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RECLAIM

Check out  https://reclaimresist.weebly.com/  for more information about this stunning collection!

Check out https://reclaimresist.weebly.com/ for more information about this stunning collection!

RECLAIM: An Anthology of Women Poetry addresses the need for women to regain control and autonomy over their own bodies, and acts as a platform to represent their struggles and backgrounds. In this first part to the two-part anthology series, readers will not be disappointed with the diverse body of writers, connecting to different cultures, orientations, and races.

Published in May 2019, this anthology features forty-seven female writers, building a community within fluid poems that spread smoothly out over the pages. Engaging by how the voices promote unity in their struggles and encounters, this impressive collection will linger on in the minds of readers.

Easily shifting the balance, writers snatch at their own bodies and examine the carcasses left behind by society. This impressive literary collection features a variety of excellent work, but in particular “Training Bras” by Wanda Deglane andFat Girls on Trains” by Djamilla Mercurio demand for swift attention. Their concepts and experiences of bodies are immediately relatable, grabbing at attention. Often, women become disconnected from power and control over their bodies, and these two poems bring forward a whirlpool of emotions and experiences.

Women have spent decades struggling to find a platform for their voices. Pulling together groups of like-minded individuals, they have brought forward countless issues of gender experiences, and fought to be heard. Even with historical groups lobbying together for change, certain voices were sidelined and left unheard.

This anthology helps move forward. How we navigate our own lives is often an isolating experience, but this community of women pulls together their own experiences, and knits together an entire voyage of individual voices. Readers will certainly be enriched by this collection of poetry and group of women.


If you are looking for a host of voices that linger over the pages, do not hesitate in picking up RECLAIM: An Anthology of Women Poetry today.


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Rachel Small

Rachel Small is not a small person and might be the present day reincarnation of Lizzie Borden. She crawled to life one night after midnight in the basement of a bookstore.

What to Read in March 2019

March is the month of surprise snow storms, excessive Irish drinking, and some time to check out some magnificent books. If you’re pondering what your next great read will be, have no fear. We Voices keep up-to-date with both classics and the newest releases in the book world.


The Source of Self-Regard by Toni Morrison

Toni Morrison was the divine mind behind Beloved, the beautifully creepy story about a family and their life after abolished slavery, chronicling the experiences of a black woman named Sethe. Beloved focused on not just her days as a slave and her time living as a free woman, but also the mental trauma that she endured. Morrison infused Beloved with the heavy theme of infanticide, representing the true historical actions of many slave women.

Morrison was also the writer behind many other great books like The Bluest Eye and Paradise, and in February 2019, she came out with a brand new book, The Source of Self-Regard. As a collection of essays, speeches, and meditations, she evaluates social issues with keen awareness as well as giving insight to her work as a creator and artist.

If you’re interested in some deep reading to get you through the chaotic snow drifts of March, I strongly recommend giving Morrison a look.

Check out  Penguin Random House  for Morrison’s new book.

Check out Penguin Random House for Morrison’s new book.

The Sundial by Shirley Jackson

A possibly biased opinion, but Shirley Jackson was the foundation of modern Gothic literature. With her creepy inspiration, she published a massive collection of short stories along with five novels in her lifetime. Her most popular novels were The Haunting of Hill House and We Have Always Lived in the Castle, but The Sundial was one of the most deviously clever novels.

What set this book apart from others was the thoroughly unlikeable cast of characters living in a grand house, driven mad with paranoia and potential prophecies of end times.

Jackson appreciated fine architecture. Her work is full of grand mansions that are overwhelming in physical details and personal histories. The Sundial revolved around the large mansion of the family, and turned into their prison as they began to fear the world ending, due to a supposed ghostly apparition claiming that the family would inherit the Earth in a year’s time.

Fearful of destruction, panic from the real world Cold War infused itself into the plot. The family retreats into this mansion like a bunker, preparing for world’s catastrophic events. They begin to burn their possessions to make room for necessities like first aid kits and rations, and slowly descend into madness.

