 |
| Fecund |
Ever-controversial, Mistress Perry engages, in this latest work, the dichotomy between the sacred feminine and the mundane representation of "woman" in popular culture. Unlike previous tracts that have dealt exclusively with the internal relationship between the "Hot" and "Cold" aspects of the psyche, or with the female perception of herself as a physical being "I Kissed A Girl", this work looks outward, exploring and contesting the role of woman in society.
Of particular interest is Perry's treatment of representations of "man" in the form of the pimp-wizard. The wizard is depicted as an impotent God, a titanic male with externalised phallus, in the form of a pimp-stick, that is nonetheless thwarted in his attempts to dominate, that is to say "creep a little sneak peak", the figure of woman.
 |
| The Modern Woman |
Throughout her allegorical journey, The Woman is faced by iconic representations of herself, each figuring a challenge that must be overcome. These labours are ostensibly random, but the subtext is plain; the rules behind the "game" are devised by the dominating male. Archetypes, imprisioned by the pimp-wizard, are by this mechanism revealed to The Woman, her task being to free them, and in doing so, freeing an aspect of herself. These archetypes each conform to a sub-element of the titular "California Gurl", as follows:
i) The Bubblegum BJ Pro
ii) The Absinthe Jello Whore
iii)The Cellophane Slut
Prologued by The Man's display of impotent rage at The Woman's progress, an erotically-charged, triumphal dance begins, with much emphasis place on the thrusting, gyrating hips. This display marks the entry, or "penetration" of the Pimp-Wizard into The Woman's sphere. His is no longer a dictatorial, distant deity - he engages directly, though not as an equal, but as an advocate. By first gathering aspects of oneself, and then submitting them as "evidence", Mistress Perry conciously echoes an earlier form of esoteric virtue/vice allegory (cf. Robert A. Potter, The English Morality Play: Origins, History, and Influence of a Dramatic Tradition).
The conventional mode is turned rectoverso now, as the God/Pimp Wizard becomes an actor in the drama, we, the passive audience, must sit in judgement. Battle lines are drawn, as The Woman's collected "attributes" arm her for the final confrontation. The release is codified as an ecstacy, a victory of ladyjuice over the Manseed, as represented by Jelly Bears.
Fully impotent now, his seed extingushed, the Pimp-Wizard symbolically removes his phallus in submission, a voluntary castration. Reduced to a head, a double metaphor for the only male part(s) a female desires, the victory of Woman is complete, and total.
No doubt Mistress Perry's magnum opus, "California Gurls" is an epochal work, an inescapable locus for esoteric feminist literature for the foreseeable future. Unlike some commentators, Perry captures not only the philosophical aspect of this debate "All the boys; Bangin' out; All that ass; Hangin' out", but also, and crucially, its human heart. A fitting coda, the warmth and depth of her prose is best illustrated with these following lines:
i) The Bubblegum BJ Pro
ii) The Absinthe Jello Whore
iii)The Cellophane Slut
Prologued by The Man's display of impotent rage at The Woman's progress, an erotically-charged, triumphal dance begins, with much emphasis place on the thrusting, gyrating hips. This display marks the entry, or "penetration" of the Pimp-Wizard into The Woman's sphere. His is no longer a dictatorial, distant deity - he engages directly, though not as an equal, but as an advocate. By first gathering aspects of oneself, and then submitting them as "evidence", Mistress Perry conciously echoes an earlier form of esoteric virtue/vice allegory (cf. Robert A. Potter, The English Morality Play: Origins, History, and Influence of a Dramatic Tradition).
The conventional mode is turned rectoverso now, as the God/Pimp Wizard becomes an actor in the drama, we, the passive audience, must sit in judgement. Battle lines are drawn, as The Woman's collected "attributes" arm her for the final confrontation. The release is codified as an ecstacy, a victory of ladyjuice over the Manseed, as represented by Jelly Bears.
 |
| Reverse Insemination as Castration |
No doubt Mistress Perry's magnum opus, "California Gurls" is an epochal work, an inescapable locus for esoteric feminist literature for the foreseeable future. Unlike some commentators, Perry captures not only the philosophical aspect of this debate "All the boys; Bangin' out; All that ass; Hangin' out", but also, and crucially, its human heart. A fitting coda, the warmth and depth of her prose is best illustrated with these following lines:
Westcoast represent
Now put your hands up
Oooooh oh oooooh
Now put your hands up
Oooooh oh oooooh
No comments:
Post a Comment