{"id":12758,"date":"2012-12-03T07:40:00","date_gmt":"2012-12-03T07:40:00","guid":{"rendered":"http:\/\/www.badreputation.org.uk\/?p=12758"},"modified":"2013-11-04T12:16:07","modified_gmt":"2013-11-04T12:16:07","slug":"guest-post-on-american-horror-story-part-12-lovers-and-mothers","status":"publish","type":"post","link":"https:\/\/badreputation.org.uk\/2012\/12\/03\/guest-post-on-american-horror-story-part-12-lovers-and-mothers\/","title":{"rendered":"[Guest Post] On American Horror Story, Part 1\/2: Lovers and Mothers"},"content":{"rendered":"
American Horror Story<\/strong> is sexy.<\/p>\n
No, let me rephrase that.<\/p>\n
American Horror Story is SEXY. It emanates sweet tendrils of
hotness, wisps of decadent, lustful sexual deviance and sultry
taboo, while trotting apace through a veritable phalanx of horror
tropes and borrowing heavily from the classics of the genre. I
love it. It is also, in the words of the hilarious Is
This Feminist? tumblr<\/a>, PROBLEMATIC.<\/p>\n
And who\u2019s surprised, really? Ryan Murphy<\/a>\u2019s work is characterised by
its casual misogyny (yo,
Nip\/Tuck<\/strong>,
Glee<\/strong>, I\u2019m looking at you) and so is horror as
a genre. So not me, no. I\u2019m not surprised, Mr Murphy,
I\u2019m not even angry. I\u2019m just disappointed. Maybe you
should go to your room and think about what you\u2019ve
done.<\/p>\n
Now, don\u2019t get me wrong.
AHS<\/strong> is, by any critical standard, a terrible,
terrible show. It\u2019s fractured and bombastic and
desperately wants to be, like, profound. But it\u2019s
not. It\u2019s… y\u2019know. Crap.<\/p>\n
But luckily, I\u2019m not a TV critic, so I bloody love
it. And I\u2019m allowed to love it because cognitive
dissonance. This show is simply dripping with things
that ought to make me hate it. And I do. I spit
expletives at the screen. I rage against the covert
anti-abortionism and the exploitative male gaze. And
then I rewind and watch it again. Because, like I said.
Cognitive dissonance.<\/p>\n
I\u2019m going to handle
AHS<\/strong> in two parts. Today I\u2019ll be
examining the show’s representations of women as
lovers and mothers, before looking at pregnancy, birth
and maternal desire in the next exciting
instalment.<\/p>\n
Before I go on, beware. Here be
SPOILERS.<\/strong><\/p>\n
AHS<\/strong> is not much more than your
typical haunted house story. It begins and
ends with the house, designated \u2018Murder
House\u2019 by local legend and built by
Charles and Nora Montgomery decades before
our protagonists – we\u2019ll get to
them later – were born.<\/p>\n
The Montgomerys run an illegal abortion
clinic from the basement, providing
discreet help to women in trouble and
fuelling the God complex which eventually
sees the ether-addicted Charles sew
together a Franken-baby – known as
the Infanta – for his wife to care
for. If we were looking for a symbolic
representation of threat to the
constructed (read: patriarchal) order of
things, well, it doesn\u2019t get any more
obvious than that. Like Dr Frankenstein,
Charles blurs the boundaries not just
between God and man but also between male
and female roles by creating life,
upsetting the proper balance of the house
and setting in motion the events which
follow.<\/p>\n
Nora and Charles\u2019 lives end in a
murder-suicide at Nora\u2019s hand. Thus,
they become the first to haunt the
house.The third post-human
(\u2018ghost\u2019 is such an oppressive
term, right?) resident of the house is
Moira. Let\u2019s start her story with a
little pop quiz:<\/p>\n
You, the lady of the house, enter your
home to hear a woman being sexually
assaulted. You pick up a gun –
because they\u2019re totally safe to
have around when emotions are running
high – and enter the master
bedroom to find your husband raping the
maid. You point the gun and fire. Who
did you just kill? Was it
–<\/em><\/p>\n
a) your husband, because he\u2019s
a rapey scumbag?<\/em>
If you said
b) Moira the maid<\/em>,
congratulations! You hate
women as much as
American Horror
Story<\/strong> does!<\/p>\n
To be fair, this woman
scorned does go on to
shoot her husband too, but
that maid, well. She was
probably asking for it,
wasn\u2019t she, all
walking around in clothes
and getting on with her
job and having breasts.
What a slut.<\/p>\n
Regardless of her
intention or her consent,
Moira is now a sexual
predator, in death forced
to play the role perceived
as hers in life, and
becomes a Jekyll-and-Hyde
figure. The women she
encounters see her as a
sexless middle-aged woman,
while the men (who, it
seems, see only what they
want to see) see a young,
beautiful and
carnivorously sexual
temptress, seeking to
undermine, manipulate or
overthrow men through the
power of her sexuality.
