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November 30, 2007

I am medusa: the metaphor of Decapitation in Myth

Text from "Off with her Head: The Denial of Women's Identity in Myth, Religion, and Culture

The head: the anatomical part of the female body that gives woman a voice and an identity and that thereby threatens to unmake and disrupt the classic gender distinctions that have linked men to speech, power, identify, and the mind.
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Decapitation is one way of solving the dilemma. Removing the female head relieves woman of both identify and voice and reduces her to a mere sexual and reproductive body.

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The Eroticization of the female head extends the body, turning the head into an allureing and sexually provocative organ. In this way, the female head becomes part of a woman’s genitalia. To see a woman’s face, to look at her hair, to hear her voice, is imagined as an erotic experience. Eroticization of the head is thus a form of beheading, since it depicts women as nothing more than a sexual and erotic body.

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To be silent, to have no subjectivity, is to be decapitated

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From ancient myth to contemporary culture, the metaphor of beheading has been used to express the dehumanizing of women. Beheading involves a double darkness: it ensures not merely the blindness of the beheaded person (deprived of the power of vision) but the invisibility of that person (deprived of the face which reveals his or her identiy to the other), which amounts to the blindness of the other person, the one who views the beheaded person. The mythological beheaded woman is seen (or at least partically seen) but does not see; she is blinded and those who have beheaded are blinded to her real nature. She is transformed from a seeing subject to a merely seen object, a demeaned and faceless body.

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It is no accident that movies sometimes depict women as more erotic when they remove their glasses.
To wear glasses is to be a viewer, to remove them is to become the object of the gaze. A woman becomes a “looker� when she draws the attention of the desiring male gaze.

Men seldom make passes at girls who wear glasses
-dorothy parker

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She responds to the limitation of her powers of sight by letting loose the powers of her destructive tongue.

From the woman’s point of view, she is unjustly treated by various men, and driven to become a fierce goddess.


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Beware my tounge.
My kisses are fatal.
My truth is unspeakable.
Your ears will burn.

I would that i were a violent eruption.


"I want the world to die with me. When you pass on, there's joy in taking everything with you"
-Seneca


"Wherever you may go, you will be proof that gods do not exist"
-Seneca

November 29, 2007

Womb Wolf: self actualization in a consumer culture

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Rebecca and I found this in the skyway market on the west bank.

Normally, I think i would have walked by.

But today we couldn't.

I need and demand an alternative space, a heterotopia if you will,
a space without the presence of derogatory media
that pimps female bodies for profit.


I don't know how this space will ever exist.
But I can hope,
because isn't that the goal in the end?
To create a world in which we can exist? a world that wants us in it?

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Womb Wolf
- Z
Ferocious beast woman scratching behind clenched jaw
Stop fighting my lock down steel sinuses
Don’t you know,
Your meat in this world.

Pandora showed mercy.
There is none of that here.

Damn inner animal,
Don’t make me see you in slices;
Sectioned off into cutlets;
Your tender bits poised and quivering on the lips
Of some butcher entrepreneurial lover;

That’s what they do to meat in this world.
Stay quiet and caged.
That’s what happens to food.


November 28, 2007

lost in the woods and afraid of heels

The Nature of Gothic:
By margarat attwood

I show you a girl running at night
Among trees that do not love her
And the shadows of many fathers

Without paths, without even torn bread or white stones
Under a moon that says nothing to her.
I mean it says: Nothing.

There is a man nearby
Who claims he is a lover
But smells of plunder.
How many times will he have to tell her
To kill herself before she does?

It is no use to say
To this girl: You are well cared for
Here is a safe room, here
Is food and everything you need.

She cannot see what you see.
The darkness washes toward her
Like an avalanche. Like falling.
She would like to step forward into it
As if it were not a vacancy
But a destination,
Leaving her body pulled off
And crumpled behind her like a sleeve

I am the old woman
Found always in stories like this one,
Who says, go back, my dear.

