Review: The Visit (2015); d. M. Night Shyamalan

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I admit that this one took me by surprise. I haven’t loved one of his movies in years. And I was a huge fan at the get-go. But The Visit is so good! Yes, super-scary. But also extremely funny. I loved it.

My review of The Visit is now up at Rogerebert.com.

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Goodnight Mommy: My Interview with Co-directors/Writers Severin Fiala and Veronika Franz

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Goodnight Mommy is almost unbearably creepy with some visceral elements that many audience members will find offensive and/or brutally awful/unforgettable. Pick your poison. It’s a masterful portrayal of identity, dizzying doubling, and terror. It’s also almost entirely silent. It opens this week.

Austrian co-directors/writers Severin Fiala and Veronika Franz have been in and around the film industry for decades in various capacities. This is their first film as directors. It’s incredibly confident. And actually fun, despite that grim brutal plot-line.

I sat down with the both of them recently (accompanied by a translator, should we need one, although we ended up communicating fine) at the publicists’ office and interviewed them about Goodnight Mommy. They were gregarious and a ton of fun.

If you like horror films (psychological as well as physical), you won’t want to miss Goodnight Mommy.

My interview with Fiala and Franz is now up at Rogerebert.com.

Posted in Directors, Movies | Tagged , , | 16 Comments

Topics Allison and I Discussed This Weekend

Corporate America
— Amazon
— Work culture
— CEO as possible sociopath

New York Times public editor’s function as independent reactor/ombudsman

The structure of German U-Boats
— claustrophobia
— gross smells
— the sinking of said U-boats
——-scratches found on interior walls

The Lusitania (off-shoot of above topic)
— everything about the ship. The captain. The passengers.
— what the event meant
— Documentary footage of Lusitania setting sail (amazing)
— Woodrow Wilson
—— neutrality campaign/League of Nations

WWI (off-shoot of above topic)
— Re-cap of Franz Ferdinand’s assassination (Exhibit A presented of Rebecca West’s description of FF’s trip to Sarajevo)

The various faces made by Allison, caught by my camera, as she leapt (or cannonballed) off the diving board. We described the various faces as:
— maniac in an old-fashioned Victorian lunatic asylum
— a terrified soon-to-be-murdered person as an axe-wielding killer comes at her
— We kept zooming in on her face on the photos and laughing until tears streamed down our faces.

Sociopaths. (This topic will repeat)
They are:
— charming
— disarming

H.H. Holmes
— his “murder castle” in Chicago
— the forensics of that time
— the upcoming book/movie (Scorsese?)
— Wikipedia article read out loud and discussed
——- The difference between a regular murderer and a sadist

Death/Grief

Bachelor in Paradise
— gender politics
— dating rules (woman as aggressor/woman too eager or into it = BAD)
— thick ludicrous eyelashes

The pros/cons of suburban life

The high school reunion I missed/weekend in R.I.
— classmate tazed outside the reunion for being drunk and disorderly (friend said later: “I could smell his skin burning.”)
— pile of iPhones on the sidewalk
— Visiting the gun shop
— My old friend Glenda
which led to …

Being stalked
— lack of recourse for stalk-ee
— Delusional men who won’t take No for an answer

Ethan Hawke: Yes? No?

Mountain Gringo salsa: our mutual adoration thereof

How much we love the sounds of nature
— cicadas
— wind
— trees

Tycoons/robber barons/capitalists of Industrial Revolution
— Vanderbilt
— Rockefeller
— Carnegie
— J.P. Morgan (and his wretched emasculating father)
——– We watched the History Channel’s Men Who Made America series: amazing.
— Paused it to talk about Maury Klein, my great college professor and the best class I took in college: The Industrial Revolution. Told Allison all about it. Then we started up the show again, and in 10 minutes time, there was Maury Klein onscreen as an expert.
Titan, by Ron Chernow, which we read together. Now we want to read The House of Morgan.

The qualities of really successful people
— innovation/risk
— not giving up
— imagination

Which then led, naturally, to:

Sociopaths/Narcissists
Serial Killers
Creepy psycho children a la We Need to Talk about Kevin

The danger to dogs in Malibu from coyotes who leap fences into backyards
— Similar danger to dogs in NYC who have gone missing when tied up outside grocery stores or whatever, possibly kidnapped to be put into a dog-fighting ring.

