Tag Archives: women’s rights

Book Review: Fierce Desires by Rebecca L. Davis

My review for The Washington Independent Review of Books

Rebecca L. Davis’ Fierce Desires is impressively comprehensive in scope and depth, offering an account that spans four centuries of American views on sexuality. Building on John D’Emilio and Estelle B. Freedman’s 1988 Intimate Matters: A History of Sexuality in America, Davis’ book examines the same history through the lens of the popular zeitgeist, dispatching the notion that the currently “fiercely contested” questions about sexuality and gender are, in fact, new.

The author’s thesis is that matters of gender nonconformity, non-heterosexual sex, permissible sexual behavior, and birth control have been around for ages, but that we’ve shifted away from “interpreting sexual behavior as a reflection of personal preferences or values to defining sexuality as something that makes a person who they are.”

While it’s debatable whether she proves her thesis, the book’s breadth is incontestable. Although Davis’ narrative device of devoting entire chapters to one obscure person — a colonial Virginia indentured servant named Thomas/Thomasine Hall, anyone? — is a little clunky, she nevertheless has a knack for choosing topics whose popular perception belies the historical reality. For example, she explores how Puritans were actually very fond of female pleasure within the context of marriage. And though they viewed sexual intercourse as necessary for procreation, they also believed sex was an important way to build a loving bond. Indeed, there’s precedent for long-ago husbands being censured for coming up short on their “duties of desire.”

The chapter on enslaved peoples’ relationships is particularly poignant and tackles that story in a trenchant way. Similarly, Davis always has an eye toward how race affected attitudes regarding sexuality, tracing, for instance, how defenders of slavery weaponized the specious claim that Black women were loose compared to allegedly chaste and faithful “respectable white women.”

Queer relations also receive excellent coverage here. “Suspicions about what went on in those beds might occasion gossip,” Davis writes, “but same sex and queer relationships of the 18th and 19th centuries were generally tolerated so long as they were not flaunted or disruptive to neighbors.”

The author makes the interesting point that in the 18th and 19th centuries, many queer people didn’t classify their desires or themselves as such. Neither law nor language included or excluded same-sex relationships. Furthermore, she argues, a person’s gender, not the object of their desire, determined social acceptability. This is why lesbianism was tolerated as long as the woman didn’t attempt to assert the privileges of manhood. (Patriarchy was strong back then, just as it is now.)

Davis has an especially fascinating chapter on groundbreaking sexologist Alfred Kinsey, as well as chapters on Gay Liberation Front cofounder Kiyoshi Kuromiya and pleasure activist Betty Dodson. She also engages with ideas of motherhood, delineating how, after the American Revolution, a new ideal emerged; women were encouraged to have fewer children, whom they could then better educate as “future citizens of the nation.”

Fierce Desires shines as a robust, well-researched, and expansive history of American sexuality, one written in non-academese. Its core argument — that our gender-centric system gave way, in the early 20th century, to one in which sexuality is considered fundamental to a person’s identity — gets a bit lost, but Davis’ ultimate assertion that sexuality has moved from being a reflection of social or religious status to being a marker of individuality still rings true.

Book Review: Still Mad by Sandra M. Gilbert and Susan Gubar

Literary critics Sandra M. Gilbert and Susan Gubar, in this follow-up to their The Madwoman in the Attic, offer a comprehensive, sweeping engagement with voices from the tradition of second-wave feminism. Spanning the 1950s to the present, Still Mad contextualizes — historically and personally — the works of singers, poets, essayists, and prose writers while exploring the creativity that started on the page but moved far beyond it.

In their introduction, Gilbert and Gubar outline their intent to feature works which “they consider to be the ongoing second wave of feminism,” as they believe “the debate in which women continue to engage swirls around the issue of how many ‘waves’ of feminism there have been.” While that’s a questionable assertion (perhaps this debate is taking place in the rarefied halls of academia), parsing the conversations surrounding the feminist zeitgeist decades ago is important to understanding the choices the authors make regarding which writers to include here.

Still Mad is striking in its breadth and scope but especially in that selection of authors. Structurally, Gilbert and Gubar write chronologically, which enables them to trace the fluidity of the featured authors’ thinking. For example, the section on Audre Lorde follows her career from “lesbian biomythographer” to one who “dismantles the master’s house.”

Aside from a couple of questionable diversions, such as interludes on the (mis)education of Hillary Clinton and the Trump presidency, Gilbert and Gubar stay the course of weaving together passages from literary pieces, quotes from people in the writers’ lives, and keen sociocultural analysis. And while there is clearly a bias toward poetry, Still Mad impresses with the creativity of its selections (for example, Nina Simone is featured) and the compelling way it makes connections between seemingly disparate currents in the feminist movement.

The book’s deep dive into Adrienne Rich (including her tenuous-at-best link to Judaism) isn’t quite as interesting as the section on Audre Lorde, in which the authors capture the tension between vulnerability and anger that feminists felt and continue to feel. Lorde’s alienation as a “Black in a lesbian world and a lesbian in a Black world” drove her to ever more ardently seek out words that would rupture those boundaries. When she said that the master’s tools won’t dismantle the master’s house, she was referring to the inadequacy of existing language to disrupt this boundary-making.

So, new words and tools — a new vocabulary — must be forged to chip away at these walls. The title of Lorde’s “Sister Outsider,” Gilbert and Gubar write, reflects “her commitment to the sisterhood of the women’s movement as well as her insistence on positioning herself as an outsider questioning its boundaries.”

Still Mad also reveals the way in which activist anger was and is a part of the personal lives of these writers. Lorde, for one, from her position as a poet writing from the underpaid trenches, excoriated the economic injustices that her fellow academics were perhaps sheltered from.

Another especially compelling part of the book focuses on Andrea Dworkin and the sex wars. Few have written about the anti-pornography crusader, whom Gloria Steinem called “an Old Testament prophet.” Gilbert and Gubar capture the separatist movement that Dworkin is credited with starting — one that viewed men’s values as opposed to women’s and which created female-only spaces such as rural communes called “womyn’s lands.”

Still Mad explains the strategy behind Dworkin’s anti-pornography polemics: namely, to legally codify pornography as a civil-rights violation. Regardless of one’s opinion on sex work, there is little doubt that Dworkin was an effective, passionate advocate for elevating the testimony of women actually involved in the sex trade over that of commentary based on purely abstract or philosophical arguments.

A brilliant inclusion is that of Gloria Anzaldua, whose Borderlands/La Frontera (1987) is among the most seminal feminist/intersectional works (and one too often overlooked). Her “mestiza consciousness” is one of the best descriptions of those living in the borderlands of multiple identities. Because this experience is so unmooring and disorienting, Anzaldua uses both linguistic and spiritual-healing practice as a salve to suture the wounds wrought by white patriarchy. She refuses to “accommodate” English speakers, instead code-switching between slang, English, Spanish, Chicano Spanish, and Tex-Mex to build a creole reflective of this unrest and dispossession.

Still Mad is rich and carefully and creatively curated; it is madly in love with words, which remain some of the best tools we have for dismantling the master’s house. The way Sandra Gilbert and Susan Gubar wield them as weapons of personal and political redemption and healing will leave readers speechless.