Back is into the cellar
Where the worst is,
Where the others are,
Where you can see
What you would look like dead
And who wants it.

Then you will be free
To choose. To make
Your way.
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Reflections on Atwood:
-Z
My alter ego,
Is a girl
Running somewhere
Through a forest of loveless foliage.

A man in waiting
Perhaps in the trees
Or behind a stone
Beast or man
Lover or destroyer
These adjectives are redundant in this context.

She is running toward him
The marauder of her heart
Because honestly,
Lost in the wood
Where else do you go?

--------------------------------------------------
-Z
I’ll clip my hair close.
It’s no rope ladder.
Don’t get any ideas.

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The insomniac is a woman
-Z

Tomorrow
I will wake up
and I will wear men as my hats
accessorize.
and I will have no need of them
greater than the need
of a woman for her shoe
or her lipstick
or her purse.

Tomorrow
I will wake up
and I will regard all my pretty things
accessories.
and I will have no need of them
as they do not complete me
or fill me
or bring me real joy.

Tomorrow
I will wake up
and I will not be a woman
an accessory
to the life of men
and I will have no need of my hair
or my ovum
or my hats.

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~The Stick Turned Blue
-Z


An exquisite wet dream
the masculine fetish

she sits.

Her flesh falls soft, in fabric draping curves.
Tendrils pushing out of her skull,
(parasitic leeches in waves of rippled gold)
she clutches a pair of safety scissors
wondering, which limb?

Rapunzel is waiting.


~Ephebophilia
-Z

the passive sleep

preserved heroine. yellow. Brittle.
She is a hollow pressed flower.
A dry bone.

An IV of pomegranate
the tart syrup congeals in her veins
and her lips stain with a smear
all bodies who choose to touch.

take your turn.


she is two things, split like a fruit
visited by gelatinous leechs
who would till her flesh in search
for a bucket of nails
(lifes seed)
and quench their dry sponge gums
on her syrupy sweat
gooey and coagulating
in her creases.


but the soil is dead. She is a dry hole.
Filled with rotten acorns.
remembering
the
wet smell
of green.

and whispering
When I die,
I hope there will be no more dreams.


The Witch: alternative feminst history

Quotes from Diane Purkiss

Early representations of The Witch in the twentieth century: Alternate radical feminst histories

The enormous changes in the standard feminist narrative of the witch and her place in history reflect feminisms attempt to ask and answer questions about what history is, what feminist history is, what might count as authority and authenticity, and where the intersections are between history and texuality, history, and politics…

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Originally, women’s history was inspired by the wish to uncover the truth about women, and this led to a yearning to find oneself in the past, to locate real women who share our natures and problems…feminist histories are no more “bias� than those male historians who have taken up the figure of the witch and reformulated it according to their needs and fantasies.

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…Where the shaping power of those questions in determining radical feminist historical narratives is acknowledged, the acknowledgement often take the form of a refusal of historicity, an insistence that the past must be mapped in a certain way because such a map still applies in and to the present.. This tension between past and present is expirenced in all feminist histories, but only radical feminism resolves it by dinying the difference. Radical feminism offers its narrative not as a reconstruction of the past, but an account of the way things always are.

Radical feminist histories make more conventional historians uncomfortable because of their closeness to what we wish to hide.


..................______..........._______................................

History indeed becomes hystery when the unspeaking body is the only site which can be recollected, and when events become reduced to occasions for extended fantasies about other peoples tramas.

..................._________................________..............................


Daly wants women to be Hags, but she also wants to say that what happened to Hags once is happening to the again. Indeed, one way of recognizing Hags-defining their identity-is by persecution…
Seeing yourself as eternally oppressed is not really liberating unless you are also presented with some inkling of a solution.
Telling women that they must be Hags and also that Hags are doomed to suffer since the dawn of recorded history is not encouraging. The soloutions Daly postulated are psychological and internal, rather than public and political; to become a hag is to survive the experience of learning or reading…and acknowledging one’s own pain and fear.
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The myth reminds all of us that we want to find ourselves in the past, that we scan the past looking for confirmation of who we are, who we want to be. We search for something to aim for, and for something to aim against. We look for stories about our own journeys, battles, passions. We search for real women, women as real as ourselves, perhaps more real that we can manage to be.

