Bogwitch

literature

Plays: 19

 

“Come Away to the Water” - Maroon 5 & Rozzi Crane

5 May 2013 music Maroon 5 Hunger Games literature book soundtrack film


Probably no man has ever troubled to imagine how strange his life would appear to himself if it were unrelentingly assessed in terms of his maleness; if everything he wore, said, or did had to be justified by reference to female approval; if he were compelled to regard himself, day in day out, not as a member of society, but merely (salva reverentia) as a virile member of society. If the centre of his dress-consciousness were his cod-piece, his education directed to making him a spirited lover and meek paterfamilias; his interests held to be natural only in so far as they were sexual. If from school and lecture-room, Press and pulpit, he heard the persistent outpouring of a shrill and scolding voice, bidding him remember his biological function. If he were vexed by continual advice how to add a rough male touch to his typing, how to be learned without losing his masculine appeal, how to combine chemical research with seduction, how to play bridge without incurring the suspicion of impotence. If, instead of allowing with a smile that “women prefer cavemen,” he felt the unrelenting pressure of a while social structure forcing him to order all his goings in conformity with that pronouncement.

He would hear (and would he like hearing?) the female counterpart of Dr. P*** informing him: “I am no supporter of the Horseback Hall doctrine of ‘gun-tail, plough-tail and stud’ as the only spheres for masculine action; but we do need a more definite conception of the nature and scope of man’s life.” In any book on sociology he would find, after the main portion dealing with human needs and rights, a supplementary chapter devoted to “The Position of the Male in the Perfect State.” His newspaper would assist him with a “Men’s Corner,” telling him how, by the expenditure of a good deal of money and a couple of hours a day, he could attract the girls and retain his wife’s affection; and when he had succeeded in capturing a mate, his name would be taken from him, and society would present him with a special title to proclaim his achievement. People would write books called, “History of the Male,” or “Males of the Bible,” or “The Psychology of the Male,” and he would be regaled daily with headlines, such as “Gentleman-Doctor’s Discovery,” “Male-Secretary Wins Calcutta Sweep,” “Men-Artists at the Academy.” If he gave an interview to a reporter, or performed any unusual exploit, he would find it recorded in such terms as these: “Professor Bract, although a distinguished botanist, is not in any way an unmanly man. He has, in fact, a wife and seven children. Tall and burly, the hands with which he handles his delicate specimens are as gnarled and powerful as those of a Canadian lumberjack, and when I swilled beer with him in his laboratory, he bawled his conclusions at me in a strong, gruff voice that implemented the promise of his swaggering moustache.” Or: “There is nothing in the least feminine about the home surroundings of Mr. Focus, the famous children’s photographer. His ‘den’ is panelled in teak and decorated with rude sculptures from Easter Island; over his austere iron bedstead hangs a fine reproduction of the Rape of the Sabines.” Or: “I asked Mr. Sapristi, the renowned chef, whether kitchen-cult was not a rather unusual occupation for a man. ‘Not a bit of it!’ he replied, bluffly. ‘It is the genius that counts, not the sex. As they say in la belle Ecosse, a man’s a man for a’ that’ –– and his gusty, manly guffaw blew three small patty pans from the dresser.’

He would be edified by solemn discussions about “Should Men Serve in Drapery Establishments?” and acrimonious ones about “Tea-Drinking Men”; by cross-shots of public affairs “from the masculine angle,” and by irritable correspondence about men who expose their anatomy on beaches (so masculine of them), conceal it in dressing-gowns (too feminine of them), think about nothing but women, pretend an unnatural indifference to women, exploit their sex to get jobs, lower the tone of the office by their sexless appearance, and generally fail to please a public opinion which demands the incompatible. And at dinner-parties he would hear the wheedling, unctuous, predatory female voice demand: “And why should you trouble your handsome little head about politics?”

If, after a few centuries of this kind of treatment, the male was a little self-conscious, a little on the defensive, and a little bewildered about what was required of him, I should not blame him. If he presented the world with a major social problem, I should scarcely be surprised. It would be more surprising if he retained any rag of sanity and self-respect.

from “The Human-Not-Quite-Human”, an essay in Are Women Human? by Dorothy Sayers, 1947

Thankfully, we’ve come a bit further since the 40’s, if only just a bit.  Because magazines are still there (as far as I know; I have been avoiding them like the plague my whole life).

But the really interesting thing to me is how this also has a significant bearing on the whole Driscollian travesty. 

24 April 2013 Dorothy Sayers women men feminism literature history empathy


A man once asked me…how I managed in my books to write such natural conversations between men when they were by themselves. Was I, by any chance, a member of a large, mixed family with a lot of male friends? I replied that, on the contrary, I was an only child and had practically never seen or spoken to an men of my own age till I was about twenty-fice. “Well,” said the man, “I shouldn’t have expected a woman [meaning me] to have been able to make it so convincing.” I replied that I had coped with this difficult problem by making my men talk, as far as possible, like ordinary human beings. This aspect of the matter seemed to surprise the other speaker; he said no more, but took it away to chew it over. One of these days it may quite likely occur to him that women, as well as men, when left to themselves, talk very much like human beings also.

