Maja Vukosavljevic, Anna Chanie Istakhorova and Jenny Luczak
The depiction of gender in modernist magazines during World War I can be deceivingly derogatory at first glance. In many of the magazines cataloged in the MJP from the war period there are poetry, narratives and essays which speak condescendingly of women. However, the topic of gender in the magazines should not be based on these instances alone. A closer examination of the world behind the publication shows the influence women had on the magazines during the era. Many of the magazines were edited solely by women, and many of the advertisements were directed towards female readers. This essay will illustrate that while the image of women in the modernist magazines may have been condescending, women were invaluable to the life of the modernist magazine.
Wyndham Lewis' Blast was one of the more condescending magazines to woman. Its depicts females being solely in existence for reproductive purposes or being dumb and easily influenced by shiny objects. In it's second issue Wyndham makes his opinions about woman clear in "The European War and Great Communities" when he says: "Murder and destruction is man’s fundamental occupation. Women’s function, the manufacturing of children (even more important than cartridges and khaki suits) is only important from this point of view, and they evidently they realize this thoroughly" (July 1915 No. 2 16). He implies that a woman's sole role is in supporting the man's primeval urges for destruction by filling the ranks with fresh young blood; that there is no greater calling for women, in war or life, then to merely subordinate their male counterparts. Blast further carries on his negative attitude towards woman in short poems such as "Women Before A Shop" which is blatantly negative in it's views on woman. He recites "the gew-gaw of false amber and false turquoise attract them"(June 1914 No.1 49) this illustrates the author's belief that women are only interested in shallow and useless things. In this quote there is also the sense that the author believes women are incapable of comprehending anything in reality. The use of the word "false" in front of amber and turquoise particularly speaks to his thoughts on women not being in touch with reality and shallow. This sentiment of woman as being inferior and shallow is then further carried over in "Pastoral"(June 1914 No.1) a poem that depicts the appealing physical features of a woman but then quickly follows it up with an insult of her heinous laugh. As illustrated above, Blast depicts women as objects to be used by men but there is no appreciation for anything deeper.
The Owl is another magazine that depicts women in a poor light such as being frivolous or inferior through drawings of women. One drawing in particular, above a fable called "Careless Lady," portrays a woman in a dress waving good bye to a beggar holding a child-her child. (May 1919 No 1 between pg 12 and 13, plate number IX) It also seems as though the lady was dancing up the stairs. The fable at the bottom of the page explains to the reader why this lady is shown in such a carefree manner: she gave her child away to the beggar when he came to her to ask for help. And after everything was said and done the lady tells the beggar "Bring her back...the next time you call." (May 1919 No 1 between pg 12 and 13, plate number IX) This fable along with the picture doesn't portray women in a very intelligent light, rather it's silly.
Another literary work published in the same issue of The Owl is called "The Sun," written by John Galsworthy. (May 1919 No 1 23-27) This is a play involving two men and a girl. It is implied that the girl was dating one of the men and then he was sent to fight in World War I, and she began to date another man. The play begins with the girl and her current boyfriend waiting for the old boyfriend to come back home. The girl wants to tell the old boyfriend that she no longer wants to date him. However, the girl's current boyfriend doesn't give her a chance to do so by coming out of hiding.
Soldier [old boyfriend]: ... Give us a kiss, old pretty.
The Girl: (drawing back) No.
Soldier: (blankly) Why not?
The Man with a swift movement steps along the hedge to the Girl's side.
The Man [current boyfriend]: That's why, soldier. (May 1919 No 1 26)
The man didn't give the girl a chance to tell the soldier what she wanted to say possibly because he thought that she was not smart enough to figure out how to do it herself.
It seems that the man didn't want to even give the girl a chance to speak. After a little bit of bickering between the two men, the soldier says, "that's all right, then. You keep 'er." (May 1919 No 1 26) Basically, the girl's old boyfriend did not really care about her enough since he just gave her up so quickly. It also seems that the girl's current boyfriend only wanted her because he was able to steal her from someone else. "I don't want 'is charity. I only want what I can take." (May 1919 No 1 27) In the play, Galsworthy shows women as an inferior creature, and one that doesn't deserve to be loved. Rather, the woman is a sort of prize to be argued over. Both the fable and the play portray women negatively by showing their carelessness and showing how men treat them without respect.
