Friday, June 27, 2014

Lana Del Rey and the Forbidden Feminine

LANA DEL REY evokes a world of red lips, intoxicants, deceptively innocent dresses, punky badboys and slick-haired sugar daddies who take you on fast drives down the coast at night. Her songs sound so lushly beautiful that you almost wish to be in them--until you remember how miserable that would be, since they are made of gilded angst, as dark-skied as pop can be. Lana has a Mad Men-esque knack for slathering glamor on turmoil until it's gorgeous. Her new album Ultraviolence is darker even than previous releases and edges into a hazily adulterous, abusive space. Even when she's cooing Ooh baby ooh baby/I'm in love it sounds like a scary place to be.

Her fascinations with quicksand sexuality, meekness and a badgirl variety of transactional romance are irksome and anti-feminist to some. "If we as a society accept the disempowered form of femininity that Del Rey embodies, young women are truly in trouble," read a recent denunciation in Ms.

I think such irking is important. Feminist thought tends to wish away some common, deep-rooted habits of the female mind, like yearning for male attention, fearing aloneness, being enticed by wealth, and that ancient craving for the protection of muscles. (He holds me in his big arms/Drunk and I am seeing stars/This is all I think of, Lana disempoweredly sang on "Video Games.") Even if we choose to sensibly repress such brain habits, lifting the rules to see what may lie beneath serves a real-keeping purpose.

Lana keeps it thusly real. Her sisterly defenders point to every woman's (feminist!) right to be screwed up, and I do not disagree. Lana's music contains disturbing scenarios, which should be heard as earnest art, dark subject matter handled with nuance and skill, rather than judged as bad role modeling. But her words are rarely as shocking as He hit me and it felt like a kiss; she is mostly criticized for the submissive fragility and phallocentric romanticism of her lyrics. The singer Lorde said of Del Rey, "It's so unhealthy for young girls to be listening to, you know: 'I’m nothing without you.' This sort of shirt-tugging, desperate, don’t leave me stuff."

But surely many a woman has had not-proud moments of "don't leave me" shirt-tugging, if only in her own head. Weakness, fear, neediness--and the use of seduction to paper them over--are authentic parts of female experience, and it is valuable to hear a voice that admits to loving foolishly. Lana, singing Need you, baby, like I breathe you, baby, takes us to vulnerable corners of the female psyche that feel forbidden. Her unfeminist vices let us question the unflappable power pose of contemporary womanhood.


WITH HER bombshell image and helpless romanticism, Lana sings sex and love in unusual ways. She doesn't care about uprightness, suitability. She sings desire, desperation, unseemly devotion. She sings the kind of sex that makes you feel unpowerful in a good way (In the land of gods and monsters I was an angel/Looking to get fucked hard) and the kind that makes you feel powerful in a wrong way (Fucked my way up to the top/This is my show.)

She has sufficiently intact romantic sensibilities to remake the deliciously treacly Disney classic "Once Upon A Dream," darkening it almost beyond recognition but still honoring the love dream of the original. The punky badboys and sugar daddies are her antagonists, but also her romantic heroes. This is an artist captivated by love, in all its soaring and crashing. The Lana of her songs is exquisitely, sometimes tragically, vulnerable in love, but savvy enough to know that vulnerability carries its own form of honest power.

Wednesday, June 11, 2014

Farm Dreams (Are Made of Bees)

MY YARD is full of dreams come true. The yard itself, sunny and alive, I dreamed up during a cold, hard Brooklyn winter. I saw the Craiglist ad for a cottage in Oakland with fruit trees and I cried; it looked so much like my dream, and I figured that meant I couldn't have it. (But I got it. That still amazes me.) I dreamed up the foot-high cedar raised beds with tidy rows of carrots and leeks. I dreamed the flock of hens chilling in the shade of the fig tree, and, later, I dreamed the banty subflock, roosting in a barn-red mini coop perched preciously on stilts.

Cat & corn
Dreams are messy, of course, in the coming true. I've lived in '1 BR Cottage with Fruit Trees'  for ten years now. I had to cut down the loquat and the old lemon. The decrepit peach succumbed to disease, and the figs, which aren't very tasty, besmirch the patio. I've had hens murdered by predators and my vegetable beds infected with equally deadly Verticillium wilt.

But none of those disappointments ruin the dream. Such woes are the price of realness; they cannot outweigh the satisfaction of imagining something wonderful and bringing it to fruition. The lemon and orange I planted the year I moved in are big, productive trees now. I open a high window and grab some bout-to-be-juice.

Problems also shape the course of new dreams. The dread Verticillium has made tomatoes and squashes (and hella other things) hard to grow, which depresses me. Last year, as I watched my cucumbers wither and my strawberry leaves turn crisp brown, I started thinking of ways to produce food from my yard that would not involve soil. I began to dream about bees.