Category: You're only a feminist because you're ugly

Taise-moi

Bleuette, j’ai approché Virginie Despentes en lisant Les jolies choses, ma main l’ayant choisi, sans fléchir sur la quatrième de couverture. Lecture coup de poing, qui me laissa désorientée…  C’était de la provoque, c’était trash, ça parlait sexe et ça parlait drogue. Et ce couperet venant abattre un personnage féminin, après lui avoir faussement éclairci les horizons : un procédé narratif qui n’était pas neuf, mais qui n’en était pas moins efficace dans la dose d’effroi assénée au lecteur. Mon estomac n’était pas encore bien attaché.

2012. Mon estomac a bien baltringué depuis et ma main se porte de nouveau sur un volume de Despentes, alors qu’elle quête misérablement vers une lecture courte, qui ne laissera aucune place à l’errance. King Kong théorie me troue les tympans dès la lecture des premiers paragraphes, et c’est ce dont j’ai besoin : une bonne secousse.

Manifeste, gueulante, règlement de compte… Quand l’auteure prend son bic et son clavier d’ordinateur, on ne peut pas parler de genre noble : ce n’est pas un Traité à visée éclairante pour mesdames ses pairs, pas plus une Défense des droits sexuels bafoués des femmes (depuis que les hommes ont eu des jambes pour marcher et une langue pour causer). Non, Despentes décide de l’ouvrir et structure son discours selon quatre thématiques qui lui tiennent à cœur et à raison : les discours aliénants, le viol, la prostitution, la pornographie, la féminité, et le tout encadré par un avant-propos bien cash, et un après-propos qui délivre tout autant.

Un franc-parler, cru, dur, non-enrobé, qui insulte volontiers et se contrefout de digresser. L’important est de dire ce qu’il y a à dire, avec le moins d’obscurantisme possible : elle laisse les contradictions à l’air libre pour que l’auditeur s’en empare s’il le souhaite. C’est son combat contre l’art rhétorique : elle laisse sa mauvaise foi bien apparente pour que ses contours soient le plus apparents possibles, sa volonté la plus communicante qu’elle puisse, son propos le mieux arrivé. Elle utilise le je, le vous, le elles et le eux, le nous, le tu. Elle pioche de son passé son expérience du viol, de la prostitution, du X. Elle précise qu’elle a été internée à 15 ans, qu’elle a testé l’assagissement à 30, que la première et la dernière chose qui la constitue et la rend elle, c’est le punk-rock. Qu’un viol forme un esprit et un corps, et accompagne comme une ombre le quotidien d’une vie.

Le début, on le connait. Il a été cité quantité de fois. Je reviens ainsi sur ses deux chapitres liminaires.

« J’écris de chez les moches, pour les moches, les vieilles, les camionneuses, les frigides, les mal baisées, les imbaisables, les hystériques, les tarées, toutes les exclues du grand marché de la bonne meuf. Et je commence par là pour que les choses soient claires : je ne m’excuse de rien, je ne viens pas me plaindre. Je n’échangerais ma place contre aucune autre, parce qu’être Virginie Despentes me semble être une affaire plus intéressante à mener que n’importe quelle autre affaire.

[…] Bien sûr que je n’écrirais pas ce que j’écris si j’étais belle, belle à changer l’attitude de tous les hommes que je croise. C’est en tant que prolotte de la féminité que je parle, que j’ai parlé hier et que je recommence aujourd’hui. Quand j’étais au RMI, je ne ressentais aucune honte d’être une exclue, juste de la colère. C’est la même en tant que femme : je ne ressens pas la moindre honte de ne pas être une super bonne meuf. En revanche, je suis verte de rage qu’en tant que fille qui intéresse peu les hommes, on cherche sans cesse à me faire savoir que je ne devrais même pas être là. »

Despentes se donne pour objectif de l’ouvrir au nom de tous ceux et celles qui ne font pas partie de l’idéal d’une certaine fange – d’un certain conscient ou inconscient collectif – qui s’est construit, déconstruit, transformé au fur et à mesure des siècles, au gré d’une volonté politique d’aplanir les éventuelles tentatives de destituer une prise de pouvoir. Le discours d’une (certaine) féminité, d’une (certaine) masculinité, non-innés et outrageusement subjectifs.

Après avoir exploré diverses pistes pour tenter de saisir cette sorte de féminité, introuvable en elle, qu’on lui somme d’invoquer de ses entrailles, Despentes en conclut que la féminité ne peut être rien d’autre que de la putasserie.