Our awesome skin and how proud we are of our awesome skin and how good we take care of our mutually awesome skin
— her mud mask and whether or not I should give it a shot

Pools vs. Ocean. What do we think?

The sucky design of the garden hose

Our various family members and how they all are doing.

How much we like Sandra Bullock

Nicola Tesla.
— We spent quite a bit of time casting the fictional movie about the rivalry between Edison and Tesla.
— Possible actors to play Tesla: Joaquin Phoenix. Tom Hardy as Edison? Tesla looks vaguely like Orlando Bloom but could Bloom pull it off? We discussed with desperate seriousness as though this were an actual job we had.

Rosemary Kennedy
— lobotomy
— Joe’s lying – the whole tragic situation
— John-John’s body language in a photo in People magazine, leaning towards Rosemary inclusively. We both stared at the photo. Stricken.
——– John John’s death.
——– The Seinfeld episode about John John.

Taylor Swift/Miley: Yes? No?
— the importance of what teen girls like
— how ahead of the curve teen girls often are
— they lead the way towards what’s cool or what’s next and what do they get for their prescience? Scorn and derision. See: Elvis Presley. So I’m all for anything that teen girls love without reservation. I’m for anything that gives teen girls a fun fantasy life, and pleasant dreams, and something to strive for.
— also I just love Miley.

How much we hate it when people are assholes during complicated highway merges.

The following conversation is not about anyone we know. It’s based on a picture of someone (whom we do not know) playing a banjo. That’s it. Once we started we couldn’t stop:

“He drinks artisanal beer.”
“He makes his own almond milk.”
“He’s a feminist.”
“He works in a co-op.”

AC/DC.
— our love thereof
— which led to a conversation about Def Leppard.
— side swerve to Stone Temple Pilots
— Judas Priest was mentioned in there somewhere too, as was Nirvana
— we reminisced about Yaz
— and then U2
— all roads lead back to AC/DC. The highway to hell.

Posted in Personal | Tagged | 31 Comments

Bling

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Carl Perkins in 1955

On a Facebook thread the other day, Straight Outta Compton (which I loved) was being discussed and a guy showed up and said he didn’t like hip hop, he said he had a “visceral reaction” to “the bling.”

But bling was (and always has been) a symbol of triumph/reveling in success/a signifier.

Carl Perkins’ parents were sharecroppers. He sometimes worked from morning till night. He’d go to school, and would pick cotton before school and pick cotton after school. Poverty. And then – like with so many of these guys, then and now – he went from poverty to having money in a very VERY short period of time.

“Bling” is an upraised middle finger to the poverty in your past, a triumphant statement along the lines of “getta load-a what I just did, all by my damn SELF.” Of course you would want your wealth to be seen by all. What would be the point otherwise?

Elvis never wore blue jeans (unless when appearing in movies – and if you are familiar with Elvis, it always looks a little weird.) because when he grew up, strapped to his mother’s back as she picked cotton in some muddy field, blue jeans meant you were poor. He wouldn’t let the people around him wear jeans, either, and hazed poor backup-singer Larry Strickland (and husband to Naomi Judd? Maybe they’re on the rocks now, but whatever) when he showed up in Vegas for a rehearsal wearing overalls. Elvis could be bossy (like, who are you to tell other people what to wear?) but the pain/shame of being poor and HAVING to wear denim left a scar. The second he made money he began to buy rings, and suits (from Lansky’s on Beale Street, a place he would visit just months before he became famous – at least regionally, and stare inside longingly, face pressed to the glass), and more cars than he could drive (for himself and for others). Of course the consumption was obsessive. He grew up not having enough to eat.

All these guys – Carl Perkins, Sam Phillips – and all the blues artists who inspired them – dressed to the NINES the second they got a paycheck and would buy an entire head-to-toe pink suit and a bright red felt fedora, or an entire electric blue suit, or glittery rings and watches. Attention-getting. As Dave Marsh observed in his Elvis book (and it could apply to all these guys): what Elvis wanted, more than anything, was to be an “unignorable man.” This is what unremitting poverty does to a person, the shame it activates, and sometimes the determination. Bling is a message. Bling is a warning.

