Posts Tagged feminism
Title The Breadwinner
Starring Saara Chaudry, Soma Chhaya, and Noorin Gulamgaus
Director Nora Twomey
Writer(s) Anita Doron (screenplay), Deborah Ellis (screen story), and Deborah Ellis (book)
Genre Animation | Drama | Family
Release Date November 17, 2017
Filming Location Ireland | Canada | Luxembourg
Parental Guidance PG-13 for thematic elements including some violent images
IMDB Rating 7.6
Synopsis: It’s 2001 and the Taliban is at the height of its power in Afghanistan. Eleven-year-old Parvana’s (Saara Chaudry) father Nurullah Alisai (Ali Badshah), a former schoolmaster and now an amputee, makes ends meet for their small family by selling their possessions in the market and offering to read and write for the generally illiterate populace. Since Parvana is still considered a child at her age, she is able to assist Nurullah at the market while her mother, elder sister, and baby brother must stay at home and out of public sight. During these excursions, Nurullah tries to teach Parvana their people’s tradition of storytelling to help preserve the true history of their land. One day, Nurullah gets into an argument with a young hotheaded Taliban recruit Idrees (Noorin Gulamgaus) when the boy visits their kiosk and claims that Parvana is “drawing too much attention to herself”. Idrees was once Nurullah’s student when schools still operated in Afghanistan and Nurullah takes offense at Idrees’s, indeed, lascivious attention towards Parvana. Though Idrees’s supervisor Razaq (Kawa Ada) – rather a mild-mannered and sympathetic man by Taliban standards – settles the situation at the market, later that day, Idrees brings a gang of militia to the Alisais’ home and has Nurullah arrested. With the sole provider now removed, the family is on the verge of going hungry. However, Parvana takes matters into her own hands when she cuts her hair short and dons her deceased elder brother’s clothes to disguise herself as a boy and continue Nurullah’s work to become the breadwinner. Though not always successful, her spirit weathers each hurdle and, enjoying the newfound freedom and privileges the change of appearance gains her, she decides she will rescue Nurullah from prison – along the way making a few friends and encountering old enemies.
Experience: This story was right up my alley. Not only does it have a girl realizing victory over the verdict of an extremist regime, it places a central emphasis on storytelling.
I have already mentioned how I loved the way the father Nurullah explains the importance of storytelling that reaches beyond entertainment and self-gratification in my last week’s post. The movie in itself captures the story Deborah Ellis wrote with wonderful artistic expressions. I truly enjoyed how the animators created the visuals of the hustle and bustle of the marketplace, the dilapidation of the hovel in which the Alisai family lived, the barren landscape that poignantly reflected the dystopian nature of regime, and the charm of the industry of handmade and gloriously colorful candies that is bound to hold so much attraction to children even amidst such a hard life. In contrast, the portrayal of the imaginings of the story that Parvana tells her brother each night is full of mystery and sharp edges just as it should be. Action is insightfully weaved in with hardship. The movie does not aim at humor at any given point and is a drama through and through but it is inspiring to see how these people learned to adapt and find their own forms of joy in family and in childhood.
And while Parvana is the central character significant for her choice and effort to disguise herself as a boy to provide for her family as well as save for the bribe that might help rescue her father, she is not alone in this adventure. She quickly finds an ally, her old schoolmate Shauzia. Yet, while the two girls have chosen the same lot in life, their personalities differ night and day. Both are brave girls with indomitable spirits and a dare-to-dream attitude but while Parvana dreams for her family, Shauzia dreams for herself. It is such a minor detail that she carries a beachscape postcard in hopes of one day escaping her abusive father and see the ocean – she longs and saves to claim her independence. But she doesn’t understand Parvana’s desperation to save her father and reunite her family. Instead, she sees it as a possibility of losing her friend. Yet, she helps her friend despite her self-interest. I thought while Parvana’s character was selfless and rash, Shauzia’s was out of the ordinary and showed greater depths of heroics.
