Guest Blog: : “What would our holidays look like without assumptions of female servitude?”

What would our holidays look like without assumptions of female servitude?On March 25th, Elana Sztokman posted a question on her Facebook page that asked:  “What would our holidays look like without assumptions of female servitude?” The essay she posted as a follow-up to that question was so intriguing that I asked her permission to reprint it here.


by Elena Sztokman This morning, I asked a Passover question on my page: What would our cultural celebrations look like without the assumptions of female servitude.

The thread included some honest answers about women’s exhaustion and about the OCD-inducing minutia of some of our less meaningful rituals. It also included, predictably, some men insisting that there is no inequality in their lives because they are amazing partners.

I wasn’t on my computer at all today because I was, predictably, preparing for passover for much of the day (along with my husband, who works as hard as I do, and that’s not the point….) So I didn’t get to engage in the conversation or explain what I meant. But I just now wrote a comment to elaborate, and I thought maybe it’s worth sharing here:

My point was not to hear about all the men who help out, as nice as that may be (even though for the record, I do NOT necessarily trust husbands’ self-reports on how great they are to their wives. I believe it when I hear it from the wives….) Anyway, my point was not for people here to deny the role of female servitude in our cultural heritage, because that’s just gaslighting. (If you have never felt or experienced the impact of patriarchal structures in your life, consider yourself lucky.) Rather, I’m suggesting that we think about the effect of these expectations on the way our culture evolved. Because I would like us to rethink the whole thing. Because assumptions of female servitude construct the whole way we mark everything — pesach, chagim, even shabbat. Everything

We have designed cultural events that rely heavily on someone — usually a wife/mother — devoting their entire life to getting it done so that someone ELSE can enjoy the experience with freedom. (And of course, the entire culture is built on heteronormative paradigms — single women, non-parents, divorced women, gay couples, don’t really exist in the way our culture was constructed for most of its history.) The culture was created to enable a man, no matter how many wives or children he had, to practice whatever religious rituals his religious school determined, completely unencumbered. Even the idea of three times a day minyan outside of home relies on the idea that SOMEONE will hold down the fort at home during that time — making lunches, getting kids dressed, cooking, cleaning, homework, putting kids to bed. If the people creating the rules of the culture could not rely on such servitude, would they have made such demands like 3x/day minyan? That’s my question.

So for seder, for example, if the rabbis who felt like sitting around all night drinking wine and discussing pilpul did not have servants/women around to do the work of executing their ideas about what seder should look like, would the rabbis have crafted the seder the way it is, with so much kitchen labor and such unrealistic expectations for kids and families about how the meal might go?

I’m asking, if the people making the decisions about what the culture should look like were ALSO the people charged with getting it done, is this what we would have done? A late, long meal with zillions of rules and weeks of work that induce OCD? Really? Is that the way we would like to transmit our oral heritage? Maybe there are better ways.

Because I think that if the people doing the heavy lifting and the people getting to enjoy it were one and the same, we wouldn’t be doing all this. We might have a more common-sense, easier-to-produce, better-for-relationships event. Maybe go to the park and have some fruit salad. More flexibility and creativity and less indoctrination. Maybe less of that measuring a kzait thing or reading passages about 50,000 plagues that nobody even understands. Maybe daytime and not into-the night. Shorter. Less preparation. Less rules. More compassion. More humanity. Less meaningless rote ritual. That’s my theory. It would look different.



BIO: Dr. Elana Sztokman is an award-winning Jewish feminist author, educator, and political activist. Her most recent book, Conversations with my Body: Essays on my Life as a Jewish Woman, is available from Lioness Books at www.lionessbooks.com/shop Follow her at www.conversationswithmybody.com or www.jewfem.com

Am I the Orange on the Passover Seder Plate?

Orange on a Star of DavidWhen I was growing up, the colors of the Passover seder plate were primarily dull and dark. A shank bone, a roasted egg, horseradish, salt, and the delicious but yucky looking charoises (minced apples, nuts and dried fruit soaked in red wine). The one relieving color (and the dullest flavor) was that of the fresh parsley.

Then one year, a big, bright orange appeared on the seder plate. The story I was told back then was that it was in response to some rabbi who once said, “There will be a female rabbi when there’s an orange on the Pesach seder plate.” In other words, he considered both to be not only unlikely but impossible. Naturally, as the story goes, feminists started to put an orange on their seder plates, and the practice spread like wildfire.

Beyond any metaphorical meaning, I was delighted to see that orange on the seder plate. It felt like a fresh bit of life among the dull, dark artifacts of our history. As such it helped to make the history feel more modern and relevant. At the same time, it was a recognition of the long line of women who came before me, stretching back through my mother and grandmothers through the generations to the matriarchs of ancient times.

