Cat Lady on a Hit Tin Doll's House
Chapter Two
The First Lecture, Wednesday, 1/20/2066
Emily was very concerned to present herself as a serious scholar at her first lecture. Indeed, in a loose dark dress that went from her neck to her ankles, almost a hijab, she was rather overdressed for Mississippi in 2066 for any time of the year and covered up more than even the most modest women in town.
Standing at the podium to face about seventy undergraduates, Emily said, "Southern women have been thought to be docile, caste conscious, religious and puritanical. Undoubtedly some were like that but is that what we see reading literature of the last century. This class will explore a variety of views of southern women and southern society's view of women through the lens of southern literature written well over 100 years ago.
"As we know in 2066, it is generally thought that women about forty years ago in the more conservative portions of North America reverted to the ways of their great-grandmothers of before World War II. The stereotype holds southern women largely rejected both promiscuity and feminism while feminism continued to be the predominant attitude in the north and along the coasts of North America.
I will not speak of the present 2066 attitudes of the South. You know more about that than I do.
"I will present a view of just what those pre-Second World War views were by and of women. I think we will find that the ideas of and by southern women of so long ago were far more diverse than is imagined by those who believe that children, kitchen and church was the only role played by southern women before the contamination brought by American contact in WW2 with European decadence, existentialism, and the Civil Rights movement. We will do this through an examination of a few portions of a few works, by southern men and women. These authors - William Faulkner, Carson McCullers, Eudora Welty, Margaret Mitchell, and Tennessee Williams - are still known among scholars but are less read by most readers of the mid-21st Century.
"Most of these works were written in the 1930s. The Tennessee Williams piece can be seen as a bookend and a "looking back" on the prior years as it was written in the 1950s. It is quite contaminated by the thoughts of that later post-WWII time, but it still upholds the tradition of the southern woman even if as in mocks that woman and her family.
"Partly for this reason, I have asked you to watch the "Cat on a Hot Tin Roof" movie with Paul Newman and Elizabeth Taylors, very famous actors of 100 years ago, rather than to read the play. Williams hated the movie because of its deemphasis of the male homosexual theme but for our purposes of looking at the classical view of southern women, the movie is better than the play. The movie, while sharply criticizing some of the classical picture of southern morality, can be seen as endorsing many of its central components.
"But we will not get to "Cat on Hot Tin Roof" for weeks. Instead, I would like to set the stage today by presenting a few of the intellectual currents and views by southern women that preceded the period on which we will be focusing. We will start with 'The Storm' (1898) by Kate Chopin of St. Louis, Missouri."
After discussing Chopin and her work, Professor Fuchs read a small portion of the story, "When he touched her breasts, they gave themselves up in quivering ecstasy, inviting his lips. Her mouth was a fountain of delight. And when he possessed her, they seemed to swoon together at the very borderland of life's mystery. He stayed cushioned upon her, breathless, dazed, enervated, with his heart beating like a hammer upon her. With one hand she clasped his head, her lips lightly touching his forehead. The other hand stroked with a soothing rhythm his muscular shoulders."
Professor Fuchs continued, "Chopin did not attempt to have the story published during her lifetime particularly as the message of the story would have been totally unacceptable in 1890s. It must be admitted, though, that even in this early period women were grasping to understand passion and, at least privately, did not deny the value of physical romance and pleasure.
"Even more shocking, was Chopin allowing the lovers of 'The Storm' to take their casual pleasure and enjoy it thoroughly without afterwards being plagued by tragedy or guilt. This starkly violated the convention that adulterous or promiscuous women, whether Anna Karina or the girls killed during sex in the late 20th Century slasher movies, always paid for their libido with their lives or at least their reputations.
"Coming from another unpopular direction, there were also women of the south prior to the period that will be our focus who questioned the social structure, particularly as it involved saddling women to constant reproduction. Indeed, to take one extreme example, some of the poetry of the 1920s, foreshadows feminist themes of the 1960s and '70s.
"Lucia Trent, born in Richmond Virginia, the capital of the Confederacy and the Old South, wrote a short poem that I would like to read you now. It must have been shocking to many in its day:
"Breed, Women, Breed"
Breed, little mothers
Breed for the owners of mills and the owners of mines
Breed for the bankers, the crafty and terrible masters of men,
Breed for the war lords, the devouring war lords,
Breed, women, breed!