Thirsty for a Fresh Take on All Things True Blood?

WELCOME! Thirsty for a fresh take on all things True Blood? Pull up a virtual barstool at the Pierced Pomegranate Tavern where sisters Rachel and Rebecca are serving up juicy feminist analysis with a twist and opening a vein of thoughtful sociocultural dialogue on HBO's hit series.

Like the epic literary salons of eras past - theaters for conversation and debate which were, incidentally, started and run by women; where the spirited debate about the issues of the day ran as copiously as the actual spirits did - but updated for the digital age, the Pierced Pomegranate Tavern is a fun forum for exploring questions ripe for discourse about the human condition & today's most crucial social issues through the medium of True Blood.

Your salonnières are not peddling liquor per se, but they are offering up new and alternative ideas informed by such diverse influences as pop culture, art, music, cultural history, Goddess studies, transformative theory, literature and poetry, and archaeomythology, filtered through the sieve of their own lived experiences as feminist women of a particular age, background, and culture.

This is a space where you - patrons and passersby alike - can view and engage with these perspectives through the lens of True Blood and contribute your own thoughts. So, no matter if you're a Truebie or a more casual viewer of True Blood, or your drink of choice is a pomegranate martini - one of Rachel's favorite cocktails to drink and Rebecca's to mix - an herbal tea, a frothy double mocha latte, or a can of Fresca (wink, wink) you're invited to join the conversation on the show's complexities in a way that can spark transformation.

Hopefully you'll find something to sink your teeth...err...straw, into! PLEASE ENJOY RESPONSIBLY ;-)

YOU'VE BEEN SERVED (A WARNING)...

The Pierced Pomegranate Tavern is dedicated to exploring social issues and more through the lens of True Blood. As such, you may encounter:

*SPOILERS
*TRIGGERS
related to the often provocative and adult themes presented by the show

If you choose to enter and participate in this virtual salon, please be prepared to do so in a thoughtful, respectful, and mature fashion with the above in mind. Click here to check out our comment policy. Thanks!

Disclaimer

No copyright infringement is intended, all rights to True Blood belong to HBO, credit is ascribed to sites where images appearing here were originally found.

Showing posts with label metaphoric mind. Show all posts
Showing posts with label metaphoric mind. Show all posts

Monday, April 4, 2011

Here's a sneak peek BEHIND THE SCENES: True Blood Reenacts the Goddess Persephone's Ordeal of Abduction and Rape...or Self-Directed Sexual Initiation? Opening a Vein on Woman-Centered Sexuality

It's 4:23AM. Rachel sits alone on the couch. The house is quiet except for the furious clacking of her fingers on her laptop keyboard. Her eyes are blurry and close involuntarily from time to time, but she is determined...

So how'd you like my spoof of the True Blood S4 teasers HBO has been releasing? So far we've had brief scenes of amnesia Eric, Eric & Bill, Jason & Crystal, Sam & new female character (sorry, don't recall her name) and Pam, Tara, Jesus & company introduced by the disembodied voice over orienting us to the action I tried to mime above. Did I miss any?

So what's my teaser all about? I mentioned a while back, I'll be presenting a visual talk exploring issues of sexuality and representation through the lens of True Blood at the PCA/ACA & Southwest/Texas Popular Culture and American Culture Associations joint conference, in the Science Fiction and Fantasy Area: Special Area: True Blood track in just a few weeks...(wipes sweat from brow, assures self presentation will be ready in time...steels self for 2 more weeks of living the vamp life by default, working on prepping my talk all night, in bed with the sunrise).

Now, this may seem like a pretty cool rock-star lifestyle and all, except for the fact that I don't have the luxury of going underground or hunkering down in a coffin all day...so the whole sleep deprivation thing is rather bothersome and the bleeds are sort of difficult to explain when working 9-5...

we were 1st introduced to the phenomenon of the bleeds during this scene, S2


...But anyway, I digress...the real point of this post is to pull the veil back a bit and give you a sneak peek of what is to come at the conference next month.

You may have noticed that we put out a teaser of sorts via Twitter with some shots of Neolithic goddess replicas I've been sucking up for the presentation.

My talk is entitled: True Blood Reenacts the Goddess Persephone's Ordeal of Abduction and Rape...or Self-Directed Sexual Initiation? Opening a Vein on Woman-Centered Sexuality. What do you think these images may have to do with it?