This monologue has been brought to you by the vision of the shining spats on the guys in the clip below, and the outfits, and Carl Perkins’ shirt, and the DONE hairdos. Look at that FLASH. Three years before Perkins still had day jobs picking cotton. Imagine what you would do with money if that was your trajectory. Imagine what all that flash really means.

It doesn’t just mean that you have “made it.” It means that you have made it OUT.

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Review: Break Point (2015)

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An okay family drama, with good performances, but somewhat lackadaisical, and low-risk.

My review of Break Point is now up at Rogerebert.com.

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Survivor’s Remorse Renewed for Season 3

Great news all around, for my talented cousin Mike, who created the show and is its exec. producer (along with LeBron James) as well as show runner, my brother Brendan who is on the writing staff, and my cousin Kerry who has appeared in two episodes as a journalist (she got a huge shoutout in this Entertainment Weekly review of last week’s episode. Check out page 2.). Listen, it’s all about connections. It’s a fantastic show, deep and funny and thoughtful, with incredible acting from the entire ensemble. It’s also wonderful because it provides constant surprises. Extremely human. Congratulations to cast and crew.

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Cousin Mike and Mike Epps, who plays “Uncle Julius” on the show. Photo from redcarpetshelley.com.

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R.I.P. Dean Jones

Dean Jones was a Disney star who appeared in all of the movies I watched as a kid. He was a familiar face by the time I was 7 years old. Herbie the Love Bug, I mean, come on. That Darn Cat with Hayley Mills! I was obsessed with Hayley Mills as a child, even though her heyday came before I was born (the awesome Flame Trees of Thika notwithstanding, which I watched with my parents). I wanted to BE Hayley Mills. A child star. I adored That Darn Cat!

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The New York Times has a very nice obituary.

But I will love Dean Jones forever for his stunning version of “Being Alive” from Stephen Sondheim’s musical Company. First of all, the song itself is an anthem of hope and pain and striving. The lyrics are too piercing to bear, if you have experienced loneliness (as we all have). The yearning for someone to be there, to love you, to experience “being alive” with you. The song has that classic Sondheim difficulty: it’s “talk-y”, the lyrics are conversational and yet poetic. There’s not a typical rhyme scheme. You have to really act it. Otherwise it won’t come off, it’ll just sit there as a melody. There is no way to fake this one. No way to phone it in. Your awesome singer pipes will not save you if you can’t FILL the song. Dean Jones’ version, captured forever in the cast recording, is definitive, and the one we all know. Young Raul Esperanza came along in the Broadway revival and breathed new life into the song, approaching it with the same passion and emotional understanding that Dean Jones had. We heard it anew.

There’s a fascinating documentary about the recording of the cast album for Company in 1970. The most famous bit is Elaine Stritch working on “Ladies Who Lunch” in the recording booth, and putting herself through hell to get it right. (If you haven’t seen it, look it up. It’s on Youtube. It is one of the clearest portrayals of true PROCESS that I have ever seen in my life.)

But the clip above is also excellent. It’s the same thing, only it’s Dean Jones, working on “Being Alive” in the booth, with his cast members.

Rest in peace, Dean Jones.

Posted in Actors, Music, RIP | 19 Comments

Jafar Panahi’s Taxi (2015): Another Defiance of the Ban

The movie I am most looking forward to, coming soon to the New York Film Festival, with a release afterwards, is hounded/oppressed/gifted Iranian director Jafar Panahi’s Taxi.

Jafar Panahi, who directed angry funny award-winning films such as The White Balloon, Crimson Gold, The Circle, Offside, was arrested in 2009 under suspicion of making a film critical of the Iranian regime. (His films are all critiques of the regime.) The arrest made international news. He was imprisoned. He went on hunger strike. I was so crushed and upset I hosted an Iranian Film Blogathon, knowing it would do no good, but knowing also that tyranny requires privacy to do its worst. I wanted to do my part to deny the regime that privacy. All my Panahi stuff is here.

He was released, and then waited for his sentence, under house arrest. During that time, he made a film (illegally) in his own apartment called This Is Not a Film which was then snuck out of the country on a zip drive inside a pastry to premiere at Cannes. (The film is extraordinary, there is nothing else like it. The closest analogy, which I said in my review, is to Oscar Wilde’s “De Profundis.”)

