I saw a tweet the other day "Is the women's dilemma a false proposition?" 》。
Feminists will give a categorical answer, of course not, because women's plight is real, both then and now, and for the foreseeable future.
It is precisely because of the plight of women that feminists will fight for equal rights.
So why did that tweet have to be asked a question?
Because some people are pretending to be asleep, because some people are convinced that the plight of women is nothing more than radical feminists talking to themselves and hysterical. They don't admit that women encounter countless invisible ceilings in their lives, and they don't admit that "there are a bunch of girls in the world who are the real losers." ”
At the moment, we are no longer unfamiliar with the term feminism, so that feminism is often in an embarrassing situation of being overused and abused.
Feminism was dubbed the "female fist", and the pursuit of equality was alienated into an overly radical joke. The stigmatized feminists, even in this prosperous era where the individual voice has never existed since ancient times, is like in the Middle Ages, and once accused of being a witch, the method of self-proof is like "burning, if you die, you are innocent, if you don't, you are a witch, you should be sentenced to death" as absurd despair.
Today, I want to tell the story of four girls. There is no grand romantic legend, maybe these four Guanzhong country girls make you feel bored, but I think, this is the real life, this is the real woman. Perhaps their ordinariness and authenticity are more touching than those loud and grand slogans of equal rights?
They come from Liu Qing's "History of Entrepreneurship", which is a microcosm of the fate of thousands of rural women in New China.
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The child daughter-in-law of the protagonist Liang Shengbao is a vague phantom in the book.
She appeared quietly like a shadow, and then silently withdrew, not even being given a name in the book.
Born as the daughter of a poor tenant, at the age of eleven, she was sold to the equally poor Liang family, leaving her parents early, her survival was limited to other people's families, and the innocence and immaturity of children left her early. Even if the in-laws did not scold her harshly and treated her like her own daughter, the positioning of the daughter-in-law's identity under the fence made it impossible for her to live without caution, aphasia and silence, and soon she died of tuberculosis, or heart disease.
The root cause of this heart disease? Not to be seen, not heard, not to be accepted as a "woman" rather than as a reproductive tool.
Her life vanished like smoke. Like her erased name.
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Xiulan and Jia Xia are also victims of arranged marriages, fortunately fate does not give them up the same incense and death, a glimpse of their stories, we see the real women's plight.
Xiulan was booked out by her father at the age of seven, and she had never even met her fiancé Yang Mingshan, let alone had an emotional basis to speak of.
However, in the tide of popularizing the marriage law, Jia Xia withdrew from marriage, Shengbao refused to adopt a daughter-in-law, but Xiulan's arranged marriage was unanimously approved by conservative and progressive forces, because her fiancé Yang Mingshan was a volunteer soldier.
The revolutionary cause to which Yang Mingshan threw himself into was also of supreme glory. This glory also covered Xiulan, Xiulan's family and Xiulan's marriage. Xiulan's love for her fiancé is undoubtedly sincere. But this love is not so much an emotional attachment as it is a respect for the hero.
The object of her devotion to love is not so much Yang Mingshan as the revolutionary cause represented by Yang Mingshan.
In the whole process of Xiulan's marriage, her own choice was always excluded, first her father chose a son-in-law for her, and then the absolute legitimacy of national ethics identified the son-in-law for him. When Xiulan's friends saw Yang Mingshan's mediocre-looking photos and felt sorry for her, when she had to go to her mother-in-law's house in spite of japanese customs, she had a lot of pain in her heart, but when she remembered that she was the fiancée of the glorious volunteer army, all the pain was frozen, and she decided to quit school and move to her in-laws' house, and even Jie Xia, who had given a sacred meaning to love, felt that she was more noble and pure.
Xiulan's love cannot be said to be romantic, she does not love a man, but she is magnificent, and she loves the great cause of the motherland.
In a sense, Xiulan is independent and free, and she has found her own piece of the sky in the cage.
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And The change of Xia is even more flesh and blood.
She bravely abolished the shackles of arranged marriages, and did not show timidity in front of the criticism of the villagers.