Besides, oranges have been one of my favorite treats for as long as I can remember. What fun it is to use my nails and fingertips to pierce and peel away the tough, pebbly skin, to get to the crisp sweet-tart pulpy juices that play on my tongue. And as a writer, I get a kick out of the fact that even the sound of the word is unique; no word in the English language rhymes holistically with orange. (Botanists will point to “sporange” which is a part of ferns, fungi, algae, or mosses. But really, how many of us will ever use sporange in a poem?)

All these years, I have identified with that orange on the seder plate. Read More

Thank you Toni Morrison… and Trapeta B. Mayson

Trapeta B. Mayson, Philadelphia's Poet Laureate, speaking about Toni Morrison at The Rosenbach
Trapeta B. Mayson
This past Tuesday, I attended my first Rosenbach lunchtime talk. The Rosenbach museum and library is one of Pennsylvania’s hidden treasures, though it is open to the public and is now affiliated with the Free Library of Philadelphia. The elegant Delancey Street double townhouse contains a remarkable collection of rare books and documents originally assembled by the Rosenbach brothers, famous dealers in books, manuscripts and art. It’s also the site of frequent public discussions, readings and lectures that fill the intimate rooms with interested and interesting people from near and far – such as the monthly lunchtime talks. I didn’t know what to expect, except that the topic was one of my favorite authors – Toni Morrison – and the speaker would be Philadelphia’s Poet Laureate Trapeta B. Mayson. I was sure that it would be a hour well spent. Besides, I needed to get away from my writing for a bit. I’d been struggling with the first draft of my new novel’s second chapter, and the more I fought the words – the more I wrote, edited and deleted – the more frustrated (and, yes, self-doubting) I was becoming. Perhaps, I had finally bitten off more than I could chew with this ambitious project. "I never asked Tolstoy to write for me." Toni Morrison Throughout the hour, Trapeta interspersed Morrison quotes and her own poems, a weave of words and ideas that illuminated the ideas she shared, until they shimmered with energy and life that could not be denied. She spokeRead More

“The Winter Boy” Honored: One of 12 Unique Works of Fantasy That Are Hard To Put Down

"The Winter Boy" by Sally Wiener Grotta

I received an email tonight, suggesting that I take a look at a website. To my surprise, it contains a video that features my novel The Winter Boy, as one of the “12 Unique Works of Fantasy That Are Hard to Put Down.”

As the webpage states, “Not all fantasy novels are hero’s journeys set in medieval times. Some creative authors put their own spin on the genre and produce unique works that revitalize old tropes. Whether they have a fascinating new type of lore or make unusual decisions in terms of structure, the books listed here all tackle this beloved genre in a different way.”

While the video shows Rishana as a skinny 20-something rather than a curvaceous middle-aged woman, it’s a delight to receive this honor out of the blue.

 

The Feminine Line

"Sisters and Mothers" a poem by Sally Wiener Grotta

I was searching through my files this morning for a some notes from a trip I once took to Sable Island, a tiny spit of land in the North Atlantic. As I shuffled file folders and piles of papers, I found this poem, which I wrote at a time of personal upheaval.

I remember picking up my pen, to try to understand the difficulties I was encountering; writing is how I deal with crises or confusion. And on that day — February 18, 2014 — I found deep within me the voices (and hopefully the strength) of all the women who came before me. They are still there, in my mind and my spirit, in my words and my art, a gift of love and continuity.

I Am A Jew

The following is an essay I wrote for my old website a few years ago. In the wake of the horrific shooting at Pittsburgh’s L’Simcha Tree of Life one month ago — and the the current political atmosphere that has given permission for such hate to come out of hiding and act on it — I find this piece a poignant reflection of the innocence I was once privileged to feel. While the essay is about the Jewishness of my writing, it’s also a declaration of who I am, and reinforces my determination to not be cowed by the haters. And, yes, I still believe that most people are good and kind, and that we can find our way out of this current climate of hate and divisiveness — if we work together.


 

Lighting the Menorah by Daniel Grotta

As I wrote that title, I hesitated. While the statement “I am a Jew” has a proud heritage of defiance and strength, I can almost hear my grandmother warning me, “Be careful, sweetheart, what details you ask others to focus on about you.” But then, she came from a time when being Jewish was a double-edged sword that gave us the protection of belonging to a rich tradition and community, while separating us out for ostracization and exclusion from society as a whole. I’m lucky to not be living in the era of her youth.

Or am I being naïve and foolish? Given the ghettoizing of women writers which implies that somehow our work is not as significant as that of our male counterparts, am I taking a chance by saying that not only I am a woman, I am a Jew? Will I now be relegated to second, or even third-class status in the literary hierarchy? Will I now be considered only as a Jewish female writer? Was William Faulkner “merely” a Southern male writer? Or, Thoreau nothing more than a New Englander tree-hugger? Why is it necessary for me to publicly dismiss my roots, out of fear of having my art and writing less respected?

