More Roar From 1992

Again, confronted and highly intrigued…these excerpts are from the essay entitled, Madonna I: Animality and Artifice

Madonna is the true feminist. She exposes the puritanism and suffocating ideology of American feminism, which is stuck in an adolescent whining mode. Madonna has taught young women to be fully female and sexual while still exercising control over their lives. She shows girls how to be attractive, sensual, energetic, ambitious, aggressive, and funny–all at the same time. American feminism has a man problem. The beaming Betty Crockers, hangdog dowdies, and parochial prudes who call themselves feminists want men to be like women. They fear and despise the masculine. The academic feminists think their nerdy bookworm husbands are the ideal model of human manhood.

But Madonna loves real men. She sees the beauty of masculinity, in all its rough vigor and sweaty athletic perfection. She also admires the men who are actually like women: transsexuals and flamboyant drag queens, the heroes of the 1969 Stonewall rebellion, which started the gay liberation movement.

Contemporary American feminism, which began by rejecting Freud because of his alleged sexism, has shut itself off from his ideas of ambiguity, contradiction, conflict, ambivalence. Its simplistic psychology is illustrated by the new cliche of the date-rape furor: “‘No’ always means ‘no.'” Will we ever graduate from the Girl Scouts? “No” has always been, and always will be part of the dangerous, alluring courtship ritual of sex and seduction, observable even in the animal kingdom.

Madonna has a far profounder vision of sex than do the feminists. She sees both the animality and artifice. Changing her costume style and hair color virtually every month, Madonna embodies the eternal values of beauty and pleasure. Feminism says, “No more masks.” Madonna says we are nothing but masks…Madonna is the future of feminism.


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Filed under literature, Psychology, sexuality, splits

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