femininity

Feminaissance

barbara — Wed, 08 Dec 2010 12:00:00 +0000

French theorist Hélène Cixous first coined the term ècriture feminine in her 1975 essay “Laugh of the Medusa,” in which she wrote “Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies.” Within the essay, Cixous posited that women write their gender into their writing, that gender is embedded in the language women use.

Écriture feminine is the focus of the anthology Feminaissance, which began as a Cal Arts conference held in 2007 on the topics of feminism and women in writing. One of the key questions that arose at this conference was the concept of ècriture feminine, and whether there were in fact specifically feminine forms of text. The ideas expressed at this conference later lead to the creation of this rich anthology, in which multiple women explore the concept of feminine writing and gender in language through a myriad of methods. All of the pieces of the anthology are laid out on the page in halves and thirds, so that each page shows a discussion of the topic from many voices.

The responses vary vastly, with some women exploring theory, some women exploring concepts of what it means to be a woman, and some women writing fiction and memoir related to gender and sexuality. As a whole the book presents a compelling and thought-provoking discussion on the concept of feminine language and what it means to be female within today’s society.

Among the most compelling pieces within the anthology is Dodie Bellamy’s short story “Sexspace.” Bellamy explores the connections between language and gender and sexuality by depicting characters that enter into an Internet-like world in which sexuality is expressed through energy and language, rather than merely imprisoned within our physical bodies. The protagonist’s femaleness then becomes something that transcends her body, and is rooted instead within her language and energy. In a day and age where much of the communication around sexuality now happens online or via text message, this concept seems highly relevant. Eileen Myles then depicts the reverse within her work “Tapestry,” in which she explores women whose sense of self and sexuality is linked to their bodies; the protagonist then remembers her own female lovers by describing their breasts and vaginas in detail, linking them to their physicality and sexuality. In “Continuity” Chris Kraus laments on the state of female writing, declaring that such writing has a “pervasive schizophrenia” as the identity of women within society is constantly in flux.

As a graduate student in English reading the writing of Helene Cixous and Luce Irigay, ècriture feminine often felt a bit disconnected from real life, mired down in academic purposes. Feminaissance makes the ideas behind ècriture feminine far more accessible by applying and exploring Cixous’ ideas within the context of real life. Much like Inga Muscio’s groundbreaking book Cunt, Feminaissance succeeds in its ability to take feminist theory and apply it both to artistic expression and real life experience, making feminism feel more relevant and accessible.

Written by: Adrienne Urbanski, December 8th 2010

The Subversive Stitch, Embroidery and the Making of the Feminine

admin — Mon, 02 Aug 2010 20:00:00 +0000

By Rozsika Parker

I.B. Tauris & Co

In the world of contemporary art, using embroidery to express yourself is risky, and while I impart a subtle subversive message in those textile pieces, it is hard to overcome the initial impression that I am doing dainty women's work. In my attempt to understand that prejudice, I picked up the book The Subversive Stitch.

Written by Rozsika Parker who has published widely in both Art History and Psychotherapy, The Subversive Stitch delves into the history of embroidery to explore its associations with femininity. Parker defines femininity as "the behaviour expected and encouraged in women, though obviously related to the biological sex of the individual, is shaped by society." The key argument of this book is that the "changes in ideas about femininity that can be seen reflected in the history of embroidery are striking confirmation that femininity is a social and psychosocial product."

In the revised and updated edition, the book is broken down into eight chapters: The Creation of Femininity' Eternalising the Feminine; Fertility, Chastity and Power; The Domestication of Embroidery; The Inculcation of Femininity; From Milkmaids to Mothers; Femininity as Feeling; and A Naturally Revolutionary Art? This is a scholarly text, densely written with abundant quotations, endnotes, and black and white illustrations. Unfortunately, much of the richness and beauty of the photo illustrations is lost in their small size of presentation in dull gray tones. Nevertheless, the book is a thoughtful and thorough analysis of the history of embroidery and its association with femininity and women's work. Of particular interest to me was the last chapter in which Parker explores the revolutionary aspect of contemporary embroidery by such artists as Louise Bourgeois and Tracy Emin. However, this book is not for a casual reader and is more suited for research in art history, feminist issues, or embroidery.

