Posts Tagged ‘childhood’
* The Madison Journal of Literary Criticism interviews my friend Ramzi Fawaz about his exciting new book on the X-Men in the 1970s: The New Mutants.
* Whatever happened to Gary Cooper: You’ve heard of women’s studies, right? Well, this is men’s studies: the academic pursuit of what it means to be male in today’s world. Dr. Kimmel is the founder and director of the Center for the Study of Men and Masculinities at Stony Brook University, part of the State University of New York system, which will soon start the first master’s degree program in “masculinities studies.”
* The fire next time: The Pension Crisis at Public Universities.
* The Clinton plan for college. This summary leaves out all the awful disruptivation and neoliberalization stuff that will be part of any actual plan, so it sounds great.
* Widespread use of private email revealed a day after Wise resigns. The Revelations in Phyllis Wise’s Emails. Legal experts react. It’s so bad the board is going to vote on whether to pull her $400,000 golden parachute.
* Comic book movies and the forgotten art of the ending. You heard it here first!
3% takes place in a world where most of the population lives in “Hither”: a decadent, miserable, corrupt place. When people reach 20 years of age, they go through the “Process”, the only chance to get to “Thither” – the better place, with opportunities and promises of a dignified life. Only three percent of the applicants are approved by the Process that will take the applicants to their limit, putting them in terrifying, dangerous situations and testing their convictions through moral dilemmas.
* Point: They clearly should have let Max Landis write Fantastic Four. Counterpoint: The Fantastic Four Are Jerks.
Natalia’s tweet became a whole great blog post on modernism, childhood, and tech.
* Prison-industrial-wildfire complex: Nearly half the people fighting wildfires wreaking havoc across California are prison inmates.
* Sandernistas would do well to reflect on one thing. In a few months’ time, Sanders’s campaign will be gone. He will not win. … But Black Lives Matter, or rather the movement with which it has become synonymous, isn’t going to go away. And it is far more important to America’s long-term future. A useful corrective, I think, though my intuition remains that this is one brand of underpantsgnomism competing with another for underpants-gnome supremacy.
* Diseases of the twenty-first century: Foot Orgasm Syndrome.
* This could actually be interesting: Harvard Professor Larry Lessig To Explore Democratic Presidential Run.
* Because you demanded it: Werner Herzog’s Ant-Man.
* And while the lion still remains at large, Milwaukee remembers its polar bear.
Seeing this review of Unbreakable Kimmy Schmidt at the Los Angeles Review of Books has inspired me to finally write up some somewhat idiosyncratic thoughts I’ve had about the series that I haven’t seen reflected anywhere else. (And thanks to the people who have indulged me about this on Twitter, especially @millicentsomer and @evankindley.) I definitely agree with the reviewer that Unbreakable Kimmy Schmidt is a “woman out of time” story, but I really think the interpretive emphasis on “Unfrozen Middle Schooler from the 1990s” should be on “middle schooler” rather than “from the 1990s.” My take is that the 1990s nostalgia is largely driven by the Millennial audience the show is pitching itself at — it’s an engine for jokes but not really the center of the project. “Unfrozen Middle Schooler,” in contrast, is the actual heart of Unbreakable Kimmy Schmidt, at least the way I want to read it as a feminist work.
One of the things I talked about with Lili and Evan on Twitter was whether Kimmy’s abduction is taken seriously as an event or if the bunker is taken seriously as an actual lived environment. Having completed the series now, I still don’t think so: I think “the bunker” essentially functions in the series like being in a coma, or being shot with a Grow-Up Beam, or making a wish to be Big. It’s a magic spell to get Kimmy from middle school to adulthood without having to go through high school and college, which is the source of her power in the series, from her refusal of the usual rules of society to her love of backpacks and bright, mismatched clothing. You can see this utopian imaginary working really clearly in the incredibly infectious theme song, where the removal of the girls from the bunker and a closeup on Kimmy’s ecstatic childlike grin over the lyrics “Unbreakable! They alive, damnit! It’s a miracle!” quickly gives way to a montage of nostalgic, home-video-style images of childhood (and specifically girlhood), which express the same unvarnished joy but also absolute self-confidence (thumb’s up), total mastery of their environment (the dancing, the hula hooping, the monkey bars), and maximum resilience in the face of adversity (the baby plopping down face first).
We return to the in-universe “autotune the news” frame only once during this thirty-second sequence, to be told that “females are strong as hell” — the clear implication to me being that we ought to draw an interpretive connection between the claim of female power and childhood, specifically, girlhood: before sex, before even puberty, before the male gaze, before pervert teachers and abusive boyfriends and quasi-consensual sexual encounters and ubiquitous street harassment and the too-familiar host of other abuses inflicted upon women from the moment they enter young adulthood. What the magic spell of the bunker allows Kimmy to do is pass over the moment in which girls are forcibly conscripted into becoming “women” (somewhat or entirely against their will) and emerge instead as an adult who has not internalized our society’s misogyny or its mean, psychosexual aggressivity. So much of what is delightful about Kimmy is precisely the fact that she has retained the aspirations, expectations, confidence, and general affect of a precocious middle-schooler without having had to temper or diminish herself through unhappy experiences with patriarchy. If the show has a moral or utopian message for women, it’s Let’s all go back to thinking about ourselves the way we did before society told us we were worthless, and it’s a pretty damn good one.
