How have the radical feminists of the past influenced contemporary texts? The answer might just surprise you.

 

By Jennifer Mullan

If you're reading this, you've been affected by feminism in some way.

One of the most influential movements in history is the second wave feminist movement, spanning from the 1960s-1970s. In a nutshell, second wave feminism fought for reproductive rights, workplace equality and challenged traditional gender roles. These feminists organised protests, sparked conversations and created highly impactful literature. A decade before this movement began The Second Sex (1949) by Simone De Beauvoir was published. De Beauvoir's ideas stood as a foundation and inspiration for many of the values of second wave feminists.

One of the successes of second wave feminism is shown in the sexual freedom of women in Monkey Grip (1977) by Helen Garner, published on the tail end the movement. Garner unflinchingly continually mentions the traditionally taboo topics of sex, contraceptives and abortions. Due to the legalisation of abortions in Australia and the increased access to different contraceptives, the women of 1970s Australia no longer had a reduced risk and fear of becoming pregnant or having to sustain an unwanted pregnancy. 

This is reflected in the sexual fluidity and autonomy of Garner’s female characters.

 

Men and Power

An idea expressed in The Second Sex is that men often feel the need to maintain control and will manipulate things to keep it that way. Monkey Grip describes this when Nora, the main character’s friend Paddy tells a story where a guy drives her car, ignores her advice (about her car) and didn’t like the fact that she paid for their food – because she took the more “manly” role. Paddy states that “He just didn’t like to be in a situation where I was in control.” This need for control manifests itself through the use of the power that men hold over women. Another example of this, again in Monkey Grip, is when a male character, Gerald, drives Nora home. He is stuck on the idea of sleeping with Nora and when she declines, he lashes out – shouting, speeding and driving on the wrong side of the road. Nora describes this behaviour as “that thing men do, he’s rushing to destruction… he’s power-mad, I can’t do anything.”

This is furthered by the dynamic between the two main characters, Gallimard and Song, in M Butterfly (1988) by David Henry Hwang. Gallimard has cast himself as the strong alpha male, despite having very little experience with romance, and Song as the submissive woman. In the beginnings of their relationship, Gallimard believes he holds power over Song, describing it as:  “the absolute power of a man”. Gallimard even states that “God is a man”, likening the power of men in society to divine. This alludes to the idea that men consider themselves the default and women afterthoughts, often derived from the creation story in the Christian Bible. In this story, Adam is made first and Eve is only created as a way to quench Adam’s boredom. This belief of humanity as male and women as secondary, has trickled through time and is explored in The Second Sex.

 

Gender as a social construct

 

The Second Sex and M Butterfly both explore the idea of gender as a social construct. The M from the title of the play can be interpreted as Madame or Monsieur showing either gender can fulfil the stereotypical feminine role, separating the actions from the gender. In The Second Sex, De Beauvoir writes: “One is not born, but rather becomes, a woman”, describing femininity as a construction of the experiences and treatment of women in society. This brings forward the argument of existence over essence. Are women born fully formed with ingrained submissive and obedient natures? Or, do they adopt these values due to the constant instruction that they have to act this way and will only be appreciated as long as they are attractive to men? De Beauvoir and the wider 2^nd wave feminist movement argues the latter.

In M Butterfly, Gallimard reviews different forms of feminine expression in relation to the women around him. He views Song’s façade as “perfect” while finding fault in all the real women he interacts with. Isabelle is too self assured and loud, Helga dares to question his masculinity by suggesting fault in his reproductive organs and Renee acts “too uninhibited, too willing, so as to seem almost too … masculine?”. Renee's 'manlike' actions are unprecedented for Gallimard and he is subsequently threatened by her supposed masculinity. In this conversation, Renee takes the lead and changes the dynamic, making Gallimard adopt the stereotypical feminine role of quietly listening.

Gallimard has become so used to Song’s stereotypical effeminate ways that he has begun defining women not as biological sex but through their actions. Whether they were submissive or dominant, shy or confident.

 

The trouble defining femininity

 

Gallimard runs into a problem here: the trouble with defining femininity. This idea, the myth of a singular womanhood, is investigated in The Second Sex. There is no sole thing that is defined as female or feminine. The experiences and identities of women are diverse and each have their own way of defining femininity that does not fit into one particular mold. This idea of the perfect woman has been perpetuated by men who want to continue holding the power. In this, the perfect woman has been made compliant and docile. Song’s womanly pretence was an embodiment of the patriarchal society’s expectations and ideals for women in the 1960s-1970s. The only ‘Perfect Woman’ that Gallimard ever encountered was Song’s façade showing that this flawless stereotype is only a thing of make-believe.

The difficulty surrounding this definition is shown from a woman’s perspective in Monkey Grip. Nora usually determines her self worth based on her own ideals, exemplified near the beginning of the novel: “I liked myself: I looked strong”. In this scene, she has a dirty face and messy hair but she chooses to favour the less stereotypically feminine attribute of strength. This is contrasted to when Nora loses security in her relationship and she defers back to the idea that she is only valuable so long as men find her attractive. Telling herself that she is only feminine enough as long as she is pretty and desirable, expressing the sentiment that “[she is] afraid of people thinking [she’s] ugly.”

The ideas presented in The Second Sex have influenced the values and aims of the 2^nd wave feminist movement and are supported by the events and attitudes in both Monkey Grip and M Butterfly. This movement has paved the way for continued progress and inspires us to continue fighting for gender equality. 

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