From my reading of The Subversive Stitch, I came to understand the reasons the disparity in status between embroidery and painting. The division between women's work and men's work seems to be at the core of this deep seeded antipathy towards embroidery. This particular quote from the eighteenth century sums it up: "Sir, she's an Artist with her needle...Could anything be more laughable than a woman claiming artistic status for her sewing?." Luckily, today's definitions of art and femininity are somewhat more fluid, allowing me flexibility to chose the medium best suited for a particular message.

Cross-posted at Fashion is My Muse

Written by: Ingrid Mida, August 2nd 2010

Iron Butterflies: Women Transforming Themselves and the World

admin — Thu, 08 Jul 2010 16:01:00 +0000

By Birute Regine

Prometheus Books

In the eternal question of nature versus nurture, author and developmental psychologist Birute Regine leans comfortably towards nature. She embraces “feminine” qualities and calls for women the world over to do the same. While the anecdotes and reflections she chooses to share are indeed compelling and inspirational, the book as a whole can be off-putting if you do not necessarily prescribe to the idea of gendered personality traits.

One major theme running throughout Iron Butterflies is the need to reject and reform what she calls “gladiator culture,” which is defined by its aggressive, macho, and violent nature. This, Regine writes, is the source of many societal ills. The book is then a call to action for women around the globe to effect change through compassion, empathy, and caring—the antidote to gladiator culture. By accepting and uncovering innately feminine qualities, women can improve their own quality of life while also creating social change in their communities and in the larger world.

Though gender biases, discrimination, and violence continue to exist in full force, further emphasis on the “inherent” differences between men and women feels uncomfortable and one-sided. Instead of gendering characteristics, a more inclusive approach would have been to look deeper into how these traits have come into existence and examine the larger society as a whole for ways that everyone can integrate compassion, for instance, into their daily behavioral repertoire.

Regine does recognize this point in a few isolated moments, but looking at a scale with nature on one side and nurture on the other, she falls much closer to nature. With chapters entitled, “Tears: Heal the Hidden Wound,” and “Chrysalis: Shedding Self-Imposed Limitations,” the general tone of the book is New Age-y self help, with the inclusion of various ethnic and cultural metaphors. The core message is one of positive change and growth, but the means of achieving them may not resonate with all readers.

Written by: Shana Mattson, July 8th 2010

Healing Pandora: The Restoration of Hope and Abundance

admin — Thu, 08 Apr 2010 08:00:00 +0000

By Gail Thomas

North Atlantic Books

The mythic Pandora has long been misunderstood as one who brought evil into the world. She was thought to be the first mortal woman created and sent to Earth by the gods. Her infamous box, once opened, leads to the escape of diseases and other ills, resulting in a lasting curse upon humankind.

But this is not Pandora’s original story; in fact, the modern retelling of this myth is vastly different from Pandora’s true nature. In Healing Pandora, author Gail Thomas explores the origins of the Pandora myth, how it evolved into the tale we accept today, and Pandora’s influence on our culture.

Thomas asserts that long before Pandora’s myth became twisted, she inhabited the role of a goddess. Pandora was not just any goddess. She was the Earth Mother and maker of “all things, all gods, and all mortals.” But like many other female figures (historical or mythical), Pandora’s role as life giver transformed into one who bestows misfortune upon the world, and men in particular.

The first half of Healing Pandora takes a thorough look at the goddess and the vessel she carries, while in the second half, Thomas focuses on how people can apply Pandora’s lessons to modern culture. Thomas describes Pandora as “an archetypal image of culture, an image no longer in the consciousness of our world today.” She invites the reader to consider Western culture as a living entity and describe its appearance. The author bets the image would be one of “competition and scarcity.” By viewing culture through the Pandora myth, however, Thomas states that we will find “a bountiful feminine figure with outstretched arms and hands, waiting to provide everything we need.” The latter outlook seems most assuredly a rarity for Westerners.

