all these cunning men

[rm]

schpahky and I have been emailing about her latest piece for school. In talking about what it should be talking about we got on a digression in which she asked if I had read Cat's Eye, and said this about it:

But the whole childhood of that narrator is about driving around all summer with parents and brother in a station wagon, and camping, and because her dad is a science professor, they always have jars of bugs and stuff, and she arrives into adolescence feeling more like a boy than girl, and doesn' t know how to manage the subterfuge and hierarchy of girls.

It was no doubt the slimy things in jars that made me make the connection I'm about to go into -- both because of my HP fannishness and because I was crazy for science (although not biology, but rather chem) when I was a kid.

Perhaps women love villains in stories, not because of Jungian this or that, not because of some dark, removing responsibility for sexual desire fantasy, but because we relate to them and so can wish to be them -- they are in range of our experience as heroes rarely are. The villain (or at least the anti-hero), like girls and women, must navigate subterfuge and heirarchy. We see their male privilege as attainable to us, because their burdens are similar to our own unprivileged ones. That the long tradition of the feminization of villains (and JKR actually does this on such a consistent and massive scale it's a little weird), strikes me as possibly being an outgrowth of this, and not merely, as I think is often assumed, an attempt to insult the sexuality/power/honorableness of the villain or anti-hero.

I think it's why we like the Slytherins, ladies. We imagine the prices they pay are measured in units we can understand. And so we play at wickedness being clever and sexy and all that, because it's simply a way to show gratitude to certain tales while not being questioned too closely.

When I mentioned this to schpahky she seemed to agree. She listed her cunning men, and "crushes" seemed to be the easy word in what is mostly, really about desire and identity.

So much of the two-gender world seems to be a lot of people unwilling to say aloud, "I want all my wounds and all your power" and then being pissy about it.

Comments

[briansiano.livejournal.com]

Only point I'd raise is that the Slytherins-- at least, the kids-- tend to be on the brutish, thuggish side. Even Draco hasn't exactly been Mister Subtle Plans. They just don't seem a patch on the Slytherins of previous generations, like Lucius Malfoy or Severus Snape or even Tom Riddle.

The feminization of villians has another component-- namely, the tendency of male writers to cast their villains in effeminate terms. Good example might all the James Bond villains descended from the epicene Le Chiffre; they're rarely "men of action" like Bond, or Mickey Spillane or Bulldog Drummond. They're always refined, repulsive eggheads trying to gain power with that thing in their skulls, instead of the honest use of fists'n'kicks.

But I wouldn't align the gender thing with power, either. Cast this up to my being a het male if ya want, but I don't really share a taste for the eroticism of vampires precisely _because_ there's a fascist aesthetic there: they _have_ power, they use it without compassion, and humans are regarded as lesser creatures. It's a mix of eroticism and power, but it's closer to the sociopathy of Gilles de Rais than the empowerment of the powerless. (That's sort of why I liked Anne Rice's first book-- because it was original and horrifying. All the mythology afterwards struck me as
the self-image that Himmler and Goebbels might have concocted for themselves.)