Thematically, the entire movie greatly captures the element of secrecy. Other than the obvious secrets that Parvana and Shauzia keep, I liked how the story plays on the idea that not everything is always as it seems. For one, the Taliban supervisor Razaq first helps maintain peace when Idrees picks a fight with Nurullah in the market and then again builds a bond with Parvana-the-boy and advises her on how to get her father out of prison. Idrees is self-serving and vindictive through-and-through and has that natural evil that some people demonstrate even in childhood. But even he, when being transported for war, shows fear towards his future. While the story had a generous plot, it truly is a character-driven narrative that manages to bring many sides of patriarchal extremism.
Recommendation: I highly recommend this movie, whether you have read the book or not. This insightful narrative resonates all the sad truths of what happens under extremist regimes without being wasteful with any diversions from its central objective.
And now for a little public announcement: I will not be writing for a while now; I’m taking time for some personal growth. But I do need a lot of prayers from anyone who is willing to put in a good word for me upstairs. Thank you in advance, all you good people! Love!
Title Bewitching the Duke
Series Wise Woman #01
Author Christie Kelly
Genre Historical Fiction | Regency Romance
Publication Date December 6, 2016
Setting Regency England
Synopsis: It’s 1814 and while the upper crust English “Society” has come to consult certified physicians for their medical needs, plebeians continue to depend on the local wise women to take care of everything from delivering babies and setting bones to cleansing homes by burning sage and ensuring a good harvest for the season. Selina White, the wise woman at the Duke of Northrop’s country seat, takes her role in the community seriously, upholding generations of tradition passed down through the female line in her family. Her efforts are appreciated by one and all in the region except the Duke himself, who has deigned to grace his estate after having abandoned it to decline for nearly a decade. Colin Barrett’s disparage of wise women stems less from the growing belief that medicine should be administered only by university-trained male physicians and more from his history with Selina’s mother, the former wise woman of his land whom he blames for the death of his wife and baby during childbirth. So when he unwillingly returns to his ancestral home that holds so many tortured memories to arrange a wedding, only to discover Selina very much active in practicing her craft not only among his tenants but also within his household, he is incensed. First, he throws her out of his home and then he banishes her from his land. However, he miscalculates her determination to do her duty by his people as well as the loyalty said people harbor towards her in return. Pretty soon his servants are sneaking her back into Northrop, hiding her right under his nose in the unoccupied wing of his house, and business recommences as usual. To further complicate the matter, with every chance encounter, the instantaneous attraction that sparked between Colin and Selina when they first met continues to grow – an attraction that begins to transcend their individual prejudices and encounters that become less and less chance on both sides.
Experience: In all honesty, I’m a snob when it comes to book covers. The illustration absolutely plays a part in whether I’ll invest in the book because, to me, it shows that no effort was spared from start to finish. And this book’s cover instinctively warned me to not pick it up. Nevertheless, when I read the blurb and learned the premise of the book, I was intrigued and decided to risk it. It so happens that Bewitching the Duke confirmed both my earlier misgivings as well as my latter anticipations. The premise of the story does manage to uphold the originality it promised and the cover of the book accurately portends its poor execution. However, that is not to say this book was a total loss.
Let’s discuss the premise first, which after all helped me move past my superciliousness. Immediately, we are informed how the advent of modern medicine threatened both the livelihood and the tradition of wise women in the English society even as the poor continued to depend on them because male physicians were more expensive as well as due to the somewhat retained superstitions that surrounded these women’s healing capabilities. We are introduced – though it is kept in the background for most of the novel – the transferal of the role of the “caretaker” of people’s wellbeing from the female to the male, bringing into sentience yet another instance of how the culture of gender inequality became more dominant as the old religions receded further into obscurity. [I should acknowledge here that I love a story that makes me dive into a little history research of my own!] In Bewitching the Duke, the change comes in the form of the Duke of Northrop who openly declares Selina a hack upon his return to the country and uses her mother’s role in the fatal childbirth that prematurely terminated his domestic happiness as evidence. While his tenants and servants continue to store their faith in her powers, he does not make it easy for them to access her services.