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Her Kind
By Anne Sexton

have gone out, a possessed witch,
haunting the black air, braver at night;
dreaming evil, I have done my hitch
over the plain houses, light by light:
lonely thing, twelve-fingered, out of mind.
A woman like that is not a woman, quite.
I have been her kind.

I have found the warm caves in the woods,
filled them with skillets, carvings, shelves,
closets, silks, innumerable goods;
fixed the suppers for the worms and the elves:
whining, rearranging the disaligned.
A woman like that is misunderstood.
I have been her kind.

I have ridden in your cart, driver,
waved my nude arms at villages going by,
learning the last bright routes, survivor
where your flames still bite my thigh
and my ribs crack where your wheels wind.
A woman like that is not ashamed to die.
I have been her kind

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November 21, 2007

Mold Dreams

An orb of lichen moss
That consumes your sleeping form:
It grows in the dark

It feeds on me.


You challenge my divinity
because the ephemeral memory
(Of your knee shaking smile)


It feeds on me.

Word Retrieval: separate, rinse, repeat.

Word Retrieval: separate, rinse, repeat.


I’m losing track of the boundaries of my body
It happened today
I walked. I wasn’t there
I felt my face blend
(Get rubbed over)
Like smearing oil pastel peanut butter

It snapped back rubber band like
And I kept walking
While my hands drifted further and further away.


Just give me a minute.
i'm starting to forget
(how to breathe)
so forgive me if i babble.
just give me a minute
i'm starting to forget
lets see if it makes sense
in the end.

Caution: Eye Irritant.

Caution: Eye Irritant.


I will remember
What it felt like
To fall asleep and wake to find you enveloping me
Your Leg slung across my hip
Arm pinned under my head.
We layered our limbs
And woke up drenched in each others heat.


In that twin bed
We had no space to wiggle, to breathe
Ah, to realize the mortal danger in a sneeze.
But even no room
was too much room
when it came to you.

I’m not ready to wash you
Out of my sheets.

November 15, 2007

a thank you

I name and validate the women in my life who have shown me strenght and grace.
Forgive my failure to articulate with decent poetry.
I couldn't find the words, so I settled for some words


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For Sarah-
You are my savior
In that I see you survive
If at times,
Only in your laughter.
It’s a blissful relief
To find a mind that comprehends
All that we still don’t understand
About us.
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For Emily-
I envy your
Compassionate strength
And the ease with which I find your company.
Unconditional care
Is hard to come by.
Lets always come home
And find each other there.
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For Beth-
My ivory lady
Your wit, your constant quest for poise
(Sharp as iron needles)
Manages to puncture the vast distances
Between us.
You will never be less
than family to me.
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For Rebecca-
You give me the strength
To stick it to the institutions that be.
(however cliché it may seem)
You remind me that passion persists.
And though injustice brings us to tears,
you help me believe
“Dreamers move mountains�

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For Briar-
Moments with you
Foolishly brilliant poignant lady that you are
Have shown me
What a soul’s connection might be
I will always be grateful
for your defacement of my white paper loneliness.
Please know,
Even when you stop speaking,
I’ll keep listening.

even when i am lonely, i prefere solitude

Ani Difranco's incredible performance

http://www.youtube.com/watch?v=11BM_jNj9os

I recently read Communion: The Female Search for love by Bell Hooks

She had some interesting statements that I thought paralleled the commentary in Beyond Beats and Rhymes. A filmed male stated that in the “box of patriarchal misogynistic� the only way men are allowed to connect with women is through sex. How do you form connections with the gender you label a commodity?



