Allen Ginsberg and Roxane Gay have written about how neither feel they meet the standard of what it means to be either an American in 1956 or a feminist in contemporary times. Both writers reference their academic and social counterparts as living paradoxes against societal standards. They also use their own lives as anecdotes to point out how the narrow-sighted public definition of what it means to be an American or feminist confines real people and does not allow for the nuance of living.
Whether in 1956 or 2014, it takes more work to succeed at the unreachable standard of what society wants you to be. Ginsberg and Gay know this is an impossible ask of any person and are frustrated that they are still asked to live up to it. However, in both periods, others share this sentiment. These writers know they are not irrational in their line of thinking, naming and quoting other writers/activists/people who feel the frustration of the societal standards at hand to help support their claim.
Much citing is done in both “America” and Bad Femenist: “Back to Me,” albeit differently due to their different mediums. In his 1956 poem “America,” Ginsberg writes, “Burroughs is in Tangiers I don’t think he’ll come back” (Line 20), as in William S. Burroughs, a fellow Beat Generation poet, whom Ginsberg interviewed before the former’s death. Burrough's writing commentated on fifties drug culture, and his novel Wild Boys had themes of global warfare, repressive police states, and the struggle to escape the mechanisms of social control.
Tangiers was also a unique stamp of Ginsberg’s time. The city of Morocco was an outlet of inspiration for many artists of Ginsberg’s generation, himself included. Ginsberg sees it as an escape from an imperfect America, forever pretending to be perfect. This place inspired Beat Generation poets to write about “problematic” topics, the taboos of the time meant to juxtapose golden age America.
Ginsberg continues to “name drop” throughout the rest of the poem, such as political activist Tom Mooney, the Scottsboro boys (black teenagers falsely imprisoned), and founding member of the US communist party Isreal Amter. “Ginsberg uses all of these historical examples to demonstrate to America that it is not the country that it presents itself to be in patriotic statements like the National Anthem or the Pledge of Allegiance. He wants the country to remember that there is great injustice in its work as well.” (Wright, 2021) These are just a few of many who did not get to be a part of that perfect America and were punished for it somehow.
In Gay’s essay “Back To Me,” she is not confined to short stanzas; she quotes her colleagues, breaks down their takes, and so on; she writes to understand them and to allow us to understand them. Take this passage on page 257 regarding Sherly Sandberg’s book Lean In:
“Yes, she says, “Not all women want careers. Not all women want
children. Not all women want both. I would never advocate that we should
all have the same objectives.” But she contradicts herself by placing every
single parable within the context of heterosexual women who want a wildly
successful career and a rounded-out nuclear family. Accepting that
Sandberg is writing to a very specific audience, and has little to offer those
who don’t fall within that target demographic, makes enjoying the book a
lot easier.”
A lot of criticism towards Sandberg was that her book was not “applicable” to every working woman. However, critics don’t comprehend that Sandberg was writing from her experience, and asking her to write a book for every woman is quite impossible, even for the best writers. To generalize about an entire group's wants and feelings is both an oversimplification and just generally wrong, and it is a disservice to every woman's individuality to do so.
This excerpt includes another interesting thing Gay does: arguing both sides with herself. As seen previously, Gay introduces the point as though she agrees with what critics are saying about Lean In, but then she will causally slide in her support of Sandgerg’s work and argue for it subtly and humorously. On the one hand, this back-and-forth Gay does with herself keeps the reader on their toes. The reader can imagine the writer talking to herself in the mirror, rationalizing each argument as she tries to decide which one she supports more.
However, the transition from supporting one argument to another is highly subtle, and readers who cannot recognize that this essay is in her voice will need help deciphering between the two. Melanie Page of Grab the Lapels agrees, stating:
“Unfortunately, at times, she drowns out her own voice by quoting media and bringing up enormous issues with no hope of addressing them or working to correct those problems, even in small ways, even in ways that she herself practices.”
There is such a thing as being too neutral, and being so casually neutral in an argument can make it hard for readers to know Gay’s genuine opinion. It would take a second or third read that this essay might not get the privilege of getting.