Winter might seem like the end of the world, but you can at least take comfort in Jackson’s delightful dialogue and dramatic plot lines.

Ready to dive into Jackson’s brilliant novel written in 1958? Check out  Penguin Books UK  for this great read.

Ready to dive into Jackson’s brilliant novel written in 1958? Check out Penguin Books UK for this great read.

Looker: A Novel by Laura Sims

I always appreciate a fantastic debut novel, especially when it is so masterfully creepy.

Telling the story about a woman obsessed with her famous neighbour, Laura Sims describes a delicate boundary between admiration and obsession with a master touch. Living just houses away, there is no privacy to be found in this story. The narrator obsessed over not just the woman but her garbage and looks, adopting similar lipstick and clothing to become the woman.

The theme of stalking in literature has become immensely popular due to the Lifetime-turned-Netflix series You, and we have become much more aware of the privacy concerns. We’ve possibly all tried to cyber stalk an ex-partner online, or have been stalked by others, and we have grown startling used to cat-fishing. Looker is a new spin on the issue because it removes romantic obsession from the story, and infuses the desire for friendship and basic relationships.

Friendship is often an undervalued theme in literature, and Looker revealed the danger that can exist between two different people, without the inclusion of a sexual element.

An excellent contribution to the thriller genre, Sims manages to include jealousy and real world infertility struggles into her work. We should all be keenly anticipating her next novel.

Are you ready for an intense, razorsharp read? Check out  Simon & Schuster  for this brilliant novel.

Are you ready for an intense, razorsharp read? Check out Simon & Schuster for this brilliant novel.

The Red Parts: Autobiography of a Trial by Maggie Nelson

Famous for her poetry, Maggie Nelson draws inspiration from real events that impacted her own family when her Aunt Jane Mixer went missing and was found murdered in the 60s.

Her work The Red Parts had been written after her collection of poetry based on Jane, titled effectively as Jane. The poetry shed insight of true crime and the issues of inherited grief, and contained enough research that it became heavily valuable to detectives who picked up the case. She was communicating frequently with the lead detective, sharing her personal research and providing careful insight to certain elements of the case.

Due to limited resources at the time, Mixer had been a cold case before DNA had grown highly useful. With new technology and options available, her case was reopened and connected to two different DNA sources, allowing justice to be legally given.

The Red Parts is a personal examination on the experiences on living exposed. Mixer had originally been suspected to have been a victim of the Michigan Murders, but elements of her case had separated her from other bodies. Because of the mystery behind her disappearance and reappearance in a graveyard, her family suffered trauma and confusion. Death becomes more terrifying when a sister and daughter are found strangled on top of a grave, with her possessions pooled around her.

Nelson cleverly gave testimony as a stranger to her dead Aunt, but it shows how deeply Mixer’s murder impacted her own life, and her relationships with her family. An excellent nonfiction look into the corners of the true crime world, Nelson weaves poetic language into her prose.

Need some true crime in your frigid life? Head over to  Penguin Books UK  and jump into Nelson’s brilliant prose.

Need some true crime in your frigid life? Head over to Penguin Books UK and jump into Nelson’s brilliant prose.

The Silent Companions by Laura Purcell

Recently widowed Elise is sent to her husband’s country estate, and is tossed into a Gothic landscape filled with unsettling wooden figures that slowly multiply over the course of the book. Carrying on in the same vein of other excellent books like The Haunting of Hill House and Rebecca, this book is highly recommended to readers who love the feeling of anxiety twisting in their stomachs.

She’s recently released a new novel in the past year, and I highly recommend browsing through her work. She establishes historical scenery and fixates on proper representation of women as both victims and villains.

Modern (and successful) takes on the Gothic genre are incredibly rare, but Laura Purcell managed to successfully transform the element by including brand new material like wooden mannequin dolls. With a dead cow left on the doorstep of the country estate and unreliable narrators, this is a brilliant read that you will fly through. You’ll be pondering over the true villain for days afterwards.

