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Dead Blondes and Bad Mothers: Monstrosity, Patriarchy, and the Fear of Female Power

par Jude Ellison Sady Doyle

MembresCritiquesPopularitéÉvaluation moyenneMentions
1484183,352 (4.02)4
Sociology. Women's Studies. Nonfiction. HTML:A Kirkus Reviews Best Book of the Year

??Smart, funny, and fearless.? ??THE BOSTON GLOBE
Women have always been seen as monsters. Men from Aristotle to Freud have insisted that women are freakish creatures, capable of immense destruction.
Maybe they are. And maybe that??s a good thing....
Sady Doyle, hailed as ??smart, funny and fearless? by the Boston Globe, takes readers on a tour of the female dark side, from the biblical Lilith to Dracula??s Lucy Westenra, from the T-Rex in Jurassic Park to the teen witches of The Craft. She illuminates the women who have shaped our nightmares: Serial killer Ed Gein??s ??domineering? mother Augusta; exorcism casualty Anneliese Michel, starving herself to death to quell her demons; author Mary Shelley, dreaming her dead child back to life.
These monsters embody patriarchal fear of women, and illustrate the violence with which men enforce traditionally feminine roles. They also speak to the primal threat of a woman who takes back her power. In a dark and dangerous world, Dead Blondes and Bad Mothers asks women to look to monsters for the ferocity we all need to survive.
??Some people take a scalpel to the heart of media culture; Sady Doyle brings a bone saw, a melon baller, and a machete.???Andi Zeisler, author of&
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» Voir aussi les 4 mentions

Ho voluto leggere questo libro perché lo sentivo continuamente citare quando si parla di femminismo moderno.
Diciamo che ho fatto molta fatica a non dargli fuoco prima di averlo finito. Ma un falò è effettivamente l'unica destinazione degna di questa accozzaglia di pregiudizi, vanità, disprezzo e cocenti bugie.

La autrice avrà le sue ragioni nell'odiare gli uomini, ma nello scrivere quanto scrive ricade negli stessi errori che critica. Condisce un disprezzo malcelato per gli uomini e una esaltazione della superiorità femminile, di sciocchezze e deliberate menzogne.
Generalizza particolarità scelte apposta(si veda ad esempio la storia dei due omicidi o le innumerevoli citazioni prese dalla cronaca nera, raccontate sempre a metà e solo da una parte).
Costruisce castelli immaginari sul neinte (leggetela l'odissea prima di citarla, ve ne prego. Altrimenti si resta convinti che le sirene ad Odisseo promettano sesso e piacere, come fa la autrice).
E per favore, cresciamo, perché considerare un mediocre film di streghe per dodicenni come un capolavoro fondativo dell'essere umano e esempio di cinema illuminato.
Sarei anche curioso di capire quale fosse la tesi e lo scopo complessivo del libro, perché se questo è un saggio, è un saggio senza argomento. Tant'è che il libro non finisce, semplicemente si tronca quando la autrice ha finito gli argomenti di lamentazione. Non c'è una chiusa, non c'è una conclusione, non c'è una proposta, solo livore. ( )
  Berech | Feb 18, 2022 |
Nothing really new here for me, but those new to the genre will find it valuable. The 4th wave trope "transwomen are actual women" rather defeats the purpose of the analysis and isn't addressed here except in passing quips about how awful it is that a few men in dresses are portrayed negatively. Includes lists, by chapter, of literature, essays, tv shows, and movies on each topic addressed, which was the most useful section to me. I was made aware of this book by Black Phoenix Alchemy Lab which created a series of perfume oils based on it (I recommend 'Woman at the Edge of the Woods,' a unisex scent that's woody, earthy, cool, and slightly malevolent). ( )
  seongeona | Jan 19, 2021 |
“We are that fire. We are the Apocalypse, the risen Furies, the scarlet woman riding her red dragon over the horizon, because we know that the woman and the dragon were always one and the same. Dead blondes and bad mothers, harlots and abominations, witches at the gate of light and darkness; we are the end of the world that was, and the first sign of the world to come, in the age after patriarchy, when monsters rule the earth. Our blood holds magic; our stories do, too. The violence we’ve survived can be our guide to what needs to change. The fire that burned the witches can be the fire that lights our way. Our power is waiting for us, out in forbidden spaces, beyond the world of men. Step forward and claim it. Step forward into the boundless and female dark.”

Okay, so I finished this weeks ago and loved it, but just could not bring myself to write a review (for no reason that has anything to do with this book). But here we are. Prepare yourself for run on sentences, which are my bread and butter. Doyle is an absolute force. From the horror film genre to witchcraft, the fetishization of serial killers to the gore of motherhood, Gothic literature to politics, beasts of mythology to centuries worth of pop culture figures, Dead Blondes and Bad Mothers is stark, clever, and deliciously boiling over with abject feminine rage. My only regret is that I’m a horror movie wimp and won’t be able to stomach the majority of the films Doyle recommends. I also didn’t realize how much I identified with the T-Rex, specifically the one from Jurassic Park, until reading this book, which feels revelatory.