Persephone's return




Willendorf


Green Gulch Tara
 Oh well, you'll just have to stay tuned to find out, won't you?

;-0

And please do stay tuned for the frothy confection on groupies & fangbangers that Rebecca's mixing up, to be served here at the PPT soon!


~ Rachel 

Tuesday, December 28, 2010

Raise a Glass to Real Grrrl Power: Women in Solidarity Part IV: The Final 3 Themes

In this image as opposed to word-dense post, let's take a look at some alternatives to female rivalry and competition from the past and present in a slide show of sorts following these themes which sprang from the screen on True Blood:
  • women sharing support, connection & compassion
  • allies, helpers & guides
  • women united in ritual
WOMEN SHARING SUPPORT, CONNECTION & COMPASSION

Psychoanalyst Jean Baker Miller has written that, "women stay with, build on, and develop in a context of attachment and affiliation with others" (Lowinsky, 1992, p. 55). Essentially, we need other women to become, and be, ourselves. The media and popular entertainment often show us a terrain of women's interpersonal relationships with one another pockmarked by strife and discord. Let's take a look at a few  images from True Blood to the contrary:


Tara experiences the support of other women rape survivors


 
Arlene hires Holly



Holly provides Arlene with moral support and empathy

Sookie and Jessica have a warming relationship
  



These True Blood images have some counterparts from archaic history.

As you can read in the notes associated with the left-hand image below, it depicts two women; perhaps sisters, mother and daughter, or lovers. The image comes from a temple in India; it is a representation of the way in which women were often shown together interacting in loving and beautiful ways in ancient times. It is much the same with the right-hand image depicting two women pouring libations together. The left-hand image comes from the book Shakti Woman by Vicki Noble - the author suggests that only under patriarchy did women become estranged from one another and competitive in relation to men. The image on the right comes from expert on female iconography Max Dashu's website http://www.suppressedhistories.net/index.html 



 
Looks kinda like Tara and Sookie in the shot below, huh?


ALLIES, HELPERS & GUIDES

Sookie's encountered quite a few allies, helpers, and guides of the female persuasion in Season 3 of True Blood  

Claudine outstretches a helping hand to Sookie

Sookie & Claudine


Janine oversees Sookie's Lou Pines makeover


Tara orchestrates Sookie's escape from
the King of Mississippi's captivity




Yvetta helps Sookie escape from Eric's dungeon
 Do you see any parallels between the True Blood images above and these ones:

As Austen (1990) writes, on the left we see Nut, the Egyptian Goddess of  Death and Rebirth welcoming a dead noblewoman into her arms juxtaposed with an image representing the woman who was placed inside the coffin. When the casket was closed, the deceased would be able to look directly into the eyes of the Goddess who welcomed her into eternity. Nut, the Mother who gives life, was waiting to comfort and nurture.

On the right, we see Isis leading Queen Nofretari. This scene, dated to 1300 B.C.E. is painted on a wall of the queen's tomb and the inscription reads: Isis speaks: Come, Nofretari, beloved of the Goddess Nut, without fault, that I may show thee thy place in the sacred world (Austen, 1990, p. 48).
 

Here, we see ancient and contemporary images of divine and mortal allies, helpers, and guides which stand in stark contrast to the images of female conflict and rivalry we've seen.  

On her website "The Suppressed Histories Archives: Real Women, Global Vision" Max Dashu speaks of elder women leading and guiding younger women in womanhood initiations and coming of age ceremonies. These are cross-cultural rites of "seclusion, vision-seeking, body-painting, instruction by elders, and the dance of new women before the entire community, in sacred regalia, with cowrie strands, masks, beaded veils, layers of cloth, new belts or the long skirts of adult women...These rites are now being reclaimed - in some places they were never lost, in many they were crushed, and in others, where they were turned to enforcing masculine dominance, many women are choosing to change harmful practices while keeping the sacred core of the most ancient traditions" http://www.suppressedhistories.net/catalog/spheres.html.