Depuis quelques temps, dit-elle, on n’arrête plus de se faire engueuler en France. Trop minces, pas assez courbées, un tantinet machin, mais au fond plutôt truc. Personne n’est content, tout va de travers, et c’était mieux avant. C’est l’occasion pour elle de faire un bond dans le temps, de revenir à cette période de révolution sexuelle, dont certains chercheurs nient l’existence même.

« Jamais aucune société n’a exigé autant de preuves de soumissions aux diktats esthétiques, autant de modifications corporelles pour féminiser un corps. En même temps que jamais aucune société n’a autant permis la libre circulation corporelle et intellectuelle des femmes. Le sur-marquage en féminité ressemble à une excuse suite à la perte des prérogatives masculines, une façon de se rassurer, en les rassurant. »

Les femmes, en se diminuant, reprendraient ainsi le rôle intemporel de séductrice qu’on leur confère depuis la nuit des temps, et masqueraient les changements qui ont eu lieu. L’histoire ayant montré qu’hommes et femmes sont des bestiaux bien égaux, mais que notre infériorité est une idée bien plus ancrée en nous qu’aucune autre. Le sempiternel : les voies de la Nature sont impénétrables, alors ne les pénétrons pas aujourd’hui et tenons-nous en à ce qu’ont fait nos ancêtres.

Ancre bien solide. Pourquoi la révolution féministe n’a pas donné naissance à des systèmes organisationnels révolutionnant l’espace privé accaparé par les femmes, et l’espace public accaparé par les hommes ?

« Pourquoi personne n’a inventé l’équivalent de Ikea pour la garde des enfants, l’équivalent de Macintosh pour le ménage à la maison ? […] Au lieu de cela, la maternité est devenue l’aspect le plus glorifié de la condition féminine. »

Despentes revient sur cette idée que, si le corps des femmes ne leur appartient pas, le corps des hommes n’est pas non plus appartenu : militarisés, ces derniers sont tout entier possédés par l’Etat, qui dispose d’eux comme Il le désire en cas de conflit. Des jougs contre lesquels tous les membres d’une société devraient œuvrer, ensemble. Des libérations dont bénéficieraient hommes et femmes. Pourtant du côté des biquettes, ça pédale mou. L’une des origines de ce freinage constant : la banalisation et l’accoutumance, des deux côtés, de cette condition non-émancipée.

« Les hommes dénoncent  avec virulence injustices sociales ou raciales, mais se montrent indulgents et compréhensifs quand il s’agit de domination machiste. Ils sont nombreux à vouloir expliquer que le combat féministe est annexe, un sport de riches, sans pertinence ni urgence. Il faut être crétin, ou salement malhonnête, pour trouver une oppression insupportable et juger l’autre pleine de poésie. »

On lit souvent, dans la presse notamment, des titres du type « Y a-t-il vraiment encore besoin de féministes dans notre société occidentale » ? J’entends des gens, filles et garçons, sceptiques aux idées et aux débats lancés. Beaucoup de femmes, qui se disent « pas vraiment » féministes, qui ne se sentent aucunement concernées, ou qui considèrent cela comme un mouvement politique, trop radical pour elles. Qui grimacent quand on leur parle d’égalité, une idée abstraite qui n’a plus vraiment raison d’être, en tous les cas dans nos sociétés « à nous ». Mais qui s’accordent sur le sujet du voile, qui n’a pas sa place dans une société qui se refuse à dégrader ses femmes. Ah

« Pendant des années, j’ai été à des milliers de kilomètres du féminisme, non par manque de solidarité ou de conscience, mais parce que, pendant longtemps, être de mon sexe ne m’a effectivement pas empêchée de grand-chose. »

Ces filles qui grandissent et deviennent femmes, et se sentent parfois coincées, dans la non-répartition des tâches. Mais qui ne veulent pas provoquer de dispute. Qui n’ont pas la patience d’attendre des jours et des jours, qu’une corvée soit enfin exécutée, selon la promesse orale qui a été faite en ce sens. Et qui prennent en charge, à bout de patience et de conflits qui nuisent à la bonne ambiance d’un duo, la dite corvée.

J’entends quelques fois, que les discours féministes sont simplement trop haineux envers les hommes.

Nous sommes en 2012 et hier, dans les rues encerclant l’Opéra, une procession paisible entonnait une messe dont je ne saurai identifier le propos. Par contre, une chose était clairement identifiable : les nombreux panneaux, tous identiques, que brandissaient des gamins, adolescents, vieillards et adultes divers, avec des mentions éclairant les habitants de Paris sur le fait que « L’embryon est un être humain », qu’ « Avorter, c’est tuer », etc.  Nous sommes en 2012, et cette même procession peut être mise en parallèle avec une tentative vitale, mais vaine, du gouvernement de faire passer une loi sur le mariage homosexuel.

