Ben Marquez, Social Media and Feminism: “The Memory of My Cheerful Whores” by Carlotta Fagnoli

Starting with women Gabriel JArkia MarquisBy Remedios and Pilar’s Hundred Years of Solitudein this book The memory of my cheerful bitches (Marsilio) Carlotta Fagnoli (Pictured by Pietro Baroni, so), a content creator and activist, says Split ‘Holy Bitch’ as a founding model forthe West.

Born in 1987, Fiorentina began writing as a sex columnist GQ And play boy In 2015, and today he uses social media (especially Instagram) to do that Post about issues related to language, gender violence and stereotypes. Moreover, since 2017, he has conducted classes in middle and high schools in Italy to bring students closer to the subject Assent and prevention of gender-based violence. In 2021 he released two books, bad luck curse (Fabri Editre) and e-book poor things (Enaudi).

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And now we come to The memory of my cheerful bitches: Self Macondo It is a village in the woods surrounded by woods where generations of Buendía follow each other and every now and then a foreigner arrives, Castagneto Marina Carducci – where the author grew up – are just like us, were it not for the fact that they are in Macondo looking out for the sea all the time and in Castagneto Carducci in front of them. And what else does a small country look like if not a social bubble where everyone thinks they see and know everything about everyone, or at least try?

Taking brothel tenants as an example, the author reveals a subtle presumption of good feelings or bad morals for women and accompanies, in and around García Marquez, to discover the possibility of adventures being taken even when those adventures are wrong.

Book cover

Top ilLibraio.itwith permission from the publishing house, we present an excerpt:

Amaranta, Rebecca, and Grandma Lucia, victims of the transcendence of those who did not celebrate their deaths

When I first read the criticism, he attributed it to women Hundred Years of Solitude Heaviness and the fact that I spoil, I couldn’t help but raise my nose. I felt the need to search through the pages of the book for all the characteristics that reassured me to the contrary and that made me love them so much, not as mere spots, but as close characters.

And so I discovered that the qualities that I gradually recalled through the female characters were also those that connected me most to the women of my life and my land: observing people within a very restrictive environment helped me understand the complexity of this. The human spirit, especially the female, was more evident in my country by the sea than in the cities and capitals where I lived.

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But thanks to Marquis reading, I also discovered something else: the same characteristics that I find myself looking for in the women in my life are those that have always been “unrecommended” for females, that is, those that make them unpleasant in the eyes of society, because they are considered a male prerogative. They were transferred to the female form, which male-dominated society wanted for centuries to be taciturn and submissive, creating a wonderful sense of alienation.

So I understand that the first reaction – that is, the cultural habit of considering women to be saints or whores, loud and annoying or elegant and little talkative – consists of condemnation, but the power of overturning and breaking gender stereotypes makes the figures real and three-dimensionally feminine, capable of bringing the most unpleasant feelings to the A dimension of intense intimacy and tenderness, rendering her human through inhumane practices such as burying Rebecca alive.

The anger that can be felt in front of them stems only from the rare habit of seeing certain characters combined with personalities that are positive and purposeful in themselves, but without those wonderful aspects of the body, you would be a holy angelic woman, not cruel. mundane creatures in their true nature.

I see how much this statement is embodied in my lifelong friends: their strong and multifaceted personalities transcend gender categorizations, making them earthly, assertive, decisive and complete in their lack.

I see it in my maternal family, where we women found ourselves in the hands of men unable to see anything but strength and provoked our own anger, making resentment a positive element.

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I see it in women who are part of the world of culture, considered uncomfortable because they occupy the place no one wants: the place of the obnoxious woman because she is fierce, flexible but vengeful, capable and aware of her, the face of a huge ass for a seal.

And I see it again in the female characters who have been so central to me, always acting as a lightning rod for others, giving way to them, and carrying the weight of a dichotomous morality that will condemn them every time as much or as well. Little.

I have always argued that in order to address this famous cultural change that we so-called progressive writers are so concerned about, it is necessary to reconsider some of the defining characteristics of personality that are often nurtured by morality and thus divided between ‘good’ and ‘evil’: the gray scale works He is famous specifically for contextualizing human behavior as personal variables and cannot be categorized solely into categories of right and wrong.

Therefore, the tendency to see female Marquis characters as sad, marginalized, defeated, spoiled, and sinister is far from the complexity of their personalities. I have never seen in Gabo’s books sad prostitutes, or one-dimensional women, or bankruptcy with the spirit that moves them. I’ve seen women embrace their own inadequacy toward a certain kind of world (and here the mammoth Theresa Ciabatte with a koala backpack comes to mind) doomed to make their chief idiosyncrasies, at the cost of removal, banishment, and lock-down into a monastery, doomed to solitude or to be left at liberty in Wall and live in a house.

(Complete in the library…)

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