This premise also neatly proceeds to generate not only the romantic conflict in the plot, i.e. a man who blames a wise woman for the death of his wife and child cannot fall in love with her daughter who also is a wise woman and vice versa, as well as the character arcs for both the hero and heroine, given that Colin is unable to move past the memories of his loss to allow himself to love again while Selina herself harbors a guilty secret surrounding the said loss. The trajectory of the story is set with ease and since romance novels generally promise happily-ever-after, we know that somehow the two main characters will have to get over their individual issues and the “wise woman” must rise to the occasion to reign supreme. Yay!
Except, maybe the historical accuracy is completely forsaken to keep the premise of novel adjustable to its length and, thus, the level of effort required, i.e. to say, the story was set a century or three too late. By the nineteenth century, wise women had largely receded into the background of society, most of them having suffered enough horrors related to being labeled “witches” to justly hide their abilities from the public. If these women still dared practice medicine, it was in secret. Say, for the sake of the plot, we, as readers, accept that wise women continued to openly practice their crafts in some remote corners of England where people were optimistically more open-minded, the novel completely avoids any mention of the religious persecution and social ostracism “alternative healers” suffered in the historical period immediately preceding the time in which the novel is set. For me, that was a no-no. Even if the author wished to have none of that “cloaked in the danger of religious persecution” mystery hanging ominously over the characters’ heads, why avoid any mention of what had once happened to Selina’s kind when her knowledge and powers still carried the same mysticism as witches? Alas, a lovely premise was thus unhappily stifled for the convenience of the narration and the result was a loss of intrigue and integrity that encompassed the true history of the subject.
The characters themselves were simple enough to follow. I felt, while they lacked depth, the romance between them brewed in a forthright fashion that I could appreciate. They were obviously each meant to grow out of their attractions and dilemmas towards one another rather than alone, which is always appreciated in a romance novel. It cries true of the notion that true love takes precedence over past conflicts. Yet, the characters were put upon more as plot devices than entities in and of themselves and kept switching foot on one another to add more twists that the story could have just as easily have done without.
There was one particular part of the novel where I could not reconcile with Selina’s character. When Colin confesses to her that he thought he saw the ghost of his dead wife in the unoccupied third floor window of his house, Selina does not set his mind at ease even though she realizes he had mistaken her passing the window for his wife’s ghost; instead, she enjoys a private bit of joke at his expense. This does not present a raving endorsement of her character as a human being, does it, especially when considering how tortured Colin has always been about losing his duchess?
I did enjoy a glimpse of the country life in the story though, which retained the essence of the hypothesis the author was aiming for, i.e. the continued importance of the wise woman in a country neighborhood where people can barter for her services and believe in the influences of pagan rituals without fear of ridicule. This is nicely reinforced with a scene in a fortuneteller’s tent at the traveling fair that all the primary romantic characters of the series attended. The fact the fortuneteller’s words are taken more seriously than a simple diversion shows the reader that here is a society that is not entirely jumping to relinquish the old ways. This I found refreshing and reason enough to keep reading.
Recommendation: Despite some flaws, the story is actually an original one and may be appreciated by readers who are suckers for historical romance and mysticism. Just remember, “a spoonful of sugar makes the medicine go down!”
Author Elizabeth Gaskell
Genre English Literature, Classic
Publisher Heritage Illustrated Publishing
Publication Date March 17, 2014
Format eBook via Project Gutenberg
Setting Regency England, Industrial Revolution
Synopsis: Cranford, sometimes referred to as Chronicles of Cranford, was originally published between 1851 and 1853 as a series of vignettes belonging to a larger body of work by Elizabeth Gaskell in the magazine Household Words, as edited by Charles Dickens. The novel follows the lives of spinster sisters Misses Deborah and Matilda (Matty) Jenkynses and their bevy of matronly comrades who oversee the genteel standards of living for the society of this titular town. The narrative accounts are related by Miss Mary Smith who spends the larger share of each year living with the Misses Jenkynses given her unwavering attachment to the townspeople – though her family moved to and officially resides in the nearby city of Drumble for the benefit of her father’s growing business. Mr. Smith, an industrious man preoccupied with his work, rarely feels Mary’s absence, much to the satisfaction of all principal characters in the story. Mary, in turn, especially benefits from the female society Cranford affords since her mother passed away some years ago, upon whence, she has been left mostly to her own devices in her household. Meanwhile, the women of Cranford take great care to uphold all appearances of dignified living despite any pecuniary shortcomings. What unfolds is a witty commentary of a community that strives to retain the “old ways” despite any modernity the industrial revolution brings to their small town and a heartwarming portrayal of feminine friendship that enlists infallible assistance even in the face of irreparable tragedies.