Être féministe, s’associer au féminisme, rester en éveil féministe, c’est se rappeler que s’il y a des acquis, c’est que des femmes, des hommes, n’en disposaient pas dans le passé. Que ces acquisitions étaient bloquées par des cercles d’influence – politiques ou sociaux – genrés ou non – dans leur propre intérêt. Que si on ne secoue pas du poing de temps à autre, ces acquis sont en danger, par des nouvelles générations servant ces mêmes cercles, dans une ronde mystique et inquiétante qui ne semble connaître aucune fin raisonnable.

« Si nous n’allons pas vers cet inconnu qu’est la révolution des genres, nous connaissons exactement ce vers quoi nous régressons. Un Etat tout puissant qui nous infantilise, intervient dans toutes nos décisions, pour notre propre bien, qui – sous prétexte de mieux nous protéger – nous maintient dans l’enfance, l’ignorance, la peur de la sanction, de l’exclusion. »

Giving Voice to the Other Side

Wide Sargasso Sea’s Grace Pool’s monologue introduces the spreading gossips upon the return of the master and his young wife, Grace having been hired from the colonies, before their arrival. Grace unfolds her doubts after having started taking care of Antoinette/Bertha. The speaking out of her mind is followed by Mrs. Eff – Mrs. Fairfax from Jane Eyre – plea in favor of her master’s character and the buying out of Grace, who finds her own personal advantages in the situation. She then recalls the transformation of the house and describes her impression of isolation. It is concluded with a last statement about Antoinette doubtful lunacy.

Jean Rhys often repeats throughout the novel, that “there is always the other side”. Wide Sargasso Sea in itself is the possibility of giving voice to Antoinette/Bertha, a minor and stereotyped character from Jane Eyre. This revision goes also for Grace Poole who is given a part to play in the last section of the novel.

Charlotte Brontë is not tender towards the character of the lunatic’s keeper: the quiet Mrs. Poole is an alcoholic, often identified to Bertha with the laugh she takes the blame for, she is plain, not interesting, taciturn and she does not say a word (“a monosyllabic, person of few words”). Jane even says at one point:

I can’t think she can ever have been pretty, […] I hastened to drive from my mind the hateful notion I had been conceiving respecting Grace Poole; it disgusted me.

With this singular intervention, Jean Rhys raises first the possibility of an explanation for such a personality. She depicts her as an oppressed character: by giving voice to the other side, she restores a balance. As a climax of these “other sides” restitutions, there is no truth, but only narratives: after having read Antoinette, then Rochester’s accounts, the reader is made full aware that none of the narrators is reliable.

But she also undermines the fact that her silence is something linked to Rochester’s oppression : her unflattering work is a non-choice according to her social background. The passage finally re-unifies all the female characters all locked up under the same roof.

I – The reader is given access to the consciousness of a character who never explains herself in the Ur-text

Grace articulates doubts about those conditions, for it involves her responsibility into an act of which she is not sure to understand all the impact – she shows her restraints on moral and legal grounds. Rochester and Mrs. Fairfax had run an ad which did not reveal any of the specificity of the task; moreover, it lies about the nature of the “work” in itself (itself being Bertha). This way, Jean Rhys creates with Grace Poole a character rooted in innocence, who was tricked and brought into committing herself into a role she never aimed at taking: there is an idea of something inescapable once you have stepped in it, an idea of fate linked to Antoinette’s own downfall into becoming Bertha. She becomes fully aware afterwards, and it is also a way for the author of portraying someone whose credulity has been abused, and who is not equipped enough for refusing the money.

Her claim “I don’t serve the devil for no money” – is a paradox: it conveys Grace’s feeling that the situation is “wrong”, feeling enhanced by Rochester’s willingness to give her a fortune to do it and keep her mouth shut. The language Grace uses places her supposedly at the bottom of the social ladder; and although she claims that she will not let herself corrupted, a few words and the doubling of the money are way enough to quiet down her last scruples, for she is indeed replaceable. It is an economic opportunity (as The Godfather used to say: “I’ll make an offer he won’t refuse”).