Some solutions Thomas offers for transforming culture include women and men embracing their feminine side and also to become true stewards of the earth who recognize that spirit exists in all matter. She also suggests considering how different the world would appear to each of us if we imagined it as a bountiful place instead of one that is always deficient in some way or another.

Of course with a book titled Healing Pandora one would expect the author to spend some time analyzing myth. Thomas does this and takes liberty by discussing Pandora and many other mythic figures in great detail, so much that it’s difficult to keep track of the book’s main purpose. On the other hand, she does raise many valuable and thought-provoking insights toward culture today that are worth contemplating, and Thomas provides a much-needed background of Pandora before her myth became corrupted.

Written by: Beverly Jenkins-Crockett, April 8th 2010

Kissing the Mask: Beauty, Understatement and Femininity in Japanese Noh Theater

admin — Tue, 06 Apr 2010 16:01:00 +0000

By William T. Vollmann

Ecco

Full disclosure: I am an avid fan of William T. Vollmann's work and was excited to read this book. Vollmann often has strange and interesting things to say about women and gender relations, and his notorious interest in prostitutes (who feature prominently in both his fiction and non-fiction) may almost be labeled as an obsession. In his latest book, Kissing The Mask, Vollmann concentrates on the nature of femininity by viewing it primarily through the lens of the ancient, gorgeous masks of Japanese Noh theater. It is also a meditation on the idea of femininity as a staged performance.

Noh theater is far too complex to encapsulate in just a few sentences, and Vollmann himself often professes trouble in defining it thoroughly. At first glance, Noh seems a bizarre choice of medium through which to focus on femininity, as most Noh actors are male and men traditionally play the roles of women with the aid of costuming and masks. However, Vollmann directs his attention, and the readers', to the beautifully rendered Noh masks representing female characters. These become a metaphor for the “mask” of femininity that many women wear: makeup, jewelry, clothing, and other adornments that are more or less socially mandated.

Similarly, the elaborate and carefully orchestrated movements on the Noh stage are analogous to the “staged” femininity also involving complex, time-consuming, and money-burning ornamentation that often results in constricted and painful mobility. Vollmann is concerned with what “manifests” a woman as opposed to what a woman “is,” and in this endeavor he visits Japanese geishas and transvestites, both of whom could be said to wear the feminine mask. He digresses into history of what other cultures have traditionally considered “beautiful,” and manages to weave in thoughts about porn stars and artists' muses.

Vollmann readily admits that he perceives women as “the other,” and is fully aware of the fact that he is viewing women through the privilege of a male gaze. He waxes rhapsodic about female beauty throughout the text, basically elevating women on a very high and poetic pedestal, which made me slightly uncomfortable; when a person (or entire gender) is put up on a pedestal, it's a long way to fall. Vollmann appears to genuinely like and respect women, however, and my discomfort was minor and temporary. He also, as in his other nonfiction books, makes no pretense about being an objective observer; he is fully immersed as a character in his own true story.

Kissing The Mask is highly valuable as a look into the secretive, baroque, and intricate Japanese subcultures of Noh theater and geisha teahouses, with the author's personal study of staged femininity mostly as a bonus. Furthermore, it's enriched with William Vollmann's gorgeous and almost lyrical prose, plenty of photographs and drawings, several appendices with notes and chronologies, and a glossary for the many Japanese words and phrases liberally sprinkled through the material.

Written by: Natalie Ballard, April 6th 2010

Red Lights: The Lives of Sex Workers in Postsocialist China

admin — Fri, 07 Aug 2009 16:56:00 +0000

By Tiantian Zheng

University Of Minnesota Press

On one occasion, gangsters walked into the bar, grabbed me by the arm, and started dragging me up the stairs toward a private room intended for hostesses’ sexual encounters with clients. The women were also sometimes raped there by gangsters. I quickly realized what was going on—that I was in real danger... Whereas safety was a major issue, hygiene was another. Living in a filthy karaoke bar room without bathing facilities, I had lice in my hair and over my whole body. However, by living and working closely with hostesses in the bar, I gained their recognition and friendship.