Being Jewish is Read More

The Stepford Wives & Barbie, Studies in Ideal Womenhood

Reposting an essay that I wrote in 2015

Diversity in the Barbie Universe
“Diversity” in the Barbie Universe

 

Lately, I’ve been thinking a lot about the 1970’s classic thriller movie The Stepford Wives. Based on the novel with the same name by Ira Levin, the story is simple and nightmarish, a chilling distortion of the American Dream. The men of Stepford have decided that the only way they can attain an idealized Ozzie-and-Harriet-like suburban life is to replace their wives with “perfect women” in the form of mechanical dolls. These automatons are obedient, non-confrontational, devoid of opinion – and, of course, both great in bed and superb cooks. They’re also svelte, always impeccably groomed and white.

I keep flashing on The Stepford Wives not because I particularly liked the movie, but because it has become a cultural icon of the social pressure to conform. It’s a distorted view of womanhood that feels particularly relevant in light of the groundswell reaction to my recent essays Is Obesity the New Obscenity? and The Monster in the Mirror. With the many hundreds of comments, hits, links and likes those essays have received, I’ve realized that I’m not alone in my discomfort with the way people who don’t fit a distorted physical “ideal” are treated. In fact, “we” far outnumber “them.”

So why do these twisted yardsticks of “acceptability” persist when so many cry out against them? What is it that condemns society Read More

The Monster in the Mirror

 

Reposting my essay from March, 2015

The_Hermit_and_the_Sleeping_Angelica_by_Rubens
The Hermit and the Sleeping Angelica by Rubens

After all the hoopla over Leonard Nimoy’s stunning photo of nude fat women that I posted on Facebook, and the energized Internet response to my essay Is Obesity the New Obscenity? I’ve been thinking a lot about personal body image and how society feels empowered to comment and judge on a woman’s physical appearance.

Women’s Bodies As Markers of Social Standing

In past ages, a full rounded figure was a sign of wealth, of having enough to eat. Society would point at a man who could afford to keep his wife fleshy and recognize him as a man of substance. He was far above the riff raff who lived hand to mouth with no excess in their homes or on their bodies. Only aristocrats or very successful merchants had what we now call obese wives and children.

Today, as tabloids, TV and the Internet constantly remind us, the truly rich tend to marry the truly thin.

But in all the discussions I’ve seen about the various feminine ideals through the ages, most ignore the central issue. Women’s bodies have long been commodities and status symbols. The “trophy wife” might be a 20th century phrase, but it’s an age-old concept.Read More

Is Obesity the New Obscenity?

 

Leonard Nimoy and Raphael
Leonard Nimoy’s photo and the Raphael inspiration

 

Facebook has decided that I post offensive material, and I have been warned to desist.

On Saturday morning, I logged into Facebook, expecting to spend a few minutes checking what my friends were up to, reposting some of their more interesting comments, pictures and links, and responding to messages. I also had links that I wanted to post about art, writing, grants and creativity – plus the usual humorous, heartwarming or meaningful pictures or videos I thought folks would enjoy. In other words, I planned a routine social visit on Facebook, before logging off to work on my current novel in progress.

But Facebook had other plans for me.

Instead of taking me directly to my FB page, a rather intimidating message popped up. It stated in no uncertain terms that I had posted an offensive nude photograph, which Facebook had excised from my page and feed (i.e. censored). Then I was shown my online albums, was commanded to remove any other pictures of naked people, and I had to confirm by checkmark that I had no such pictures left on Facebook. I didn’t think they were referring to the various Renoirs, Matisses, Goyas, Picassos and such that I’ve posted over the years. So I clicked the Agree button, and I was allowed to enter Facebook’s supposedly squeaky clean domain.

Of course, I knew immediately which photograph Facebook had found so offensive, and I’m convinced it wasn’t because it was of nude women, but because it was of obese nude women.

In fact, it was a picture from The Full Body Project, a book of photographs by Leonard Nimoy, which is Amazon’s number one best seller in Women’s Studies. What’s more, my posting wasn’t just of the photograph, but a link to a lovely tribute to Mr. Nimoy in the New York Observer My Friend Leonard Nimoy was a Fervent Feminist by Abby Ellin.

SO MUCH MORE THAN SPOCK

Like many millions of others, my fascination with Leonard Nimoy began with a young girl’s crush on Mr. Spock. But it was only as I learned more about the man behind the actor, that I began to admire him – as a thinker, author, artist and philanthropist. And then there was the phone call.Read More