The New York Review of Books - 07.11.2019

(lu) #1

44 The New York Review


another. Conservatives fret that
“woman is losing herself, woman is
lost,” Beauvoir writes, while others
reassure themselves that “women are
very much still women” even in the
more egalitarian Soviet Russia. De-
pending on where you look, Beauvoir
notes, femininity is either woman’s
eternal and inescapable nature, or it is
in danger of dying out if women don’t
do a better job of practicing it. How can
both of these propositions be true?
And yet the category of female must
mean something: Why else were wives
not allowed to open bank accounts
(until 1965), or women to attend the
École Normale Supérieure? Beauvoir
reconstitutes “female” as a category,
but one whose primary significance
is social. There may be no stable defi-
nition of femininity, but, Beauvoir
shows, the feminine is consistently
defined in opposition to the masculine.
Oversexed or undersexed, cunning or
feeble minded, selfless or selfish: what-
ever contradictory qualities get attrib-
uted to women, even the putatively
good ones, end up serving as rationales
for why men, not women, should have
the bank accounts and ENS diplomas.
In her epigraph to The Second Sex,
Beauvoir quotes the little-known
seventeenth- century philosopher Pou-
lain de la Barre: “Everything that has
been written by men about women
should be viewed with suspicion, be-
cause they are both judge and party.”
By the time Beauvoir worked this idea
into her analysis in the mid-twentieth
century, her readers were likely to be
at least loosely familiar with central
concepts in Marx and Freud, both of
whom, along with Friedrich Engels,
Beauvoir discusses at some length in
the book. Readers were ready to re-
ceive the idea (whether they liked it
or not) that men had a stake—a sort
of class interest—in promoting their
superiority, and that even reasonable
men of science might be unconsciously
motivated in their repeated discoveries
of women’s inferiority.
An old thought was now more richly
resonant: when it comes to their assess-
ments of women’s capacities, men are
not impartial—they are interested. For
many of her readers, Beauvoir’s analy-
sis helped clear out the vestiges of the
notion that male authority over women
was divine or natural: it was instead the
story of one social group dominating
another.
The second volume of The Second
Sex, Lived Experience, follows woman
through all the phases of life, from
childhood through old age. The inti-
macy Beauvoir achieves on the page is
sometimes startling. “During the first
three or four years of life,” she writes in
a chapter called “Childhood,” “there is
no difference between girls’ and boys’
attitudes... boys are just as desirous
as their sisters to please, to be smiled
at, to be admired.” But soon, boys are
pushed toward emotional indepen-
dence, a process that may look—and
feel—harsh:

Little by little boys are the ones
who are denied kisses and ca-
resses, the little girl continues to
be doted upon, she is allowed to
hide beneath her mother’s skirts,
her father takes her on his knees
and pats her hair.

But “if the boy at first seems less
favored than his sisters, it is be-

cause there are greater designs for
him.”
The girl, meanwhile, is headed for a
fall:

When her acquaintances, studies,
amusements, and reading mate-
rial tear her away from the mater-
nal circle, she realizes that it is not
women but men who are the mas-
ters of the world....
The father’s life is surrounded
by mysterious prestige: the hours
he spends in the home, the room
where he works, the objects around
him, his occupations, his habits,
have a sacred character.... Usually
he works outside the home, and it
is through him that the household
communicates with the rest of the
world : he is the embodiment of this
adventurous, immense, difficult,
and marvelous world.

This is, of course, a portrait of the
educated, professional man’s daughter.
What it’s like to realize that your father
lacks prestige, or daily feels thwarted in
that difficult outside world, is not nearly
as well plumbed by Beauvoir, as many
critics have pointed out. This is a pit-
fall of her somewhat freewheeling ap-
proach. In Lived Experience Beauvoir
must once again conjure the category
“female,” this time from the inside,
and it involves a lot of moving parts.
Drawn together from personal experi-
ence, friends’ experience, interviews
with women in the US and France, and
a small number of sociological surveys
about European women, Beauvoir’s
generic woman in these chapters is ac-
tually a shapeshifter: sometimes work-
ing class, though more often middle
class, sometimes a lesbian, sometimes
a wife, sometimes a professional work-
ing woman. She is implicitly a Catholic,
white Frenchwoman. Beauvoir has no
methodological apparatus that would
pass muster with a social scientist; her
authority depends on the reader’s ac-
ceptance that, although there is no
such thing as a generic woman, there is
enough common social experience that
the category holds, and that Beauvoir
can speak for it convincingly. For many
readers, she did.
But The Second Sex is not only about
women. It’s also, inescapably and no
less intimately, about men. In writing
about young women’s sexual initiation,
she compares it to young men’s:

With penis, hands, mouth, with his
whole body, the man reaches out to
his partner, but he remains at the
heart of this activity, as the subject
generally does before the objects
he perceives and the instruments
he manipulates; he projects him-
self toward the other without los-
ing his autonomy; feminine flesh
is a prey for him, and he seizes in
woman the attributes his sensual-
ity requires of any object; of course
he does not succeed in appropriat-
ing them: at least he holds them;
the embrace and the kiss imply a
partial failure: but this very failure
is a stimulant and a joy.

Writing about wives, she inevitably
wrote about husbands:

The husband “forms” his wife not
only erotically but also spiritually
and intellectually; he educates her,
impresses her, puts his imprint on

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THE
TENDERNESS
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Marion Fayolle
Translated from the French by
Geoffrey Brock
English lettering by Dean Sudarsky
 
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