women’s stories – Feminism and Religion

All That She Carried by Tiya Miles: Recovering the Untold Stories of Black Women in America, part 2 by Theresa Dintino

Part 1, appeared yesterday.

There are many women named Rose in the ledgers of unfree people in Charleston around 1850. The defining feature to find the Rose mentioned on this sack is that her daughter is named Ashley, not a common name for Black female children of the time. Miles finally locates a Rose and an Ashley in the inventory of Milberry Place Plantation, a country estate of a man named Robert Martin. When Martin died, his estate was liquidated and thus the mention of the sale of Ashley.

“Ashley is listed among one hundred unfree people in the inventory of Martin’s enslaved property taken in the year 1853. Her attributed value of $300, in comparison to that of other women listed at $500 and $600 in the cotton boom decade of the 1850’s, suggests that she may have been a younger or relatively unskilled worker”(69).

Things were bad enough for unfree people but the disruption that came like a tsunami through their lives when an enslaver died and his property was sold was a fear most carried and trembled at the thought of. Unfree families were always being torn apart in the time that slavery was legal and allowed in this country, but when estates were being divided up, it became particularly excruciating and this is what came to pass for Rose and Ashley.

All That She Carried by Tiya Miles: Recovering the Untold Stories of Black Women in America, part 1 by Theresa Dintino

Moderator’s Note: This piece is in co-operation with The Nasty Women Writers Project, a site dedicated to highlighting and amplifying the voices and visions of powerful women. The site was founded by sisters Theresa and Maria Dintino. To quote Theresa, “by doing this work we are expanding our own writer’s web for nourishment and support.” This was originally posted on their site on November 30, 2021. You can see more of their posts here.

First she was told about a grain sack dating from around 1851 that had these words embroidered on it:

My great grandmother Rose
mother of Ashley gave her this sack when
she was sold at age 9 in South Carolina
it held a tattered dress 3 handfulls of
pecans a braid of Roses hair. Told her
It be filled with my LOVE always
she never saw her again
Ashley is my grandmother
Ruth Middleton
1921

The Erotic as Power, Notes on Audre Lorde by Janet Maika’i Rudolph

I’ve long kept a tract of Audre Lorde’s seminal piece The Uses of the Erotic near my computer. “The Erotic as Power” is her subtitle. If you haven’t read it, please do. It is in her book Sister Outsider. And you can find it as a stand-alone here. It was written in 1978.

Lorde points out how the erotic is the opposite of pornography, in fact pornography is ultimately a denial of the erotic because it emphasizes sensation without feeling. “The erotic is a resource within each of us that lies in a deeply female and spiritual plane . . .” She goes on to note how it is through our bodies that we recognize and access this power. But she goes on, “We have been taught to suspect this resource, vilified, abused and devalued within Western society.” In the hands of patriarchy this amazing and important resource often lies out of reach because it has become a source of shame and a sense of inferiority for women.[1]

I would add to the definition of patriarchy that one of its main goals is to damp down, even destroy, the erotic. We have seen this play out over thousands of years of history. Women are often viewed as either saints or sinners. Saints are denuded of this deep earthy power and sinners are those who flaunt it, or at least in the eyes of patriarchy.

Goddess Lost: How the Downfall of Female Deities Degraded Women’s Status in World Cultures by Rachel S. McCoppin; book review by Margot Van Sluytman

She Who Knows

What then is my repentance?
If not, by rote this repetition?
“Godde is.”
“Godde is.”
“Godde is.”
“Love.”
And my face tastes
The beating heart
Of the sun’s call
For reclamation of
SHE Who Is.
SHE Who Is: knows me.
She, who also, is.
©Margot Van Sluytman

From the moment I saw the title, Goddess Lost: How the Downfall of Female Deities Degraded Women’s Status in World Cultures, by Rachel S. McCoppin, I knew I would have to read it. When it arrived in my mailbox and I saw the cover, I was imbued with inspiration. Then I read two sentences in the Preface, which articulate what for me, and for many, is one of the most vital, powerful, and, as yet, under-addressed, facts.

“A new heart I will give you . . .” : Part One by Beth Bartlett

February is “Heart Month.” Presumably the American Heart Association chose February as the month to raise awareness about cardiovascular health because in February we celebrate Valentine’s Day which we observe by the giving and receiving of hearts of all kinds — heart-shaped Valentines, candy, jewelry – symbolic declarations of love, of giving our hearts to one another. Hearts have long been associated with love. When bringing our emotions to the surface, we “wear our hearts on our sleeve.” When speaking our deepest feelings, we “pour our hearts out.” Feelings of tenderness “warm our heart,” and compassion “pulls at our heartstrings.” When grieving, we feel “heartache,” and loss of love renders us “heartbroken.” The French word for heart, coeur, associates hearts with courage. We “take heart;” we “lose heart;” we “hearten.” We can engage in a task “wholeheartedly,” “halfheartedly,” or our “heart’s not in it” at all. We can be “bravehearted,” “lighthearted,” “tenderhearted,” “hardhearted,” or totally “heartless.” That’s a lot for the heart to carry.