Bell Hooks on heterosexual love and romantic friendships

Women who are steadfastly heterosexual may live a lifetime without feeling true love between themselves and a heterosexual partner. The greatest tragedy of marriage within patriarchal culture is not that so many couples divorce but that an even greater number of couples stay together without feeling that they love each other.

I hear us testify that the loneliness that may come with the full self-love and self-actualization is far preferable to the loneliness of being in a relationship where love is not present (…) loneliness chosen is always preferable to loneliness imposed.
(…) many of us recognize that we may long for deep and abiding intimate bonds of communion in love that are not sexual. And yet we want these bonds to be honored cherished commitments, to bind us as deeply as marriage vows. Individual women are choosing to create lifelong partnerships or to make lifelong commitments with individuals they never live with, or live with for a time.
(…) I knew with my whole heart that it is best to have a circle of love, with committed bonds that extend beyond one privileged partnership.



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sock drawer

I am remembering a girl
17
With candyapplecaramel eyes
Who took two men
To the same bend in the river
(On different occasions.)
One
(sweetmellowblandchocolatemilk)
The other
(tangytearjerkinglemondrops).

Sitting on a concrete island
She attempted to mold them into the same man.
Folding their faces memory and tucking in the corners
Until they hid
(On )
(Among)
(In)
(Along )
each other.


Unfortunately she felt nothing
In her raw steak heart.
fissured between dual lovers
(Lemon and milk)
And her throat well
Reverberated hollow
With each stone
She pushed into
The rushing water
(clearsolidapplecrunchsplash)
Beneath her feet.

She felt
Lonelier in love
Than in solitude.

Go figure.

the music business is still run by men

and the music industry mafia is pimping girl power
sniping off their sharp shooter singles from their styrofoam towers
and hip hop is tied up in the back room
with a logo stuffed in its mouth
cuz the master's tools will never dismantle the master's house
but then

i'm getting away from myself

as i get closer and closer to home
and the difference between you and me baby
is i get fucked up
when i'm alone


-ani difranco

November 14, 2007

Twisted sheet context

She told him now;
“If you choose something stronger than a pencil,
Things like that often happen�
She laughed again.
I knew before he spoke.
(although that was not likely to make it easier to settle)
I rolled over him, making myself as heavy as possible.

Do you have to be so fucking rough all the time?

this heterosexual mess

“So, which one of you is the straight one?�

-she leaned in through our car window, pierced lip fierce,
Smiling.
Shifting her eyes between my friend and I. (the objects of her curiosity)
Cigarette in hand she paused to brush the ash off the windshield.
The question lingered like the smoke.

“So, which one of you is the straight one?

My mouth hung open with a smile
I stammered and looked at Jen, in the drivers seat next to me for assistance
Her face hung with the same silent humor as mine.
I finally broke the silence.

“Is that a trick question?�

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-Judith Butler explains Monique Wittig

A lesbian is not a woman. A woman (…) only exists as a term that stabilizes and consolidates a binary and oppositional relation to a man; that relation (…) is heterosexuality. A lesbian, (…) in refusing heterosexuality is no longer defined in terms of that oppositional relation (…) transcends the binary opposition between woman and man (…) a lesbian has no sex; she is beyond the categories of sex

Judith Butler

What a tragic mistake, then, to construct a gay/lesbian identity through the same exclusionary means, as if the excluded were not, precisely through its exclusion, always presupposed and, indeed, required for the construction of that identity. (…) Lesbianism would then require heterosexuality. Lesbianism that defines itself in radical exclusion from heterosexuality deprives itself of the capacity to resignify the very heterosexual constructs by which it is partially and inevitably constituted. As a result, that lesbian strategy would consolidated compulsory heterosexuality in its oppressive forms
(We must put forth)...…an effort to think through the possibility of subverting and displacing those naturalized and reified notions of gender that support masculine hegemony and hetorosexist power, to make gender trouble, not through the strategies that figure a utopian beyond, but through the mobilization, subversion, and proliferation of precisely those constitutive categories that seek to keep gender in its place by posturing as the foundational illusions of identity.�
-Judith Bulter, Gender Trouble


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Adolescent Romance

My first high school him
That early initiation
Was a shop front
For
My first her.