Not only have women led each other in becoming, they have led and continue to lead each other, their families, and their communities in overcoming

Max Dashu speaks of rebel shamans - indigenous women in solidarity with one another - confronting empire. "Priestesses, diviners, and medicine women stand out as leaders of aboriginal liberation movements against conquest, empire, and cultural colonization". http://www.suppressedhistories.net/catalog/shamanliberators.html

Dashu's visual presentation Rebel Shamans introduces us to female shamans and leaders who led resistance movements; here are some of those she covers:

Wanakhucha, the mganga priestess who led the Zigula exodus out of slavery in Somalia; Veleda of the Bructerii (Netherlands), Dahia al-Kahina (Tunisia), the Kumari of Taleju (Nepal), Jeanne d'Arc (France), Tang Saier (China), Juana Icha (Peru), Kimba Vita (Congo), Maria Candelaria (Chiapas), Queen Nanny of the Maroons (Jamaica), Cécile Fatiman (Haiti), Antonia Luzia (Brazil), Toypurina (Tongva Nation, California), the Prophetess of Chupu (Chumash Nation), Wanankhucha (Somalia), Lozen (Apache Nation), Teresa de Cabora (Mayo, Sonora), Nehanda Nyakasikana (Zimbabwe), Muhumusa (Uganda), Nomtetha Nkwenkwe (Xhosa, South Africa), Alinesitoué Diatta (Senegal). Please visit her website for more information and images!

Here's a book on my reading list: The Bond Between Women: A Journey to Fierce Compassion by China Galland. According to the editorial review, Galland draws inspiration from her travels in Asia and Latin America where she meets women of extraordinary activism who are battling the scourge of child prostitution, demonstrating against murderous dictatorship, and quietly, but no less dramatically, working to increase literacy amongst poor women and children and de-polluting rivers.

These are women joined to one another in their work for justice and healing, like the mothers of the "disappeared" in Argentina who bear witness against the government that stole the lives of their children. You can see some of these mothers of the disappeared united in struggle and rememberance in the U2 concert footage below; on U2's album The Joshua Tree there is a song called "Mothers of the Disappeared" which you'll hear along with the video:




Pretty moving, right?

WOMEN UNITED IN RITUAL

On her website Max Dashi writes that spiritual spheres of power have been crucial staging areas for women's political leadership, for challenging systems of domination, and for making changeWomen can connect to one another and form bonds through spiritual and ritual expression; these images from True Blood illustrate that:









In Arlene's time of need, Holly joined with her in a powerful ritual that even if it wasn't effective in terms of eliminating her unwanted pregnancy, gave her renewed sense that she could trust another woman and feel empowered to control her body.  

Look at these images from archaic history of women joined in ritual; the first comes from Elinor Gadon's The Once and Future Goddess - here we see females, maybe Goddesses, maybe her priestesses, joined together in the esctatic dance that was part of Goddess religious devotion. The second is a plate from Max Dashu's Suppressed Histories illustrating a similar scene:  


 Do you see any resemblance between these ancient images of woman-centered religious activity and the one from True Blood below?

We can see that traditions of women's solidarity have lived in our past and continue to live in our future; both in the new mythology of True Blood and in our real lives as well.

So what, you ask?

I'll talk about why women's solidarity matters in the fifth and final installment of this Real Grrrl Power series!

Stay Tuned!

~ Rachel
References

Austen, H. I. (1990). The heart of the goddess: Art, myth and meditations of the world’s sacred feminine. Berkeley: Wingbow Press

Gadon, E. W. (1989). The once and future Goddess. San Francisco: HarperSanFrancisco

Lowinsky, N.R. (1992). Stories from the motherline: Reclaiming the mother-daughter bond, finding our feminine souls. Los Angeles: Jeremy P. Tarcher, Inc.

Noble, V. (1991). Shakti woman: Feeling our fire, healing our world. The new female shamanism. San Francisco: HarperSanFrancisco.

Tuesday, December 21, 2010

Raise a Glass to Real Grrrl Power - Women in Solidarity Part III - Theme 2 - Female Competition and Alternatives to It

In this third installment of the Real Grrrl Power series, we'll be putting female rivalry and conflict in perspective by taking a look at images of women's relationships in True Blood and their parallels in the art, stories, narratives, and histories of the past and present in the context of the theme:
  • Female Competition Manifested in the Classic Love Triangle & Alternatives to It 
It's time to put back on that good 'ol metaphoric thinking cap!

FEMALE COMPETITION MANIFESTED IN THE CLASSIC LOVE TRIANGLE
According to the media (and maybe real life too), if it's not men (and it often is), there's got to be something we're vying for; jockeying for position, scrambling over each other to get. That dream home, ideal career, status, respect, friends, money...or maybe it's the coveted E! Fashion Police vote for who wore that outfit better in the catty "Bitch Stole My Look" segment of the show.