At a time when traditional ideas were deeply ingrained, this was not an easy task. She has to face the world's prejudices and is criticized by people, and she bears great psychological pressure, but Jie Xia does not regret her choice. These stereotypes could not restrain her desire for a free marriage and happy love, and no one could use the power of tradition to imprison her and regulate her.
In the face of the treasure of her heart, she is bold and enthusiastic, and has a more unique view of love. She is not blind and brainless in the face of love, regarding the choice of facing personal emotions and developing career, although Jie Xia hesitated in many ways, she finally chose to devote herself to the industrial construction of the motherland, independent and courageous.
The choice of career and the yearning for love have been entangled many times due to the birth treasure.
Shengbao's several misunderstandings and pushbacks made her calm down from her passion and begin to think rationally. These reflections repeatedly point to a theme, and Jia Xia begins to question the dual role of women plainly.
She wants to enjoy the sweetness and happiness of love as a woman, and she wants to be an independent person and enjoy the same social value as men. She rejected the traditional family model and was not willing to be an appendage of men, and she became more and more clear that she and Shengbao were not suitable for forming a family, so she chose to give up, resolutely and resolutely left Shengbao with deep regret, threw herself into the construction of socialist industry, and began a new road of life.
The character of Jia Xia marks that rural women are not all frogs at the bottom of the well, and there are many new women with ideals and visions, showing the new style of Chinese rural women in the new era.
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Finally, I would like to end with an insulted and damaged woman.
Under the brilliance of the main melody, her tragic fate is even more dazzling. There are always places where the sun can't shine.
The imbalance of the original family structure has made her have an unhealthy understanding of the relationship between men and women from an early age, and the degenerate mother, incompetent father, and young girl Sufang shuttle through the gray streets of the town, staring at her dangerously greedily in the shadows. At the age of sixteen, she was taken off before she opened, and she was seduced by a canteen to become pregnant, but as a victim, she became a sinner who would never be forgiven.
She tearfully married an almost mentally handicapped man and began a painful life of being beaten and scolded and isolated from the outside world. She was discriminated against, and even the advanced students spurned her and hated her. Fate tricked people, after breaking all thoughts, Su Fang once again fell into the clutches of the devil and was sexually assaulted by her uncle Yao Shijie. She did not dare to speak up but regarded her uncle as the only comfort, and she went from being forced to obey to actively pandering to receiving a deformed warm and pitiful satisfaction from her uncle.
However, the kindness of nature made her reluctant to help her uncle to harm the treasure, so she gradually lost the short-term enthusiasm for indulging in the pleasures of the flesh, and even feared that it would not be clear for a long time. At the end of the story, whether she finds herself or sinks deeper, I think it is up to the reader to find the answer in Liu Qing's book.
Su Fang is humiliated but kind and self-respecting, love and hate are clear, she is more stubbornly accumulating the strength of resistance, surging with a restless desire, daring to reveal natural human nature to pursue a loving life.
Thousands of Jia Xia, Xiulan, Su Fang, and even child brides-in-law formed a group of rural women at that time, more or less, their stories were always tainted with tragedy, and their personal will was always drifting and isolated like duckweed in the big environment.
However, their stories seem to be sad songs, but they are actually praise songs.
Together, they interpret the way in which individual women live in a patriarchal society. In the new society and new regime, when political intention and historical mission become the overriding main theme, the individual life and personal feelings, especially the female consciousness, have been greatly impacted, and the significance of political economy has been emphasized in socialist transformation and construction, but the comprehensive liberation of people, especially women, has been neglected.
Liu Qing's writing is to praise their bravery, but also quietly put a question mark, what about women's future?
As early as 1923, Mr. Lu Xun gave a speech on the topic of "What Happens After Nala Left", and there were only two ways for Nala to go, who had escaped from restraint and created her own destiny? - Fall, or Return?
I think it is time to open a third path, more determined than Xiulan, more determined than Jiaxia, and blossom into a flower of blood and tears for generations of women in a land of people who are more barren than the fate of Tong's adopted daughter-in-law and Su Fang.