don’t that sound like a real man
I’m gonna show him what little girls are made of
Gunpowder and lead

While I give this song credit for the important observation that a “real man” isn’t an abusive one, I’m not sure two wrongs make a right here. This song is from the album Crazy Ex-Girlfriend, an image that has become integral Lambert’s brand. Her latest hit “Somethin’ Bad,” a duet with Carrie Underwood, is yet another effort to assert female power by drinking as hard and being as bad as the baddest man in town. But is matching men drink for drink and punch for punch really the only avenue available for women who want to be taken seriously in country music?

Many responded to the Isla Vista shootings by pointing out that misogyny hurts men as well as women. This excellent graphic art captures how problematic it is to associate masculinity with strength and femininity with weakness. When it comes to taking a jab at a man, Lambert has some impressively emasculating zingers. In “Hurts to Think” she sings, “you’ll never be half the man your mama is,” a brilliant two-for that praises a woman’s strength by diminishing a man’s. But while lines like this might seem refreshing to female listeners who are tired of the same old weepy “I can’t live without a man” bit, we have to stop and admit that these sentiments aren’t helping anyone demonstrate strength. When we allow these destructive, misogynist sentiments to become part of the ether of our everyday lives, we encourage a culture that tolerates and perpetuates the cycle of violence between men and women.

I know some will argue these are “just songs,” or “just fantasies,” and therefore their content is not meant to be taken seriously. But it is a serious matter when everywhere you look in country music, you see men and women embracing attitudes toward each other that, well, just ain’t right. I’m picking on Farr and Lambert in particular, but they’re not alone. Carrie Underwood’s “Before He Cheats” cites a man’s inability to keep it in his pants as justification for property destruction, and frankly I have a hard time finding Scotty McCreery’s uninvited arrival at a woman’s home late at night to be as friendly as I’m sure he means it to be. The list goes on.

And yet: these songs come on the radio, and more often than I care to admit, I turn it up. It’s confusing to be a socially progressive woman with an addiction to country music. I’m just as guilty as anyone who ever declared “Blurred Lines” is a creepy tune while bopping along to it anyway. I don’t want to stop listening to country—for one thing, ignoring it isn’t going to make the industry’s misogyny problem go away. So I’ll keep listening, but I’m going to start talking, too, with my fellow country music fans about why these songs are not okay. Maybe if enough of us speak out, the artists I admire like Miranda Lambert will follow Maddie and Tae’s brave lead and find more empowering and less violent ways to make country music a better place for women and men to showcase their strengths and successes. Until then, I’ll keep struggling with the decision to turn it up, or turn it off.

_____________________________________________________________________________________________________

Liz Egan earned her MFA in fiction from George Mason University in 2014, and served as Fiction Editor of So to Speak 2013-2014. Currently Liz is a co-editor of Gazing Grain Press, an inclusive feminist chapbook press that is a project of Fall for the Book and the George Mason MFA program. She lives near Jackson, Mississippi, where she teaches writing and works as Writing Center Coordinator at Millsaps College.

 

Wearing the Feminist Badge: Final Words From Our Outgoing Editor in Chief

Last fall, my sister sent me a link to a posting on a website called Imgur (pronounced Im-ih-ger). I don’t remember what the post she sent me was about, but I do remember how I felt I had found a sort of window into the internet. With a swipe to the left or to the right, I could explore all the “most-viral” images on the internet for that day, often accompanied by stories or shared experiences from various Imgur users themselves. Feeding off of the popular, user-generated website Reddit, Imgur focuses on community, with users voting through “upvotes” or “downvotes” what material makes it to the front page of the site.

What one will most commonly find on Imgur is pictures or videos of adorable animals, a funny (or not so funny) meme, a tutorial for how to make the best pepperoni calzones. One can browse the site without ever making a profile or username, and this is what I did for some time, visiting the website through its phone app when I had a spare moment in a waiting room or in line at a store.

I was in bed checking the site when I came across a post that has given me a sizeable amount of unease for the past several months. In it, a group of young women hold up hand-written signs declaring why they don’t need feminism. Their reasons range from, “because I believe in equality and not in entitlements and supremacy,” to “I respect men. I refuse to demonize them and blame them for my problems,” to “I am an adult who is capable of taking responsibility for my own actions.”  One can see why I immediately created a username and began commenting on this post like my life depended on it.

What I most wanted to point out was that none of these young women seemed to have any idea of what feminism actually is. Somehow, the idea of equality for women has become tied up with these misconstrued notions about the domination of men, the rejection of personal responsibility, and a culture of victimhood. I can’t say how this transformation took place (it seems to have something to do with tumblr, which is another content-sharing, online community, but I can’t dive into that hole right now), but the fact that there are women out there who outright reject the title of feminist is appalling to me, especially when these women so clearly are feminists themselves.

