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Bremkn Reyes

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6 Nowmbcr20 17

The Radica/.1 ,frhe UIIL'mwy Literary ancl I'owro I'i:d Pie: Society

No matter the dlc;.1dc, thm: wi II ah\a: s he pt'ople ,, ho do not confom1 to the prt'scribed
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gender norms of tho society. In the hook, Thi' u uam,'.' Literary and I'orvw Pe~/ Pie Soci('(J by
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Mary Ann Shaffer and :\nniL lhmrn s. the n111c1.:pts t1f g.cnJcr :ire played ur~)n, JS two ch.i.rJctcrs

act r;.1dically different than what ,,as L':\PL'Cted from their g.epacr at that timc. T:u.ing p!Jcc in the , - \
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Post-World \\'ar II era. the g.Lndcr Jescriptinns of ,\11.11 :1 nun .inJ .1 \\tHn:m is rcm.iinLJ
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conscrvatin:. The m;.111 is e:-...pectL'd ll1 be .in :1uthorit,lli\'e. leading tigure ,, hik the.. ,,omJ.n is to tx

the obedient. nurturing. t: pc. 1lo,,e,cr. the t,, o Lh;iraL'lL'rs Julitt Ashton :mJ DJ\\SC~ .-\d:ims ...

perform differently rrnm their prL'!-CribeJ g.L'IHkr 1wnns. Juliet ,,oirfd p0rtra~ lllt're mJsculint

characteristics ,, hi le Da,, ~c: "? "d portray mon. lc:minine ch:1r.1cttristiL'S. thus. sho,, ing how

these t\\(1 characters break tk gcnckr ~en:otypes.

:\n cxamrk of htm Juliet \Hll1~J b~ lllor~ masculinl.'. is \\h~n :;he i:; angry \\ith her

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.._ lica11t (1\hcr :It thl' ti111l'. ~ lark Re\'llolJs.
. \ Llrk. "as tnin\!
. .... to ~nm incL' Juliet llJ !caw the

Guernse,
, Islands and lcaH' \\'ith him S(l that the,
. can be m;micJ. He e:-...prcsscs ho,, ht' tielic,es

that thL people or the islands saddled hL'r \\ ith their responsibilities...\lthou~h Juliet\\ as upset

with \\ hat ~ Luk said. she remained quiet until he brnught up how ::-he should lcaw Kit. a chilJ

she has gn1\\ n ac,ustomcd too and is taking cm.: L1( before she stans thinking Juliet ,, otild 1J.ke

care O f her. It ,, as at that 1110111cnt 1hat Juliet ,, cn1 nff at ~lark :tnd altlH)ugh they did not sho,, the

ar~ument. thmud1 context

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\\t' L'an sec ho,, enraged sht' bcc::une. as she s:iid. "'I ":is so :mgr: I
 Reyes 2

couldn"t talk. I stood there grippin, K.11 . . .

g s porndge bowl \\llh wh11e knuckle . I didn t throw it at
him. but I was close to it'" (Shaffc d n . , ..,
ran uamms _] ., ). What Juliet is portraying can be traced to
how Aaron Devor describes mas r . h. . . . . '
cu mlty in 1s article J3ccommg .\1cmbcrs of Soc1ct} : lli1:

ocial Meanings of Gender as hi.:, 1nt,crpr1: ts .. the aura o1-aggression.
violence. an d danng
cxu de \

masculinity' (Devor 42) J r d . . .

u Jet emonstrates all thrci..: of thcsi: characterrsllcs. aggn:s 10n when

she fru st ratingly argues with Mark, violence when she almost threw the bowl at him. and daring

for even starting an argument in the first place. Her being able to show these masculine

characteristics break the stereotypes of how women act submissively towards men.