Ethnographers always get their man (or woman... or both) even if they have to use their bodies as instruments of data collection and analysis. Ethnographers usually become participant-observers during fieldwork to facilitate rapport and to capture what people actually do as opposed merely to what they say they do, but as these snippets suggest, such can lead to squeamish feelings and harrowing experiences. Zheng participated in activities that male ethnographers could only have observed. Her analysis of sexual networking is consequently first-rate because she moves easily and persuasively from person to state, capital to labor, ideology to practice.

Red Lights is a beautifully written account of the emergence of new femininities and masculinities in post-socialist People’s Republic of China. Zheng analyzes the growth, structure, registration and functions of the karaoke bars now dotting the landscape and in which are played out the social and economic contradictions of class, heterosexuality, ethnicity and gender. In often grim detail, she shows how Communist Party bureaucrats, gangsters, and small business owners (literally) patronize young, unmarried females. In so doing, the former make money, express obeisance to their own social superiors, and get back at Mao Zedong for allegedly having sapped their masculinity during the Cultural Revolution. Women escape poverty (sort of), find boyfriends (ditto), manipulate men as best they can, and experience female solidarity. Her male informants freely express their disturbing misogyny while also confessing their sexual anxieties and class resentment. Confucianism, capitalism and communism each but differently punish women for alleged sexual promiscuity while rewarding men for theirs.

Many tens of thousands of Chinese women have migrated from economically and socially stagnating rural areas to the strip clubs and karaoke bars, back rooms, and guest houses of urban centers such as Dalian, where they “choose” forms of employment that entail grotesque subservience, daily humiliation, squalid working conditions, and social leprosy. Dalian was long ago hailed as an oasis of economic development during the period of Occupation by the Japanese military in the 1930s and 1940s. Its morally unsavory status today as a modern-day Sodom and Gomorrah—but whose economic function is central to post-socialist China—reveals the social and economic contradictions of Confucianism, patriarchy, communism, Western media forms and capitalism. “In Dalian,” Zheng writes, “taxes paid by the entertainment industry are the largest source of local revenue.”

Red Lights opens with Zheng’s painful personal stories of growing up a filial daughter in a sex-negative and patriarchal Chinese household. It continues with her painful humiliation in a U.S. college classroom regarding her views of gender relations. It proceeds to detail the humiliation of Chinese women. Her extremely sorrowful Afterword, entitled “From Entertainer to Prostitute,” shows the inexorable logic of patriarchy and capitalism and gives the lie to pro-sex work activist positions that can neglect or ignore specifically gendered humiliation in sex work. Her Acknowledgments section deeply moved me in recounting the joys and pains of scholarly work. It exemplifies the beauty and honor of academic collaborations that break through barriers of geography, language, culture, theory and gender but that are nevertheless mindful of them.

Red Lights would make a fine addition to graduate-level courses in social theory and fieldwork, but could be used in upper-division courses in gender studies and ethnography, too. It is a major contribution to ethnographic explorations of gender, sexuality, and prostitution, and to Asian Studies, too, which has enabled too few participant observation-style studies of sexual networking.

Written by: Lawrence James Hammar, Ph.D., August 7th 2009

Chiconomics 101: The Fun, Fabulous Girls’ Guide to Making Smart Money Moves

admin — Fri, 19 Jun 2009 08:15:00 +0000

By Debbie DiVito

Chiconomics 101 is a pink-themed, Cosmo-drinking ladies-geared blog about basic money management seemingly written by and for the twenty-something set of singles with less money to burn now that they have “real world” bills to pay. The blog bubbles with ideas perhaps not so novel or inventive for folks remotely experienced in the pinching of pennies—brown bagging lunch instead of eating out, visiting the local library instead of the local Barnes & Noble, making coffee instead of dropping dollars on store-bought lattes—but ultimately, from this feminist’s perspective, fizzles and falls flat.

Alongside standard tips for everyday things a “fun, fabulous girl” can do to save a few bucks, the blog also offers more substantial advice The tips are mostly geared toward someone thinking about these things for the first time; she could find some good starting pointers and helpful links to get started towards a financial goal. These posts were genuinely interesting, informative, and pertinent to some aspect of my current financial life. I learned what FICO stands for, what I could do to improve my credit score, and some solid alternatives to a basic savings account. I read comments from other women in my age group who also do their own taxes, along with some straightforward and helpful tips for how to be successful in, what most of us agree, is an overwhelming process.