Equality is the bottom line of feminism. You can respect men without also demonizing them (I do it all the time!). Of course you are a capable adult; you can thank the generations of women who fought against the infantilization of our sex for being able to publically declare such a thing. These young women, who took to a public forum to proclaim their independence, personal responsibility, and strength, are utter and complete products of the waves of feminism that have been crashing against American culture for the past 200 years.

The issue is, however, these women don’t know that. And, they shy away from the “feminist” or “feminism” terms. These words have become tarnished, covered in the muck of misandry and fanatical, misinformed rebuttals. I spoke about this in my last blog piece, where I mentioned how I had to combat these misconceptions amongst my own family members, but the problem with the young women on Imgur is even stranger to me, mostly because they are feminists. Reluctant as they may be to wear that badge proudly, it is still tacked onto their bodies somewhere, albeit under layers of ignorance and/or confusion.

This rejection of the feminist identity leads to an even more problematic aspect of this trend: the self-centeredness of it all. I can only conclude that each of these young women has led a life free of sexual harassment or of judgment based on how they look or on their sexual habits. That each of these young women has never had to worry about accessing an education or a driver’s license. That each of these women has never had her reproductive rights challenged or been trapped in an abusive relationship. How blessed these young women are, and how infuriating that they cannot see past their own life experiences into those of others who may not have been so lucky.

Beyond the problem of being unwilling to accept the feminist title, these young women are spreading the dangerous idea that women have reached equality in the US and in the wider world. What they are saying, by rejecting the mantle of feminism, is that there is no more work to be done. They are turning away from the gang rapes that happen with stunning frequency in India and elsewhere. They are looking past the millions of women who are unable, for any number of reasons, to make choices about their bodies and when or if they have a child (or how many). They are saying, “okay” to the overwhelming number of rape kits that escape DNA analysis. They are saying: If you are not me, or like me, you do not matter.

What is most important for these women to understand is that it doesn’t matter what you call yourself (though wearing the feminist badge like a crown would be a welcome fashion statement). What does matter is that, if they see the rights of other women (of other people!)  being challenged, though theirs may not be, it is important for them to say something, to do something, to recognize the wrong where there is wrong and confront it.

There’s a fear that goes along with defining oneself as part of a certain cause with perceived expectations. We prefer to live as sketches, erasing and redrawing the lines of ourselves when we feel threatened or uncomfortable. But, I would argue that the young women on Imgur would have to do very little revising to find that they fit into a feminist way of life. And that’s all I wanted to say to them, and to our readers: Like it or not, you’re a feminist. Now, go out there and own it.

____________________________________________________________________________

Michele K. Johnson graduated from George Mason University with her MFA in poetry in 2014. While pursuing her degree, she taught Creative Writing, Literature, and Composition at the university, and served as Editor in Chief of So to Speak. Her work has been featured or is forthcoming in the Ampersand Review, the Ucity Review, OVS Magazine, THRUSH Poetry Journal, and elsewhere.

 

Secrets in the Dark

by Melanie Lynn Griffin

The woman has been roughed up. There’s a bruise on her cheek, and her blouse is ripped. Her long brown hair has been hacked off with a pair of scissors, by her own hands, and several of her teeth have just been brutally yanked out by a tooth-seller. A crowd of filthy men and women taunt her, shoving her along a darkened street. Her voice breaks into a raw, bitter wail. “There was a time when men were kind, when their voices were soft and their words inviting.”

If you’ve ever seen Les Misérables, you probably recognize this gut-wrenching scene. Fantine, a factory worker who has just lost her job, has sold her hair and teeth to pay for her young daughter’s room and board.

Anne Hathaway plays the role in the latest film version of Victor Hugo’s story of love and hate in the French Revolution. She’s painfully beautiful in this scene, bruises dark on her pale skin, eyes sunken and hopeless as she’s pressured into prostitution to support her daughter.

A French army officer has just finished doing his business on top of her. She’s belting out this song, and I can hear people all around me sniffling in the dark of the movie theater:

“I had a dream my life would be

So different from this hell I’m living.

So different now from what it seemed

Now life has killed the dream I dreamed.”

Even the guy behind me with the annoying belching issue seems to be crying. He starts breathing badly, and I wonder if he’s having a heart attack or something. I’m considering turning around to ask if he’s OK, but I don’t want to embarrass him if he’s crying.

His labored breathing suddenly evens out, and I hear the sound of a zipper being closed. Apparently he successfully put himself in the French officer’s place and had his own way with Anne Hathaway in the dark.

“Why didn’t you move?” My therapist’s face had that inscrutable look she gets, and her question seemed as impenetrable as her expression.