Experience (some necessary spoilers): Honestly, I did not procure this book until I saw the 2007 BBC adaptation starring Judy Dench and Eileen Atkins last month. I never even listed it among my TBRs. The TV mini-series, however, was very enjoyable and so, as I never deny myself a comparative assessment once I have seen the adaptation of a classic literature, I began reading.
When, in the Making of Cranford, creator and writer Sue Birtwistle (one of the geniuses behind the 1995 BBC adaptation of Pride and Prejudice) confessed that the crew had taken many liberties while writing the script for Cranford, I did not imagine the extent to which this admission was accurate. If one reads the novel and then seeks any accuracy of narrative or characters in the adaptation, they will feel the discrepancies. However, if the heart of the novel were to be determined, they will discover that the adaptation has amplified Gaskell’s intentions. In essence, while the adaptation made unscrupulous changes to the original story(s), it made up for the one gross limitation of the novel, i.e. a structured plot.
Indeed, it was not until I reached Chapter 12 that I began to see a plot formation. Upon a bit of research into the work, I learned that Gaskell, due to her commitment to writing another novel, was quite irregular with the installments for this one, which must account for why the first half of the book chiefly details individual events in the lives of the various Cranford ladies without amounting to any particular direction in which the overall the story headed. However, the adaptation more than provides for a plot even though the scriptwriters often resorted to omitting certain characters by merging them with others, killing off some characters early in the series while keeping alive throughout the program others who were meant to have died as per the novel, and generally attributing the events of some characters to the roles of others. To wit, there was a lot of shuffling around; however, not always at a deficit. I wouldn’t go as far as to say that the adaptation was better than the book but Birtwistle and her team edited Gaskell’s story whereas the original author had not.
Having provided you with a fair warning on book vs. adaptation, allow me to proceed to tell you how I felt about the novel itself. Despite the lack of structure in the storyline, both the subject of the narrative and the writing voice had me vested from the first page. In fact, it boasts one of the better opening sentences I have ever read:
In the first place, Cranford is in possession of the Amazons; all the holders of houses above a certain rent are women.”
For a feminist, this line would be of guaranteed interest and I can imagine the popularity the series would have garnered with its very first installation among bluestockings. Indeed, as Household Words aspired to raise the “affection of both sexes”, Cranford was ideal literature towards that objective.
Gaskell, herself, wrote of her characters with much affection, even though she was not impervious to listing their many deficiencies where soundness of logic is concerned, which may have been engineered to recommend the material to the male readers – or, at least, it prevented the reading from becoming wholly unpalatable to her opposite sex given how self-sufficient the characters were. Before the first paragraph is over, we learn that the men manage to find themselves out of Cranford one way or another (“In short, whatever does become of the gentlemen, they are not in Cranford”) because the autonomy with which the womenfolk conduct themselves renders any male presence redundant. As if to exemplify, early in the book, the one man who manages to infiltrate this community and endear himself with his unassuming and obliging ways, manages to get himself killed in an act of heroics.