When it comes to the classic love triangle, True Blood'given us plenty of that enduring tug-of-war to go around; the writers over at HBO seem to be pretty equal opportunity as far as who's pulling on either side - be it male or female.

Unless you've been living under a rock, under twelve feet of snow, under a polar ice cap, you're at least somewhat aware of the Team Eric or Team Bill  battle (with occasional interlopers like Sam and Alcide) that's raging amongst True Blood fans which references the love triangle Sookie's in the middle of:..




We've also got other male-female-male triangles like those between Hoyt, Jessica, and Tommy and Jason, Crystal, and Felton; both of which erupt in violence, as proof that True Blood doesn't envision this particular breed of rivalry and conflict as being exclusive to women.


  
...but for the purposes of this post, let's stay focused on triangulated relationships as they play out on True Blood when two women fight over a man.

They're not always traditional love triangles in the sense that there's romantic involvement between all interested parties and involved players. Take the constellation of conflict surrounding Jessica Hamby's on-again-off-again relationship with Hoyt Fortenberry. 

There's the push-and-pull between Jessica and Summer over Hoyt; Jessica broke it off with Hoyt but still has feelings for him, feelings Hoyt reciprocates - but in an extremely immature move - exploits when he intentionally parades his new girlfriend in front of Jessica while she's a captive audience during her hostessing shift at Merlottes:


Jessica and Summer are now cast as rivals, with Maxine Fortenberry as the fourth side on this love triangle; although not a romantic rival herself (whew!), she co-opts Summer into her quest to lure Hoyt away from Jessica by any means, casting herself as the meddlesome and manipulative mother who selfishly can't cut the apron strings on her adult son even though she has been less than a model parent to him:


Maxine's manipulative machinations (isn't alliteration great?) suggest the image of woman as a crafty, treacherous, deceitful creature willing to employ Machiavellian means (enough alliteration?) to get her way...


...like Lorena (OK, I'll cut it out with the alliteration now - although in my defense, that one wasn't deliberate) who is seen as a scheming rival to Sookie for Bill's affections; she is seen as constantly trying to steal Bill from Sookie and after participating in the conspiracy to kidnap him, she thought she had succeeded. Here Lorena seems quite satisfied with herself as - from the confines of the bedroom they shared for the night (or day, as it were) - Bill calls Sookie to ostensibly end their relationship and sever all ties with her for good:


Lorena and Sookie's rivalry was bitter; it ended in a manner which - albiet in the extreme - speaks to the tears, pain, anger, and suffering such acrimonious competitions between women often do:








It seems that to come out victorious, one woman must utterly destroy - or at the very least maim - the other:



(WHY) ARE OUR LIVES DEFINED BY COMPETITION?
What inhibits or constricts women's bonds with one another? Could it be that the patriarchal family ethic - which emerged during the early 19th century primarily as a means of controling and regulating women's productive and reproductive labor, placing them in their husband's home and subordinate to him as the male head-of-household (Abramowitz, 1996) is partly to blame?

In mainstream Western culture, contemporary social structures - including the current models for marriage and family - are deeply rooted in the patriarchal family ethic. According to Abramowitz, the roles deemed most appropriate for women within this one-man-one-woman paradigm revolve around creating a comfortable retreat for the market-weary breadwinner, socializing children, managing household consumption, offering emotional nurturance to nuclear family members, and taming male sexuality (Abramowitz, 1996). 

It seems to me that this type of system implies women don’t need other women; our connection to men, or more specifically, to one man - a husband or significant other - should be the central relationship in our lives. 

In her groundbreaking work on Biblical society and the eventual suppression of women's rites (and rights), Merlin Stone (1976) traces how men's needs to establish the paternity of their children and protect their property rights were closely intertwined and led to the formula of 1 woman (whose premarital virginity was strictly enforced and sexuality tightly controlled to ensure knowledge of paternity and protect lines of inheritance) + 1 man and their children (that he could be relatively confident were his) being set as the normative family structure. In like fashion, the institution of marriage and its correlate the nuclear family are the widely-accepted default settings for life within modern Western society.

In such a context it's not hard to see how women might be pitted against one another in competition for a man, or the best man, within the limited pool of potential mates.