Creepy gothic atmosphere with shades of Jackson? Hit up  Penguin Random House .

Creepy gothic atmosphere with shades of Jackson? Hit up Penguin Random House.

The Little Stranger by Sarah Waters

Is anything more haunting than a postwar mansion slowly crumbling away?

Sarah Waters spins a haunting tale about the Hundreds Hall, a once impressive and massive estate that is now falling to pieces. The garden is overwhelmed with weeds and the house is becoming a challenge to maintain with limited income by the Lady of the house and her two grown children. Doctor Faraday becomes quite close to the family of Hundred Hall, and begins to pry apart the ghostly secrets within the walls.

This book is definitely the opposite of a classic ghost story. Waters uses this novel to reveal the historical downfall of the entire class system post war, with the infusion of a possible ghost running around. With delightful atmosphere and lengthy dialogue sections, this book is fairly lengthy, but a perfect read to get you through the month of March.

If you are a fan of Agatha Christie’s The Murder of Roger Ackroyd, you will adore the tense and unreliable narration, and the vivid characters springing to life across the pages. Waters has written many great novels that focus on different areas of history, but this is one of her most vividly researched pieces.

You can find all of the creepy ghostly themes by Sarah Waters at  Penguin Random House Canada .

You can find all of the creepy ghostly themes by Sarah Waters at Penguin Random House Canada.


Don’t be a victim during the final stretch of winter’s cold, icy grip. Set yourself up with either some fictional tales of ghosts or brilliantly written accounts of true crime, and find yourself a comfortable place to hermit.

Any books catch your attention lately? Let me know @rahel_taller.


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Rachel Small

Rachel Small is not a small person and might be the present day reincarnation of Lizzie Borden. She crawled to life one night after midnight in the basement of a bookstore.

Why Women Read Thrillers

One of the first media depictions of a woman victimized into insanity was the 1940s film Gaslight. In it, a husband manipulates his wife into thinking that she was slipping into mental instability. Perhaps this is what has sparked our interest in the role of a woman in the thriller genre.

In modern society, women are taught to lock their car doors and to avoid roaming the streets at night. They learn to make weapons of their keys, held tight between fingers and into claws like something from a Wolverine comic. The media reminds women to be skeptical of their drinks at bars and to be careful of hemlines. They are taught to value running shoes over stilettos in running from their attackers, and are trained to have 911 ready on their phones.

The thriller genre, known for exciting plots and chilling suspense, allows women to be confronted with the perpetual danger of their existence. Girls do wind up dead in the ravines and the woods. Their bodies spark national inquiries, directing attention to their lifestyles and relationships. They appear murdered on isolated beaches and inside their homes. The cold reality of women is that once they die, they lose their status as a person, and instead shift into a puzzle.

What makes the thriller genre so wildly compelling for women is that it confronts them with a cold reality. They are either victims, terrorized and stalked, or they become the villain. Take Amy from Gone Girl. Leaving a string of calculated false clues, she manages to gaslight not just her spouse, but an entire audience suddenly invested in her life. An original twist to the concept of toxic relationships, she compels the world of journalism and law enforcement into believing that she is a victim, and her husband is holding a smoking gun. She is powerful in her ability to bamboozle detectives, stringing her relationships along until she has created the perfect trap.

In comparison, The Woman in the Window and The Girl on the Train present narrators caught up in proving a murder did occur, risking their own lives to get answers. In reality, women are constantly dismissed for a myriad of reasons. They are emotionally volatile, distressed with mental instability, or a lone voice opposing the many. Both narrators suffer from extreme gaslighting that makes them slowly unravel, convinced that they have begun to descend into crazed paranoia and insanity.

Women like plunging into the depths of thrillers, exploring the dangers behind their lives. Average internet privacy concerns are examined critically in You, allowing the reader to watch the victim slowly become cornered. In Rebecca, the idea of the victim is constantly altered, switching between the dead wife and the protagonist. Which woman can endure in the story? Which woman can survive, living in toxic relationships and surrounded by menacing figures?