Woman’s Sacred Hand – and Handkerchief by Laura Shannon

In my recent post ‘Forty Days After Childbirth, Mary Returns to the World,’ I wrote that ‘the woman’s power to bless and protect, as well as to create, is shown in the symbol of her hand.’ We see expressions of this power in the Orthodox Christian icon of the Three-Handed Madonna, whose third hand is over her womb, and the Hamsa, the hand-shaped talisman common to Jewish, Christian, and Islamic traditions. Also known as the Hand of Fatima, Miriam, or Mary, the Hamsa often incorporates eye or vulva motifs, which also offer protection.

Hand, womb, and eye all signify female creative power, personified in the image of Goddess and revered in Neolithic Old Europe. This life-giving principle is expressed in many ways apart from childbearing: as Carol Christ affirms, early technologies of spinning, weaving, pottery, and agriculture, along with Neolithic religion, were most likely invented by women.

Return to the Grandmothers and 2 Other Poems by Annelinde Metzner

This past summer, my family and I lovingly carried my brother’s ashes to a favorite spot of his, in the woods at our grandparents’ Catskill farm. My mind was on the simple, beautiful ritual, each of us stating memories and scattering some of the ashes around the tree, and singing a few songs. It had slipped my mind that this tree grew at the entrance of the very meadow where, at age 11, I felt urgently compelled to create a ritual for myself, just at puberty, where I connected with the Grandmothers of the four directions. No one had taught me this, and I am still in wonder at what we carry with us, undoubtedly from prior lives. I feel that this poem was my self initiating myself into the world of the Goddess, and preparing for my own future.

In this poem, the Grandmothers are speaking to me, with a bit of disdain and fond teasing.

Willful Women, Feminist Killjoys, and Jesus: Reflections on Sara Ahmed’s Living a Feminist Life by Liz Cooledge Jenkins

I’ve been thinking about willful women and feminist killjoys—two main guiding images in feminist scholar Sara Ahmed’s book Living a Feminist Life (Duke University Press 2017).

The idea of the willful woman (or willful girl, or willful person) is something I can easily get behind. The way I understand it, it has to do with women getting in touch with our own wills and being willing to speak and act and live out of our wills. Particularly if these wills turn out to exist in opposition to the things other people might will for us.

It’s about learning to stand up for ourselves, learning to affirm our full humanity in a world that often expects…less. It’s a way of consciously, intentionally being willing to be called “willful” as a negative thing—as in, stubborn, selfish, antagonistic, difficult—because the affirmation of our own wills is worth it.

I like all of this and find it helpful. Be willful. Expect pushback and penalties for it. Be willful anyway.

Unsung Heroines: Pamela Coleman Smith by Mary Gelfand

If you’ve ever had a Tarot reading or played with reading cards yourself, you’re probably familiar with the work of Pamela Coleman Smith, illustrator of the great-grandmother of all contemporary Tarot decks—The Rider Waite Smith Deck. First published in 1909, the illustrations in most contemporary decks are direct descendants of Smith’s work. Yet most people who engage with Tarot are unaware of Smith’s significant contribution to the world of Tarot. In my eyes, Pamela Coleman Smith is an Unsung Heroine.

For Mahsa by Lori Stewart

On Friday, September 16, 2022 Mahsa Amini died in a Tehran hospital having been arrested by Iranian morality police on September 13 for wearing “inappropriate attire”. She was 22. Mahsa’s family claims she had bruises to her head and limbs from being beaten. The Iranian police dispute that claim saying Mahsa died from a pre-existing health condition.

Mahsa’s death sparked major protests against the Islamic Republic in Iran and protests of support are occurring around the world. Women are burning their hijabs, which they are mandated by Iranian law to wear, chanting, “Women, life, freedom”. They are cutting their hair which is a longstanding symbol of protest and loss in Iran’s history. This action harkens back to the epic Persian poem “Shahnameh” by Ferdowsi in which hair is a theme and the cutting of hair a symbol of mourning. Around the world, people have followed suit by cutting their hair in solidarity with the protesters in Iran. A recent chant by the protesters is “it’s the beginning of the end” as they challenge their theocratic government.