Panahi’s sentence came down and it was devastating: a 20-year ban on film-making (Panahi is in his 50s), travel, and interviews with foreign journalists. Except for the travel part, Panahi has disobeyed all of those bans. He remains under house arrest, although his situation has loosened up a bit, and he continues to make films, albeit under outrageous limitations. Every time he makes a film he puts himself at risk. Anyone who appears in any of his films, collaborates with him, helps him, can expect to be harassed, arrested, or worse. (His partner on This Is Not a Film, who leant him the camera, was arrested, his passport taken away from him). It is a sign of his stature that people continue to act in his films, collaborate with him. They take those risks. After This Is Not a Film a couple years passed, and I had assumed that that, tragically, might be it. It was devastating. His situation is outrageous.

But then last year, another film came out. The Closed Curtain, which was on my Top 10 of last year. He can no longer shoot out on the streets of Tehran (all of his films are outdoor urban films), so he shot The Closed Curtain inside his summer house on the Caspian Sea. I found the film both valedictory and heart-wrenching. I couldn’t imagine what would come next. It seemed so final.

And now, God bless human freedom of expression and hang the consequences, Panahi has another film out. This one is called Taxi and it takes place entirely inside a taxi cab driving through the streets of Iran. You see how clever he is? How he gets around the ban? They’re just driving around, that’s all.

He himself plays the taxi driver.

I am going to a screening of Taxi in late September and I cannot wait. The trailer just launched and it looks amazing.

What is going on with Jafar Panahi is the most important thing happening in the cinema world today.

Jafar Panahi is the true definition of the word hero.

Posted in Directors, Movies | Tagged , , | 7 Comments

S/He & Me: A Theatrical Cabaret, by Alexandra Billings

My great friend Alexandra Billings, who has a great supporting role in the Golden-Glove-award-winning Amazon series Transparent, who is a professor of acting, my partner-in-crime in all things Celebrity Cult (you know the one I mean), a brilliant cabaret performer with 30 years of theatre experience, has written a cabaret show called S/He & Me: A Theatrical Cabaret, directed by Joanne Gordon. Californians: it’s running September 25 – October 11, 2015 at Cal Rep at the Studio Theatre. I wish I could be out there for it.

Here is the show’s opening monologue performed by Alex. Alex IS love, and the only reason that she IS love is because she has been through the shit, and come through on the other side. I learn from her every day.

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The Books: The Young Rebecca: Writings of Rebecca West 1911-17; “On Mentioning the Unmentionable: An Exhortation to Miss Pankhurst”

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On the essays shelf (yes, there are still more books to excerpt in my vast library. I can’t seem to stop this excerpts-from-my-library project. I started it in 2006!)

NEXT BOOK: The Young Rebecca: Writings of Rebecca West, 1911-17

In the last excerpt from this collection of Rebecca West’s early journalism, I talked a lot about her feminism, and the form it took: where it came from and how she coincided with and then differed from the mainstream movement, led by women like Christabel Pankhurst. West, despite her involvement with the “ism”s of the day, was not a joiner. She did not subscribe to groupthink, she did not go with the flow.

Here, in the 1913 essay from The Clarion, Rebecca West sets her sights on Christabel Pankhurst’s relatively new crusade against syphilis, a scourge of the day and certainly a huge problem, but West balked at it being lumped in with the feminist movement (it’s something she returns to again and again). STDs could be, literally, a death sentence in those days, and the shame of it kept women (and men, West reminds her readers) from getting help. Much of West’s feminism had to do with economics, but a lot of it had to do with the social status of the single woman, how she was infantilized and condescended to. She couldn’t go out alone, she couldn’t go out with men, she would be branded a whore … and so what the hell then? It put women in a double/triple bind.

However: Pankhurst’s obsession with sex, STDs, seemed unseemly to West, especially since it started to take the turn towards prudishness, celibacy, and a general hatred of the monsters that were men. This, to West’s clear and analytical and yet emotional mind, seemed unrealistic. Also, not TRUE. If you knew men, then you knew that not all of them were terrible. If you had sex, then you knew that not all sex was a power-play. Many men were looking for love too, and yes, in all the wrong places. They went with prostitutes because “nice girls didn’t” and the whole culture was both sex-crazy and sex-phobic and it made people literally insane. West saw the whole thing.