Unlike The Owl, The New Age did not have a specific agenda against women. This is not to say that women were not scolded for their poor behaviors. However, men were also scolded for their actions as well. There is a particular recurring article titled "Man and Manners. An Occasional Diary" that points out the mistakes that women AND men make. For instance, in the January 6, 1916 issue the author states, "Men are child-like too seldom. Women are childish too often." (Jan 1916 Vol 18 No 10 230) This is the first issue that this column appears in during the war and it seems that the author might criticize women and their ways in later columns as well as this one. In addition, in the February 24th issue the author rants about the way women carry themselves during the war. She states, "Woman herself will be to blame, for women are accompanying their war-services with manners that will surely forfeit their expected reward." (February 1916 Vol 18 No 14 399) It seems that women were trying to do what men did by wearing khakis. However, "mens' khaki is to conceal them, so I'm told. Womens' is to attract?" (February 1916 Vol 18 No 14 399) It seems that women are copying men just for the sake of copying them. The author asks women, "if the doing of mens' work involves the adoption of mens' manners and even their costume, how, please, shall we discover the superiority of women's ways?" (February 1916 Vol 18 No 14 399) The author scolds women again by saying, "Women are on trial... women-your khaki manners will be used against you... it will have profited you nothing. Ridicule and worse-contempt and neglect." (February 1916 Vol 18 No 14 399) Not only does the author scold women but while she scolds them she tries to make them see that they can be treated in a better way by changing their ways.
Conversely, in another issue the author of this column relates a story to the reader in response to men "always complaining that women don't play the game with them." (January 1916 Vol 18 No 12 278)
Once upon a time there were two men who kept grumbling and grumbling that their wives-Heigho!-took up so much of their time they couldn't do any work. One fine morning the two wives went away for a holiday. "This is good," said their husbands. "Now, indeed, we shall get on with our work!" With these words the two men sat talking and talking and drinking and drinking till far into the dawn. "We will meet again to-morrow," and the elder of the tow as they parted long after the cockcrow. "With all my heart," cried his friend. "Then I will show you a photo of the little but of fluff I met when my wife-Heigho!-took up so much of my time I couldn't do any work!" On the morrow the two friends lay sleeping and sleeping till long past noon, but as soon as evening came they began talking and talking and drinking and drinking till far into the dawn. "To-morrow at the same hour," they agreed, as they parted long after the cock-crow. "Plenty of time to work when the wives come marching home!" (January 1916 Vol 18 No 12 278)
This shows a transition between the way women are viewed in The New Age.
In another issue of The New Age the author attacks men and their rudeness for calling their waitresses "Miss" instead of just using the word "please." The author states, "The chief source of the trouble, I believe, is in the implication that no man takes a woman's work seriously." (February 1916 Vol 18 No 14 326) The author continues to say that if women don't need to use the word "Miss" to get their waitresses' attention then why should men use that word. She ends off that thought with the following: "For me they are all settled by the general theory that the world is man's home, and his women visitors therein are his guests, while the paid officials, during their hours of office, are his servants. Would a man expect a woman whom he visits to curtsy to her servants? Servants should be directed without words. The more non-existent they become, the more perfect." (February 1916 Vol 18 No 14 327) In the February 10, 1916 issue the author relates her experiences in a cafe where she noticed that men mistreat women by not discussing important topics with women. "For ten minutes no one spoke more than the weather permitted. Then three of the men returned to a formulary philosophical discussion in which they were joined for an hour by a man who had left his woman-companion alone in another corner of the cafe." (February 1916 Vol 18 No 15 351) The author insists that men include women in their conversations. Basically, this column has something negative to say about the way men and women act and interact with each other. There are times when the author particularly blames men for the wrongs that she sees and there are times when the author says that women have dug their own graves by acting silly and childish.