Another time Juliet is shown to be more masculine is when she asks Dawsey to marry

her. Throughout the book Juliet has been slowly falling in lo\e with Dawsey. but she could never

really figure out if he felt the same way towards her since he was so quiet and shy. This constant

wondering was soon put to rest when Juliet learned that Dawsey kept personal keep ake . which
I
were all of her letters \Happed in a blue ribbon she thought she lost. and several pictures of

herself and Kit (271). This made Juliet realize that Dawsey loved her and at that moment she

rushed to him and asked if she can marry him. Typically, the man is suppo ed to be the one who , ~

asks the woman to marry him. but Juliet did not care for this nonn. As Jason Del Gandio

describes in his book Rhetoric/or Radical 1. social norms often set limits for acceptable

beha\ior. action. and thought: (Del Gandio 10). Thi social nonn of \\aiting for the man to ask

for marriage restrains true lo,e from ever blooming. :'\ot only does this norm limit Juliet from
',

e\er admitting her love to Dawsey. but it al o limits their lo\e as well because Dawsey is inet at __

showing such emotions due to his sh) ness.

The job that Juliet also has as an author al o displays her elf breaking gender norms.
'
During World War II. she wrote amusing war obsenations in a humor column for The Lo11do11
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J'iml!s under the moniker Izzy Bickerslaff. That column gavc Julie! tile opportunity to share her

opinions on the ongoing war to the n:mlers of the newspapers which cnn be considered rare for a

woman. As Dustin I larp slates in his article "More of the Same Old Story? Women. War, and \

e'-"S in Time Magazine: .. Giwn that men dominate 1he public sphere regarding war. women

have long been absent from debates on war. This is dangerous because although women may not I

dominate the front lines of war. they arc sti ll very much a part of war in different capacitic~ ... (
\ \ '

What this proves is that despite the odds of her not being able to give her views in a male

dominated space. she still found a way to do so. Her insights on the war arc to be taken

humorously. but the bigger picture of her writing these columns show that the women arc very

much apart orthis war as much as the men.

ow. from S\\'itching from Juliet to Dawsey, \\'e can see how he acts different from his
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pn:scribcd gender norms by how he speaks to people. Spccilically, to when he speaks to Remy

Giraud. a I lolocaust survivor who knows about the fate of his close friend Elizabdh McKenna.

Dawsc:y wants to kno\\' mon: about what happened to Elizabeth while she was with Remy in the

concentration camp. but asking questions would be difficult since Remy was still fragile from the

experience. I lo,, e, er, Dawsey was able to case her into answering questions after he talked

about Elizabeth's daughter Kit. This helped relax Remy and he is able to ask more questions

( 188-189). How Dawsey acts can be backed by Devor 011<:e again, as h1.: says that "subordin:.itt:
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\,

speakers who use 111or1.: p<ilite expressions and ask more questions in conversations seem more

feminine." ( I). How Da,,sey speaks to Remy shows how much of a feminine: speaker he i~ as it

displays his ability to be thoughtful and symp,llhetic. That consideration to how he speaks is vcn

important for him because it lets him get his point aeross that the questions he is asking is in

good intentions and talking about Kit shows that. IJ'he was to act more masculine in th1.. ,,ay he
 Reyes 4

ralked to her by speaking dominant and aggre sively. then he may han: not gotten the ans\\ers he

wanted from her.

Another example of Dawsey breaking social nom1s is that he acts nurturing 1owarJs

Remy. When he was strolling with Remy one time there came these big dogs that came towards

them. Remy suddenly began to feel extremely ill as those big dogs reminded her of the bad

memories she had in the concentration camp. Dawsey knew right away what \\JS happening due

to her telling him of the experience before. and he quickly swooped in and helped her. According

to Del Gandio in.Rhetoric for Radicals, --Just as you rt'ad and respond to the audience antl the

si tuation, you must read and re pond 10 the surrounding context. This rhetorical a\\'an:ness I I

allo,, s you 10 use the most appropriate language.'' ( l 05). With context. Dawsey was able to read

the situation right J\\U)' and wa able 10 aid Remy by taking on the feminine rok of a carer and

helping her. This \\'Ould 1101 be expected for Da,, sey to do as a male but he didn't gin: a second

thought when it came 10 helping her. thus. showing his more nurturing side when it comes to

helping people.