— from Are Women Human? by Dorothy Sayers, 1938

24 April 2013 literature writing Bechdel Test women men Dorothy Sayers books book empathy


The world is so big, so complicated, so replete with marvels and surprises that it takes years for most people to begin to notice that it is, also, irretrievably broken. We call this period of research ‘childhood.’

There follows a program of renewed inquiry, often involuntary, into the nature and effects of mortality, entropy, heartbreak, violence, failure, cowardice, duplicity, cruelty, and grief; the researcher learns their histories, and their bitter lessons, by heart. Along the way, he or she discovers that the world has been broken for as long as anyone can remember, and struggles to reconcile this fact with the ache of cosmic nostalgia that arises, from time to time, in the researcher’s heart: an intimation of vanished glory, of lost wholeness, a memory of the world unbroken. We call the moment at which this ache first arises ‘adolescence.’ The feeling haunts people all their lives.

Everyone, sooner or later, gets a thorough schooling in brokenness. The question becomes: What to do with the pieces? Some people hunker down atop the local pile of ruins and make do, Bedouin tending their goats in the shade of shattered giants. Others set about breaking what remains of the world into bits ever smaller and more jagged, kicking through the rubble like kids running through piles of leaves. And some people, passing among the scattered pieces of that great overturned jigsaw puzzle, start to pick up a piece here, a piece there, with a vague yet irresistible notion that perhaps something might be done about putting the thing back together again.

— from a piece on Wes Anderson by Michael Chabon (via unapologetic-book)

(Source: bethmaynard, via commonjournal)

23 April 2013 reblog: bethmaynard Wes Anderson Michael Chabon childhood film literature creativity


During the initial years of the National Government in Nanking there grew up, therefore, a group of writers headed by the pre-American Lin Yutang and rallying around a literary fortnightly named, somewhat tongue-in-cheek fashion, after the Confucian classic The Analects. They popularized a new Chinese word, yumeh (humor), to convey the exact flavor of their writing, and it was their self-appointed job to play the jester to the new Kuomintang rule. There should be a place for such a magazine and such a group under any government, because the targets of their good-natured attack are nothing so much as cocksureness and hypocrisy.

THE ANALECTS’ CREDO

1. Don’t oppose the Revolution.

2. Don’t criticize those whom we don’t think much of; but do criticize those whom we love and esteem (for instance, our Mother Country, contemporary militarists, promising writers, and revolutionists who are not absolutely hopeless.

3. Don’t curse people right off the mouth. (Try to have a sense of humor without harm. There is no reason to call a national thief father, nor is there any need to call him a turtle’s egg.)

4. Don’t take somebody else’s money; don’t talk somebody else’s talk. (We will not accept paid propaganda from any quarter, but we might, if we like, do free propaganda, or even counter-propaganda.)

5. Don’t follow any elegant fad; even more, don’t follow any powers that be. (Refuse to be a fan to opera stars, movie stars, society stars, literary stars, political stars, or stars of any other kind.

6. Don’t shout slogans for each other; oppose “goose-pimpleism.” (Avoid all such terms as “scholar,” “poet,”, and “my friend Dr. Hu Shih.”)

7. Don’t compose stuffy verses or sweet songs.

8. Don’t uphold public justice and righteousness, only spout your frank private views.

9. Don’t get rid of your bad habits (such as smoking, tea drinking, looking at plum blossoms, or reading); and don’t advise your friend to quit smoking.

10. Don’t say your own writing is no good.

— from the “Humor of Protest” section of Chinese Wit & Humor by George Kao, 1946, a thoroughly fascinating book made all the more poignant by the impending ravages of the Cultural Revolution & the subsequent practices of the CCP

17 April 2013 China politics humor propaganda censorship literature poetry communism


13 April 2013 reblog: kitten-little books book literature Carl Sagan writing people


Martyn had formed the habit of thinking of people’s voices in terms of colour. Helena Hamilton’s voice, for instance, was for Martyn golden, Gay Gainsford’s pink, Darcey’s brown, and Adam Poole’s violet. When Alleyn spoke she decided that his voice was a royal blue of the clearest sort.

— from Night at the Vulcan
by Ngaio Marsh

31 March 2013 book literature mystery color synaesthesia


Oh, my heart.

Oh, my heart.

11 March 2013 literature J. D. Salinger Catcher in the Rye snow winter New York City sledding Frank Chimero


10 March 2013 reblog: punkasfrick Shakespeare literature


Archaeologists have not yet discovered any stage of human existence without art. Even in the half-light before the dawn of humanity we received this gift from Hands we did not manage to discern. Nor have we managed to ask: Why was this gift given to us and what are we to do with it? And all those prophets who are predicting that art is disintegrating, that it has used up all its forms, that it is dying, are mistaken. We are the ones who shall die. And art will remain. The question is whether before we perish we shall understand all its aspects and all its ends.

Alexsandr Solzhenitsyn, Beauty Will Save the World
(via quaerere-deum)

Boooya

(via photolodico)

(via photolodico)

3 March 2013 reblog: quaerere-deum art artists history literature