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The Blythes Are Quoted

This novel, set against the backdrop of the 1940s, delves into the lives of the Blythe family, showcasing their interactions and the evolving relationships among its members. The narrative intertwines elements of youthful rebellion with the broader social and political context of the era, offering a nuanced portrayal of family life and personal growth. more

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L.M. Montgomery

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“In men, there is the familiar distinction between the Madonna on a pedestal and the lowlife whore, in the sense that they elevate the love object to unknown—and, above all, unattainable—heights. These are the super-conventional husbands who respect their wives. They often respect them so much that they become psychologically impotent. The shadow of the for-bidden mother covers the beloved in this cloak of respect, so that any sexual approach becomes impossible. However, this impotence wholly melts away, together with the respect, when such a man goes to a whore, either in his imagination or in reality. The pendulum swings the other way, because in this case the woman, in the figure of the whore, is humiliated just as much as the wife-mother is extolled. The dimension of lust appears here, inevitably accompanied by feelings of guilt. It is in this context that we come across the typical male fantasy, well known to every prostitute, of 'saving' a woman. A large number of her clients want to 'save' her from her ruin. They want to restore to her the status of being an object of love. In other words, they want her to become a wife-mother, which brings them back to respect, and completes the circle. Interestingly, in either case, whether he saves her or humiliates her, the power lies with the man. This in itself is a rewrite of the original mother-child scenario. His position has shifted from passive to active.”

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“Men fear women, even as they work to make women fear men, because, on the most basic level, male dominance is an illusion. For patriarchy to work, men have to control literally every facet of sex and family life– who has sex, with whom, and when and whether they get pregnant, who owns the child, and who care for it– and given the unruly nature of sex and birth, this control is perpetually slipping out of their grasp. Patriarchy is inherently unsustainable: It is not possible to control another human being at every moment of every day. It is not possible to control what (or who) women want. It is not possible to own a resource that is located inside someone else's body, which sex and reproduction always are. And if women realied how fragile male control is, everything might change. So, by constructing this patriarchy, men make monsters: the twisted, slimy, devouring, mutating, massively powerful images of female desire and sexuality and motherhood that take place outside of patriarchy. Monsters are the children that aren't supposed to exist, the feral desires we've fought to repress and forget, the outsiders waiting at the edge of our social world to confront us, the primeval, female body, that gives and takes life without permission. Men's dread of this power has given rise to countless, bluntly anatomical nightmares: corrupting uteruses poisonous blood, women who have slimy, serpentine tails instead of vaginas, or snakelike, elastic jaws that swallow men whole, or "castrated" women whose bodies are open wounds. A monster is a supposed-to-be-subjugated body that has become threatening and voracious– a woman who is, in the most basic sense, out of (men's) control.”

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