ALTERNATIVES TO RIVALRY & COMPETITION AMONGST WOMEN
How does this square with experiences which speak to a fuller realm of possibilities in terms of women’s interpersonal dynamics with each other, such as those of public intellectual bell hooks, who offers, “I had not known a life where women had not been together, where women had not helped, protected, and loved one another deeply.” (pg. 12, 1984, 2000)? or Lowinsky's (1992) contention that contrary to the patriarchal family ethic, when women tell the stories of our own lives, we discover that we don’t usually cut ourselves off from our mothers when we reach adulthood. She also offers that the mother’s place in her daughter’s life is not superseded by a relationship to a man as psychoanalytic theory has assumed, but that the mother-daughter bond is a continuing and important aspect of adult women’s lives.

In generations past the nuclear family (1 woman + 1 man and their children) may have seemed absolutely integral to our society, but today we are witnessing alternative family compositions gaining greater tolerance and acceptance within the mainstream. According to Noble (1991) a more expansive vision of family and family life may ultimately prove to be positive by allowing women to turn once more to one another and rely on the group form that women can create together.

What models have existed - or still exist - for such dynamics?

Let's delve into the history of the human family; we can frame the archaic cultures of Catal Huyuk or ancient India as examples of different ways of living and being; a key difference between these ancient societies and the society within which we live today is that no one woman was (or was expected to be) dependant on a single man for her survival

As Noble (1991) writes, women did not live in isolated units with a man and her children. In these ancient communal societies women lived together, and practiced their religion together as a fundamental way of life. "They cooked, made art, raised children, gathered food, healed the sick, and birthed the next generation together" (p. 197). The men within these societies were mobile hunters and traders, and returned to the women and children regularly. There is no evidence to suggest that relationships between men and women were anything but harmonious.

Fast forward to the present. Let's keep in mind that as Christ (pg. 39, 1997) suggests, “Experience is not only a resource; it can also be a limitation.” Like her, I am a white, middle-class, heterosexual woman of a certain age, background, and experience. In this vein, it makes sense that deeper inquiry into the experiences of women from traditions and backgrounds that are different than my own may enrich my understanding of a wider range of possibilities in terms of how women interact with each other...it might even further a critical interrogation of feminism itself.

How, you ask?

Here's an example: Could it be that a bit of ethnocentrism is at work in the assertion that all (or even most) modern women compete for men to gain access to what is held up as norm; the nuclear family headed by one man with one subordinate women – and see other women as standing in our way? Might this issue, which is connected to the concept of isolation within marriage and the nuclear family, be one that has been identified as a problem by the primarily white, mid-to-upper class feminists of the 2nd wave as if it were a universal women's issue?

bell hooks (1984, 2000) challenges this assertion of the early and mid-20th century women’s movement; she writes that women of color had not flocked to feminism en masse in order to experience the solidarity with other women that white mid-to-upper class women were experiencing for the first time, because they themselves had always been in community with women. Indeed, she recalls being unable to relate to the joyous reveling that she witnessed white women experiencing in their togetherness when she first entered women’s studies classes at Stanford University in the early 1970’s, because isolation from other women had not been part of her own experience.

hooks' memories of a life lived in closeness with other women stand in contrast to those of most of her white contemporaries, but are echoed by Luisah Teish (pg. 11, 1985):

Now I began to take special notice of the women in my community. It seems I had a mother on every block. This, of course, was a double-edged sword. On one side, I would not go hungry or fall down sick without “Auntie, Cousin, Sister, or Big Moma” So-and-So doing something about it. On the other hand, if I committed a transgression six blocks away from home I could get at least five scoldings and two whippings before I got home to receive the final one. When a woman had a baby in my neighborhood, the neighbor women “slaughtered a fatted calf” so to speak, and fed her other children, cleaned her house, and visited regularly for the next two weeks.
In light of the tightly woven matrix of bonds between Black women described by hooks and Teish, it seems plausible to believe that modern models for the creative dynamic of women in living in community with one another exist today.

Carrying along this idea, Rushing (1996) states her research has convinced her that there is an unbroken circle of women’s lives from Africa across the Atlantic into the Americas. African women expect their closest emotional bonds to be with their natal family, the women they grew up with, and the children they bear. She cites weak emotional bonds between husbands and wives. Although many Western white middle and upper class women may harbor similar leanings, they are expected by society to bond with and relate primarily to their husband.

Rushing sees this pattern of marriage and family life repeating in African-American women, “I re-see not only African-American extended family relationships, beauty parlors, the pivotal role of women in our churches, and the whole valiant history of the “Negro” women’s club movement” (pg. 124, 1996).