Pankhurst seemed to be removing herself from the important field of action and retreating into an ideological fortress, and West thought that was bad for feminism. It made them all look like lunatics, and it made them the embodiment of the judgments of their opponents (that they were all man-hating unwomanly women). West fought back. To go against the grain, then and now, is a daunting prospect. If you go against the party-line, you are treated as an apostate, a traitor. I know this will ruffle feathers, but I actually agree with some of Chrissie Hynde’s recent statements. If you don’t know what I’m talking about, look it up. And now she is being excoriated left and right, people saying, “I like her music, hate her views” and it’s all so predictable I want to stab myself. Chrissie Hynde was raped. If these social justice people want to demand that people do not have contempt for their “lived experience” then why are they doing the same thing to Hynde? Can’t we at least consider the possibility that her views also come from a personal place, that her motivations are not somehow sinister? What is so dangerous/threatening about considering that what she says is a practical and grown-up way to look at the dangers women face? Nope. You just label it as “blaming the victim”, and the argument is seemingly over. Honestly. And to say, “I should be able to walk down the street in my underwear and be totally safe” seems to me to be living in La-La Land. This attitude is not keeping women safe. It is making women believe in some Utopia instead of realizing they need to step up and take care of themselves. I used to dress extremely proactively when I was young. It was the era of the Kinder-Whore. I loved that style. I was harassed all the time. I was attacked as well. I had some very hairy moments. (And I didn’t DESERVE these things. NOBODY “deserves” these things. But to say that there was zero correlation between my outfit and the harassment is ludicrous. And to say that removes me from responsibility. It turns me into a victim and that I won’t have. It also is a reversion to the Victorian era when even a glimpse of ankle was seen as provoking and dangerous. Fuck THAT. So I will dress how I like, but not be an idiot about it. Be cunning, make good choices, read Gavin de Becker’s Gift of Fear. We live in a dangerous and unfair world as women. Be smart.) My cop friends, back in my Kinder-Whore days, gave me self-defense tips, wrestling me to the ground and telling me what to do if I was in a tough spot. They didn’t say “Well maybe don’t wear a corset and a tiny kilt and ripped fishnets at 11 o’clock at night when you’re out by yourself.” They said, “Go for the eyes, Sheila. Don’t go for the nuts. Go for the eyes.” Their attitude became my attitude: Dress however you want. And be ready to defend yourself. But mentioning how a woman is dressed is so “not done” now (and yes, I get it, for good reasons) that it’s hard to even discuss it. The issue is not monolithic. There are varying degrees, shadings, complexity. See what happens when you limit language? You stop being able to discuss things at all and so when Chrissie Hynde strolls in and says the “wrong” thing, everyone’s heads explode with outrage. It is never a good sign when you are AFRAID to speak your mind. I get afraid to say, “Yeah, actually, I think Chrissie has a point, guys.” And here I am: saying it on my site. What are you going to do? Arrest me? Shun me? I understand the enemies of women are everywhere, and looking for ANYTHING to keep us down and back. And I don’t want to “give them anything” to help them. But honestly, misogynists are stupid people. They see things in black-and-white. They are uninterested in subtlety (or, worse – they can’t even perceive subtlety) and so an in-depth conversation is impossible. I feel like saying, “Okay, boys. Back off and let the grown-ups talk now.” So I understand why the battle lines are drawn. But the commentary about Hynde is a perfect example of how this whole thing works, and has always worked. Mainstreamers set the agenda, outsiders speak up, they are shouted down if they are not “in line” with the main agenda, they are sidelined, scorned. I mean, look at Camille Paglia. Only in the La-La Land of Ideology could she be described as “dangerous” and a “reactionary,” (words Gloria Steinem used in an interview to sum up Paglia).