The other side, it’s also the revision of Mrs. Fairfax. Indeed she appears quite sour and harsh. Her empathy with his feelings makes his will even more a priority. She agrees without remorse to collaborate against anything that could hurt her protégé. This is a re-reading of the very nice Mrs. Fairfax from Jane Eyre. This is one Mrs. Fairfax who is ready to silence anyone and locks up a foreign woman in an attic.

Mrs. Eff has set up an ad which is vague, does not say anything specific about the work; Bertha/Antoinette’s identity is denied. She is neither young, nor old. She has no age, timeless as a ghost; and indeed, the comments made by Grace describes her as “thin”, “shivering” person, as if Antoinette had no outline. Even Grace does “not know what to think”: there is no definition possible, not a “young girl” and not “an old woman”, she has now become the non-human “thing”, stripped of her humanity – and Mrs. Fairfax’s point of view is associated with it.

She is seen as Rochester’s hand that executes his orders and implements the “No more gossip” clause. She is the one to threaten; she decides to pay Grace only the double and gives her no choice but to accept the deal after denying her singularity. She shows contempt for the lower class.

II – The passage is an embedded narrative, “a mosaic of voices” (Maurel)

Grace is introduced on a third-person narrative basis, as an account addressed to Leah, under the form of a direct speech. But then, within the use of brackets, Mrs. Fairfax and other voices are reported, in indirect speech.

Grace’s point of view seems to be privileged: besides her words, we can know her thoughts. This external narrator introduces us to a more remote point of view upon Rochester’s situation; in a sense, Grace, because she is unknown to most of the other characters and their story, is the most neutral one. This is reinforced by the heavy use of “said”: she unfolds facts and seems to give us a simple and unbiased account of what she hears and witnesses, free of any personal interest.

On the other hand, Mrs. Eff is on Rochester’s side, she selects the lines she wishes to read to Grace. It clearly states Mrs. Fairfax’s opinion as biased, when she kindly speaks of her Master later on. She trusts him and wishes to follow his instructions because she is emotionally attached to him.

Here we get to have a genuine portrait of Rochester, by a love-caring woman. But even this positive description is contrasted: first, it is a nostalgic vision of Rochester, as a child. Her indulgence comes from the fact that she still considers him as the boy she has raised, who can do no harm. “I knew”, “he was” imply that the knowledge is past, the information is not updated.

Plus, by saying “out of all knowledge”, Mrs. Eff herself recognizes his change goes beyond her understanding of him.

The possibility of knowledge – truth – left to Grace, according to the unreliability of the other speaking narrators, remains subjective to her own observation. The verb “know” is repeated 7 times, opens and ends the passage, thus conveying the idea – added to the very numerous “I”s – that there is as much knowledge as there are narratives. Grace’s knowledge, therefore truth, is intuitive: it is based on her feelings and experience only, and it denies Antoinette her status as a lunatic.

Rochester is now portrayed as a wealthy man, thanks to his father and brother’s deaths, but also to his own economic conquest through marriage in the West Indies. He is not the unfortunate needy son sent away any more; he has started to change/alter his past, and so the construction of his story & identity.

Throughout the second part, he has tried to find, then to decide of a truth behind the gaps in the narrative of Antoinette’s identity. He has now started planning the setting up of his own truth.

First, his narrative starts blurring the track: his marital situation when he returns is not explained; it has to be guessed: with “hints”. Like there will be hints about Bertha’s presence in Jane Eyre.

It is a narrative of his own: although Rochester is not physically present, his voice is heard through the reading of his letter [L12]. It is heard and imposed: “You will listen to what the master has to say”. Rochester’s voice is subjecting; there is no objection possible for the subaltern, HE is the dominating voice, even over Grace’s narrative.

Changing the past starts by silencing it. Silence is present in the terms of the agreement (L6), it is the condition to be accepted under His roof; it expresses the oppression of dissident voices. One voice allowed, one side – which is his. “Let me hear no more about it” is an injunction to silence. He will not listen: by denying the existence of a problem, He frees himself from all responsibilities.

In The Turn of a Screw: the governess is very well-paid but under the condition of not whispering a word about the children to the Master who hired her – which implies the existence of a mystery, a secret that she will be alone to deal with. The consequence is the isolation of the subalterns who have to take care of the “problem”, but no right to speak of it. Which again is a reading that allows some sympathy for the character of Grace Poole.

The rhetorical question – “How could she stop them from talking?” – introduces a counteracting force. Indeed, rumors are unstoppable; they are an invisible force that spreads out and cannot be targeted, therefore hindered. Despite his henchwoman, Big Brochester cannot watch them all.