These are just a few examples of women living in cooperation as opposed to competition and conflict with one another. Can you think of others? Perhaps you are living such a model of solidarity? Please share!


HERE'S WHERE WE'RE GOING
In the next (and final) installments of this Real Grrl Power series we'll:

  • look at some images of women sharing support, connection, compassion from True Blood
  • move into a discussion of women as each other's allies, helpers & guides
  • close with an exploration of women united in ritual – personal and political power expressed in women’s rite, as they were suppressed so were women’s rights and connections to one another
We're looking forward to having you come along for the ride!
 Until next time...


~ Rachel

References

Abramowitz, M. (1996). Regulating the lives of women: Social welfare policy from colonial times to the present. Boston: South End Press.

Christ, C.(1997) Rebirth of the goddess. New York: Routledge.

hooks, bell. (1984, 2000). Feminist theory: From margin to center. Cambridge: South End Classics.

Lowinsky, N.R. (1992). Stories from the motherline: Reclaiming the mother-daughter bond, finding our feminine souls. Los Angeles: Jeremy P. Tarcher, Inc.

Noble, V. (1991). Shakti woman: Feeling our fire, healing our world. The new female shamanism. San Francisco: HarperSanFrancisco.

Rushing, A. B. (1996). “On Becoming a Feminist: Learning from Africa.” In Terborg-Penn, R. & Rushing, A. B. Women in Africa and the African diaspora: A reader. (pp. 121-134). Washington, D.C.: Howard University Press.

Stone, M. (1976). When god was a woman. New York: Harcourt, Inc.

Teish, L.(1998). Jambalaya. San Francisco: HarperSanFrancisco.

Friday, December 3, 2010

Real Grrrl Power: Women in Solidarity Part I 1/2 - Metaphoric Mind 101 and an Invitation to Plug Into Yours!

For Starters...What I'm Drinking
As I sit down to write this installment in the "Real Grrrl Power: Women in Solidarity" series, I am sipping my second mug in as many days of the decoction that's been most effective in the war I'm waging against the cold that crept up on me over Thanksgiving weekend: fresh garlic tea. Yep, you heard correctly, and yep, it's exactly what you think it is: boiling water poured over one clove of garlic, chopped, infused with honey for sweetness and added healing power. It doesn't taste half bad, if I do say so myself...

Royce brandishing garlic press during Bill's DGD talk


...(granted, I'm not a garlic sensitive vampire), and it's got the virus on the run!!!

*Requisite disclaimer* This anecdote is intended as comic insight into the gustatory lengths I'm willing to go to in my quest to rid myself of this cold naturally, NOT as medical advice (seriously, you knew that already, didn't you?) - but I digress...



A Primer on One Approach to Engaging with Our Archeomythology-Style Analyses of True Blood  
Subsequent posts in this series (and, no doubt, future entries in The Pierced Pomegranate Tavern as well) will tend towards the story and image-dense; it occurs to me that engaging with these types of expression require a somewhat different way of sensing and thinking than we generally use when we engage with straight-up print on the page.  

So, to help you get the most out of this series (and future ones) I've decided to take a brief time out from confronting female rivalry and conflict head-on to introduce you to the concept of the metaphoric mind and to share some approaches that might help you plug into yours. 

SO HERE'S THE SET-UP...

The Metaphoric Mind and The Importance of Image and Story
The Primacy of the Image
Cosmologist Brian Swimme suggests that from our present understanding, human culture dates back some 200,000 years (Mendel, 2009); artifacts unearthed from the enormous time span covering more than 30,000 years of human history from the upper Paleolithic (35,000-9000 B.C.E.) forward testify to the symbolic behavior that exploded from within our ancestors from the Ice Age to the Late Classical Age (Gadon, 1989).

From this time of deepest history, our ancient forebearers perceived the world with a metaphoric mind; as Jewish mystic and rebbetzin Heather Mendel writes (2009, p. 13), they were not writers but artists - creators of carvings, reliefs, vessels, and figurines whose
...legacy to us was made of the Earth. It came from the depths of being. They shaped the warm, living clay, slippery-soft solid silk, firmly in their hands. They strengthened it by flame and decorated its hardened surfaces with a painted language of symbols - not words, but a language nonetheless, telling of their lives, of their interpretation of Divinity 
According to Mendel, whereas our "father's house" (the cultural context of the patriarchal era), is built upon the written word which corresponds to the left-brained, linear-rational approach privileged in the Western milieu, the pillars of our "great-grandmother's house" (archaic cultures: Ice Age, Old Europe as described by Marija Gimbutas, Çatal Hüyük as described by James Mellaart, the pre-patriarchal Mediterranean, Near, & Middle East and Africa, etc.) were modes of expression that flow from what neuroscientists describe as right lobe functions - the grounding of our abilities to emote and to feel, to appreciate the rhythms of music or speech, and to recognize images in a holistic manner.

