Bitches, Bimbos, and Ballbreakers: The Guerrilla Girls' by Guerrilla Girls

By Guerrilla Girls

No matter what existence a lady leads, from biker chick to society woman, there's a stereotype she'll need to stay down. The Guerrilla Girls, infamous for his or her outrageous tackle women's concerns, now take on the maze of stereotypes that persist with girls from cradle to grave. With subversive use of information-and nice visuals-they discover the historical past and value of stereotypes like outdated Maid, Trophy spouse, and Prostitute with a middle of Gold. They tag the head forms, research sexual slurs, clarify the evolution of butches and femmes, and delve into the lives of actual and fictional ladies who've turn into stereotypes, from Aunt Jemima to Tokyo Rose to June Cleaver. The Guerrilla Girls' most modern attack on injustice in the direction of ladies will make humans snigger, cause them to mad, and even perhaps cause them to swap their minds.

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Extra resources for Bitches, Bimbos, and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes

Sample text

Storytelling itself is linked to resisting heterosexuality. The narrator's storytelling, like Scheherezade's, avoids both male sexuality and death, which it thereby links. Her stories began as responses to male seduction narratives: "tales of a red rose, two smooth lily buds, and four silky, supple, deadly entwining snakes" (1418-19).

Holding this block made her feel queer, as if the distracted thoughts of the woman who had perhaps turned to it to try and quiet herself were communicating themselves to her. (873-74) Like the evidence found in the kitchen, this sewing depicts an ordered life, disrupted by some untoward event. It tells the women that whatever Mrs. Foster did or didn't do, something was done to her. It is evidence of anger and upset. And it is testimony to the difficulty of both self-expression and self-definition; clearly Mrs.

35) captures a classic moment of scholarly possessiveness, paranoia, and jealousy. "I don't want anybody to get that woman out at night but myself," she reports. " (40); "there are things in that paper that nobody knows but me, or ever will" (32). Like most critics, she wants to "astonish" her intended audience and, like many, she will do violence to her subject, if necessary, to control it: "I've got a rope up here ... "(40). I take this parody as a serious warning about the dangers of the feminist overreading the story so vividly portrays.

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