Don’t Call Me a Mistress


Language Matters: Alamy

Language matters. When newspapers call women mistresses or “homewreckers”, they are not just using an identifying term. They are also making a value judgement about what happened in a relationship – a judgment that often places the blame on women, even though there are two people involved in an affair.

So writes Jessica Valenti of the Guardian in an article entitled “Why we need to lose biased words like ‘mistress’ for good.” Her argument based on Paula Broadwell’s campaign to get news media to stop using that word to characterize (and vilify) her relationship with ex-CIA director, David Patraeus, goes something like this: ‘Mistress,’ which has no male counterpart is one of those words used to blame women for behavior of two consenting adults, presumably male and female, that society condemns.

When we use words that prop men up for the same behavior that we disdain in women, we are sending a very particular message, one that causes harm whether you’re a reporter writing for readers or a parent talking to your kids.

She throws in other loaded terms targeting women like spinster and Oxford Dictionary’s ‘rabid feminist’ as a word definition example along with the usual words used against men to suggest womanly behavior like ‘bitch’ and ‘pussy’ that she concludes are sexist, outdated and harmful. 

So let’s lose “mistress” and words like it. Our language should reflect the world we want, not antiquated ghosts of sexism past.” 

She’s right. The word “mistress” has no male counterpart and denotatively and connotatively female words used to ascribe enculturated female behaviors as insults are loaded with history’s carryover sexist world. She’s also right that “language matters.” 

But history also matters, for that matter. So, rather than cut ties with history by eliminating language that survives the ephemeral fashions, behaviors and ideas of long ago, why not use language to educate people? Rather than deny distasteful history, say, slavery or holocaust, by eliminating the hate words that derived from those horrific institutions and events (nigger, kike, etc.), how about we teach people to be aware of how we use language and why? 

Jill McCorkle writes in the essay, “Cuss Time,” the story of how she resolved her nine year old’s forbidden fruit fascination with profanity by allowing him a 15 minute cuss time each day, a free-to-say-anything break in the day to let it all out. Risking a bad parent label (or even a referral to child protective services, I would imagine), she allowed her son the freedom to swear like a sailor rather than censor his language and lose the power, resource and history of language by eliminating words from her son’s vocabulary. She writes:

 Word by single word, our history will be rewritten if we don’t guard and protect it, truth lost to some individual’s idea about what is right or wrong. These speech monitors–the Word Gestapo (speaking of words some would have us deny and forget)–attempt to define and dictate what is acceptable and what is not.

Valenti also opens her article with language parenting by mentioning her careful language selection, words she wants her children to use like firefighter instead of fireman. I believe these two authors hold the key to the problematic power inherent to language: teach children by mindful use and education rather than by a negative, censorship. The children wield the power to change future language, meaning, action and society.

(Thanks to Laura Steuer of  infidelity counseling network for sending this article my way). 

Is Sylvia Plath a cultural appropriator?

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Daddy

BY SYLVIA PLATH

You do not do, you do not do   

Any more, black shoe

In which I have lived like a foot   

For thirty years, poor and white,   

Barely daring to breathe or Achoo.

Daddy, I have had to kill you.   

You died before I had time——

Marble-heavy, a bag full of God,   

Ghastly statue with one gray toe   

Big as a Frisco seal

And a head in the freakish Atlantic   

Where it pours bean green over blue   

In the waters off beautiful Nauset.   

I used to pray to recover you.

Ach, du.

In the German tongue, in the Polish town   

Scraped flat by the roller

Of wars, wars, wars.

But the name of the town is common.   

My Polack friend

Says there are a dozen or two.   

So I never could tell where you   

Put your foot, your root,

I never could talk to you.

The tongue stuck in my jaw.

It stuck in a barb wire snare.   

Ich, ich, ich, ich,

I could hardly speak.

I thought every German was you.   

And the language obscene

An engine, an engine

Chuffing me off like a Jew.

A Jew to Dachau, Auschwitz, Belsen.   

I began to talk like a Jew.

I think I may well be a Jew.

The snows of the Tyrol, the clear beer of Vienna   

Are not very pure or true.

With my gipsy ancestress and my weird luck   

And my Taroc pack and my Taroc pack

I may be a bit of a Jew.

I have always been scared of you,

With your Luftwaffe, your gobbledygoo.   

And your neat mustache

And your Aryan eye, bright blue.

Panzer-man, panzer-man, O You——

Not God but a swastika

So black no sky could squeak through.   

Every woman adores a Fascist,   

The boot in the face, the brute   

Brute heart of a brute like you.

You stand at the blackboard, daddy,   

In the picture I have of you,

A cleft in your chin instead of your foot   

But no less a devil for that, no not   

Any less the black man who

Bit my pretty red heart in two.

I was ten when they buried you.   

At twenty I tried to die

And get back, back, back to you.

I thought even the bones would do.

But they pulled me out of the sack,   

And they stuck me together with glue.   

And then I knew what to do.

I made a model of you,

A man in black with a Meinkampf look

And a love of the rack and the screw.   

And I said I do, I do.

So daddy, I’m finally through.

The black telephone’s off at the root,   

The voices just can’t worm through.

If I’ve killed one man, I’ve killed two——

The vampire who said he was you   

And drank my blood for a year,

Seven years, if you want to know.

Daddy, you can lie back now.

There’s a stake in your fat black heart   

And the villagers never liked you.

They are dancing and stamping on you.   

They always knew it was you.

Daddy, daddy, you bastard, I’m through.

Sylvia Plath, “Daddy” from Collected Poems. Copyright © 1960, 1965, 1971, 1981 by the Estate of Sylvia Plath. Editorial matter copyright © 1981 by Ted Hughes. Used by permission of HarperCollins Publishers.

Irving Howe charged that “there is something monstrous, utterly disproportionate, when tangled emotions about one’s father are deliberately compared with the historical fate of the European Jews.” Susan Gubar wrote similarly that using the Holocaust as metaphor diminishes the Jewish experience,  the real of it, personalizing and fictionalizing it.

Is that a form of cultural appropriation?