Explaining the Mansplaining Statue Picture that Took Over the Internet

I’ve loved my last six months of interviewing feminist comedians and creative types for my monthly WEIRD SISTER “Funny Feminism” column, but have recently started to feel like I needed to take a break from the traditional profile or interview style I had grown accustomed to. I was wondering when I would feel inclined to just write exactly how I felt about feminism and comedy. Lucky for me, fate gave me this opportunity when an image I posted on Twitter went viral over the last few days.

ManCD

As I type this, my original Tweet has been reposted and liked 1,948 times and feminist-journalist-superstar Ann Friedman’s almost-immediate repost of my Tweet has been shared and liked 6,678 times. In the last 24 hours, The New York Times via Women In the World, The Huffington Post, Hello GigglesThe Daily Dot, Boing Boing, Bustle, Someecards and The Daily Edge have all published pieces on the phenomena of this Tweet I called, “Mansplaining: The Statue.” The Writing Center at Saint Mary’s University in Nova Scotia turned the Tweet’s image into a meme. The Tweet has been translated and reposted in various languages. People have started posting photos of themselves with the statues. Art critic Jerry Saltz appropriated the Tweet as his own joke on Twitter, which was then reposted by writer Rebecca Solnit whose essay (and later book by the same name), “Men Explain Things To Me” is often cited as the concept for the term “mansplaining.”

manRS

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Locked and Loaded: An Interview with Montana Ray

Montana Ray

Of Montana Ray’s debut book of poems, (guns & butter), Cathy Park Hong says, “Each magnetic phrase is locked and loaded as Ray burns holes into subjects ranging from interracial love, single motherhood, to America’s unrelenting addiction to gun violence.” Ray’s debut collection consists of 32 concrete poems in the shape of guns juxtaposed with ten delicious recipes (try the mango soup!), which, Ray points out, look like upside-down guns.

Ray is a feminist poet, translator, and scholar working on her PhD in Comparative Literature at Columbia University. She’s also mom to budding zoologist Amadeus and author of five chapbooks and artist books. I had the pleasure of talking with Montana over an order of Pão de Queijo about the process and thinking behind (guns & butter).

Emily Brandt: I love this book so much, Montana. I’m curious about the first time you made a concrete poem in the shape of a gun, and I’m curious about whether these poems were written in lines and then transformed into guns, or written in the gun shape.

Montana Ray: A lot of the language is sourced, so in the first poem I wrote for the book, the lines just cohered together in the shape of the gun. I’ve said this elsewhere, but the first poem I wrote in that shape is the first poem in the book. I’d received a text from my babysitter that said, “I might be late. A gun war is on.” Or a slightly less poetic version of that sentence. And I walked out to do my laundry with Ami; and some guy on the street was like, “You can touch it,” and then when I came home—I used to live in front of a tattoo parlor, I still live in the same place but the tattoo parlor has moved, and it’s now a fancy restaurant—one of the tattoo guys there, who I had a little crush on, he’d just gotten a new tattoo on his leg that was Billy the Kid’s gun. I was like, “Do you like guns?” And he said, “I like Billy the Kid.” So basically half of the language in the poem is sourced from one day’s interactions. I was also thinking about art, how you see guns on necklaces and on bags. The appropriation of that shape is done by designers of all sorts, and I wanted to do that for poetry.

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It’s True: Republican Bae Michele Bachmann Came To My Gay Wedding and This Is What Happened

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Lady Liberty and Sarah Palin are lit by the same torch —Michele Bachmann

And what a bizarre time we’re in, when a judge will say to little children that you can’t say the pledge of allegiance, but you must learn that homosexuality is normal and you should try it —Michele Bachmann

Before we get started, let’s all say ‘Happy Birthday’ to Elvis Presley today —Michele Bachmann

The rumors are true. Pero por fa, do not unfriend me yet. Do you know how hard it is to accept this in public after I ranted on Facebook about the idiocy of the gay movement’s focus on marriage? Am I throwing myself over the gay cliff right now? Maybe. Pero reinita, hear me out: Republicans are stubborn people! And I didn’t even see it coming. It was all so quick. Bam bam bam and before you could say ay juepuchica Michele Bachmann is sitting next to my mother picking some pork residue from her teeth, bonding with her over the apocalypse. How was I supposed to say “no” to the hottest bae over 50 in the Midwest? I have a soft spot for right-wing women, tu sabe. Also I don’t think we’ve given Michele proper credit on her party abilities, she’s raised like 30 foster kids plus Marcus in one house (we don’t know the exact number because she won’t fill the census!), she’s held so many racists/homophobic fundraisers we can’t even keep count (talk about a white Christian party monster, am I right?)! AND, girlfriend really wanted to blow up our party balloons (she’s so good!). Plus, she will tell me later, I heard immigrants are really good at the macarena. Dios mío. We are! All of us. Continue reading

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The Rad American Women Behind Rad American Women: An Interview With Kate Schatz & Miriam Klein Stahl

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Rad American Women A–Zwhich was just released from City Lights/Sister Spit, doesn’t pretend to be an exhaustive list of important American women. But to imagine the 25 women selected by author Kate Schatz and illustrator Miriam Klein Stahl as a representative sample is to imagine a world in which radicalism is somehow the norm, a world in which living as a woman in America might itself be a radical act. From Angela Davis to Zora Neale Hurston, from Dolores Huerta to Kate Bornstein to Maya Lin to Patti Smith to to Temple Grandin to Wilma Mankiller, the book profiles women who came from very different backgrounds and worked in very different fields, but who were all undeniably radical: in their politics, their aesthetics, their style, in the ways in which their work continues to shape and challenge our own lives. Very few, if any, of them are familiar from the Famous American Women books of my childhood. In one of the most moving sections of the book, Schatz and Klein Stahl devote the letter X to The Women Whose Names We Don’t Know, gesturing not only toward public figures who could eventually show up in middle-school social-studies curricula–“the women we haven’t learned about yet”–but toward the ordinary women “whose stories we will never read.”

