"The Girl Who Kicked The Hornet's Nest" second meeting tomorrow

We hope to all tomorrow for our second Millennium Series meeting of the academic year: 2nd meeting: Tuesday, November 13, from 12:30-1:30pm in UC412 Read up to page 200 if you can. (Refreshments will be served at all events) Join us as we continue our dialogue on how the topic of women and violence in the popular book and film relates to the USF community. A few questions to ponder: 1) Each part of "Hornet’s Nest" begins with a brief history lesson about women warriors. What do these short excerpts say about Larsson's triligy? About his subject matter? About Salandar and Berger? 2) In each of the three novels there is a specific group or institution that is scrutinized for its corrupt and perverted ways. What is the focus in this novel? How do Larsson's critiques of different institutions build on one another? 3) In the first part of "Hornet's Nest" Salandar is imprisoned in her hospital room, her every movement controlled. How is this setting different than the settings of the other two novels? 4) Who is on Salandar's side in this novel? Sponsored by The Women and Violence Research Group in collaboration with The Gender and Sexuality Center. For more information, please visit the Millennium Reading Blog: readingmillennium.blogspot.com

NPR Books: "The Round House"

I will post my notes at another time for today's first meeting of the academic year of the Millennium Series Reading Group. Right now, before I forget, I want to mention a book that I heard about on NPR driving home today. It caught my attention for several reasons, one of which is its synopsis (see below). The novel is: The Round House, By Louise Erdrich. It just came out (Oct. 2012). In our meeting we talked a good deal about justice. Who defines justice? What does it look like? About how societal justice fails certain human beings. In the Millennium Series, the system and the family fail Lisbeth Salander. She takes it upon herself to define her own justice, and to bring others to the justice she understands. The Round House has some similar themes: "One Sunday in the spring of 1988, a woman living on a reservation in North Dakota is attacked. The details of the crime are slow to surface as Geraldine Coutts is traumatized and reluctant to relive or reveal what happened, either to the police or to her husband, Bazil, and thirteen-year-old son, Joe. In one day, Joe's life is irrevocably transformed. He tries to heal his mother, but she will not leave her bed and slips into an abyss of solitude. Increasingly alone, Joe finds himself thrust prematurely into an adult world for which he is ill prepared. While his father, who is a tribal judge, endeavors to wrest justice from a situation that defies his efforts, Joe becomes frustrated with the official investigation and sets out with his trusted friends, Cappy, Zack, and Angus, to get some answers of his own. Their quest takes them first to the Round House, a sacred space and place of worship for the Ojibwe. And this is only the beginning. Written with undeniable urgency, and illuminating the harsh realities of contemporary life in a community where Ojibwe and white live uneasily together, The Round House is a brilliant and entertaining novel, a masterpiece of literary fiction. Louise Erdrich embraces tragedy, the comic, a spirit world very much present in the lives of her all-too-human characters, and a tale of injustice that is, unfortunately, an authentic reflection of what happens in our own world today." (http://www.amazon.com/Round-House-The-A-Novel/dp/0062065246) Here is a story of generational trauma (Native American), territorial issues, sexual assault, and an individual attempt at finding justice by a 13 year old boy whose mother is attacked. Could be interesting! More to come...

If you want to join the Millennium Reading Group 

come to the first meeting of the 2012-13 year

Tuesday, October 2, from 12-1pm 

in UC 412 (the Gender & Sexuality Center)

Join us for to compare the film & the book as well as to pick up your complementary copy of the third book of the series, "The Girl who Kicked the Hornet’s Nest" (2007) which we're reading this fall. 

The second meeting of the fall will be on Tuesday, November 13, from 12:30-1:30 pm also in UC412.

Refreshments will be served at all events

The Gender and Sexuality Center & the Women and Violence Research Group 

present 

a film-screening and discussion of 

The Girl Who Played With Fire

(original Swedish version)

September 25, 2012

6-9pm

Maier Room, Fromm Hall

University of San Francisco

Free & open to the public

For more information, please contact afcovarrubias@usfca.edu

4.17.12 Book Club

There is a theme of men saving women in this book. Yet, these women are far from helpless. How does this theme relate to the book as a feminine text?

Lisbeth is framed by men who love her and hate her. What would it be like to have Lisbeth have female friendships?

What does Lisbeth’s breast surgery mean? Perhaps Lisbeth wanted to be taken more seriously; an effort to dispel her “childlike” persona.

Lisbeth commits all of these crimes yet has a strong moral compass. Is it justified or acceptable?

How does Lisbeth’s family influence her thoughts and behaviors? Her brother feels no pain yet has emotional distress.

Can we see Lisbeth as a contemporary hero? Despite all of the crime she has a hero-like persona.

Themes in book are strongly related to current contemporary issues in the news: the books syncs with current day issues. Do we have a place in society for people to take the law into their own hands when the system fails?