West felt Pankhurst’s focus on sex was harmful to the movement, it was limiting it, it was dialing it down to the personal. West also took issue with the prudishness of it, as well as the vicious anti-male attitudes. It alarmed her. She writes early in her article: “One must love humanity before one can save it.” She sensed Pankhurst slipping off into hatred of man, and that was a dead-end street. West’s bag was economics and the Industrial Revolution had destroyed the quality of life for both women AND men. Adjust the economic disparity and life would be better, freer, for everyone. Working-class men were just as held down as working-class women, although working-class women were often blamed for more (the disintegration of the family, etc.) But Pankhurst blamed ALL men, and West had to say, “Now, now, venereal disease is ALSO a social and economic problem, not a male problem.” In an earlier article she wrote plainly, “I deplore rancor against men”, quite a thing to say when the men in power were imprisoning her suffragette sisters and throwing them down flights of stairs. But West was smart. She was only 20 years old, but she was smart.

This article is a response to an article about venereal disease by Christabel Pankhurst called “The Dangers of Marriage.” (Pankhurst, by the way, was not married. Neither was West.)

Excerpt from The Young Rebecca: Writings of Rebecca West, 1911-17: “On Mentioning the Unmentionable: An Exhortation to Miss Pankhurst”, by Rebecca West

But the real crime in Miss Pankhurst’s article is her attitude towards those who suffer from sexual disease. She begins splendidly with the sweeping statement: “Men before marriage and often while they are married contract sexual disease from prostitutes and give this disease to their wives.” With a sharp pang one will see Miss Pankhurst on the Day of Judgement, sweeping all our fathers and husbands and sons down amongst the goats. She elaborates her point of view with vehemence:

Never again must young women enter into marriage blindfolded. From now onwards they must be warned of the fact that marriage is intensely dangerous, until such time as men’s moral standards are completely unchanged and they have become as chaste and clean-living as women.

These consequences are not only suffered by the persons who wantonly contract syphilis in the course of immoral living. They are suffered by innocent wives … and numbers of women who have inherited from their forebears the terrible legacy of suffering … and there are men who also suffer, though they have learned so little by it that they seek in immoral intercourse new infection, which they in turn transmit to generations yet to come.

Enough has surely been said to prove the dangers of marriage under existing conditions; to show the injury done to women by the low standards and immoral conduct of men.

Dear lady, behind whom I have been proud to walk in suffrage processions, this is rather a partial view. If we take it that your statements are literally true, have you no pity for the immoral men? We must be sorry for the man who loses the bright glory of love on the streets. He lives in a city and leads a tame life till he becomes tame and loses the wild thing’s scorn for a pleasure that is stale, unecstatic, grimy. All the time he is invited to brood on sex by us, by women. For there is the army of rich parasite women who have nothing to do and no outlet for the force in them except to play with sex and make life its gaudy circus. And there is the other army of women who will beseech him to buy their sex because it is the only thing they have that will fetch money. The fallen man may be something that quite certainly no woman wants as a lover and he becomes very soon something too cheap and dirty to have much to do with, but he is as much a victim of social conditions as the fallen woman. Moreover, had Miss Pankhurst studied the subject for more than three weeks she would have known that disease strikes down for the most part the young; that most of its victims are mere youths, sometimes perilously ignorant, who are bewitched by tawdry lures before their maturity has shown them the difference between the white, flashing thing of passion and the shabby substitute sold by gaslight.

But this scolding attitude of Miss Pankhurst is not only ununderstanding, it is also a positive incentive to keep these diseases the secret, spreading things they are. Doctors who were studying this matter long before Miss Pankhurst or I were born have complained bitterly that their efforts will come to nothing so long as sufferers are intimidated by a hostile social atmosphere into being afraid to acknowledge the nature of their illness and thus to seek advice as the best way of treatment. As the great Duclaux said: “The struggle against syphilis is only possible if we agree to regard its victims as unfortunate and not as guilty …” Only so will sufferers be encouraged to come forward and acknowledge themselves centers of infection. Let Miss Pankhurst ask herself: Would any of these hundreds of thousands of people who have innocently contracted such diseases – who have inherited it, who caught it while attending to the sick, who have been infected by the use of a cup or a towel that had previously been used by an infected person – be likely to be frank about their malady in a social atmosphere influenced by “The Dangers of Marriage”?

The strange uses to which we put our new-found liberty! There was a long and desperate struggle before it became possible for women to write candidly on subjects such as these. That this power should be used to express views that would be old-fashioned and uncharitable in the pastor of a Little Bethel is a matter for scalding tears.

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