Nevertheless, Gay and Ginsberg do not just use their contemporaries to emotionally understand the frustration of feeling out of place; they include aspects of themselves to contradict the socially accepted definitions of “America” and a “feminist.”. “Take Two” of Bad Femenist is dedicated entirely to anecdotes that come from Gay’s voice, consisting of listing her many personality traits and preferences, whereas in “Take One,” it is just spliced in occasionally:
“Pink is my favorite color. I used to say my favorite color was black to be cool, but it is pink—all shades of pink. If I have an accessory, it is probably pink. I read Vogue, and I’m not doing it ironically, though it might seem that way.” (Page 280)
From a stereotypical, broad societal stance, pink is commonly regarded as the most feminine color of colors. Every prissy/mean/dainty girl in every early 2000s movie or TV show is easily spotted by this signature color. But like Elle Woods in Legally Blonde, Gay embraces her love of the color, even if it contradicts feminism. She doesn't do it purposely to spite the societal norm but because her love of pink and other characteristics define women beyond the stereotypes. There is pride in her personal tone, as she proudly lists these contrasting “non-feminist” traits all of “Take Two.” Slate Magazine compliments this aspect: “Much of what makes this book work—and the loose essays hang together—is Gay’s wry and delightful voice….Gay’s humor, honesty, or the way the deadpan plainness of her sentences belies the artful rhythm with which they build on each other.” (Waldman, 2014).
Gay is perfectly comfortable with the ways she undeniably defies the standard of a good feminist. Not because she wants to be deliberately rebellious against society but because she accepts the feminist title with all its nuances and knows that there is no “perfect feminist.”
Ginsberg also feels the pressure of his era, but instead of feminism, he is up against patriotism. While living in America during its picture-perfect decades, he feels it doesn’t correctly reflect him and his ostracized peers. Take this strophe from “America” in lines 27 to 31:
“America I feel sentimental about the Wobblies.
America I used to be a communist when I was a kid I’m not sorry.
I smoke marijuana every chance I get.
I sit in my house for days on end and stare at the roses in the closet.
When I go to Chinatown I get drunk and never get laid.”
For those unfamiliar, the Wobblies is a nickname for members of the Industrial Workers of the World (IWW), a labor union from Chicago. Not only is Ginsberg referencing as he did in line 20, but to be sentimental for a group that desires to triumph over government bodies that work to keep them in line is a supporting threat to the so-called golden age. Especially since early developing unions were considered “unsportsmanlike” and “anit work” to the upper class who benefited from limitless rules on workers.
Ginsberg also declares how he defied the perception of a good American in his decade—supporting unions, being open to communist ideals, and participating in “vulgar” activities like getting drunk and smoking marijuana and being vocal about it. Typical taboos that would have had suburban mothers shell-shocked.
It is not easy living up to an impossible standard, yet that is what Gay, Ginsberg, and their colleagues feel they are being forced to do, albeit fifty-eight years apart. Ginsberg and Gay are aware that the labels of American and feminist have too much grey area to define a whole population. There is a quote that goes, “If you try to please everyone, you please no one,” which feels aptly appropriate here. There is no simple definition of America or feminism that would satisfy everyone; if society tries to create a one-size-fits-all’ meaning, it ends up fitting no one.
Works Cited
Page, Melanie. “Bad Feminist by Roxane Gay.” Grab the Lapels, World Press, 5 June 2018, https://grabthelapels.com/2015/06/29/bad-feminist/
Waldman, Katy. “A Raw and Honest Book by a Very Bad Feminist.” Slate Magazine, Slate, 5 Aug. 2014, https://slate.com/human-interest/2014/08/bad-feminist-by-roxane-gay-reviewed.html
Wright, Sara. “Allen Ginsberg’s Poetry ‘America’ Summary and Analysis.” GradeSaver, GradeSaver, 15 Sept. 2021, https://www.gradesaver.com/allen-ginsbergs-poetry/study-guide/summary-america
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