I got to talk to Schatz and Klein Stahl over email about their collaboration, their own daughters, and about the politics of basically every concept in the title: radicalism, America, nationalism, women, feminism, and the alphabet! Continue reading

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GO ASK ANAIS: My Feminist Boyfriend (Is Kinda Sexist)

Go Ask Anais

Illustration by Forsyth Harmon

Dear Anais,

I’m a cis, straight white woman dating the man of my dreams. He’s liberal, progressive, handsome, young, he’s got a career and his shit in order, he is not afraid to call himself a feminist, he’s emotionally available and prioritizes me through his actions, and to top it all off at my place he puts the toilet seat back down after he pees.

I know you’re ready to throw this correspondence out as a humble brag or not so gently remind me that there are people with real problems in this world, but hear me out: he will call himself feminist, but when he says or does things that are micro-aggressive or sexist, I can’t get him to own up to it–he’ll argue it’s my wrong interpretation of a scenario because, after all babe, he’s a feminist.

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The Books of Feminists Are in Every Place (A Comic Diary)

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Rah! Rah! Roundup

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Activism & Herstory

“We really felt like there needed to be a space that people could relate to that didn’t blame black people for conditions we didn’t create,” explains Garza in “Meet the Woman Behind #BlackLivesMatter”

Yes! Magazine

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The End of An Anxiety: An Interview with Sarah Manguso

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One of the first lessons I learned in my writing classes was that writing about writing is not engaging to anyone except the author. Yet, when you find a piece about writing that’s not vain, pompous, masturbatory, but actually meaningful, actually open and honest and important, it’s hard not to be impressed.

In Sarah Manguso’s extended essay, Ongoingness:The End of a Diary, the author writes a meditation on the diary she has kept for 25 years, all without including a single quote. The result is a stunning look back on the writings she kept for years, the notes she took furiously in an attempt to mark down her days, to keep them real in some place beside her mind.

Kati Heng: With a diary that’s almost 1,000,000 words long, you seem like the person to go to for diary-keeping advice! Can you give us any tips?

Sarah Manguso: If the goal is to write a lot, I’m the wrong person to ask—a million words in 25 years isn’t much. It’s about a hundred words a day.

KH: Your book is called Ongoingness: The End of a Diary. Why did you decide to call it “The End?” Continue reading

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ALL THE FEMINIST POETS: LaToya Jordan

ALL THE FEMINIST POETS features a single poem and an interview from a feminist poet that we love.

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LaToya Jordan

LaToya Jordan is a writer from Brooklyn, New York. Her poetry has appeared in Mobius: The Journal for Social Change, MiPOesias, Radius, and is forthcoming in Mom Egg Review. She is the author of the chapbook Thick-Skinned Sugar (Finishing Line Press). She received an MFA in Creative Writing from Antioch University Los Angeles. Her biggest fans are her husband and pre-schooler.

 

Miss Missing

White sashes embroidered
with gold letters
showcase our locations:

Bottom of the East River
Abandoned Lot Southwest of Philly
Burnt House in North Carolina
Buried in a Park in Seattle

Last year’s winner pins
the crown to my head.
From Miss Ditch in Ashland County
to Miss Missing.
Mascara tears and black eyes
There she is, Miss Missing.

You probably saw my college graduation
photo on the news and in the papers.
All-American face and form. Flawless skin
now dressed in tiny red mouths
trapped in rigor mortis screams.

I pray for someone to hear
our remains. We sing a raspy song,
reenactment of last breaths
to welcome the new pageant girls.

The newest sisters of our piecemeal gang
include the one with fingerprint tattoos,
a girl who carries her head like a purse,
and the woman whose baby trails behind her,
still connected by the umbilical cord.

The girls add pushpins to the map
on the wall backstage. X marks the spot.
A rainbow of pins, thousands of them
crisscross with our limbs
like cross country railroad tracks.

Find any of the other contestants,
Miss Landfill Los Angeles or
Miss Abandoned Car in Brooklyn,
and I bet that beneath brown decomposing skin,
their bones are as pale white as mine.

(published by Radius)

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Chloe Caldwell’s Women Isn’t About Anything and It’s About Everything

chloe caldwell

Despite the title, Women by Chloe Caldwell (Short Flight/Long Distance Books, 2014) is not just for women. It’s for anyone who likes reading fiction but also has a problem with reading fiction. It’s also for feminists who want to read a book with predominantly female characters. It’s also for anyone who’s bisexual and/or ever questioned their sexuality. It’s also for all the above and none of the above.

“You have to read this book. It’s stayed with me for months,” I say to a friend over dinner.

“What’s it about?” my friend asks.

“It’s about…” I begin to say, even though I don’t like answering what things are about, even though I often ask others what things are about, “the difficulty of writing about experience in the same way that holding onto love is seemingly impossible.”

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