It is often said that male writers can't write for women, or can't write for women well. There are many reasons why this sort of statement is false, but rather than go on a tirade about gender, intelligence, and truths of the human condition, I will simply present a section of text by the brilliant Jean Genet in The Screens. This is right at the beginning of Scene 12.
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KADIDJA: Without women what would you be? A spot of sperm on your father's pants that three flies would have drunk up.
THE DIGNITARY: Go away Kadidja. This isn't the day.
KADIDJA: It is! They accuse us and threaten us, and you want us to be prudent. And docile. And humble. And submissive. And ladylike. And honey-tongued. And sweet as pie. And silk veil. And fine cigarette. And nice kiss and soft-spoken. And gentle dust on their red pumps!
THE DIGNITARY: Kadidja, it's a matter of general security. Go away.
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If this exchange doesn't clearly illustrate the long fought battle for escape from patriarchal power, i don't know what does.
and also...his beautiful and raw description of art functioning for society in scene 17 brings to mind volumes of conversation.
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THE ACADEMICIAN: What will they build on? I observed them carefully throughout my stay. Their only memories are of poverty and humiliation . . . Yes, what will they do? Can an art be born for the purpose of enshrining so many facts which they themsleves would like to forget? And if there's no art, there's no culture. Are they therefore doomed to decay? And there they go nailing the cage . . .
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What is fabulous about this is that it is used ironically; the Academician, and his colonialist compadres The Banker, Sir Harold, Mrs Blanensee, are all looking down upon the native Algerians from their position of power. And yet Genet's argument throughout the play, that this dirty mess is precisely what the matter of art must be, rings through.
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KADIDJA: Without women what would you be? A spot of sperm on your father's pants that three flies would have drunk up.
THE DIGNITARY: Go away Kadidja. This isn't the day.
KADIDJA: It is! They accuse us and threaten us, and you want us to be prudent. And docile. And humble. And submissive. And ladylike. And honey-tongued. And sweet as pie. And silk veil. And fine cigarette. And nice kiss and soft-spoken. And gentle dust on their red pumps!
THE DIGNITARY: Kadidja, it's a matter of general security. Go away.
________________________________________
If this exchange doesn't clearly illustrate the long fought battle for escape from patriarchal power, i don't know what does.
and also...his beautiful and raw description of art functioning for society in scene 17 brings to mind volumes of conversation.
________________________________________
THE ACADEMICIAN: What will they build on? I observed them carefully throughout my stay. Their only memories are of poverty and humiliation . . . Yes, what will they do? Can an art be born for the purpose of enshrining so many facts which they themsleves would like to forget? And if there's no art, there's no culture. Are they therefore doomed to decay? And there they go nailing the cage . . .
________________________________________
What is fabulous about this is that it is used ironically; the Academician, and his colonialist compadres The Banker, Sir Harold, Mrs Blanensee, are all looking down upon the native Algerians from their position of power. And yet Genet's argument throughout the play, that this dirty mess is precisely what the matter of art must be, rings through.