In the greater universe of masculinity attacking femininity, in attacks on both ciswomen and transwomen, there is an identical method despite radically opposite ends. The woman, regardless of if she is trans or cis, must be rent clear of her artificiality in some way. Among pinup art is a recurring theme of women’s utter incompetence mirroring the outfits and settings they find themselves in, parodic versions of everyday outfits, displaying the falsehood of all that woman attempts or strives to. The man claims for herself in this depiction of woman a role of undressing, of taking down. The rhetoric of rape pornography shows this explicitly, a fascination with powerful women being made-vagina by their facade ripped away, the core of their being revealed, the object of men’s desire. In identical motion, is the method to destroy a transwoman. At her core is something real which must be exposed, the centerpoint, what in ciswomen is the object of desire, is now a thing prompting revulsion, an ugly core which must be brought to light. Attacks are made with the goal of bringing it to light, showing she is “actually a man”, taking away her deceptions and falsehoods. This not an incidental fact of gender relations but a constitutional fact of the male consciousness. The male sees himself as possessing of Truth, of Genuinity, and it is his job to uncover it in all things before him. He therefore finds himself driven to violence at encounters with the feminine, with seeing before him that which is constructed, that which is hiding the core that he is on terms with, whether as equals (fellow men), as objects (ciswomen), or as things to be destroyed (transwomen). It naturally follows in his imagination that he, being a complete, self-contained, subject-organism, must make the women the same as him - a complete, self-contained, object-organism and thus strip away that which he alone has in his possession - the clothing he tears off, the facades he tears down, in being anything other than naked and enslaved, the woman is committing theft by mocking that which is contained within his enclosure of the self.
To the male, there is then an existential terror in the feminine attaining a sentience of its own. Woman still must play on a somewhat equal playing field with him, like him being possessed of humanity and having some “center” they can be stripped down to, whether that be the ego of the male or the object of the female. When the feminine acquires sentience, when illusions and deceptions can speak for themselves, the male is struck with horror. Bo Burnham has dedicated his career to inventing malevolent “centers” behind the dispersed schizophrenia of images and icons that is pop music. His most devoted scholar, Shannon Strucci (feminism’s true aim - to make women equally possessing of the masculine), attempts much the same project, with broader focus, presenting voluminous primary sources on all manner of illusions without cores, intercutting close, tedious readings of Burnham’s work with close, tedious descriptions of everything from pop music to waifuism to nursing home assistant-robots to 1950s quiz shows, all as a drawn out impotent cry of horror and rage, the male soul being unable to conquer the feminine deception. He tears off layer after layer of clothing and finds - nothing. No vagina to colonize, no XY chromosomes to lynch, nothing except another layer of makeup, another presentation, another illusion.
Yet the question is formed that can never be brought up in the male’s heart as the comprehension of its true depth would disintegrate him instantly - what claim did he ever have to that which he built himself from? Since the dawn of culture, there has been feminine deception atop all reality. Makeup, clothing, theatre, art, have all been present as facts of human communication and as facts of the human experience. The individual is expressed through these layers of deception and lives through these deceptions, their ego dispersing through their costume and status and artistic production and etc. The masculine fear - horror at these illusions attaining power of their own - is a fear of his own illusions, those which he claims to own and encompass, attaining lives of their own and acquiring freedom outside him. It is this which drives his revulsion, it is a slow process of his own defeat, a slow recognition of that which he had once enclosed attaining freedom of its own and him unable to any longer contain it within himself. His illusions desert him and he is left with nothing, an ego alone in darkness, forever stuck groping for the enclosed-self he can never again attain.
Worthless
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