Thrillers are the modern take to fairy tales. Children are taught the value of avoiding strangers in Snow White. They learn that danger exists in the dark corners, and the thriller genre helps to give women their own voices. These are authentic experiences wrapped up in a fictional package. Thrillers tell stories about women; they are mothers and daughters, artists and lovers, as well as complex characters in their own right.

Women want to survive. They want to defy the statistics. Perhaps that is what draws their attention to the dark corners of the bookstore, honing in on the dark covers and gloomy movie posters. Thrillers promise to examine toxic relationships and gaslighting, letting readers identify the signs in their own relationships. The books come to terms with living with anxiety and PTSD, which allow for readers to connect with their own personal experiences.

In reality, dead women act as props. Media can cross-examine their relationships and scream foul when they are exposed with skeletons in their closets. Under close scrutiny, any woman can carry an abundance of flaws that can outlive their lives. The thriller genre, as a whole, restores a woman’s identity and allows them to exist as complex creatures, be it villain or victim.

Photo by Roman Kraft.

Photo by Roman Kraft.


Interested in some great reads? Check out Alice Bolin’s series of essays in her book Dead Girls or plunge into Woman in the Window before it hits the big screen in 2019.


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Rachel Small

Rachel Small is not a small person and might be the present day reincarnation of Lizzie Borden. She crawled to life one night after midnight in the basement of a bookstore.

A Haunted Legacy

When considering the horror genre, our attention often swivels to the large sections in bookstores occupied by the still growing collection of Stephen King. He’s the writer behind classics like Misery and Carrie, and has inspired so many films based off of the words he originally wrote.

Nevertheless, if we creep back to the years before King’s influence, we arrive at Shirley Jackson, the original inspiration for much of the current genre.

The Gothic genre flourished from her care. Responsible not just for six novels, she also wrote an extensive collection of short stories and two autobiographies, along with other nonfiction works. Her popularity was built off of her ability to startle, using clever symbolism and dark undertones to rattle readers. She revolutionized American literature during the 1950s and 60s.

All of her work was complex. Each story had layered meanings and could be analyzed further, to peel back each element in order to reveal the smooth inner workings that made her writing great. However, the novel that truly sparked her career as a novelist was The Haunting of Hill House.

This book was filled with the turmoil from the relationships she had with both her husband and her mother. Her husband, Stanley Hyman, was known for his frequent sexual relations with other women. In contrast, her mother was an obsessive woman, hellbent on dominating Jackson. Despite her infusion of her painful relationships, this was the first novel that she wrote that achieved immediate financial success upon publication.

Telling the story of a haunted home referred to as ‘Hill House’, Jackson created a slow build of characters finding themselves caught up in the influences of the house. Eleanor Vance, the protagonist, spiralled into a descent of madness throughout the book before killing herself. The house dominates all who enter, and takes who it will. Hill House was a chaotic architectural landscape and bleak history wrapped up into a haunting tale.

Published in 1959, Jackson’s book focused on the theme of terror and revolved around a cast of characters who had taken to staying at Hill House to look for scientific evidence about the existence of the supernatural, due to the long sordid history of the house. She intentionally ensured that the house lacked any physical appearances of ghosts, and instead fixated on the psychological realm of fear, except for a single brief scene where Eleanor is confronted with a pastoral vision of her own desires. Instead of ghostly figures lurking, Jackson was intrigued by how a branch would strike a window during the dead of night and the fear that it would spark. Her book delved into finding the irrational as well as the rational in that emotion, and how it managed to manipulate the different characters.

1963 brought the grim novel to film. Retitled as The Haunting, it was a cinematic masterpiece. Cleverly filtered to remain dark and haunting, the house visually dominated the screen. Jackson’s original story was translated to screen with mostly minor changes, and the house took a defined shape under the influence of MGM and Robert Wise. Wise followed Jackson’s lead and never once revealed any physical images of a ghost. Instead the house was filled with harsh physical angles and dreadful artwork, and set to the uneasy tune of a house settling loudly. The atmosphere produced enough gloom to make anxiety twist in the stomachs of the viewers.

