The struggle between career and family is one that women have wrestled with for decades, and there seem to be no easy solutions on the horizon. Work vs. home. “Office wives” and romantic partners. Kids or promotions. The battles rage on, illuminated by think pieces and parsed by university studies, but the essential question of what is most worthwhile and meaningful in life remains unanswered.
I’m sure no one will be surprised to hear that my love of Mad Men stems from its focus on the gender politics of the 1960s. (When the first episode aired, I remember watching with my husband and exclaiming, “It’s like my graduate studies come to life!”). So while I found this episode frustrating in many ways (why has Glen Bishop returned and what was that scene with Betty in the kitchen??), it was at least somewhat satisfying to see women’s growing confidence and opportunity emerge from an otherwise depressing storyline.
Sometimes, my shame overwhelms me mid-phrase, and I am only able to get half-way through the final word: “What a bi…” before I chastise myself thoroughly. “Stop it. You are a feminist now, Eliza. You are supposed to be better than this.”
We need to pay strict attention to what messages we get from the media and how those messages perpetuate violence and misogyny. Violent and offensive lyrics, such as those in “Animals,” glorify and romanticize sexualized violence, causing distorted views on healthy relationships. Objectification and violence toward women can too easily become mainstream when popular celebrities endorse this behavior.
I was Jewish and a woman and had no idea that neither was welcomed or acknowledged in the world of television writing in the 1960s. Not that such topics were on my mind when I was forced by sad happenstance to become widowed at the age of 31 and left to support my three young children. I had to get a job.
UGH. I enjoyed only one scene in this episode, and it was Don’s visit to the Francis household. Betty looked glorious in her ultra-feminine housewife drag, and I appreciated the moment when Don looked back at Betty, Henry, and his two sons, clearly farklempt about the nuclear family he could have had.
In Meditations on First Philosophy, René Descartes argues that the main foundation of knowledge is one’s own mind: we think; therefore, we are. We can trust our subjective reality more than the objective one. It should follow from such a philosophical notion that people should not judge each other’s perceptions because no one can know what is really true. For a short time this winter, such a judgment was suspended, and everyone freely judged others.
When I was younger, I used to love watching Hannah Montana on television. The lead character, played by Miley Cyrus, lived a double life as pop sensation Hannah Montana. Cyrus had so many fans, so many young not-yet-teenagers who looked up to her. I remember going to see her in concert when I was in fourth grade. It was one of the highlights of my year.
The people of a certain culture devote an entire week of each year to commemorating one of the worst parts of their history. They taste bitter things to appreciate the suffering of their ancestors. They consciously abstain from consuming bread to remind themselves what was eaten—or rather, what was not eaten. They mourn the deaths of their ancient oppressors. They drink the metaphorical tears of their forefathers and foremothers. And year after year after year, they gather around tables to recount the suffering and the humiliation and the turmoil of their own people.
I, too, was thrilled at the return of Rachel Menken on the Mad Men Season 7 part 2 premiere. The pleasure was all too brief, however, as it was soon revealed that Rachel had died. Tara described Rachel as “the one who got away,” and I’ve always felt that she was the one who got away from the viewers as much as from Don. From the moment we met Rachel, I wanted more of her—she was smart and elusive; beautiful and guarded; speaking her mind but in some way holding the viewer at arm’s length.
So why is it that Rachel so strongly resonated with audiences, and what’s the significance of her reappearance and death? Sure Rachel was beautiful, but so are all of Don’s women. She was a career woman, like Dr. Faye and Bobbie Barrett—nothing too unique there. She was Jewish, but so was Roger Sterling’s second wife, Jane.
Welcome to the JWA Book Club! We are excited to gather today to discuss Meg Wolitzer's best-selling novel, The Uncoupling.
When taking part in our comment-based discussion below, remember to hit "Show Reply" and "Show New Comments" to see the full conversation! Meg Wolitzer will be responding to questions mainly through the "reply" feature.
Here are some questions to consider before we begin:
1. How does The Uncoupling explore the ramifications of the loss of sexual desire?
2. What characters resonated most with you as a reader?
I am not opposed to documenting experiences through photographs—often looking at one picture is enough for me to remember an entire sequence of events that I would otherwise have forgotten. However, in an age of social media, the obsession with producing a photo that makes an event look fun, that makes the people involved look glamorous, can be a misrepresentation of the event.
