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Sunday, November 2, 2014

Lena Dunham--Feminist Icon

          If you don't know who is Lena Dunham, she is the creator and star of an HBO show called "Girls"--and, more significantly, the current poster child for the modern feminist. She is also known for her video comparing voting for Obama like losing her virginityIn 2012, the Atlantic named her "brave thinker of the year." Glamour named her "woman of the year" in 2012

          Like most of the liberal elite, she is the child of privilege and entitlement.  Kevin D. Williamson, writing at The National Review, observes:
Lena Dunham is fond of lists. Here is a list of things in Lena Dunham’s life that do not strike Lena Dunham as being unusual: growing up in a $6.25 million Tribeca apartment; attending a selection of elite private schools; renting a home in Hollywood Hills well before having anything quite resembling a job and complaining that the home is insufficiently “chic”; the habitual education of the men in her family at Andover; the services of a string of foreign nannies; being referred to a homework therapist when she refused to do her homework and being referred to a relationship therapist when she fought with her mother; constant visits to homeopathic doctors, and visits to child psychologists three times a week; having a summer home on a lake in Connecticut, and complaining about it; writing a “voice of her generation” memoir in which ordinary life events among members of her generation, such as making student-loan payments or worrying about the rent or health insurance, never come up; making casual trips to Malibu; her grandparents’ having taken seven-week trips to Europe during her mother’s childhood; spending a summer at a camp at which the costs can total almost as much as the median American family’s annual rent; being histrionically miserable at said camp and demanding to be brought home early; demanding to be sent back to the same expensive camp the next year.
... The enormous affluence and indulgence of her upbringing did not sate her sundry hungers — for adoration, for intellectual respect that she has not earned, for the unsurpassable delight of moral preening — but instead amplified and intensified her sense of entitlement. The Brooklyn of Girls is nothing more or less than a 21st-century version of the Malibu Barbie Dreamhouse, with New York City taxis standing in for the pink Corvette. ...
          "Girls" is one of those shows which its continued existence is not due to popularity (it actually has had very poor ratings--and Dunham is so unpopular that she can even drag down the ratings for shows on which she is a guest) but because it espouses the leftist propaganda that major media executives love. If we actually lived in a capitalist country, the show would have been cancelled.

         Dunham recently published an autobiography. Apparently, she only expected liberals to read it, because when Bradford Thomas at Truth Revolt read it, he found some very disturbing things:
In the collection of nonfiction personal accounts, Dunham describes using her little sister at times essentially as a sexual outlet, bribing her to kiss her for prolonged periods and even masturbating while she is in the bed beside her.  
The article describes another incident between Dunham and her sister when her sister was only 1 year old and Dunham was seven. (More details at Weasel Zippers). However, when Truth Revolt pointed out Dunham's sexual abuse of her sister, Dunham went ballistic. As Christine Rousselle points out at Townhall, it is as though Dunham is angry that someone read her book.

          One would expect that Dunham would be defensive. But the liberals have been circling their wagons as well. For instance, Gawker focused on only the incident when Dunham was seven, making it seem to be normal child curiosity. Salon also took the same tact, as did the UK's Independent and other liberal outletsThe liberal site Jezebel lauded Dunham for her frankness.

          Where did this twisted creature come from? A liberal upbringing. Williamson notes:
Her father, Carroll Dunham, is a painter noted for his primitive brand of highbrow pornography, his canvases anchored by puffy neon-pink labia; her photographer mother filled the family home with nude pictures of herself, “legs spread defiantly.” Self-styled radicals from old money, they were not the sort of people inclined to enforce even the most lax of boundaries. And they were, in their daughter’s telling, enablers of some very disturbing behavior that would be considered child abuse in many jurisdictions — Lena Dunham’s sexual abuse, specifically, of her younger sister, Grace, the sort of thing that gets children taken away from non-millionaire families without Andover pedigrees and Manhattanite social connections. Dunham writes of casually masturbating while in bed next to her younger sister, of bribing her with “three pieces of candy if I could kiss her on the lips for five seconds . . . anything a sexual predator might do to woo a small suburban girl I was trying.” At one point, when her sister is a toddler, Lena Dunham pries open her vagina — “my curiosity got the best of me,” she offers, as though that were an explanation. “This was within the spectrum of things I did.” 
Dunham describes herself as an “unreliable narrator,” which in the context of a memoir or another work of purported nonfiction means “liar,” strictly construed. Dunham writes of incorporating stories from other people’s lives and telling them as though they were her own, and of fabricating details. The episode with her sister’s vaginal pebbles seems to be especially suspicious. When Dunham inspects her sister’s business, she shrieks at what she sees: “Grace had stuffed six or seven pebbles in there. . . . Grace cackled, thrilled that her prank had been such a success.” Dunham’s writing often is unclear (willfully so, it seems), but the context here — Grace has overheard her older sister asking whether her baby sister has a uterus — and Grace’s satisfaction with her prank suggest that Grace was expecting her older sister to go poking around in her genitals and inserted the pebbles in expectation of it. Grace is around one year old at the time of these events. There is no non-horrific interpretation of this episode. As for stroking her mother’s vagina, having mistaken it for her hairless cat . . .
He concludes:
She did not get this way by accident; she got this way because the series of economic and intellectual cloisters in which she has lived her life have functioned as the emotional equivalent of Song-dynasty foot-binding: Intended to bring her nearer to perfection, they have instead left her disfigured and disabled.

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