The use of future in the passage (“Servants will talk…”) underscores its actualization, added to the “gossip” – the threat of the “they”, undistinguished, therefore dangerous. There is almost an irony about it: before, Antoinette was the victim of gossip, and Rochester contributed to give them credit. Now it is reversed: he is the target, and sees it as a disease that needs to be cured, purified.

III – Reconstructing the Narrative: Repressing the Other(s) to Own Oneself

On the last two pages of the second part, this is what we can read: “Very soon she’ll join all the others who know the secret and will not tell it. Or cannot. Or try and fail because they do not know enough.” Then: “I can wait – for the day when she is only a memory to be avoided, locked away, and like all memories a legend. Or a lie…” This silence aims at oppressing, but also at repressing.

To make silence and subjection prevail, Rochester corrupts through the lure of money. In the West Indies, when Antoinette was still in power of herself, he could not control what was said around him. Now that he “owns” the money, he can impose his will and construct his story and his identity. Rochester, in the logic of his secret and his new economic power, fires everyone. But to initiate and enforce his own story, he uses his power to oppress and repress voices around him.

This « they » (repeated several times), opening the passage, undermines a threat from the outside.

In fact, one reason for Grace Poole to accept the deal is that she feels threatened as a woman. Grace is shown as self-reflective upon the situation of her sex and her social class. The mosaic of voices is turned into a unity that draws up greater difficulties “in a black and cruel world for a woman”. The “I“ turns into a “we”, “Mrs Eff and Leah and me”, “All of us”. The voice of Mrs. Fairfax is introduced in the passage by the pronoun “I”, without any bracket. There is a multiplicity of I in the text, a unity among the female characters and their common condition as women, under Rochester’s roof. They come and accept Rochester’s oppression to protect themselves from a greater oppression. Grace trades one oppression for another, but a more bearable one as far as “all of them” are concerned, that is to say “all of them except that girl who lives in her own darkness”, and who was left with no choice at all.

Rochester offers her – as Thoreau would put it – Shelter, Food, Clothes and Fuel. Added to the isolation, everything she needs to subsist and be protected – in exchange for her freedom. Freedom of movement, freedom of speech. Grace too will be locked up, with no chance of developing herself, spending all her time with a non-speaking lunatic. Indeed, this compromise she makes may underline her lack of certainty and possibilities due to her social background. [In Jane Eyre, she is called “MRS” Poole and has a son somewhere outside. She might need financial support for her son and for herself. Jean Rhys sort of turns her into a single and unfortunate mother, by characterizing her as “a woman”.]

Under his roof and under the rule of silence, Rochester owns them. He owns them economically, emotionally, but also sexually. He is their father and their husband: his patriarchal power is also performed through the oppression and repression of the collective identity of women. I actually read this last part as symbolic, with the ‘gate’, the ‘trees’ outside, and ‘above all’ the ‘thick walls’ of the rooms, the ‘walls’ imprisoning the ‘all’. “Crimson and white rooms” clearly gives space to an interpretation of sexual confinement – or at least a place where sexuality is voiceless – with the idea of blood/virginity, and the thick walls possibly referring to the hymen, unbreakable under Rochester’s roof.

Therefore, by including this passage, Jean Rhys does some justice to one forgotten character from the original sketch of Brontë. She gives Grace Poole some depth by drawing a self-reflective character who has her own reasons to conclude this seemingly pact with the devil. She has stripped herself of part of her integrity and moral principles in exchange for a shelter, financial and social protection, but she nevertheless keeps some awareness about it.

The “object” of the oppression and repression may be locked up in the attic; yet the collective memory is oppressed and repressed behind the thickness of every wall, that both protect and isolate from the world, and from others.

Sources

  • Laura E. Ciolkowski, Navigating the Wide Sargasso Sea: Colonial History, English Fiction, and British Empire. Hofstra University, 1997.
  • Missy Dehn Kubitschek, Charting the Empty Spaces of Jean Rhys’s « Wide Sargasso Sea ». University of Nebraska Press, 1987.
  • Lee Erwin, « Like in a Looking-Glass »: History and Narrative in Wide Sargasso Sea. Duke University Press, 1989.
  • Carine M. Mardorossian, Shutting up the Subaltern: Silences, Stereotypes, and Double-Entendre in Jean Rhys’s « Wide Sargasso Sea ». The Johns Hopkins University Press, 1999.
    Nancy Pell, Resistance, Rebellion, and Marriage: The Economics of Jane Eyre. University of California Press, 1977.
  • Michael Thorpe, « The Other Side »: Wide Sargasso Sea and Jane Eyre.