It wasn’t the information I objected to—the information was great, if basic or limited at times—it was the delivery that was hard to stomach. There are dozens of other “Finance for Women” blogs out there, even of the “101” Introductory variety, that do it better—more sound advice, tips for saving, investment strategies—without the cloyingly fabulous “chiconomic” lingo exclusively employed on this blog.

Money-talk doesn’t have to sound like a Cosmo article to become magically appealing to women. Each concept need not be accompanied by a grating metaphor meant to bring it down to “our” level—(hetero)sex, high school cliques, cocktails, pop music, dieting, more sex. Here’s a fabulous thought: A women’s finance blog with straightforward advice, no gimmicks, no “girl talk,” no gratuitous comparisons, acknowledging the fact that many women do not get the financial education they need and deserve to make the most of what they earn. Chiconomics doesn’t stack up.

Written by: Kelly Moritz, June 19th 2009

Aromaleigh Make-Up

admin — Sun, 03 May 2009 16:55:00 +0000

By Aromaleigh

When Bette Davis was entering her later years, she said something to the effect of, “I will not retire while I’ve still got my legs and my make-up box.” Bette, like a lot of us gals, knew the importance of quality make-up and what role it can play in our everyday lives. I savor my ten minute make-up sessions because it’s one of a few moments each day that I can actually be alone with my thoughts and prepare myself for what may come. Plus, experimenting with different looks and playing with bright colors and textures make me happy.

After receiving my sample package from Aromaleigh, I woke up every morning with a newfound sense of adventure and wonder because I not only got to have my alone time, but I also gained a chance to feel different everyday. They create, in essence, the make-up of my dreams because of their dedication to distinctive, desirable products. I’ve tried all kinds of make-up over the years, everything from the likes of Wet ‘n’ Wild to Estee Lauder, and I’ve never come across a company like Aromaleigh that speaks so directly to feminine creativity and expression. It’s honestly the best make-up I’ve ever put on my face.

Aromaleigh is a web-based, woman-run company from South Carolina. Their vast catalog consists of foundation, blush, lipstick, perfume, eyeliner, many different kinds of eye shadow, and more. As part of the mineral make-up revolution, Aromaleigh also knows how important it is to concoct their delightful delicacies with the finest, most eco-friendly ingredients available. None of their products are tested on animals, and you can read the ingredient lists online. Not only that, but their colorful baubles just feel good to wear. The “Divine Intervention” eye shadow sang symphonies off my face and never faded throughout my twelve-hour day.

I first discovered the company when a wonderful friend gave me samples of their vivacious silver frost “lily pad” eye shadow and rockin’ sonic coral “shadow of love.” Despite having very sensitive skin, all of Aromaleigh’s products work well with my complexion, and they don’t really fade or smudge. Thus far, I’ve tried items from their Bete Noir, Eyes Lustre, and Gothic Lolita collections. I honestly can’t articulate how many different colors, sparkles, and shades Aromaleigh boasts. They wield all the colors of the rainbow throughout their various collections and possess fun, frisky names like “Lush Memoir” (Gothic Lolita collection), “Darcelle” (Bete Noir collection), and “Space Oddity” (Sonic Cosmetic Collection). They mix and match colors like nobody’s business, and their new limited edition Orchid collection is practically mouth-watering. For eye shadows, they have mattes, frosts, sparkles, and all-encompassing combinations. The brightest of yellows and whites are at your disposal as are the darkest of blues, purples, and blacks. I’ve only tried lip products from the Gothic Lolita collection, but out of the four I tried (Melancholia, Pinafore, Wallflower, and Lollipop), none of them felt sticky or heavy and provided deep, lasting shades that “popped” off my fair skin.