Decision to screen the Swedish version of “The Girl Who Played with Fire” in September 2012. Megan to set-up date/space, Ale to coordinate publicity, Shawn to coordinate panel, post-film discussion.

Thanks for a great year! Stay tuned to this blog for Fall 2012 Book Club information.

Notes from 3/28/12 Book Club Meeting. . .

- How has Lisbeth’s character changed in the second book?

- She is okay with her role in the violence with the hotel guests.

- Theme of heroic behavior – she had reason to believe the husband was going to kill the wife

- Lisbeth has calculated behaviors to protect herself

- Why did Larsson choose to have Lisbeth alone for the introduction to this book? Perhaps for the reader to gain more insight into her character.

- In the first book she is “claustrophobic” by geography; in the second book she travels the world.

- As we move through the book we learn Blomkvist is sleeping w/Harriet. The idea that he “gets” any woman he comes into contact with.

- We see Lisbeth conforming to society. . .removing tattoos, etc.

- Was she traveling to reinvent herself or escape?

- Is this a metaphor for puberty with her getting breasts? Her development is out of sync.

- There is a hint of Aspergers in Lisbeth’s character i.e. inability to read social cues and meet developmental milestones.

- Blomkvist departs from his normal pattern by trying to contact Lisbeth ; he is preoccupied with contacting her.

- Hints that sex trafficking becomes will be a large theme in this book.

- Bjurman’s character in this book parallels with Martin’s character.

- Gender roles switched in this book. How much is cultural in this book? Blomkvist ‘s character is not that complex.

- It seemed okay that Lisbeth was having relationship with teenage boy (however, the gender reverse would have appeared more problematic). Brings up ideas of exploitation and sex tourism (she uses him and then leaves).

April Meeting - Tuesday, 4/17/12, from 12-1pm in UC 413
(finish the book - or as far as you can)

For the next meeting, please consider which movie would be best to screen for fall 2012. "The Girl w/Dragon Tattoo (American version)" or "The Girl Who Played with Fire (Swedish version)." Potential mid-September screening.

"The Girl Who Played with Fire" Spring Book Club Meetings

March Meeting: Wednesday, 3/28/12, from 12-1pm in UC 413

April Meeting: Tuesday, 4/17/12, from 12-1pm in UC 413

Light snacks will be served. If you have not started the book - that is fine. Join us!

3/7 Discussion Group: Reactions to the Movie

Some notes and thoughts from our meeting. . .

- Lisbeth’s character appears different in the Swedish film vs. the book

- Are the filmmakers disempowering females?

- Is Lisbeth’s character “eroticized” while being a “bad ass?”

- What effect did the sex scene have on our perceptions of Lisbeth and Blomkvist?

- Why did the film draw out her interactions with her guardian unlike the book?

- Noticeable in the Swedish version that Blomkvist wants Lisbeth to stay in his bed ? In the movie, her vulnerability is shown in the form of a kiss whereas the book was a gift.

- In the movie was she “more masculine” than the book?

- Who is Lisbeth supposed to be?

- In the movie, she visits her mother only once which is “more masculine” and in the book she visits several times.

- It would be interesting to see the gender of the film producers and script writers? How might the character’s portrayal be influenced?

- How was the strength of the characters depicted in the movie? The group believed the strength was limited in the movie given that the the book allows for more depth of the characters.

- How do we process the violence in the film? It is important to show people and get discussion. What if the film showed stats like the book?

-

Would an American audience have viewed the film if it was called “Men who Hate Women?”

Ongoing question. . .why do we shy away from allowing women to use violence? Is all violence equal? What are we telling women about violence?

Start reading “The Girl Who Played With Fire.” 2 meetings will be scheduled 1) last week of March and 2) and 3^rd or 4^th week in April. Stay tuned!

Next Meeting

Please join us on Wednesday, March 7th from 12-1pm in at the Gender and Sexualities Center in UC 413 for a final discussion on The Girl With the Dragon Tattoo and thoughts on the movie(s) vs. book.  

We'll also be making plans for next steps for the group - and you can pick up your free copy of The Girl Who Played With Fire.

On Violence...

Following the screening of the Swedish version of The Girl With the Dragon Tattoo (or Men Who Hate Women, which I actually think is a much better title), the question I want to raise again, is:  

Why do we keep telling women it is not okay to use violence even as they are faced with some of the most unimaginable violence? 

I have some thoughts on this I will post when I've had a chance to formulate them in more detail, but I'd love to hear what you think!

TODAY: Film Screening and Panel

 The Girl With the Dragon Tattoo (Swedish version - 2009)


Date: Tuesday, February 28, 2012

Time: 6:00 PM

Location: Maraschi Room, Fromm Hall

FREE and Open to the USF community

Co-hosted by the 
Women and Violence Research Group 
and the 
Gender and Sexualities Center

Feminism, violence, and Lisbeth

Thank you, Megan, for posting notes from our meeting, and Debbie, for finding information on Salandar and Pippi Longstocking. I second Annick’s thought that she would have envisioned a very different grown up Pippi than Lisbeth, but the links are intriguing.

