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A House Grows in Brooklyn's avatar

I don't mean to wear out my welcome.

Froma Zeitlin in "Playing the Other: Theater, Theatricality, and the Feminine in Greek Drama," Representations 11 (1985) p. 81:

"In the end, tragedy arrives at closures that generally reassert male, often paternal, structures of authority, but before that the work of the drama is to open up the masculine view of the universe. It typically does so, as we have seen, through energizing the theatrical resources of the female and concomitantly enervating the male as the price of initiating actor and spectator into new and unsettling modes of feeling, seeing, and knowing."

In short, Greek tragedy was ultimately a male project for men. That is, for the perpetuation of patriarchy. Notwithstanding its prominence in Greek drama, the feminine was always and forever means only. Never ends. Euripides' *Medea* was not an invitation to smash the patriarchy; it was yet another stress test for it.

This is where I struggle. The founding conditions of a system tend to ensure that the system's products do not touch its essence. Correct? Feminism and the Civil Rights Movement could be humored as long as they were thought to shore up the foundations of a marginally more enlightened white male supremacy. But honest-to-God redistribution of power and wealth? We are a half century into the backlash.

And at this stage of the backlash, one line is that it's sadly necessary because women and people of color (together with race traitors and uxorious men) have been guilty of overreach. Those tedious DEI workshops! Those silly acknowledgments of land expropriations from indigenous peoples!

Could better parenting at scale change the calculus? Yes! But I read your series of essays to be saying that a person who has only ever encountered three dimensions is highly unlikely to intuit the existence of a four- or eleven-dimensional universe. We can't see the boundaries because we've never seen anything but boundary.

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