At the risk of sounding like an infomercial, the best part about Aromaleigh is their reasonable prices. Most of their eye shadows range in price from $6-8, and you can buy samples (which last a long, long time) of many of their products for under $1.50. Like a lot of independent companies, Aromaleigh seems to rely on steady customers to keep their company afloat. Therefore, they offer weekly coupons and deals on select products. Plus, there’s free shipping for all sample orders, and they even throw in three random samples with every sale so you can try different things from different collections.

Above all, Aromaleigh truly cares about what they’re peddling. There’s a lot of craft, caress, and chutzpah placed in every treasured stroke of color and spark of glitter. You’ll get a lot for your money and feel marvelous while doing it. Whether you’re Bette Davis with blue eye shadow and brown mascara or someone like me who enjoys sparkling like a holiday with lilac purple and sea foam green, I’m sure Aromaleigh has a cosmetic soul mate in store for you.

Written by: Sara Freeman, May 3rd 2009

Drifting Flowers

admin — Thu, 12 Mar 2009 17:34:00 +0000

Directed by Zero Chou

3rd Production Films

In the film Drifting Flowers, director Zero Chou brings together three stories of lesbian love and camaraderie. In the first, the audience is presented with May, a young girl who is confronted with the need to guide her blind older sister, Jing, while envying her sister's relationship with Diego.

The second story is a sharp turn from the youthful innocence of May to the addled mind of Lily. Lily married a gay friend, Yen, in her youth, and each lives their own life; now older, Yen has reentered her life. The two, who in the passage of years had been left by their lovers, come to provide support for each other as Lily descends into the dark of Alzheimer’s and Yen is afflicted by AIDS.

In another quick shift, the third segment tells Diego’s story at long last. Diego is by far the most interesting of the three studies. Beginning before Ying and May in Diego’s hometown, the segment and Diego are asked the thesis of the film: “Are you a boy or a girl?” Diego answers, “A girl.” Yet, she is uncertain of her answer. Unwilling to wear bras, binding her breasts, Diego is uncertain who she is, while being certain of what she wants.

Uncertainty is the dominant theme of this film, epitomized by the question of being female while not being traditionally feminine. Doubt in one’s self, doubt in one’s society, and an inability to accept what you know to be true are primal to this dilemma. Each of the women comes to seek her place in society, be it through feigned conformity, resignation, or flight; however, this is not a movie about social change.

As a result the segmentation only exacerbates the unrest, and then exacerbates the viewer, as an hour and a half begins to feel like three. The segmented and taciturn structure of the film is strung together by the accordion music which at times haunts and at times revives each narrative, and narrowly avoids giving its audience a collective migraine. Ultimately, Drifting Flowers is about how lives often explode too softly into the night, as the movie itself implodes in the light of day.

Written by: Elisheva Zakheim, March 12th 2009

AsiaPacifiQueer: Rethinking Genders and Sexualities

admin — Thu, 19 Feb 2009 11:53:00 +0000

By Fran Martin, Peter A. Jackson, Mark McLelland, Audrey Yue

University of Illinois Press

Aside from a women’s studies class I took as an undergraduate, of which I remember very little, thoughts on gender and sexuality typically have not taken up much of my time. AsiaPacifiQueer: Rethinking Genders and Sexualities totally changed my perception on these subjects. As a self-proclaimed tomboy, who happens not to be a lesbian, society is much more accepting of my “ways” than they would be if I were an effeminate man. The essays and examinations gathered here by the editors take this subject to an infinitely crucial level in understanding what it means to fall outside of another proverbial box, from a non-Western cultural perspective.

AsiaPacifiQueer brings into focus the dynamics of colonialism, language, and religion, and their shaping of a particular culture seeking to understand itself. It begins with post-World War II Japanese homosexuality and its manifestations through an occupational perspective. In this essay, white collar and working class occupations both play a major role in how work ethic is portrayed in shaping masculinity. This masculinity still finds prevalence in male-male companionship, as evidenced by its over-representation in personal advertisements for male-male companionship.

