![]() ![]() So of course, he had to eat the heart and destroy the corpse. The sickness, he thought, was because his sister Mercy returned as a vampire. This occurred after illness and death decimated the town. For instance, in the chapter on puberty, she begins by recounting the 1892 case of Edwin Brown, a Rhode Island resident who ate his teenage sister’s heart. The chapters are generally structured the same in that Doyle introduces a historical account of the female as a monster and then seamlessly weaves in female representation in horror literature and/or film. Each chapter analyzes a different aspect of either female power or traditional gender roles, such marriage and parenting. “If women as a whole – not some women, or a particular privileged class of women, but all of us, en masse-refuse to cede our sexual or personal autonomy, the whole thing falls apart,” she says.įrom there, Doyle analyzes the monstrous aspects of female power, including puberty/sexual awakening and the ability to give birth. She adds that women are threatening because female power is the greatest danger to patriarchy. “Women have always been monsters, too, in the minds of great men in philosophy, medicine, and psychology, the inherent freakishness of women has always been a baseline assumption,” she writes. ![]() In the intro, she looks at the ways in which famous male thinkers, including Aristotle, Thomas Aquinas, and Freud, reduced and stereotyped women. From the outset, it’s clear that Doyle conducted thorough research on gender power relations before writing this book. Additionally, Doyle addresses why certain aspects of the horror genre, including slasher movies, resonate so much with women because they highlight female anxieties and the persistent threat of violence against women. Monsters represent threats to the power structure.īroken into three sections, Daughters, Wives, and Mothers, Doyle gives resounding analysis of systemic physical and mental violence inflicted upon women and how certain monstrosities were created to keep women in line. In doing so, Doyle has created a must-read for the current political climate, a book that shows how the horror genre has always had a political and social subtext and how female In Sady Doyle’s comprehensive and necessary Dead Blondes and Bad Mothers: Monstrosity, Patriarchy, and the Fear of Female Power (Melville House), the author unpacks some of the history behind these well-known myths and explores how they were constructed to maintain patriarchy. These monsters are familiar to pop culture and staples of the horror genre. MacLean had another home in Yorkville but likely stayed at the studio after the Friday night party, friends said.Witches. Pamela found her brother collapsed in the bathroom holding a toothbrush with the tap running, Holmes said. Platinum Blonde had a string of hits including Hungry Eyes and Crying Over You.įriends said MacLean's sister Pamela had been unable to contact the musician, who was in his early 50s, and, along with his publicist and personal assistant, got the landlord to let them into his studio and living quarters on Yonge near Wellesley St. "Kenny and I even got together on the stage and sang three songs from old times. "He was incredibly happy – everything was going well for him," Holmes said in an interview last night, adding the Scottish-Canadian musician's mother and sister were at the CD release party. "This is devastating," said Mark Holmes, former lead singer of Platinum Blonde who performed with his old friend Friday night at the Mod Club at a showcase for MacLean's new album, Completely. Kenny MacLean, who rose to fame as bassist in the 1980s Toronto-based new wave band Platinum Blonde and had just released his third solo album, was found dead yesterday in his Yonge St.
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