The expectations of a man is that he is to be strong. Jominating, and aggressi,e. and

while Dawsey is a character ,,ho is physically strong, his personality is quite the opposite as he
'
is quiet and shy. These characteristics does not really bother his close friends at all, but in the

perspecti,e of modern society it is considered "unmanly." In the aniclc "Painfully Shy" by

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Romeo Vitelli, he discusses about the acceptance of being shy in society: "There arc also gender
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differences with shy boys being more likely to have socioemotional diniculties than shy girls.

This is probably due 10 shyness being less socially acceptable for boys than for girls since boys

arc expected to be more dominant and sclf-contiden1.' To put it in another \\H)', being a male
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who is shy is inherently bad becau e it leads to more difficulties when it comes to sol'i:il \
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_ ,ntt'r.ii.:11on. . At face value this doe look 1k

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_;;;;;;.,=-- c an un,a\'ora e characteristic to ha\'e. but in
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ca,e II works out for him t
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en . up coming his charming feature. For example.

\\hen idney Stark., Juliet"s bos~ and close frii.:nd. dcscribi.: Da\\ scy. he say . --He did not ay

mu h at our fin meeting- nor at any or our mecung since. come 10 think of it-but let him ,,alk

into a room. and e,cryonc in it seems to breathe a littk sigh of rdieC ( haffer and Barrows

19-l ). Perhaps the reason why his friends cnJ0) him so much is bt-causi: of how hi: docs not act

ho" at) pica I man should act. 'idne~ stati:s that Oa\\sey i quiet but how could someone" ho , ,. . (1
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has difficulties \\ith social interaction:. at1i:ct pc-opk in th:it \,ay'! This goes to sho" how a \ '
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person docs not need to act to pre cri bi.:J gender nonns to be accepted :.md liked. \ I"" S' \;.
In conclu 1011. the characters tmak. the mold orwhat makes up thc-ir gender. Juliet comes
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off more as ma culinc b~ being abk 10 show her aggressiwnes:. to dominating men like Mnrk (

Re)nolds. a king for D,l\\Sc~ s hand in marriage. and ha,ing a job typically hdd by men.

!)a" sc) sho\\ s more femininity by being able to coll\ ince pi:ople with his subordinate way of

speaking. showing his nurturing allitude. and being intro,wted and shy. By paying no attention

to these social norms these two character), \\Crc abk to expenencc: more than what their

prescribed genders \\ould allow them tu. , \ (

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A Groner, Rn hcl. nnd John J Of I Compos mg ("~nd,n a &d or :pot,

Bedford/Si. Martins, 2014.

Gandio. Jason Del. Rhetorlcfi,r rad1ra/1 u l,anar,.ooJt. IJJanr

Society PublisheN. 2008.

Harp, Du tin. ct nl. "More of the mnc Old

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wo'-' o-.('01\\y to ,,1ppq1\ lh~ O~!\lgnment dll\.'{"hOOS ,tnd dS"'1g,} , 1.1 n t duoc\lons Lrnd a ss1u11mcnt <.t11octions ctnO ..1s~1gnm o nt d 1r ec1101,s JnO lho .,ss1g,un1,nl cJnechon
wort..s somt"wh,1l to sup ooit tx u e1y works to -1up Pof1 tho clnd d ocs not SUPPQfl lhft
~,,.-y ' O\U IM)l\n plm, wo,1,r., g u nCt1olly to 1ur,pot\ work, m o~tly to suppc1 \ u,._.,
tno CS'\,1y s purooso pl,1n oss.,y , nwoose ~ ;m OSSJy , purpo,f> plan
l hf11 rs~ov s ourpO"iC plan c-..:1,\y pur1>0,c r,l.in

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