We’ve been working with children’s stories a lot in my “magic as literature” course this semester, and one of the oppositions we’ve really been focusing on (especially as we’ve studied Disney, and Frozen, recently) is the opposition between what mythographers call “the girl’s tragedy” and what we’ve been calling instead the utopia of childhood or (here more directly) the utopia of girlhood. The girl’s tragedy is the female answer to “the hero’s journey,” but the narrative doesn’t work the same way: instead of the boy hero who sets out from home, masters the outside world, slays the dragon, and then returns home to become king, the girl’s tragedy is a story about being ripped from safety and forced to accommodate oneself to the whims of adult men, particularly their sexual urges. The happy ending for the girl’s tragedy — the happiest one available — is that she accepts her role as wife and mother and gives birth to a male son who will then inaugurate the next cycle of heroism; girls and women who refuse to play the proper role are typically cast out of the realm of the human altogether, turned into animals or plants or stars or foam. The utopia of childhood describes those comparatively rare stories that are exceptions, where the girls are neither forced to become mothers nor punished, but allowed to remain what they were without transformation by instead bending the adult world to their will (as in Brave, or Moonrise Kingdom, or arguably Frozen, though in most of these the girl-heroes seem only to buying themselves time rather than enacting a full and permanent transformation of their circumstances).
Of course the utopia of childhood can itself be deeply retrograde, and is frequently misogynistic in its way — we spent a lot of time on “The Problem of Susan” in the Narnia books precisely so we didn’t fall too in love with the impossible fantasy of never growing up (when in the end we all have to). Nor can we safely imagine childhood in such uncomplicatedly rosy terms, both because childhood can also be a time of fierce frustration, competition, and intense pain even when it is not actively shattered through the cruelty and abuse of adults. But all the same there is something undeniably appealing about the idea of returning to a childhood that is both happy and which never gives way to something else, a desire that structures so much of our culture (particularly the middle-class culture of “good parenting”) that it really almost goes without saying. And in the case of Kimmy Schmidt‘s feminist politics of course the idea is not that women find some fantastical way to literally de-age themselves so much as they look to their younger, effortlessly capable and supremely confident selves as inspiration in the present.
There’s one more thing to say about Kimmy Schmidt, which is again about the abduction and the bunker, which would seem to be a rather large problem for my reading of the series. Isn’t Kimmy’s entire situation itself a literalized girl’s tragedy, insofar as she is abducted as a child and put into radical seclusion, all the while being fed obscenely misogynistic lies by a woman-hating male adult? Well, yes! The question of Kimmy’s abduction, and the horrific sexual violence it inevitably implies if thought about too much, is a pretty thorny one for the series: fixated on too much, it threatens to derail any potential for comedy in the show at all. (UPDATE: Someone just sent me Emily Nussbaum’s review, which talks a lot about this issue.) The series cleverly solves the problem by opening the door just a crack — “yes, there was weird sex stuff in the bunker” — and then simply leaving it there. Something happened — perhaps, as Evan suggested in what has become my headcanon, it was all between the girls and not involving the preacher at all — but it hasn’t changed Kimmy, or defeated her. And she emerges from Hell neither pregnant with the monster’s baby, nor transformed into a weeping plant or into sea-foam, but just as unflappable and unbreakable as she was when she went in.
And in any event the treatment of the bunker doesn’t really work the way the ten-second summary of the setup would suggest. The presence of the preacher is actually a further occasion for Kimmy to refuse to internalize her sexist training, precisely because it is now located within a single, odious man against whom she can fight. The button at the end of the first episode demonstrates precisely this: Kimmy proves he is lying to them, he says he’s going to break her someday, and she replies no, he never will. It’s easy to see why, in contrast to the microaggressions and little indignities — alongside the very big ones — that make up girls’ training to be women in our society, which is constantly delivered by parents and siblings and friends and trusted authority figures and widely celebrated mass culture texts, Kimmy’s more direct training in misogyny at the hands of the Reverend never really takes. In the bunker she had an obvious enemy, someone she could tell she was feeding her poison, and so she could reject it. It’s actually outside the bunker where the true brainwashing takes place, which is all the more insidious because it seems like education, like help, like love.
* TNI CFPs we have believe in: “The Stars.”
The child was too young to have a criminal record. Young enough, at 12, that to claim he was “no angel” would have been extraordinarily obscene. Yet it did not take long before media agencies began looking into his parents’ past. Around dinner tables across the country, some black uncle or aunt or mother or father or grandparent or brother or sister is asking why the parents weren’t there, didn’t or couldn’t do more to protect him. People will solemnly nod, but they will know the truth. For too many black childhood is a gestation period, an interlude between a period of less-than-innocent babyhood and maturation into full social pathology. Black children, but not just black children, are denied childhood. Instead, they come to be the stuff of nightmares, youths who are simply younger versions of the terror they will embody. “A hallucination of your worst fears.”
* Police officer Darren Wilson is not a monster; he is the mundane and day-to-day face of white supremacy as experienced by people of color in the United States.
* BREAKING: Algorithms Can Ruin Lives.
* Kitty Queer. On the queer subtext of Chris Claremont’s long run on X-Men.
* Great moments in not thinking of an elephant: “The only people with the right to object to immigration are Native Americans.” This has got to be the worst imaginable framing to argue on behalf of kindness or generosity towards immigrants.
* A theory of politics predicated on “how to convince your right-wing uncle to act on climate change” isn’t one. Unless “Uncle Richard” is Cheney, and not even then.