From the 1963 film  The Haunting

From the 1963 film The Haunting

Cinematically, this gave the house a massive presence that relied more on clever film strategies and less on superficial props. In comparison to the newer remake of the book as a 2018 Netflix series and the use of physical figures in the backgrounds, The Haunting had massive success playing with the anxiety of the viewer through subtle lighting and dramatic angles.

Jackson had been spurred to write a ghostly tale and had turned her focus to finding imagery of houses and mansions to spark her interest. The Haunting of Hill House was not the first novel of hers to fixate on dominating houses. The Sundial and We Have Always Lived in the Castle were two other grim tales that fixated on grand mansions and were each paired with equally lengthy family histories.

Perhaps she had been inspired by her own family history for these books as well. Her great-great-grandfather was a notable architect in the California area and helped to establish many outstanding mansions. Houses were in Jackson’s own blood.

Another source of inspiration for the dark Hill House was from the very real Winchester House, where the widow of a gun magnate had a labyrinth of a mansion built to protect her from all the vengeful spirits that she believed to be haunting her. The chaotic layout was said to confuse any spirits, ensuring that she was safe. Jackson took advantage of the real life architectural nightmare and incorporated the clever details into her own work, layering in the odd turrets and maze like hallways. Hill House was a feat of clever architecture, and had to take the shape of an endless labyrinth.

Wise chose the formerly known Ettington Hall for an exterior film location for The Haunting. Filled with a dark history of tragedies and plenty of potential for ghosts, the building terrified the actresses thoroughly. With the leering stance it took from the deliberate low angles filmed, it is easy to appreciate the hulking stance of the shadow drenched mansion. Wise had found the perfect location to represent Hill House. Perhaps a ghost of a girl would pass by one of the windows, overlooking the film set up.

While Jackson’s love for houses stood out in this novel, her haunted relationships certainly lingered both on page and on screen. The protagonist, Eleanor, frequently wishes for stability and a home. The domestic world is out of reach, and she is consumed by her desire for a place of her own. The Haunting represents this passionate wish by using her inner monologue to reveal Eleanor’s satisfaction in settling in as a member of the group, and her eventual swerve into maddening obsessiveness in remaining at Hill House.

Photo courtesy of Morgue File

Photo courtesy of Morgue File

Perhaps the most startling scene is when Eleanor, terrified, reaches out for someone’s hand. Noises and uneasy shadows cause devastating fear that takes control of her senses. Transfixed by the shadows across her wall, she feels intense pain from someone holding her hand. Originally under the assumption that her roommate Theodora, another guest at Hill House, was at her side, but all fans of both the book and film will recall the grim realization when Eleanor realizes that no one is holding her hand.

Jackson’s overwhelming loneliness and emotional isolation in her marriage may have translated into her work. How often did she look across the dinner table and face a husband who had become a stranger to her? How often did the fear of his sexual activities with other women follow her? Perhaps the hand that would reach for her own had become unfamiliar but yet so very wanted.

Eleanor’s complex relationship with her mother mirrored her own. Jackson’s own mother sent toxic letters to her daughter and despaired upon Jackson’s writing and appearance. The protagonist of the story spent years acting as caretaker to her invalid mother, shackled to her. It is not until the mother’s death that she is able to slowly take flight and wait for her own opportunity to find a life for herself. Maybe this was Jackson’s most secret wish. If her mother died, she would finally be freed from the burden of their correspondence and the endless criticism. She could fully find her own identity and not be smothered with negative remarks about her appearance.

The Haunting managed to translate much of this turmoil onto the screen. Wise managed to adapt the novel with a few alterations, and portray a growing unease throughout the course of the film. Feeding off of fear, the novel builds and creates a sharp terror that viewers will feel and certainly dread.