Thus, our distant ancestors used the vocabulary of "imaginative stories, creative arts, and belief systems that form cultural underpinnings and tell of the inner life of the human family" to make meaning of reality and to structure their lives and relationships.

What survives from this long past era is not written history but iconic history; the rock murals, clay and bronze pots, and countless figurines - which were in the earliest human cultures almost exclusively female (originally interpreted as "fertility fetishes" they are now seen as representations of what archeomythologist Marija Gimbutas calls "The Great Goddess of Birth, Death and Regeneration"; the godhead of the time) - which as Mendel suggests speak to us of how these ancients viewed themselves, related to each other, understood the ultimate mysteries of life, and imagined Divinity:

hair washing scene in North African rock mural

The Great Goddess of Willendorf, Europe, 25,000 B.C.E.

women on archaic Greek vase

The Great Goddess of Laussel, Europe, 20,000 B.C.E.

Can you imagine the power 
these images held for the peoples
whose lives they utterly suffused?




various female icons 









For more of this kind of art and imagery, please check out:
http://www.heartgoddess.net/
http://www.goddesstimeline.com/index.php
http://www.savagebreastbook.com/photos.php
http://www.suppressedhistories.net/index.html

The potency and resonance of these age-old icons point to the enormous influence have on us even today, in our literate and lettered culture within which text and visual images tend to have an "uneasy and unequal relationship on the page" (Silko, 1996, p 167).

As Hallie Iglehart Austen writes in The Heart of the Goddess: Art, Myth and Meditations of the World's Sacred Feminine (1990), pictures speak to our hearts and our guts - those in the visual media (like True Blood) and advertising of today included. She suggests that it's hard to obscure the message of an image, since unlike words which can be mistranslated, pictures speak directly to us.

When we use images  - from True Blood or from other sources - to evoke a particular feeling or mindset, or as part of our approach to analysis, please try to take them in not as what Yellow Woman and a Beauty of the Spirit: Essays on Native American Life Today author Leslie Marmon Silko calls "embellishments put to the service of the text" (1996, 167), but as modes of expression that can convey an essence of meaning. 

HERE'S AN EXAMPLE USING MY CURRENT SERIES ON FEMALE RIVALRY AND CONFLICTTrue Blood has shown us some plenty-powerful representations of women's relationships with one another, especially this past season (S3). 

...some of which graphically depict what Naomi Wolf describes in her GIRL VS. GIRL Harper's piece as "the dark side of female rivalry"; in the case of Sookie and Debbie, it's taken to the extreme...

video clip courtesy:
http://twilog.net/2010/08/i-wanna-do-bad-things-with-you-true-blood-recap-season-3-episode-8/

...and others that display striking - and at times completely unexpected - shows of female solidarity; images that seem to counter what Wolf suggests, "an antifeminist world wants to say of us—that we can't create workable teams, we can't lead effectively, and we are indeed treacherous and bitchy"?


 Here, Lorena soothes Bill's Civil War era wife Caroline Compton. We were led to believe that Lorena meant to "turn" Caroline or perhaps kill her when the camera panned over Bill recoiling in horror after professing that he would not allow his maker to harm his wife in the previous scene, but what really happened was that Bill - barely able to control his hunger - had, as Lorena said, already done enough to hurt Caroline by returning to the home they shared and making himself known to her not as the husband she had known and loved but as a vampire. Out of expediency (another of Bill's messes to clean up), pity - or perhaps in solidarity with a woman who was hurting as she herself had once hurt in life, Lorena comforts Caroline and insists that Bill show her his love by "making her forget".

As you let these images wash over you, try plugging into your metaphoric mind - let it bring you into contact with the way the world is - and was - understood by humanity's long line of artists, storytellers, and poets.

Did you try it? Did this approach enhance your engagement with the images in any way? Bring you deeper into their impact or meaning? No!?! Try again!

