As a Welsh expatriate, I was surprised but interested to discover that there are now more women in leadership positions in the Welsh Nationalist party Plaid Cymru than there are in the UK Cabinet.

After September’s reshuffle, Theresa May remains as Home Secretary, a role in which she has occasionally talked a good game but done little materially to endear herself to women. Maria Miller’s appointment as Minister for Culture, Media and Sport, as well as Minister for Women and Equalities, got off to a flying start when an unexacting series of anti-equality accusations against her went viral; even if the list was badly and disingenuously worded, the facts behind it still don’t exactly fill one with confidence in her. The high-profile irritant Louise Mensch, meanwhile, has given up on a parliamentary career after serving just over two years of her term. So much for ‘Tory feminism’.

The UK is currently ranked 57th here, and has never been spectacular at getting women into government. As of early 2012, women represented only 16% of Conservative MPs and 31% of Labour MPs – but what does the number of women in government mean?

Gender parity is obviously not synonymous with strategic influence or decision-making power, and, particularly after Exhibit M, it’s slightly preposterous to think that a particular demographic will vote or make policy according to gender rather than ideology.

The current government itself has provided examples of this, with some of its most prominent and media-friendly female MPs – step forward Nadine Dorries – also pushing the harshest lines on reproductive or employment rights. All of which strengthens the argument for viewing and judging the actions of female politicians on an individual basis, rather than viewing them all as an undifferentiated flash of eye candy whose political presence is considered automatically progressive. This last trope reached its probable peak, as did so much bland but deeply damaging smuggery, under Tony Blair and his insipid cohort of ‘Blair’s Babes’. In France, this year’s slightly more optimistic victory for the Socialist Party under Francois Hollande has nevertheless drawn comparisons with New Labour’s use of women MPs as relatively powerless tokens of progressiveness:

In an article entitled “The irritating photo”, Isabelle Germain asks why these highly qualified women are being treated like Hollande’s trophies. Just like the ‘Blair Babes’, Hollande’s female ministers have their own twee media nickname; the ‘Hollandettes’. Linguistically, the ‘Hollandettes’ are to Hollande what ‘Beliebers’ are to the pop star Justin Beiber – relative to their male leader and their roles determined by his authority. – Source.

Even for a place so historically rife with sniggering male privilege and suspended adolescence as the House of Commons, the language and attitudes recently faced by female MPs has been some of the most patronising for years – not least the current Prime Minister instructing Labour MP Angela Eagle to ‘Calm down, dear’ and not even bothering to acknowledge a question from the admittedly objectionable Nadine Dorries, instead dismissing her with the snide innuendo ‘I realise the honourable lady is frustrated’. Not that female parliamentarians should automatically be given an easy ride (hur hur), but neither should their opponents draw so instinctively and with quite so much entitled relish on lazy and reactionary stereotypes of hysteria and frustration as a means of avoiding the issues they wish to raise.

Perhaps of a piece with the deeply retrograde, public school and debating club roots of the present government, we seem to be seeing a renewed emphasis on the idea of politics as an adversarial, point-scoring arena in which women are ill-equipped to spar. This kind of thing is part of what The Thick Of It subverts and satirises so well. For all the show’s scattergun profanity, and the ‘violent sexual imagery’ and Freudian nightmares in its characters’ verbal volleys, the majority of humour in The Thick Of Itis derived not from the successful exercise of power but from impotence and frustration.

In addition, as Jem Bloomfield has noted elsewhere, there’s the extent to which the Lib-Dem avatars’ try-hard laddishness and awkward stabs at dick-swinging plays into their dislikeability – Roger Allam’s shire-tastic Peter Mannion MP, for all his downtrodden One Nation Tory-out-of-time woes, manages to exude more patrician authority than either of them. Overtly chauvinist or patronising attitudes are the preserve of characters, like the awkwardly overfamiliar Steve Fleming, whom the viewer is invited to regard with contempt.

Like The League of Gentlemen before it, The Thick Of It’s female grotesques are no less venal or useless or dim or inane than their male counterparts. Besides giving as good as they get, the show’s women, in the current series in particular, tend to crop up as self-possessed and efficient centres of competence within a given episode’s crisis and clusterfuck, whether it’s Terri’s brisk and matronly, almost instinctive civil servant’s professionalism, or Emma’s ruthless and steely slither up her party’s ladder of opportunity.

The exception to this is of course Rebecca Front’s portrayal of the well-meaning but hapless Nicola Murray MP, first introduced as a Minister put out to grass and now floundering as Leader of the Opposition. Chronically lacking in self-belief, ideas or ideology, beset by power-hungry underlings and colleagues, and unsupported by her offscreen husband, Murray is almost painfully unsuited for the environment in which she finds herself having to operate – but so, crucially, is Peter Mannion, and so was Murray’s forerunner, the spectacularly hangdog Hugh Abbott.