Although the previously mentioned magazines tended to portray women negatively in their content, Wheels serves as an example of the power women had as editors of modernist magazines. At first glance, the 1916 issue might be pegged as a woman's magazine since it illustrates a simple line drawing of a woman pushing a baby stroller (December 1916- Second Edition published March 1917 Vol. 1 Cover). This image has nothing to do with the poetry included, it's sun-shiny scene is actually antithetical to the publications poetry, which is consistently morbid. By the third volume, the editors had entirely revamped the magazines image, replacing simplistic images such as the woman and baby, with intense and angular futurist paintings such as "The Sky Pilot" (1918 Vol.3 Cover). The tone of this and further cover images continues the tone depicted here. It seems to be a move away from the feminine visual qualities of the first issue, yet the same issue which began this new trend also made it a point, for the first time in its publication, to indicate that Edith Sitwell was the magazine's editor(1918 Vol.3). Throughout it's publication, the magazine was organized and edited by Edith and Osbert Sitwell, whereas issues in the past deferred to Osbert by publishing his poetry first, this issue indicated an editorial move in Edith's favor. In this way, Wheels serves as an example of the way masculine elements were often favored in the content of the magazine, while in the side-lines women were moving into positions of greater power.
Another magazine illustrating the role of women in this way is Poetry, one of the longest running magazines in the MJP, for much of it's life it was predominately edited by two women. Hariet Monroe and Alice Corbin Henderson were the predominant editors, with Ezra Pound as a foreign corespondent. As the magazine's proprietor, Monroe made it her mission from the beginning not to espouse a particular political or literary opinion, but for the magazine to serve as means to foster the culture of poetry in the United States and abroad (October 1912 Vol.1 No.1 26-28). Monroe herself lived the life of a feminist (whether self-professed or not); she was a business woman, a poet, an essayist and a critic. Yet, Poetry's content gives little attention to the female role or the suffrage movement. Instead, Monroe continually uses her space for editorial commentary to publish opinion essays on the society of poetry and government policy. An example of such an essay is "Give Him Room" ( May 1915 Vol.6 No.2 81-84), which does not--as its title belies--give relationship advice to women, but speaks to the way society should treat their poets. Again in, "The City and the Tower" (April 1917 Vol. 10 No.1 36-39) Monroe extrapolates on linguistics and the spread of the English language as a result of the war. In this essay she makes biblical references and comments with authority on society, but again makes no reference to the feminist agenda.
In her editorial policy, Hariet Monroe exemplified the goals of the feminist movement by acting in a position of power, but she did it without affiliating her magazine with the movement. Much like Edith Sitwell's Wheels, her magazine published predominately male authors, but did include female poets. The success of her magazine drew the attention of Ezra Pound, who, despite his involvement with Blast, a magazine which overtly demeaned women, worked with Monroe for many years, serving her magazine with poetry and criticism alike.
The powerful role of women within the magazine culture can also be seen in Scribner's advertisements. Scribner's devoted about half of it's pages to advertisements and many of which speak to the role of women in society during and before the war. The prominence of placement and quantity of advertisements geared towards women speak directly to the size and importance of the magazine's female readership. In February 1915 edition of Scribner's we're greeted by a full page advertisement for Tiffany's and Co. (Feburary 1915 Vol.57 No.2). The advertisement's placement on the 3rd page, second only to the context page, indicating the importance of grabbing the attention of the female patronage. Scribner's is peppered with advertisements promoting things such as "Royal Baking Powder," baker's cocoa (Feburary 1915 Vol.57 No.2), and Harper's Bazzar advertising Parisian Dress Makers (Janurary 1915 Vol.57 No.1). Each of these advertisements indicate the magazine's female readership. The opinions expressed throughout the various journals might vary in their view of women but through these advertisements we clearly see the role women did indeed play in the culture of modernist magazines. We see through these advertisements that woman not only helped the war effort by joining the work force but also by running the household. As a result of their contribution to both fields they became one of the chief demographics targeted by various advertisements indicating how indispensable they were to society.
As this essay has illustrated, the role of women during World War I as seen through the modernist magazines, was a conflicted one. In many cases, women were in positions of power in the publishing industry, and often made up a strong portion of a magazine's readership. However, the content which the magazine's published predominantely depicted women in an unfavorable light. Seen in this way, the women's movement did not only assert influence by overtly proclaiming beliefs about human rights, but was also apparant in the more subtle way women were incorporated into the business of periodical literature.