In reference to our discussion about feminism, the passage quoted below comes from Melissa Silverstein, founder of the blog, Women and Hollywood :

“The fascination with Lisbeth crosses genders, which is one reason why the film can be a commercial success. Specifically, though, the character has become a kind of women's obsession, especially for feminists who either reject or embrace her. Many people, myself included, believe that Lisbeth is a feminist character (interestingly created by a man, clearly sprinkled with a little fairy dust by his partner of thirty years, Eva Gabrielsson, as she revealed in her recent interviews). Lisbeth is like an avenging angel for all women who have been wronged by society. How can a feminist not fall in love with a guy who has the guts to create a character that has been so screwed by the system yet retains the strength to come back and get revenge on the people who have done her wrong? On the other side of the argument are others who are adamant that a man could never have created Lisbeth and her story because they are both too feminist. Still others also believe that Lisbeth is a victim, and are very angry and disturbed by the violence depicted against women—particularly in the first novel and film (titled Men Who Hate Women in their native Sweden). True, the violence is disturbing and hard to watch. But it doesn't mean that it isn't feminist.

The debate about Lisbeth, the book, the films, and their relationship to feminism is one of the most exciting things about the upcoming film. 2010 might go down as the year when America -- both men and women -- became obsessed with books with a new feminist icon, but 2011 could go down as the year when Hollywood somehow releases a feminist film that becomes a big mainstream hit. Bring it on.” [Read more here]

Above, Silverstein mentions a few of the reactions to The Girl with the Dragon Tattoo by feminists that are worthy to note:

1. Lisbeth, as a feminist character, is an avenging angel;
2. Lisbeth could not have been created by a man because she is too feminist;
3. Lisbeth as victim of brutal, explicit (and unnecessary?) violence.

Silverstein clearly favors the first opinion. I find myself tending to dismiss the second opinion (why couldn’t a man create a feminist character?). But surely this list limits both feminist responses to this work (both novel and film) as well as the variations of character embodiment.

What I’m curious about is the section of the passage I put in bold. Should feminists rejoice with this character of Lisbeth? Should we be thrilled about the representation of a women who takes revenge on those who have harmed her, who cares little about societal rules and regulations? I’m pulled in different directions here.

I agree with some points made in the article “Rape and Regret: Construction and Reconstruction of the Molested Girl in Popular Culture,” in which Kim Idol articulates the very problematic representation of molested young girls as both cause and effect of certain violent societal behaviors [the article is posted on the Women and Violence Research Group's Blackboard site]. There is a specific passage from this article, beginning on the first full paragraph on page 44, which extends to 45 (spoiler alert: stop at the quote on page 45 if you don’t want to read about events in the later books) that has some convincing analysis on Lisbeth’s experiences and behaviors, which reveal just how strong she is.

Any comments?

Notes from our 2.7.12 Book Club Meeting. . .

- The group would like to continue the book club with reading “The Girl Who Played With Fire” next.

-The film screening of the Swedish version will be screened on 2/28 at 6pm in Mariaschi. Followed by a discussion lead by USF faculty. All are welcome!

-Is the violence gratuitous? The theme of retribution is in question. What is just and fair? Lisbeth agreed to hide the evidence and make a financial donation instead of going to the police.

-Is this really a feminist text? In the end Salander didn’t end up with Blomkvist. Lisbeth is functioning on “getting through” not a place of social empowerment. What are Lisbeth’s motivations?

-One member researched more about Larsson which brings up the question on how Larsson’s life experience lead him to an anti-violence stance? What is the connection between anti-facism and feminism for Larsson?

-If a female author had written the book how would the reader’s experience been different? Discussion ensued about whether the male author makes the text feel voyeuristic. How would it be different if a male had been sexually assaulted in the book?

- Does the graphic nature of the book contribute to the success of the book? Does it minimize the violence?

-Why does Martin continue the cycle of assault and not Harriet? The cycle of violence is depicted here. Lisbeth frequently has “feminist moments” where she notes that violence is not okay.

- How do we reconcile Henrik Vanger’s inability to see what was happening to Harriett? Perhaps he was so close to the problem he could not see it.

-Let’s look at the role of 1) parents and 2) religion. A parallel can be drawn between Henrik and Harriett’s relationship and Blomkvist and his daughter. Religion has an unbalanced theme in the book. Blomkvist had the realization that he should be more involved with his daughter and she is vulnerable. How does the role of mothers in the book show the patriarchal nature of the book?

Next meetings (Megan will organize dates):

*Meet week after 2/28 movie screening to discuss movie vs. book
* Meet after spring break to go over the first 100 pages of “The Girl Who Played With Fire.”
*Meet late April for final discussion of “The Girl Who Played With Fire.”

Please contribute to this blog with your thoughts and reactions!