She has the odd display of offhand feminist snark (‘I love the division of labour in here – how the women do the heavy lifting and the men do the heavy sarcasm’), and the occasional pointedly gender-aware exchange with the show’s alpha male antihero Malcolm Tucker, but Murray’s incompetence and ineffectualness is never presented as a function of her being that well-worn cliché, a woman in a man’s world. It is simply the tragedy of several characters that they exist in a political and media world in which those who flourish are flavourless post-Blair clones like the largely unseen Dan Miller.

I haven’t seen a great deal written about The Thick Of It’s sexual politics – if there is any out there, do let us know in a comment. Returning to reality, it remains to be seen what effect the predominance of women in Plaid Cymru’s leadership is likely to have. Leanne Woods, Plaid’s first female leader, is refreshing enough for her unabashed socialist and republican ideals – although these principles are very much not common to the whole party.

Woods has attracted the always-dubious label of ‘outspoken’; like ‘feisty’ or the old favourite ‘pushy’, when I hear the word ‘outspoken’ used of a woman in public life I don’t exactly reach for my revolver but I certainly roll my eyes. in 2004 she was, mildly ridiculously, ordered to leave the Welsh Assembly’s debating chamber for referring to the Queen as ‘Mrs Windsor’. Even if you find a constitutional route to socialism more implausible than the idea of impending Welsh independence, Plaid are at least providing an example of how commitment to social justice can be combined with a commitment to gender representation, with both intertwined as strands of the same progressive goal.

Images © BBC

Having as I do firsthand experience of the impact of Thatcher’s thirteen years, her government’s break with prevailing consensus and bloody-minded devotion to neoliberal orthodoxies, an objective and rational evaluation of the woman is probably beyond me. That said, her presumably impending death – although I do have a longstanding appointment at a pub in King’s Cross to dutifully raise a glass – is something to which I’ll be largely indifferent. It won’t matter. Thatcher as a person has far less bearing on the current world than what she represents. The damage has been done, the battle lost, and much as I might appreciate a Truth and Reconciliation Commission into the 1980s, Thatcher and her co-conspirators are by now too old and whiskey-soaked to be held to any meaningful account.

Efforts to humanise Thatcher, even when they enlist Meryl Streep, seem discomfiting and deeply bizarre. What she means has transcended what she was, is and will be. The purpose of this post, therefore, apart from being an exercise in detachment for me, is to look briefly at some aspects of Thatcher’s image in political and pop culture, and to consider the effect of her gender on her role as a woman in power. Quick, before the next bus goes past.

The Icon Lady

Meanings of all kinds flow through the figures of women, and they often do not include who she herself is.

– Marina Warner, Monuments and Maidens

Thatcher’s visual staying power in political and pop culture is as great as her impact on oppositional music. The face of Thatcher most often called to mind is that of what Angela Carter termed her ‘balefully iconic’ post-1983 premiership: encased in true-blue power suits, wielding a handbag, her hair lacquered into immobile submission, her earlier style solidified into a heavily stylized femininity bordering on drag. Paul Flynn, in a fairly tortured discussion of Thatcher’s status as a gay icon, put it down to her ‘ability to carry a strong, identifiable, signature look… an intrinsic and steely power to self-transform’, and a ‘camp, easily cartooned presence’. The startling evocative power of this look, its ability to summon up its host of contemporary social, cultural and political associations, is why I jump when Streep’s replication of it intrudes into my vision. It’s like being repeatedly sideswiped by the 1980s, which is something the last UK election had already made me thoroughly sick of.

The iconic capacity of Thatcher’s image has been compared in articles and actual mash-ups with that of Marilyn Monroe and Che Guevara. The artist Alison Jackson observes that all three ‘had what it takes to become a modern icon: big hair, high foreheads and a face that would allow you to project your own fears and desires on to it.’ Conversely, subsequent political leaders – including both Blair and Cameron – have had their own faces conflated with Thatcher’s, usually as part of left-wing critiques meant to signify the closeness of their policies to hers. Thatcher’s image is here used as an instantly recognisable political signifier, communicating a set of ideological ideas in a single package, as well as a self-contained political warning sign.

Although the kind of passive objectification associated with Monroe might seem at odds with the idea of Thatcher as a great historical actor with narrative agency in her own right, the images of both women are used in a cultural tradition in which the female figure in particular becomes a canvas for the expression of abstract ideas (think justice, liberty, victory). The abstract embodiment of multiple meanings, and the strategic performance of traditional ideas of femininity, constitute sources of power which Thatcher and her political and media allies exploited to the hilt in their harnessing of support for the policies she promoted.

Iron Maidens

Thatcher’s image, rather than appealing solely to a particular aspect of femininity, was a tense mixture of conflicting and mutually reinforcing signifiers. Angela Carter identified it as a composite of feminine archetypes, including Dynasty’s Alexis Carrington, Elizabeth I as Gloriana, Countess Dracula, and one of PG Wodehouse’s aunts – tropes sharing a certain type of burlesqued and grotesque dragon-femininity. The 1981 Falklands conflict allowed the discourse around Thatcher to reference the precedents of both Queen Victoria and Churchill, and she was photographed on a tank in an image that the Daily Telegraph described as ‘a cross between Isadora Duncan and Lawrence of Arabia’.