After all,
Where did my loyalty lie?


He was
Backseat fumbling stumbling seat belt buckles and fingers.
My hands aching, shaking - my repeated naïve faking

How many times did I cry out over pleasure not there?

They were my power punctuation those cries - forced moans.
My radical conclusion
Period

An end to those nervous
Driveway dates
Frantic peering out the -smeary window - shirt akimbo
Ducking with the passing headlights
Shattering like butter on the foggy windshield

Adolescent romance is a fumbling humiliation.
An unskilled hand looking under the hood
Of a stalled automobile
We were told it would run smooth.
We’re looking for a pedal
The break
Push pull no fail response
No go and all take.


So,
What was she?
A dropped line in my performance of heteronormativity?

hand held - hallway - fleeting flashes of contact
Heavy lidded apple hair inhale

pencil passing - finger tip fire
The world stopped when she bit at her lip
Admissions of guilt,
As if our confessions
Would save us from this heterosexual mess

whispered behind the drawn curtains
Of our hair


Forget what I said
Pretend it was steam on the air

Oh, to forget
what I have realized.

Bliss
to be baptized in the wet slap of your eyes

"she sees the arguement but"

Beauty is unbearable, drives us to despair, offering us for a minute the glimpse of an eternity that we should like to stretch out over the whole of time."
-Albert Camus

I did this scene a few years back as a studio class project. I thought it was an interesting read.
I feel a pang everytime I read the ending;

“You make me feel ashamed…of things I should not be ashamed of…�

Yes, and yet, perpetuating our gender binaries and defining ourselves by our sexuality are things that may be just cause for some degree of shame…

Yes, and yet, no one, no one deserves the “unwanted attention� bestowed on them due to their race, class, gender, sexuality, or what they happen to be wearing..

Yes. And yet, and yet, and yet, and yet, and yet.


Excerpt from The Possibilities by Howard Barker“She Sees the Argument But�
(A woman official, seated behind a desk. A woman enters, stands before her)

The Official: We are so glad you could come.
Woman: It was- (she makes a gesture of casualness)
Official: So glad. I can see your ankle. Do you realize that? You do realize that of course. (…) You have drawn attention to your ankle, so presumably you must know why.
Woman: (pause) I wanted men to suffer for me.
Official: (pause) Suffer?
Woman: Torment, yes.
Official: (pause) I think, don’t you, society is so riddled with crisis now, so much healing needs to be done? Crisis after crisis? The food crisis, the health crisis, the newspaper crisis, the suicide epidemic, the lunacy epidemic? So much despair and so much healing to be done? And you say, to all this misery I would add a little more despair, a despair of my own making because it is despair isnto it? The effect of your ankle on the morning tram, despair?
Woman: Yes. Longing and despair.
Official: Though of course, among the despairing lurks the criminal. And he, tormented as you wish, will not wald home in silence to his wife and that his children in his arms with a slightly distant look…No, the criminal will own. No city banker has more passion to own (…) you advertise your sexuality.
Woman: Yes
Official: I am so glad you came in! (pause) Why don’t you marry and show this ankle to your husband?
Woman: I am married.
(…)
Official: You love your husband but you show your ankles to any stranger in the hope of tormenting him, is that correct?
Woman: I think so, yes.
Official: And where is your responsibility towards the male who cannot contain the lust you stimulate in him?
Woman: He should bear his suffering.
Official: But you impose it on him!
Woman: yes and he must bear it. Perhaps I may be seduced. A correct glance or gesture, even a sign of modesty, may do the trick.
(…)
Official: The world goes on, crises occur, we struggle towards the perfection of democracy, and you, a married woman, dangles her ankle on the bus
Woman: (pause) yes
Official: You deserve every unwelcome attention you get
(…)
Woman: You want me to be mad, when it is you who is mad.
Official: (…) Find a mirror, look in it, and ask yourself who’s mad. Look in your eyes, which are ringed with soot, and ask yourself who’s mad?
Woman: (pause. The woman is still) You make me ashamed….of things I should not be ashamed of…
Official: We want only to understand…

(Pause. The woman leaves the table, goes out. The sound of her heels descending stone stairs)

November 8, 2007

to a man i loved


You touched me in places so deep I wanted to ignore you
-adrienne rich


Loving you: Recollection. (2007)

Your Kisses
smacking like my skull against that wall
I ate around the bits you bruised.