The Misses Jenkynses, who are themselves daughters of the former rector of the parish, act as the moral compass for the community as well as regulators of the general decorum of their society. The women adhere to certain rules, which would not always make sense to outsiders but manage to ensure that everyone knows exactly what is expected of them and lives in harmony with one another. And while the older Miss Deborah Jenkyns passes away early in the novel, her guidelines are continued to be followed by her peers. So much so that the surviving Miss Matty cannot make most of her decisions without in some way counseling with her conscience as to what her sister might have done. In fact, it is one of the distinguishing traits of Miss Matty to second-guess herself and always reflect upon the inferiority of her mental capabilities in comparison to others because she was so determinedly steered by her sister in all things while the elder still lived. It is not until later in the novel, when Miss Matty begins to demonstrate a bit more independence in decision-making – albeit with temerity – that we begin to realize that she is the central character of Mary’s narrative even though so much of their lives is presided over by the spirit of the long-deceased Deborah Jenkyns.
Yet, the women are not without their individualities, from fashion sense to personal peculiarities. For example, Miss Matty always saves on household expenditures by burning only one candle at a time but would alternately burn two candles every day to ensure they are of the same height in a sense of “elegant economy” (since having two candles lit was the due riggeur) for the benefit of witness should they have visitors. While another character Mrs. Forrester regularly washed her prized lace in milk to obtain that fine creamy hue and once, when her cat swallowed the unattended lace with the cream, had even fed the animal current-jelly before stuffing it in a farmer’s boot so it could “return” the favored item, for such fine lace could no longer be procured given the nuns from the continent who used to produce it had stopped. And such was the friendship between the women in the community that such eccentrics were not laughed at nor even found wanting. In fact, I thought for a feminist herself who wished to demonstrate how well women could get on on their own, Gaskell was rather harsh towards her characters, ridiculing them more often than they did one another though there was plenty of inducement. However, such indiscretions on Gaskell’s part could easily be overlooked when considering how honest and consistent her portrayal of each character was.
Nonetheless, as the story progresses, the true intent of the author becomes more visible and the reader may realize that amidst all the satire, Gaskell’s message from the town of Cranford is related by how Miss Matty continues to remain a paragon of goodness and kindliness even in the face of adversity, which without fail manages to bring about the best qualities in others. We see, in an hour of need, the devotion with which other characters come to her aid, self-sacrificing without hesitation, simply founded on an assurance that, if situations were reversed, Miss Matty would have happily ransomed every single one of her comfort to benefit another. Even individuals outside their immediate social circle is fully aware of Miss Matty’s eternally benevolent heart and childlike expectation of others to do only good, ensuring that they mirror the same qualities – at least in their deeds towards her. As Mary’s father, upon learning how Miss Matty’s friends rally around her, aptly explains:
See, Mary, how a good, innocent life makes friends all around. Confound it! I could make a good lesson out of it if I were a person; but, as it is, I can’t get a tail to my sentences–only I’m sure you feel what I want to say.”
And Mary, who grows into a woman under the unconscious counsel of this woman, too emulates to think of others before herself, particularly resourcing ways to make Miss Matty happy one of her priorities, faithfully concludes:
We all love Miss Matty, and I somehow think we are all of us better when she is near us.”
Recommendation: There is nothing I love more than a story that depicts the wholesome traits of humanity and this book had this in many folds. I recommend the read to anyone who feels the need to restore their faith in the goodness of mankind and a reminder that kindness begets kindness.
Enter That Old Dude. I have never met him before but, apparently, he is a distant cousin of Dad’s who was a big support during his college dorm days. This guy pays a visit yesterday evening (totally out of the blue), tells Mom he’s been hankering for some home cooked fish dish I never heard of (which Mom graciously obliges to prepare), and then presumes to give me a talk on how in his old age it’s a sincere wish to see grandchildren. Seriously, I never met the guy but he is of the mind that my kids (if I ever have any) will be his grandchildren.
I looked at Dad and he sort of shrunk away from my gaze. So I decided to take pity on the general male species for the day. I smiled and asked if the Old Dude did not have children of his own to place this request to. All politeness and murmurs, if you please. Read the rest of this entry »
Norma instantly made friends when she joined university. It was a first, given that she was generally a reserved person after having dealt with obesity-related body shaming all her life. Her parents had made her go to fat camp after her high school graduation. The program had worked wonders. Norma had yet to get used to her much smaller frame.