Justine Picardie, in a grimly fascinating read, roots Thatcher’s style in the rigid grooming of well-turned-out 1950s femininity in general and her sartorially plain Methodist upbringing in particular:

Interviewed by Dr Miriam Stoppard for Yorkshire Television in 1985, she gave a glimpse of a childhood desire for the luxury of colour, and shop-bought extravagance, whether a new dress or sofa cover: ‘that was a great expenditure and a great event. So you went out to choose them, and you chose something that looked really rather lovely, something light with flowers on it. My mother: “That’s not serviceable.” And how I longed for the time when I could buy things that were not serviceable.’

Even at the height of her political power, she chose to retain the ‘pretty’ and ‘softening’ effects of her trademark horrible bows. Alongside this tendency towards aspirational frivolity, she cultivated connotations of the provincial housewife – a ‘Housewife Superstar’ – wearing an apron while on the campaign trail and being shown washing dishes while contesting the party leadership.

Her ‘Iron Lady’ speech distinctly echoed the ‘body of a weak and feeble woman… heart and stomach of a king’ construction associated with Elizabeth I in its drawing on the tension between conflicting signifiers:

I stand before you tonight in my Red Star chiffon evening gown, my face softly made up and my fair hair gently waved, the Iron Lady of the Western World. A cold war warrior, an Amazon philistine, even a Peking plotter. Well, am I any of those things? Yes… Yes, I am an iron lady, after all it wasn’t a bad thing to be an iron duke.

Not a Man to Match Her?

Thatcher’s courting of various feminine roles did not prevent the assigning of masculine attributes to her – notably in oppositional parodies and satire. Her iconic Spitting Image puppet was shown wearing a suit and tie and smoking a cigar, addressed as ‘Sir’, and given a more or less explicit emasculating effect upon male colleagues and political opponents:

Outside satire, the 1984 Miners’ Strike has been conceptualised both as a mass emasculation of ordinary male miners and an overt bout of cock-duelling between Thatcher and miners’ leader Arthur Scargill, each of whom were criticised for an absolutist and stubbornly Napoleonic approach to the conflict rather than a more ‘feminine’ openness to negotiation and compromise.

As Dawn Fowler notes in her consideration of dramatic treatments of the Falklands War, a problem with such portrayals of Thatcher is that she ‘can be represented as simply denying her true feminine self in favour of a crazed fascist agenda.’ The Comic Strip’s satirical take on Thatcher’s battles with Ken Livingstone and the Greater London Council presented her as the victim of alien or demonic possession, the ending of which left her soft and passive – restored to her presumably appropriate, natural form. Both applauding Thatcher for her ability to overcome ‘traditional’ feminine weakness and irrationality and behave symbolically as a man, and castigating her for her failure or suppression of a ‘true’ soft and accommodating female nature, are equally dubious in the qualities they seek to assign to ‘real’ women.

Thatcher was repeatedly likened to a female impersonator, a man in blue dresses. The reason for this is simple, and apparently shatterproof: we have so firmly linked power and masculinity that we think a powerful woman is a category error. Instead of changing our ideas about power, we change the sex of a powerful woman.

– Sarah Churchwell

No Job for a Lady?

While Thatcher’s election to Prime Minister was of course a landmark for women in politics, her much-vaunted ‘grocer’s daughter’ outsider status was mediated through an Oxford education and marriage into wealth. The number of prominent women serving as MPs and Cabinet ministers prior to or alongside Thatcher – Nancy Astor, Margaret Bondfield, Betty Harvie Anderson, Jenny Lee, Barbara Castle to name a few – make her ascension exceptional but not unique. Nor should Thatcher’s progress in the male-dominated world of British politics obscure how little she actually did for women once in office: the lack of women appointed to ministerial positions; her disparaging of ‘strident Women’s Libbers’; her invariably male ideological protégés. Historian Helen Castor, discussing the ‘extraordinary’ parallels between the iconography of Thatcher and that of Elizabeth I, points out that both women emphasised themselves as the exception to a rule:

…what those two women both did was not say, Women can rule, women can hold power. They both said, Yes, OK, most women are pretty feeble, but I am a special woman.

At a point where Thatcher’s chosen ideology is resulting in falling standards of living for women – and men – across Britain; where the dim and insubstantial Louise Mensch can manage to position herself as a rising star, and where the Home Secretary’s political decisions make fewer headlines than her choice of shoe, I’m relieved to see that attempts to rehabilitate Thatcher as any kind of feminist icon are largely being resisted. It remains to be seen whether The Iron Lady, and its fallout in the form of frankly offensive Thatcher-inspired fashion shoots, means that her image is now undergoing a further transcendence into the realms of irony and kitsch (as has happened with both Marilyn and Che), or whether this is part of a conscious revival of the political associations her image originally carried and to which we are being returned – conditions profoundly unfriendly to female independence and agency despite the women occasionally employed as their shock troops.