Can you see how these and other images from True Blood might be connected to other images from the past or present that also tell stories for the psyche (how depth psychologist Carl Jung described myth); how they might carry along cultural currents, or recapitulate deeply felt archetypal themesHow they might loop into and illuminate these kinds of shared experiences - which that may be part of YOUR lived experience?

Maybe this has been part of your strategy for interpreting True Blood all along, like the folks over at a TB blog I recently discovered which appears to overlap somewhat with ours in terms of approach: The Ancient Pythonness seem to do.

I'll bet that if you practice this approach each time you encounter imagery - whether it be in the remaining installations in this series on female rivalry and conflict, future Pierced Pomegranate Tavern entries that rely heavily upon the visual, or even out there in the wider world - you might just find that your way of perceiving pictures and three-dimensional art like sculpture shifts, deepens even.

So give it a shot!    

Image and Story Are Connected; Stories (like True Blood) Tap Into An Alternative Consciousness
This should come as no surprise...Silko writes that in the Pueblo view, "From the spoken word, or storytelling, comes the written word, as well as the visual image" (1996, p. 21). This motif of connection between words and images, stories and art was alive in pre-modern societies as well; the myths and oral histories which have come down to us from old contain kernels of ancient wisdom that are accessible to us now.     

Even today, humans are storytelling beings; we lead storied lives. The story is a basic communicative and meaning-making device pervasive in the human experience; it's an attempt to explain and understand what is happening to us. Stories are an innate activity by which we strive to establish who we are in the changing contexts of our lives.

Ever heard soap operas referred to as "stories"? 'Cause that's exactly what they are! Those shows like General Hospital, One Life To Live, and All My Children - sometimes derided as trifling forms of entertainment since they're mainly aimed at...GASP...women - follow a non-linear, "looping" associative style in which the narratives unfurl that is evocative of what Lowinsky (1992) calls the "mother tongue" as well as of the way Silko (1996) describes qualities of Pueblo narrative - a story within a story that incorporates both positive and negative aspects of family and clan history, the idea that one story is only the beginning of many stories and the sense that stories never truly end.

As Lowinsky writes, these kind of stories weave back and forth through generations, in the familiar flow of "women's talk". She contrasts action shows on T.V. in which "the myth is heroic; the hero defeats the villain, right and wrong are clearly defined, courage and strength are virtues" with soaps in which "the myth is matriarchal; fate takes a hand with the good as well as the bad, relationships are complex and of central importance, betrayal is an ever-present possibility, miscarriages, deaths, sudden illnesses, and axe murderers spring out of the shadows at hapless humans" (1992, p. 15).

Sound familiar? Substitute shifters, vampires, weres, or telepathic waitresses for the hapless humans above and we've got True Blood, haven't we? True Blood is considered by some to be a "vampire soap" and it is just that in many respects (communal focus, story structure). In these ways the show seems linked to the literary tradition out of which contemporary novels like A Weave of Women by E.M. Broner and The Red Tent by Anita Diamant flow - poetic books that celebrate and give to voice women's mysteries, that express the ancient continuity and unity of women, and that point to the strength of interconnection and interdependence with others.

It's a feast for the metaphoric mind, indeed!      

TO SUM UP; in our analyses of True Blood that use an archeomythology-style approach, images and stories of the past and present meet, and little-known histories are dusted off and mingled with symbology and mythology in the making.

I hope that I've encouraged you to try plugging into your metaphoric mind to get the most out of them as well as given you some tools with which to do so!

Maybe you'll even look at True Blood in a new light.

In my next post I use several compelling themes which arose from a sampling of images I found depicting women's relationships in True Blood to organize my thoughts as I take on "girl-on-girl combat" and look for alternatives to it. Be sure to bring your metaphoric thinking caps!

~ Rachel

References

Austen, H. I. (1990). The heart of the goddess: Art, myth and meditations of the world’s sacred feminine. Berkeley: Wingbow Press

Gadon, E. W. (1989). The once and future Goddess. San Francisco: HarperSanFrancisco

Lowinsky, N.R. (1992). Stories from the motherline: Reclaiming the mother-daughter bond, finding our feminine souls. Los Angeles: Jeremy P. Tarcher, Inc.

Mendel, H. (2009). Dancing in the footsteps of Eve. Washington: O Books.

Silko, L.M. (1996). Yellow woman and a beauty of the spirit. New York: Simon & Schuster.