“Move?” I echoed. “Why didn’t I move?” An irrational shame nudged a blush up my neck as I tried to remember: Did I even think of moving?

Doctor Z nodded and leaned forward in her chair, elbows perched on her knees and fingers pressed together in a teepee under her chin as if trying to keep her mouth from dropping open.

“Well, I thought about it for a minute, but — I know it sounds stupid — at first I couldn’t believe it was happening. Like, I must be wrong. Then I thought that he was obviously a mess, sick, and I didn’t want to hurt his feelings.” I paused, and my therapist raised her eyebrows. “Wow,” I said.

“Yeah, wow,” she said.

“But I felt trapped. Moving didn’t really seem like an option.”

“Why don’t you journal about this? Writing always helps you. I’ve heard you use those words before, feeling trapped, not trusting your own experience, not being able to take care of yourself because you were worried how it might make someone else feel.”

Doctor Z pulled some papers out of her black bag, the signal that our time was up. I wrote her a check and drove home with only half my mind on the road. “Why didn’t I move?” I kept hearing the question.

First entry:

Tough therapy session. Why didn’t I move away from that guy in the theater? Why did I feel so powerless? The other thing I can’t figure out is why I was afraid to tell anyone, even my friends. Like I had done something wrong, or the whole thing was so disgusting and ugly that I had to hold it in, protect the world from it. Not pollute other people’s lives with my pain. Just like when I was a kid. Don’t tell anyone what’s going on in the house; don’t tell the neighbors about Daddy passing out. Put the vodka bottles at the bottom of the trash bag. It’s all a secret I have to keep.

My mom. The queen of denial. She’s the one who taught me how to keep a secret. When she caught me on the couch with my ninth-grade boyfriend’s hand down my pants, she said, “I know I didn’t see what I just saw,” and she never said another word about it. Mom didn’t even want to tell the doctor that Daddy was an alcoholic when he was lying on life support in the hospital! As if they couldn’t tell. I broke the secrecy code and told the nurse our shameful secret. Daddy died anyway.

Now that I think of it, the voice in my head at the movie theater saying, “That couldn’t have happened. I must be wrong,” was my mom’s voice.

“Good work,” said Doctor Z, when I finished reading my journal entry. “What else?”

“Well, I guess my family was so focused on our shame and secrecy that what I needed didn’t matter much. It’s like I learned that I’m not worth taking care of — I don’t believe I have any rights. Mom never took care of her own needs either — trying not to upset my father always came first. That’s why I was more worried about how that guy might feel if I moved than I was about my own feelings.”

I picked up the cushion on the sofa and began messing with the stitching. “Have I ever told you about when I lost my virginity?” I asked, though I knew I hadn’t. It all came out in a rush. “I was sixteen and I was at a party in an upstairs room with an older guy, kind of a friend. We were messing around and he got really aggressive. I said no to him, told him to stop. I said I didn’t want to, but he went ahead and I thought, ‘Oh well.’ I wanted him to like me, and I guess I figured it wouldn’t be worth the fight. I’ve always felt ashamed of that.”

There was a silence while we sat with my shame and I continued to unravel her cushion.

“You were sixteen, Melanie. Just sixteen.”

“Yes.” More silence. I couldn’t look at her.

“You’re an adult now. You can take care of yourself. You don’t have to be a victim . . . you have choices.”

“Yes, I have choices.” I did not sound like an adult. I sounded like a little girl parroting her mother’s directions. I waited for further instruction.

“Don’t forget to breathe,” Doctor Z reminded me, as she often must.

I exhaled a laugh, set the cushion down, and looked her in the face. “Yes, I do have choices.”

Final entry:

I am going back to the theater tonight. It’s been nearly two months since Les Mis, and I was telling Dr. Z how mad I was at that asshole cause I felt like he had stolen my theater from me. I usually go every week, but the thought’s been making me nauseated.  “I can’t imagine sitting in that seat again,” I told her.

“Well,” she said, “you could sit in a different seat.”

“Oh yeah,” I said, laughing at this obvious solution. “I have choices.”

So I’ve been planning on choosing a new seat. But that’s still making me mad. He stole my spot and I feel l like a victim. So I think I’ll march right down that aisle and sit in my regular seat, twelve rows back on the left. If somebody sits behind me, I can always move.

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Melanie Lynn Griffin leads writing workshops and spiritual retreats. Her writing has appeared in Sierra magazine, AARP Bulletin,WildEarth JournalOutside In Travel Magazine, and a 2014 anthology entitled Answers I’ll Accept. She holds a Masters in Creative Nonfiction from Johns Hopkins University and a Certificate in Spiritual Direction from National Cathedral College. A complete list of publications and her blog Writing with Spirit can be found at http://melanielynngriffin.wordpress.com/


 

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