The truth was that, up to that point, her entire life had been centered around being overweight. While it was nice to have trendier clothes to choose from, Norma wasn’t sure if her newfound popularity was because university presented a society more susceptible to her quiet intellect or because she was now a size eight.
Title The Nearly-Weds
Author Jane Costello
Genre Chick Lit, Contemporary Romance
Publisher Simon & Schuster UK
Publication Date July 07, 2009
Synopsis: After being jilted at the altar by her boyfriend of seven years, Zoe Moore is on the run from her past. Falling back on her experience in early childhood development, she seeks sanctuary across the pond from Liverpool in Boston to become a live-in nanny for a young family of four with the prospect of even an all-expense-paid summer holiday in the Bermuda. Upon landing in the land of dreams, however, she learns that there has been a change in her arrangements and she now will be looking after two children, aged six and three, in Boston with their widowed father, Ryan Miller. Zoe is an instant hit with the children but warming up to daddy is another ballgame altogether. Unfortunately, the father is the heart-stopping gorgeous kind with the bite of a barracuda. As Zoe navigates a life in a new country with the help of a band of new friends (other British nannies in the affluent neighborhood and their myriad of romantic prospects), she has to also deal with checking her hormones whenever Ryan is around even while fending off his attacks on her competence. It is obvious that Ryan is not coping well with the death of his wife and has spent the past two years boozing, womanizing and becoming exhaustingly efficient at his job as VP of Communications. But when sparks fly between them, it isn’t always amid altercations. Still, sex with the boyfriend is strictly a no-no, not only because of the unprofessionalism but also because he is bad news for a woman already trying to fall out of love with her ex-fiancé. Except, her ex-fiancé Jason doesn’t seem to want to lie low either.
Experience: This novel gave me a lot of mixed feelings. First of all, it took me about 03-04 days to get into the mood for the novel and then again 03-04 days to finish reading it. This happened despite the fact that the chapters are very short (mostly ending below 05 pages) and the writing was quick paced. So what was the problem? The style of Costello’s writing.
Usually, a 419-page Chick Lit of British comedy would take me 02-03 days to complete on regular workdays (I’m a meticulous reader, or in other words, slow). But this novel had me rolling my eyes and sighing with a bit of discontent by chapter 05. Don’t get me wrong. Costello made me laugh quite a lot by this time with the witty self-effacing first-person narration from the single POV of Zoe Moore [who doesn’t like a protagonist with a healthy dose of insecurities, right?], but Zoe Moore thinks and talks in similes to the point of exhaustion.
Even though it is my first time reading her work, I could immediately surmise how pop culture savvy Costello is because the aspect blossomed on every page – nay every paragraph – of the book. I thanked my lucky star that I was brought up in the West during my formative years and have been a fan of American television since because otherwise I would have been spending as much time on Google researching to understand the content of the book as reading it [and possibly more than Costello spent while writing it]. E.g. the kids, when challenged to quickly put away their toys, is not merely enthusiastic, they’re “possessed by the spirit of Mr. Sheen”. Even when she is running away from her second home, depressed as hell and sobbing, she carries out her luggage to the taxi as though “dragging the dead body of a large yak”.
But it’s not only Zoe but her mother and new friends who also speak this way. The mother I could understand because maybe Zoe picked up her tendencies from her but when other characters began showing the same speech pattern, I began wondering if it was just a thing with the British characters or was Costello mixing up character appeals. So I was really spending a lot of time sorting out who was talking when. In fact, if we cut out the constant bombardment of similes and metaphors, I think the book would end with about 300 pages. I kid you not.
Fortunately, later in the book, individual character approaches do begin to emerge. For example, the male characters have fewer tendencies to exaggerate their statements and the similes and metaphors are kept mostly out of their dialogues [thank god]. The children show certain unique characteristics and so does Zoe’s dad. But these characters have much fewer dialogues. Yes, even the hero. For most of the book, Ryan is kept in the background of the scenes although fresh on Zoe’s mind. He only picks up in making appearances halfway through the novel, which I found refreshing. Hence, I would shelve the book firmly in the chick lit genre more than contemporary romance.