You taught me to love myself
As you loved me;
The razor blade way.

The way into my heart starts higher
Learn your anatomy.


To a man I loved . (2004)

I don’t know how to deal.
My hand is numb, numb from
Writing what no one will ever read again
(the stains from this marker swear with my sweat.)
I miss our friendship
You know… the one we left behind
When you had a change of mind;
Just stop.
Because I won’t take testosterone
or pheromones
as an excuse for you anymore.
My life was too intact
For me to sit and watch it crack.
Don’t ask me.
I have my own decisions to make,
So no,
No.
You will not take this from me.
Flesh is just flesh
My love is not my blood or skin
My mouth can lie
So why
Why try sucking out the answer?
Its not there.
The way into my heart
Starts higher
Learn your anatomy
So go ahead
Ask me if I care.
I will lie with a smile.
But not until I learn to say
No
I don’t want
To talk
To you


November 2, 2007

The daughter complex

We think back through our mothers if we are women�
-virginia Woolf

"I was locked into being my mothers daughter,
I was just eating bread and water
thinking, nothing ever changes.
And I was shocked
to see the mistakes of each generation will just fade like a radio station
if you drive out of range."
-ani difranco

Ok, backround check:I am a feminist. I am an artist. I am an engaged individual, who is constantly questioning the constructions surrounding myself. My mother has a PH.D in Visual Neuroscience. She and my father are work colleagues and she is a strong, sarcastic women. She is attractive, brilliant, raised me in a very androgynous manner, taught me to be a fierce liberal, taught me to view sex without shame, got married in a short plain navy dress (never romanticized or stressed marriage) , raised me without religion, encouraged me to always be independent, jammed with me at Ani Difranco concerts, and supports my lifestyle as an artist. In fact, a long while back when I hesitantly confessed to her I wanted to major in theatre and visual art, she jokingly replied,
“There are only two things you could ever do that would piss me off enough to consider kicking you out of this house:1. not go to college 2. be a Republican.�
These are two problems she never had to worry about.

So, why in a class essay on feminism and our mothers was my first sentence,
“I will not become my mother�?

It doesn’t add up.

What also doesn’t add up is the fact that it took me 3 years to “come out� to her as a “feminist� and to discover that she doesn’t approve.
I could not believe it. My mother. My progressive, intelligent, empowered mother did not identify or approve of my claimed identity as a feminist. What was going on? In terms of career, she was my feminist role model, and yet, there was a disconnect, a wall between us when confronted with this word.
Feminism.

As we continued to talk, I began to understand where this distaste was stemming from. It was a response to fear. A response to the stereotype of what she views/fears young feminists all are today: Lesbians. I discovered with surprise and sadness that my liberal mother who embraced my homosexual friends and supports politically all homosexual rights (who taught me to do the same from and early early age) feared that I might discover (through feminism) that was a lesbian, not just any lesbian, but a butch, aggressive, “in your face�, buzz cut lesbian. Though she supports the rights of lesbian women and also has no personal moral issue with homosexuality, she would rather her own daughter not be gay.
(After that, I didn’t have the heart (or the guts) to tell her that actually…the mysterious “someone� I was falling for in my latest college class (ironically my feminist studies class) …was a woman.)

For the record, when in the future I finally fully “come out� to my mother with my ideology and sexuality, I have complete faith that my mother will love and support me and that she will come to peace with my life choices, whatever they may be. But for now, I lack the courage to include her in my struggle to define/embrace my sexuality, so until I meet someone special, or my courage overcomes my fear, it seems I will only be bringing home the “safer� half of my sexuality.