She is the virgin\/whore
dichotomy made
flesh.<\/p>\n
I could get into how
heterosexist this is, but
frankly we\u2019d be here
for days. The height of
Moira\u2019s sexual power
comes with the literal
castration of the man who
most poses a threat to
her. Dr. Freud,
you\u2019re needed in the
Literalisation of Symbolic
Acts ward. Bring a
towel.<\/p>\n
The newest residents of
Murder House are Vivien
and Ben Harmon, a
Bostonian couple intent on
running away and leaving
their marital problems
behind them, because that
always works. Moving into
their suspiciously
underpriced new home with
their adolescent daughter
is their first step
towards repairing the
damage done to the
partnership by Ben\u2019s
affair with a student
named Hayden in the
aftermath of Vivien\u2019s
miscarriage.<\/p>\n
Just as Moira ends up dead
for having sex and getting
above her station, so does
Hayden. Hayden\u2019s not
above throwing herself at
Ben, turning up at his
home in an act of
seduction and intimidation
to rival the fatal-est of
femmes.<\/p>\n
We\u2019re encouraged into
this reading of women as
wild by the show’s
insistent male
gaze.<\/p>\n
A complex mythology that
rules whether or not the
ghosts age ensures that we
get enough young female
flesh to look at. There
are lingering shots of
gartered thighs and softly
rising
d\u00e9collet\u00e9e,
there are those close,
oppressive,
slightly-from-above camera
angles that make you feel
like you dominate the
subject – and there
are straight-up
no-holds-barred crotch
shots. All of these things
make sure we know where,
and how, to look.<\/p>\n <\/a><\/p>\n These women are
women as men wish (or as
gay men think straight\/bi
men wish) to see them:
willing harbingers of
sexual pleasure, built in
the eye of the camera from
tits and ass.<\/p>\n They\u2019re
supple-breasted and
conveniently bisexual,
with sexuality so magnetic
that Ben must masturbate
furiously – crying
all the while – to
stop himself from giving
in to them. Where women
are concerned, perceived
sexual immorality is a
barometer for bad. They
are debased, and they will
hurt you.<\/p>\n
Motherhood comes in for
a bad rap on
AHS<\/strong>. From
episode one (where
Vivien\u2019s longed
for-pregnancy is
spoken of in terms of
an unwanted visitor
violating the sacred
space of the home) to
the monstrous
child-delivery at the
end of the season,
childbearing is
painted as a threat to
patriarchal social
order. I\u2019ll talk
more about that next
time, but for now I
want to concentrate on
what happens once
you\u2019ve got a
bleating infant in
your arms.<\/p>\n
Another previous
resident of Vivien
and Ben\u2019s home,
and one of the few
that is still
living, is local
Mommie Dearest
Constance Langdon.
She\u2019s the
self-appointed
caretaker of the
house, an amoral
force of
unfathomable
intentions who
appears to consider
Mrs
Bates<\/a> and Margaret
White<\/a> her
parenting role
models.<\/p>\n
Constance is a
cruel, jealous
single parent,
abusing and using
her children by
turns. Unable to
relinquish control
of her brood as they
age, and thus not
allowing them
autonomous
identities, she
ensures that
dysfunction reins in
the Langdon
household.<\/p>\n
She treats her
daughter Addie<\/a>,
who has Down
syndrome, as a
sexual competitor.
She imprisons both
her daughter and her
heavily-disfigured
eldest son, the
ironically-named
Beauregard, in the
home (sometimes
resorting to
shackles and chains
as a demonstration
of her sovereignty)
and gleefully tells
Addie that
she\u2019ll never be
a ‘pretty
girl’.1<\/a><\/sup><\/p>\n
Although all of
her children are
dead before they
reach adulthood,
the youngest
remains as one
of the fully
corporeal
phantoms
haunting the
Harmon
household.
Despite her
treatment of her
children,
Constance is
willing to kill
to keep them
together. The
whole set-up
screams
narcissistic
abuse.<\/p>\n
Constance\u2019s
stranglehold
over her
youngest son,
Tate, has
prevented him
from
self-actualisation
and produced an
emotionally
scarred
adolescent,
narcissistic and
hypermasculine,
who apes his
mother in his
desire for
control over the
bodies of
others, raping
and
indiscriminately
killing in order
to exert his
ownership. What
a
charmer.<\/p>\n
Tate\u2019s
emotional state
almost demands
to be analysed
as a reaction to
Constance’s
total control
over the boy in
the second stage
of psychosexual
development,
which coincides
with toilet
training and in
which autonomy
is developed.
Constance\u2019s
suppression of
Tate\u2019s
self-actualisation
has resulted in
a rebellious,
cruel,
emotionally
volatile
adolescent who
is so eager to
please the woman
he\u2019s
fixated on that
he\u2019ll
commit terrible
acts to gain her
approval.
It\u2019s
desperately
clich\u00e9d.<\/p>\n
Sexualised as it
is,
AHS<\/strong>\u2019
regular female
cast is not
made up of
victims in the
great
tradition of
the genre:
they
don\u2019t get
cut up, and
there\u2019s
no running
through dark
corridors in
strategically
torn clothing
or fumbling
ineffectually
with locks
that they
could work
perfectly well
a minute
ago.<\/p>\n
This has
caused some
people to
herald the
show as a
feminist
buoy,
bobbing
about in the
misogynist
soup of
Horror. Such
is the
jubilation
at the
thought that
women might
be allowed
some agency,
the flipside
is missed.
The show
doesn\u2019t
victimise
its women;
it demonises
them. In
this world
women are
either
maidens or
mothers,
either
sexual or
not.<\/p>\n
And damn,
they\u2019ve
got it in
for
you.<\/p>\n
Predatory Women in the Male Gaze<\/h3>\n
\n
b) Moira the maid, because,
er… um… she\u2019s
there too?<\/em><\/p>\n
The hand that rocks the
cradle is the hand that
rules the world<\/h3>\n
\n