I was walking down the street this afternoon when some men in a passing car decided to let me know through a variety of quick unintelligible noises that they found me sexually attractive.
I have experienced this more than once since I turned fourteen, and never once has it made me feel good. For the most part I’ve encountered situations similarly involving a passing car, but there was one exception. This past summer, my good friend Stephanie and I spent the day in New York City together. A middle-aged man came out of a shop we were walking past and made some completely degrading sexual remark to me. It wasn’t until after he’d passed that I realized what he’d said and that it had been directed at me. The part that sickens me most is that when I turned and reacted, he smiled, quite satisfied with the offense I had taken. I can still see the smug look on his face.
My first impulse was to blame myself. God, I was asking for it, I though. I shouldn’t have worn this dress. As I kept walking and more distance was put between me and this man, I gradually saw the flaw in my logic. The fact that my body is made a certain way, and a dress I love hits me in certain places does not give this stranger the right to address me like that and leave me a buzzing, angry mess for as long as it takes me to shake it off. I continued to blame myself, however, this time for not confronting him. What a fool I said to myself. And you call yourself a feminist. The anger I was feeling towards myself was slowly redirected as I realized that there was nothing I could have said. Any response, anything—positive, negative, hateful, flattered—would only have made him feel bigger and more important. If I’d said something along the lines of “Hey, that was incredibly disrespectful of you. I am much more than my body and you had no right to comment the way you did,” I seriously doubt he would respond with “Oh wow, you’re right. I apologize for offending you. I hope you have a lovely day.” No, he would have kept smiling his haunting, smug smile and gone on his way.
I tried it once, confrontation. I was out with a group of my friends and a car full of guys passed us, shouting out rude and derogatory things, and I flew off the handle. In the foggy, emotionally charged heat of the moment, I let the obscene words and gestures fly. They found it hilarious.
Then there is the question of flattery. What do you do with the fact that, despite the anger and feelings of dehumanization, there is always this instantaneous response of Oh, he thinks I'm pretty! I mean I guess it makes sense if you think about it. More civilized versions of this kind of response are the reason we spend a bazillion dollars on make up and clothes and heels and such.
So, this afternoon as I stood there alone and watched those men drive away, the feelings of blame and shame and doubt (and short-lived, misguided flattery) came rushing back. As aware as I am of their irrationality, they come none the less. It is the human response to being rendered an object by someone you’ve never met.
Thank you, Denise Levertov, for putting these feelings into words better than I ever could.
The Mutes By Denise Levertov
Those groans men use
passing a woman on the street
or on the steps of the subway
to tell her she is a female
and their flesh knows it,
are they a sort of tune,
an ugly enough song, sung
by a bird with a slit tongue
but meant for music?
Or are they the muffled roaring
of deafmutes trapped in a building that is
slowly filling with smoke?
Perhaps both.
Such men most often
look as if groan were all they could do,
yet a woman, in spite of herself,
knows it's a tribute:
if she were lacking all grace
they'd pass her in silence:
so it's not only to say she's
a warm hole. It's a word
in grief-language, nothing to do with
primitive, not an ur-language;
language stricken, sickened, cast down
in decrepitude. She wants to
throw the tribute away, dis-
gusted, and can't,
it goes on buzzing in her ear,
it changes the pace of her walk,
the torn posters in echoing corridors
spell it out, it
quakes and gnashes as the train comes in.
Her pulse sullenly
had picked up speed,
but the cars slow down and
jar to a stop while her understanding
keeps on translating:
'Life after life after life goes by
without poetry,
without seemliness,
without love.'