Actually, far as the plot goes, I thought it was very well planned. The gradual development of Ryan’s character was a required element to help Zoe adjust to her recent relationship trauma. While Zoe had not recovered from the jilting-by-Jason fiasco till the near end of the novel, that she had a healthy six months on the job before sleeping with the boss works out as well as the fact that Ryan’s wife had been dead for more than two years before he can come to terms with the death. Really, all of the characters were very believable and the plot too was very relatable. If Costello could have just skimmed it on the adding-of-the-similes a bit, I would have few bad things to say about it. [To be fair, I plan to read at least one more of her book to see if this was something she incorporated for Zoe’s character or is it really her own personality seeping into her work.]
There is one aspect that I could really commend Costello for, though. It is her keeping Zoe so secretive. For a character who has such natural tendency for humorous overtures, Zoe sure kept it mum throughout her yearlong stay in the USA about her failed wedding. Costello’s ability to keep the topic consistently on Zoe’s mind but never bring it to her lips was a very intelligent addition to the suspense. It certainly kept me wondering what would happen once she finally revealed why she ran away from home. And this also actually adds to another consistent element of Zoe’s characteristics – that she has a tendency to make a run for it when her romantic relationships show a first sign of failing.
Recommendation: Really, it’s a good story. I enjoyed it despite the writing peccadilloes once I adjusted myself to reading through the similes. In fact, my eyes eventually were trained to skip phrases upon contact with words such as “like” and “as”. Still, I would suggest you read it on the tab with Wi-Fi access if you are not Western pop culture savvy.
She allowed the foamy tides of the ocean to invade her patch of the sand, gradually stealing the ground from beneath her with their assaults. The rush of water rolling through the loose dirt tickled her soles in further attempts to make her lose her foothold. She dug in her heels, her toes. Years of being knocked to the linoleum had earned her, at least, that much grit.
After devastation, there was only freedom.
A few days late, I know, but the thought just occurred to me [or rather I was just prompted, heh heh].
Bear with my reaching wordplay here…
International Women’s Day is on the 8th of March every year. But I feel as though this year, IWD came a bit early when women everywhere – as in on a global scale – were compelled to march out and storm up a hefty protest in solidarity of sisterhood in January. And all because a certain somebody couldn’t keep his greedy paws off of the grandest chair in the USA. An oversight on his part, if I ever witnessed one. But then, just add it to the basket full of other examples of his thoughtlessness.
A veritable powwow.
Yet, I feel like we need to thank DJT for forcing this supposed inconvenience upon our annual schedule. While we ladies really do like to get together and take a moment every year on IWD to pat each other on the back for the long we have come from the days when our ancestors fought for their suffrage, rarely have issues activated female solidarity in such ranks. A couple of my favorite such scenarios are as follows:
Women’s March on Versailles of 1789
On the morning of October 05, 1789, Women took to the marketplace of Paris to protest high prices of food and scarcity of bread. It was one of the earliest and more notable uprisings in the French Revolution. In fact, it led to the famous storming of the Palace of Versailles that toppled King Louis XVI.
Woman Suffrage Parade of 1913
Officially dubbed Woman Suffrage Procession, the parade on March 03, 1913 drew thousands of suffragists to Washington D.C. on the morning prior President Woodrow Wilson’s inauguration in protest of women’s exclusion in the U.S. political system. While pre-event sentiments were largely hostile, an outbreak of assaults upon the participants at the procession produced quite the opposite effects with a nation left in disgrace, adding fuel to the fire in support of the movement. In fact, apart from keeping African American women segregated to follow in the line, the event scored a grand victory for women’s liberation.
It appears that when we women get together, things really do get moved along in the right direction. I say we stick to the streets then.
I hope this post motivates. I would love some feedback. Better yet, why don’t you drop me a line in the comment section on any particular women’s movement that really inspires you.