There is definitely an emphasis on the horror film genre and its depiction of women, so if this is not a concept that intrigues you, you may not connect with Dead Blondes as well as you could. However, Doyle dives deep into the patriarchy and its need to control women through violence, its fear of the immense power of women, and the presentation of women throughout history as inherently deviant. None of these ideas are what I would consider groundbreaking, but Doyle’s strength as a writer lies in her ability to rehumanize the monstrous feminine power through an embracement of our darkness and an affectionate interrogation of our love for all things nightmarish: slasher films, true crime, and all other stories throughout history where the female characters meet a violent end. Doyle uses an effective organizational strategy by dividing Dead Blondes into individual discussions of Daughters, Wives, and Mothers, and their representation in media, literature, and pop culture. And, when you reach the end of this book and are beginning to lament that there’s not more of it, Doyle bestows upon us the illustrious gift of PAGES UPON PAGES of recommendations that lent themselves to the writing of Dead Blondes, organized by the chapter they correspond to and the category of media. Do yourself a favor and read this now so you’re good and ready to burn everything to the ground once we’re allowed to leave our houses again. ( )
1 voter GennaC | Jun 20, 2020 |
Feminist analysis of standard tropes—while not much was new, Doyle is an engaging writer and I didn’t know just how much people liked to blame Ed Gein’s mother for his serial killing. Also, when a woman wrote a book saying that maternal love wasn’t natural, but “uncertain, fragile and imperfect,” Bruno Bettelheim wrote a letter of protest to her editor because she shouldn’t have told the truth: “‘I am well familiar with the absence of any mothering instinct in many mothers,’ he wrote, but letting those mothers know they weren’t alone would ‘remove the feeling of guilt about rejecting their children which was the only thing that offered some protection for the child.’” ( )
  rivkat | Nov 11, 2019 |
4 sur 4
...the chief delight of this book is not that it presents any new information, but that it aggregates a pile of information we already know into a package that is pleasing. It's pleasing because Doyle has an amusing voice. By 'has an amusing voice' I mean 'is possessed of a rage she has skillfully channeled into witty articulation' ... you'll feel less alone to hear our story told in this way. By 'you' I mean 'women'—and students of gender studies, and listeners of true-crime podcasts, and parents who sometimes feels guilty, and so on.
ajouté par Lemeritus | modifierPop Matters, Megan Volpert (Nov 14, 2019)
 
...the author explores women’s identities as daughters, wives, and mothers through a complex set of lenses—theoretical, historical, and cultural—and her prose moves seamlessly from feminist theory and pop culture analysis to damning real-life examples of the dangers women face because of the perceived threat of their sexuality.
 
Doyle recognizes how much of our misogynistic, transphobic cultural id is revealed in our trashiest cultural products, and she never loses sight of how the social norms they promote have led to feelings of fear and entrapment at best and countless deaths at worst. The author’s accounting of the death of Anneliese Michel, the inspiration for The Exorcist, is especially chilling. A lengthy appendix serves as both a casebook of her sources and a recommendation list for further research both high (Julia Kristeva) and low (The Texas Chainsaw Massacre).

Unflinching, hard-charging feminist criticism.
ajouté par Lemeritus | modifierKirkus Review (Jun 17, 2019)
 
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If it were not for some power that wanted the feminine sex to exist, the birth of a woman would be an accident such as that of other monsters. —Thomas Aquinas, De Veritate
Shall I respect man when he condemns me? Let him live with me in the interchange of kindness, and instead of injury I would bestow every benefit upon him…. I will revenge my injuries; if I cannot inspire love, I will cause fear. —Mary Shelley, Frankenstein
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For my daughter - may she be ferocious
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Driver: You girls watch out for those weirdos.
Nancy: We are the weirdos, mister.
-The Craft (1996)
Women have always been monsters.
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Male and female children alike were supposedly traumatized for life by the knowledge that their mothers did not have penises, seeing the female body forever after as maimed and incomplete—a walking wound. Of course, when mothers do have penises, we are no less likely to judge them.
Men define humanity, and women, insofar as they are not men, are not human. Thus, women must necessarily be put under male control—and to the extent that we resist this control, we are monstrous.
Patriarchy was redolent of severe movement haircuts and problematic white women hollering about the Equal Rights Amendment. It was old-fashioned, unsexy. You could say I liked the word patriarchy because it took itself so seriously, which I, being young and cool, was forbidden to do.
Patriarchy is a cultural and moral hegemony that mandates one specific, supposedly “natural” family structure—a man using a woman to create and raise “his” children, with father exercising indisputable authority over mother and children alike—and on a grander scale, builds societies that look and function like patriarchal families, ruled by all-powerful male kings and presidents and CEOs and gods. I should say up top that there are other ways to drill down into oppression, other structures that coexist with patriarchy and help to maintain it: white supremacy, or capitalism, or heterosexism. You can dig into the foundations of the world from any number of angles, and you will always hit some or all of these other structures on your way down. But patriarchy rewards a specific focus. It is the big truth behind the countless smaller truths of sexism, the brutal foundation for all the violence that tears through women’s lives.
In Greek, apokálypsis means “uncovering,” the revealing of a hidden truth; it means finding something powerful and important buried underneath what we think we know.
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Sociology. Women's Studies. Nonfiction. HTML:A Kirkus Reviews Best Book of the Year

??Smart, funny, and fearless.? ??THE BOSTON GLOBE
Women have always been seen as monsters. Men from Aristotle to Freud have insisted that women are freakish creatures, capable of immense destruction.
Maybe they are. And maybe that??s a good thing....
Sady Doyle, hailed as ??smart, funny and fearless? by the Boston Globe, takes readers on a tour of the female dark side, from the biblical Lilith to Dracula??s Lucy Westenra, from the T-Rex in Jurassic Park to the teen witches of The Craft. She illuminates the women who have shaped our nightmares: Serial killer Ed Gein??s ??domineering? mother Augusta; exorcism casualty Anneliese Michel, starving herself to death to quell her demons; author Mary Shelley, dreaming her dead child back to life.
These monsters embody patriarchal fear of women, and illustrate the violence with which men enforce traditionally feminine roles. They also speak to the primal threat of a woman who takes back her power. In a dark and dangerous world, Dead Blondes and Bad Mothers asks women to look to monsters for the ferocity we all need to survive.
??Some people take a scalpel to the heart of media culture; Sady Doyle brings a bone saw, a melon baller, and a machete.???Andi Zeisler, author of&

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