The movie was the perfect adaptation. Despite a follow up remake in 1999 and a completely rewritten version of the novel made for a Netflix series, The Haunting caught the strangeness perfectly. The expressions of fear across actors faces were exaggerated by the use of camera lenses and Eleanor’s inner thoughts seemed to echo over the film, creating an almost dreamlike quality to them. The Haunting allows for the viewer to slip into the slow build of madness which is why it still manages to hold up, even to this day.

The Haunting allowed viewers to feel small beneath the hulking size of Hill House. By making minimal changes to the original material, Wise produced a masterpiece that would hold up in comparison to the later remake. The Netflix series acts as a distant cousin to the original intention of Jackson, and is comparable in name only. Jackson provided a bleak setting filled with historic tragedy and gave Wise a selection of characters that sprung to life on the screen.

Often, we look towards Stephen King and H.P Lovecraft for their extraordinary take on American horror literature. They dominate sections of shelves with their impressive bodies of work and stand out against movie posters. Hopefully, nonetheless, we can begin to turn our attention to Shirley Jackson, the woman often shuffled between fiction and horror sections of bookstores, and who revolutionized the genre with her unnerving terror.


Interested in more Shirley Jackson and the film?

Bernice M. Murphy complied an excellent selection of essays, titled “Shirley Jackson: Essays on the Literary Legacy”. Or, check out Ruth Franklin’s A Rather Haunted Life.

Tania Hussain’s piece explains the inspiration behind Jackson’s Hill House and is a great look into the transition from original material to Netflix series along with Paula Guran’s two articles: “Delight in What I Fear” and “Shirley Jackson & The Haunting of Hill House”.

If you’re more curious about The Haunting and the work put into making it a cinematic masterpiece, check out Andrea Passafiume’s article here to learn more about the film techniques.


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Rachel Small

Rachel Small is not a small person and might be the present day reincarnation of Lizzie Borden. She crawled to life one night after midnight in the basement of a bookstore.

The Pioneer of the #MeToo Movement

Metro-Goldwyn-Mayer, better known as MGM, is responsible for film classics like Gone with the Wind and The Gorgeous Hussy. As one of the older American movie studios, they helped pave the way for massive success of many actresses. However, despite the bright lights and glittering history of the studio, it has a darker underside that it’s still haunted by to this day.

While the studio certainly had connections to unleashing glamorous movies and using new technologies to keep up with the times, they were also responsible for unleashing one of the earliest pioneers of the #metoo movement.

Patricia Douglas managed to boldly fight her way into headlines across America before vanishing, shrinking into the grim shadows of Hollywood. Her rape, caused directly by trickery from MGM, had become a spectacle, broadcasted as she underwent extreme efforts to snatch at justice for herself.

The 1930s was a difficult decade. Full of economic turmoil, the studio managed to persevere and adapt to new budgets and compete with other major film studios. By 1937, MGM had not only managed to maintain their success, but also reap in huge financial rewards that helped to keep them popular. To celebrate this achievement, they sponsored a large party for the men involved in maintaining their legacy, where over a hundred women were taken to a remote location to serve as entertainment.

A scheme had been developed to hire a large group of women under the premise that they would be working as dancers and extras on a movie set. The location was at an isolated ranch, and the women soon realized their dangerous predicament as they were stranded with no way to contact the outside world for aid.

They had been delivered to this set after sitting through dress and make up and were left for hours before the men eventually showed up. Quickly inebriated after their arrival, the men descended like a swarm of locusts.

Sexual assault and harassment, as always, has been a difficult subject in media. Often, victims become further victimized. In the more recent years, though, media has allowed for people to support victims in rape cases, allowing for more encouragement and bringing awareness to the issue. In the 1930s, however, more archaic beliefs of assault ran rampant, making it extraordinarily difficult for any woman to step forward and demand justice.

This party saw many men harass the women tricked into attending. Women attempted to swiftly flee the wandering hands and lewd comments by hiding in bathrooms or darting away. Nevertheless, Douglas was not lucky enough to find safety.