The essay “Grrrl-Queens” by Clare Maree captures the use of how Japanese language is used not only as a powerful tool with which to communicate across gender lines, but also as a means in which to protest traditional uses of expected gendered communication. One-kotoba is considered a type of language and speech pattern used traditionally by gay men, and is "a parody of stereotypical women’s language," considered to be a hyperfeminine style of speech. However, it is purposely used by some lesbian women as an act of resistance to stereotypes of the "butch" lesbian.

In Kam Yip Lo Lucetta’s essay, "Recognition Through Mis-Recognition," the concept of masculine women in Hong Kong is one of a right of passage. Tomboyism is considered a phase that teenage girls go through before maturing to femininity. It does not generate as much anxiety and can even bring benefits in the workplace (the capable worker), provided it is temporary. Needless to say, for those who continue this phase on through womanhood, it represents a failed woman and a disqualified adult.

AsiaPacifiQueer represents a critical discourse though works that are about more than just queer studies. It opens up a much needed dialogue on how society uses gender and sexuality to dictate its economic, creative, and interpersonal relationships with its every conceivable contact. It is inevitable that in this examination, given the aforementioned hopes, it should create a wider spectrum with which to reevaluate the relationship between gender and sexuality.

Written by: Olupero R. Aiyenimelo, February 19th 2009

Magic and the Power of the Goddess: Initiation, Worship, and Ritual in the Western Mystery Tradition

admin — Wed, 11 Jun 2008 22:06:00 +0000

By Gareth Knight

Destiny Books

The planet is in turmoil and, according to Magic and the Power of the Goddess by Gareth Knight, we can heal it by connecting with the Goddess - the feminine energy that runs though our world. To fully connect with the Goddess though, one must study how she has been represented in various cultures throughout history.

The first part of the book deals with exercises and rituals (most involve meditation, circles, and candles) that one can perform in order to become more in sync with nature and the energy that runs through the planet. Knight claims that this energy is feminine and takes the form of the Goddess. By focusing on this energy, we should be able to heal not only ourselves, but the environment around us. The rest of the book concentrates on different myths from various cultures and how the Goddess is represented in each of these stories. Isis, Andromeda, Psyche, and the Virgin Mary are just a few of the women that Knight cites in these chapters.

Personally, I found this book to be a bit much. To me, meditation is a simple, stress-free practice, and I found Knight’s almost scientific approach to be very unappealing and complicated. The same goes for his take on ancient myths. I would have appreciated an in-depth analysis of how women and goddesses have been represented in mythology over time, but Knight’s analysis just seems to go in circles, never reaching any real conclusion. I’ve read a few new age books before, and while I’ve never really been a follower of what they preach, I could appreciate the author’s point of view. This book was different. I found Knight to be longwinded, rambling and, worst of all, boring. Maybe if I practiced Wicca I would be more impressed with Magic and the Power of the Goddess, but somehow I doubt it.

Written by: Victoria Kroeger, June 11th 2008

Wild Mercy

admin — Sat, 14 Apr 2007 17:18:00 +0000

By Elizabeth Cunningham

Creatrix Books

Wild Mercy is a compilation of poetry that is directly inspired by the art of Tarot. It is artfully written and beautifully paced. Those unfamiliar with Tarot reading will definitely have their interest sparked and will appreciate Cunningham's exquisite execution of the collection. Wild Mercy had me spellbound from start to finish, with every poem being a unique spiritual endeavor. The journey of the compilation is unique in itself. Cunningham has divided the book into eight distinct parts, each part correlating with a specific Tarot card and are as follows: Empress, Hanged One, Moon, Judgement, Devil, Star, Hermit and Death. Cunningham imbeds some of her own life into each chapter. One I particularly loved was Devil, in which almost all of the poems were about her father.

The book possesses a free spirited feel of femininity and liberation. Each poem is definitely told from a woman's perspective and celebrates womanhood in all her moods, seasons and glory. Each themed chapter brings about a fresh new feel and mood which is perfect for different kinds of rituals or meditation. I have enjoyed my own journey with the book and feel doubly inspired. Cunningham approaches each poem from a position of strength, beauty and power, and each poem should inspire all who read them. Perfect for sharing or for leisurely reading, Wild Mercy is definitely for the free of heart.

Written by: Adrione N. Council, April 14th 2007