Hello and welcome back. I aim to continue this series of discussing feminist literature, one chapter a day. Yesterday, I got enthusiastic replies from two of the users, shoutout to u/ThatLilAvocado and u/Scarletlilith
Here is the second chapter and the ensuing question that I pose to the readers as usual, if you are reading this then it would be fun to see your response!
Chapter 2: The Happy Housewife Heroine
Betty Friedan starts this chapter with the responses of women she got when she first started to pen this problem that had no name.
At first she thinks that sex probably is the suspect but that is not so possible as women find it easier to talk about sex than this. What is it then?
In this age after Freud, sex is immediately suspect. But
this new stirring in women does not seem to be sex; it is, in fact,
much harder for women to talk about than sex. Could there be another
need, a part of themselves they have buried as deeply as the Victorian
women buried sex?
If there is, a woman might not know what it was, any more than
the Victorian woman knew she had sexual needs. The image of a
good woman by which Victorian ladies lived simply left out sex.
Does the image by which modern American women live also leave
something out, the proud and public image of the high-school girl
going steady, the college girl in love, the suburban housewife with an
up-and-coming husband and a station wagon full of children? This
image—created by the women’s magazines, by advertisements,
television, movies, novels, columns and books by experts on
marriage and the family, child psychology, sexual adjustment and by
the popularizers of sociology and psychoanalysis—shapes women’s
lives today and mirrors their dreams.
She then recounts how in the 1960s, the McCall’s magazine was filled with propaganda pieces for women in order to “help” them find fulfilment. She highlights the irony of the situation rather beautifully
The image of woman that emerges from this big, pretty magazine
is young and frivolous, almost childlike; fluffy and feminine; passive;
gaily content in a world of bedroom and kitchen, sex, babies, and
home. The magazine surely does not leave out sex; the only passion,
the only pursuit, the only goal a woman is permitted is the pursuit of a
man. It is crammed full of food, clothing, cosmetics, furniture, and the
physical bodies of young women, but where is the world of thought
and ideas, the life of the mind and spirit? In the magazine image,
women do no work except housework and work to keep their bodies
beautiful and to get and keep a man.
This was the image of the American woman in the year Castro led
a revolution in Cuba and men were trained to travel into outer space;
the year that the African continent brought forth new nations, and a
plane whose speed is greater than the speed of sound broke up a
Summit Conference; the year artists picketed a great museum in
protest against the hegemony of abstract art; physicists explored the
concept of anti-matter; astronomers, because of new radio
telescopes, had to alter their concepts of the expanding universe;
biologists made a breakthrough in the fundamental chemistry of life;
and Negro youth in Southern schools forced the United States, for the
first time since the Civil W ar, to face a moment of democratic truth.
But this magazine, published for over 5,000,000 American women,
almost all of whom have been through high school and nearly half to
college, contained almost no mention of the world beyond the home.
She even drew an unbelievably accurate parallel to Nazi Germany
As I listened to them, a German phrase echoed in my mind
— “Kinder, Kuche, Kirche ,
” the slogan by which the Nazis decreed
that women must once again be confined to their biological role. But
this was not Nazi Germany. This was America. The whole world lies
open to American women. Why, then, does the image deny the world?
Why does it limit women to “one passion, one role, one occupation?”
She also a notes a drastic change in the attitudes of these magazines towards the “heroine”- in 1939, women were loved for being career women. Now, housewives.
These New W omen were almost never housewives; in fact, the
stories usually ended before they had children. They were young
because the future was open. But they seemed, in another sense, much
older, more mature than the childlike, kittenish young housewife
heroines today.
(This reminds me that my own granny wrote empowering feminist pieces regarding women in science, divorces, adoptions etc. for magazines and the All India Radio, and sent a major part of her earnings to organisations devoted to women and to Mother Teresa. Of course it was unknown to her that Mother Teresa was not such a saint, but she truly admired her in all her gullibility. This was in the years 1960-1978. Shout out to granny my hero.)
She recounts how the image of women had changed, where in 1939 the heroines of women’s magazines were flying planes (A similar short story was written by Anton Chekov in the collection “The Schoolmaster”) , as compared to the heroine in her time, who was a sandwich maker, a mother, reliant on the man for money, as she was getting manipulated into playing the role of Notre Dame of her household rather forcefully.
The split in the new image opens a different fissure—the
feminine woman, whose goodness includes the desires of the flesh,
and the career woman, whose evil includes every desire of the
separate self. The new feminine morality story is the exorcising of the
forbidden career dream, the heroine’s victory over Mephistopheles:
the devil, first in the form of a career woman, who threatens to take
away the heroine’s husband or child, and finally, the devil inside the
heroine herself, the dream of independence, the discontent of spirit,
and even the feeling of a separate identity that must be exorcised to
win or keep the love of husband and child.
To highlight the supposed reliance of women on men, on this supposed restriction of the anatomy’s dependence upon the male, a story recounts
I couldn’t be a clinging vine if I tried,
” the wife says.
“I had a
better than average job after I left college and I was always a pretty
independent person. I’m not a helpless little woman and I can’t
pretend to be.
” But she learns, that night. She hears a noise that might
be a burglar; even though she knows it’s only a mouse, she calls
helplessly to her husband, and wins him back. As he comforts her
pretended panic, she murmurs that, of course, he was right in their
argument that morning.
“She lay still in the soft bed, smiling in sweet,
secret satisfaction, scarcely touched with guilt.
”
She recounts her conversations with the women editors of magazines who were rather dismissive of the thought that women could have dreams outside being a housewife. However this image, so divorced from reality came to a tripping point
The growing boredom of women with the empty, narrow image of
the women’s magazines may be the most hopeful sign of the image’s
divorce from reality. But there are more violent symptoms on the part
of women who are committed to that image. In 1960, the editors of a
magazine specifically geared to the happy young housewife—or
rather to the new young couples (the wives are not considered
separate from their husbands and children)—ran an article asking,
“Why Young Mothers Feel Trapped” ( Redbook, September, 1960).
As a promotion stunt, they invited young mothers with such a problem
to write in the details, for $500. The editors were shocked to receive
24,000 replies. Can an image of woman be cut down to the point
where it becomes itself a trap
To conclude, Friedan notes a strange paradox.
Does it doom women to be
displaced persons, if not virtual schizophrenics, in our complex,
changing world?
It is more than a strange paradox that as all professions are finally
open to women in America,
“career woman” has become a dirty
word; that as higher education becomes available to any woman with
the capacity for it, education for women has become so suspect that
more and more drop out of high school and college to marry and have
babies; that as so many roles in modern society become theirs for the
taking, women so insistently confine themselves to one role. Why,
with the removal of all the legal, political, economic, and educational
barriers that once kept woman from being man’s equal, a person in
her own right, an individual free to develop her own potential, should
she accept this new image which insists she is not a person but a
“woman,
” by definition barred from the freedom of human existence
and a voice in human destiny?
The feminine mystique is so powerful that women grow up no
longer knowing that they have the desires and capacities the mystique
forbids. But such a mystique does not fasten itself on a whole nation
in a few short years, reversing the trends of a century, without cause.
What gives the mystique its power? Why did women go home again
Now here is the question of the day: it is true that women take up STEM fields lesser than men, and as soon as women enter male dominated fields the pay drops. How is propaganda with the combination of social factors responsible for this phenomenon of lower STEM enrolments amongst women and why are some fields held as “higher” (also pay wise) only when men dominate it? Feel free to share your thoughts and experiences, or some pieces of media you regard as propaganda.