However, what disturbed me the most about this interaction was her inability, and my inability to fully see each other in this circumstance. We both in that moment, were unable to identify with each other, unable to accept each others viewpoints, unable to respond without anger and victimization, and in short, unable love each other in that moment. In Manifesta, Jennifer Baumbgardner and Amy Richards write, “We have a generation of mothers who raised children with at least some hint of feminism in the air� so how was she able to raise me within what I would call “feminist ideals� but not recognize, and support my generation’s feminism?
In consequence of such interactions, coupled with a few other nasty habits and insecurities I picked up by observing my mother while growing up, I have spent a great deal of energy and time trying not to be my mother. In my effort to uproot my own insecurities that I unfairly blame her for, I have spent a great deal of my life hiding, burying, and ignoring the aspects of her I discover in myself, but in attempting to kill the negative, I found I often also had to destroy the positive.
I felt confused and trapped by a dual desire within me, as Lugones states, “I was disturbed by my not wanting to be what she was (..) my self was missing because I could not identify with her.�
There was so much in my mother that I loved/love and wanted to emulate, but “I was unwilling to become what I had been taught to see my mother as being (…) I thought that loving her was to be in part constituted by my identifying with her, my seeing myself in her.� Why had I erased all positive aspects of my mother and my childhood from my memory? Why was I so angry at her? Why, when my mother gave me so many positive qualities, empowered me as a human being, taught me to be strong, why could I only focus on two things; my internalization of her weight insecurities which turned into my eating disorder, and my fear of embracing my personal definition feminism and sexuality. I found myself viewing her through only what she lacked, rather than what she had. I could not see her as a woman with personal issues and insecurities; I could only see her as my mother. As my mother, I could strip her of her independence and blame her for my own inadequacies. This mode of loving her was problematic in that was inclusive of my abuse. By seeing her in this light, I failed in loving her. I feared becoming her. This relationship must be revolutionized. Perhaps I must accept that “In dealing with our own mothers, many of us could be confronting our own misogyny-our dislike for the way women’s power is forced to play out in a sexist society� (Baumbgardner, Richards). The first step then will have to be valuing women “independently of their relationships to other human beings� (Baumgardner,Richards). In viewing my mother as woman, I would have had to accept that she was prey to the same patriarchal constructions as I was and that I could support, teach, and love her by identifying with her.

“We are fully dependant on each other for the possibility of being understood and without this understanding we are not intelligible, we do not make sense, we are not solid, visible, integrated; we are lacking. So traveling to each others “worlds� would enable us to be through loving each other� (Lugones).

We have to redefine our connections between generations as feminists, redefine our notions of mother and daughter, “We have to make it clear to our mothers, our foremothers, and ourselves that our actions are not a rebellion but a necessity of speaking out truths: they are not against but for� (Baumgardner, Richards). Just as 3rd wave feminists must acknowledge that the choices of our feminist “mothers� cannot be judged until they understand those choices were made in a context and a time they will never experience, 2nd wave feminists must acknowledge that they have a responsibility to engage and attempt to understand the perspectives of the 3rd wave feminist.

“The biggest conflict between generations is a lack of communication, mutual ignorance of each other’s accomplishments, and sometimes, suspicion about each other’s motivations� (Lugones).
We are not squabbling mothers and daughers, fearful of each other’s motives and unable/unwilling to examine each others point of view. We are not controlling, self righteous parents, or ungrateful brats disregarding our forebear’s accomplishments, we are the “real, everyday women who make up this movement. The characters-young and old-whose lives show us where the movement needs to go� (Baumgardner, Richards). Perhaps then, my mother and I will learn to see each other, not as an ignorant, fearful mother, not as a gullible, defensive child, but as women. Perhaps then, we will be able to see how powerful, beautiful, and strong we are separately, and how much more we have still to give to each other.