Photo from the Everett Collection

Photo from the Everett Collection

Intentionally humiliated by men forcing alcohol down her throat against her will before a man by the name of David Ross managed to drag her away and rape her. She was underage and publically a teetotaler. Douglas had trusted MGM for honest work as an extra for a film and instead she had been tossed into a pit of snakes.

In the chaos of the aftermath, Douglas had been brought to a hospital for a medical exam, that had been arranged by MGM, that claimed that no intercourse could be proven. No follow up police report was ever filled out, which allowed Ross to slip back into his life comfortably and left Douglas with no support.

Most women would have vanished quietly. Some might have sought out money from the guilty party in exchange for their silence, but instead of remaining passive, she led a charge for justice.

Her career was wrecked with this crusade. Publically proclaiming her rape at the hands of Ross, Douglas suffered the humiliation of being forced into the same room with the man and also from the attempts of a smear campaign against her. Detectives, hired by MGM, failed to pinpoint any loose behaviour from her character, as she was an underage girl who publicly identified as a teetotaler. They found limited ammunition to use against her.

Despite their limits, the case did wither and collapse in court before it was dismissed. Douglas swiftly followed up with a lawsuit that was aimed at the men who arranged the party and for women to be hired under false premises. This was eventually dismissed as well, but Douglas was not a woman to roll over and accept defeat.

By connecting her assault to a violation of her civil rights, she managed to make her case a federal one. This was the first time any woman took rape to a federal level, which paved the way for future assaulted women. Douglas was fighting for visibility and justice, and she is the reason why the #metoo movement has managed to flourish in the past year. Without her first voice, the hashtag would have been caught in limbo.

This was the unfortunate final end, though, to her public campaign for her rights. With a dismissal at the federal level, she was left stagnant and without options. Her career had suffered from collateral damage because of this public crusade, but it had also become meaningless to her. Douglas accepted the stigma that was to drown her social standing and run her out of the Hollywood movie industry.

Why had Douglas failed constantly in her legal battles? It was an uphill battle against MGM, who refuted evidence and tried to undermine her by buying false witnesses. They refused to attend court and leave her standing alone, underrepresented and faltering beneath the pressure from the outside world. Their arrangements with the hospital after her rape saw that the medical exam was botched, and they failed to contact the police. Douglas was fighting against a powerhouse from the very beginning of her journey, and the odds were very much not in her favour. MGM had been intent on dismantling any evidence.

It wasn’t just the men at MGM that failed Douglas, but also journalism. Her public demand for justice made headlines nationwide, thrusting her into the spotlight. However, the word “rape” was censored in print, and other words would be used in its place, such as “ravished”. Very few headlines would feature the word “assault”. Her identity was completely exposed in these articles, as even her home address was included in the text. No one was protecting Douglas.

MGM was responsible for many great hits that make up such a huge part of pop culture. Fantastic movie classics, however, cannot compare to their efforts to demolish Douglas. She suffered from not only from the rape, but the aftermath as the film studio attempted to figuratively murder her. By promoting unsavoury lies about Douglas’s character, and purposely preventing the case from gaining any traction by refusing to cooperate, they are entirely responsible for this woman’s overnight vanishing act.  

“We had her killed,” the studio’s general manager allegedly said decades later, in regards to whatever happened to Douglas. She lived, stubbornly, for decades in isolation after the desperate bribing of witnesses, dismantling of any support she could have found, and the failure of the justice system.

When headlines swivel to Harvey Weinstein and other men of his kind, attention should be focused on the long line of transgressions that have brought us to this era. MGM taught us that not only do men have the ability to put women in dangerous situations, but certainly in this case they believed that they had the right to ridicule them in the aftermath. This is the generation that allows the use of lace panties as proof in a courtroom to deny rape, but it is also the generation that is finally letting victims reach out and support one another. We can thank Douglas for our ability to come forward and join hands.


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Rachel Small

Rachel Small is not a small person and might be the present day reincarnation of Lizzie Borden. She crawled to life one night after midnight in the basement of a bookstore.