In the film industry, 2011 was the year of casual sex. In January, Paramount Pictures released No Strings Attached, starring Ashton Kutcher and Natalie Portman. The movie documents two best friends who think that introducing physical intimacy into their relationship won’t complicate things and that feelings will not be involved, resulting in a “no strings attached” relationship.
Early in the 20th century, Jewish New Year card manufacturers began embellishing their cards with airplanes. They did so for three interrelated reasons: to call attention to the thrilling, modern invention of the airplane, to draw an analogy between the New Year and this new means of travel, and to use the airplane to highlight the changing status of women. Airplane pictures mirrored the tremendous emigration from Eastern Europe to the West in the early part of the 20th century and were a symbol of progress and modernity.
Directed and written by the sister-brother team of Ronit and Shlomi Elkabetz and based partly on their own family history, this gripping courtroom drama set in Israel traces a Moroccan Jewish woman's effort to obtain a gett, or religious divorce, after years of a loveless marriage. In Israel, there is neither civil marriage nor civil divorce; only Orthodox rabbis can legalize a union or its dissolution, which is only possible with the husband’s full consent.
Through her blues music, Holmes inspired people all over America to take a stand for black equality. She performed at numerous rallies, advocating for civil rights for all; in fact, her music is often called the “soundtrack of the Civil Rights movement.”
Clutching a tray of two teacups, Elizabeth leads me upstairs to the study. We sit next to a tall bookshelf and she reaches towards the far right, where thick volumes are bound in hues of navy, emerald, and charcoal, with titles like The Great Alone and Time and Tide. They are the types of books that belong in a study. She slides one off the shelf, sets it on her lap, and opens it up. The book has no pages. In fact, it’s not a book at all, but a box, filled with two stacks of three by three-inch cards, separated by a divider down the middle.
The Selfish Series is a monthly column that puts us first. I will interview smart, strong, passionate Jewish women about “selfish” decisions they have made. These will be stories about creative pursuits, love, career ambition, education, and any other areas in which we have fought for our passions. It’s time for me and other Jewish women to recognize that we must simply make more room for ourselves.
2014 was a year when police brutality against black men was brought to the forefront of the American consciousness. The police killings of Eric Garner, Michael Brown, and Tamir Rice, along with no legal sentences for the perpetrators, arranged themselves into a pattern that was difficult for the public to miss. Among the responses were protests, riots, classroom discussions, and the swift rise of the hashtag “#blacklivesmatter.”
Of all the things I take for granted, the value I most often overlook is democracy. To reside in a thriving democratic country that gives a voice to its people and places checks and balances on its government is more than I can ever fully appreciate, and even though I have doubts about certain policies, at least I have the opportunity to voice these questions. As a young writer, I am especially grateful for my ability to articulate my opinions without fear of harm.
It’s hard to rise above the fray. To disregard all of the weight attached to us, to be free. There are many aspects of life that will try to ground us, to clip our wings and to take away our voices, but it is the voices that demand to be heard that guide us. Maya Angelou had one of those voices. In all aspects, she was a whirlwind force to be reckoned with. She excelled as a poet, author, singer, dancer, professor, screenwriter, actress, advocate, and avid feminist.
I haven’t attended synagogue regularly as an adult, and so I have rarely said the Mishebeirach prayer—a prayer for the healing of the body and spirit. However, when I started to get more involved in Jewish ritual about a year and a half ago, I started to say the prayer for a friend and colleague of mine, Suzin Glickman. I said it because Suzin was sick, but also because I knew she would totally dig that I found a Jewish ritual that felt meaningful to me, and found a way to make it my own. At the end of January, Suzin lost a long battle with cancer.
In a country where some consider being born a woman a capital offense, Malalai Joya is the epitome of bravery. An Afghani woman, Joya has overcome hardship, loss and great obstacles and yet has never given up on her quest to make the world a better place.
How to cite this page
Jewish Women's Archive. "Blog." (Viewed on October 25, 2016) <http://jwa.org/blog>.