By Rod Van Mechelen
The irrationalists, like so many of their predecessors and successors in public debate, knew that loud and frequent repetition was the most convincing argument of all. -- Reay Tannahill, Sex in History
Reform vs. Revolution
1992 Bellevue, Wash. - The modern feminist movement began with the publication of Betty Friedan's famous lie, The Feminine Mystique. Her message -- that the evolution of female sexuality had stopped, and this was smothering women and frustrating men -- inspired millions of women to demand and obtain the same rights as men. But people are generally conservative, and change seldom happens overnight. The familiar is comfortable, and even if it isn't very satisfying, it takes more than reasoned arguments to shake women free of their suburban domesticity: "As long as the existing order functions in a more or less orderly fashion, the masses remain basically conservative. They can think of reform but not of total innovation." (The True Believer, Eric Hoffer, pp 119 - 120)
Thus, the women's movement, which is actually almost 200 years old, made some progress. But for many of the converted, it wasn't enough, and "patience" is not a characteristic of the "True Believer."
True believers seldom start movements. Thinkers distill the doctrine, demagogues preach it to the "masses." (The True Believer, Eric Hoffer, p 119) Thus, the thinker and the preacher begin movements by attracting and creating the fanatics who stage the revolution.
The feminist movement has progressed far beyond this point, and is now dominated by fanatics. Female hostility against men is at an all time high. Women find it relatively easy to oppress men through abuse of the law, and we have put a name to the creed of feminist fanaticism: Pop-feminism.
Like all fanatics, pop-feminists threaten their own success: "The danger of the fanatic to the development of a movement is that he cannot settle down. Once victory has been won and the new order begins to crystallize, the fanatic becomes an element of strain and disruption. ... He keeps groping for extremes." (The True Believer, Eric Hoffer, p 133) Hence, the women's liberation movement is incomplete. For that, they require practical women and men of action: "A movement is pioneered by men of words, materialized by fanatics and consolidated by men of action." (The True Believer, Eric Hoffer, p 134)
But the pop-feminist fanatics pre-empted them, replacing Friedan's goal of equality with a new objective: Female supremacy. Since women were slow to change, the pop-feminists would force change by dominating men. To this end, they rely on many social, political, and emotional tools, the most potent of which is hate: "Hatred is the most accessible and comprehensive of all unifying agents." (The True Believer, Eric Hoffer, p 85)
Extremists, they attract the attention of the media, who give voice to their intolerance. Intolerant, they attack all men, violating the rights of the many to redress the wrongs of a few. And they hate: "to wrong those we hate is to add fuel to our hatred." (The True Believer, Eric Hoffer, p 89)
Pop-feminist promulgated social injustice disempowers men. Disempowered men often band together, and sometimes they engage in gang-rape. Rape fuels the hate that solidifies the group that provides the most disenfranchised men with a feeling of power and identity even as it gives women cause to hate men more. In this way, pop-feminists indirectly cause women to hate men more.
Hatred of men is necessary to the feminist movement
Increasing female hostility toward men is utterly necessary to the success of the pop-feminist agenda. Pop-feminists know this, and work hard to promote misandry by vilifying men as most hateable devils.
A rapist is a hateable devil. "All men are rapists," Marilyn French's character said in her novel, The Women's Room. And so all men are devils. Devils are necessary to produce unity: "Mass movements can rise and spread without belief in a God, but never without belief in a devil." (The True Believer, Eric Hoffer, p 86) Characteristic of a devil is both his universality and his utterly irredeemable nature. Rape lends itself to the process of making all men irredeemable by allowing pop-feminists to argue that, at the least, all men are potential rapists.
The corollary to this is that, since we could respond to their allegations by arguing all women are potential child abusers, pop-feminists must portray all women as victims.
Susan Brownmiller does both, vilifying all men and framing all women as victims through asserting rapists are agents of the Patriarchal domination of women. (Against Our Will: Men, Women, and Rape, Susan Brownmiller, p 229) Catharine MacKinnon perpetuates this reasoning by framing all female behaviors within the context of victimization: "The mother/child relation, described as a relation of dominance, is a consequence of male supremacy, not its causal dynamic." (Feminism Unmodified, Catharine A. MacKinnon, p 53) Hence, their message is hate, and the vehicle of their hate is the characterization of all men as irredeemable devils, and all women as victims.
Faith of the True Believer
How is it possible to vilify an entire gender? By what means do they obtain evidence with which to condemn all men? The answer is, through faith. Through faith, they believe all women tell the truth, and all men lie: "The reason feminism uncovered this reality, its methodological secret, is that feminism is built on believing women's accounts of sexual use and abuse by men." (Feminism Unmodified, Catharine A. MacKinnon, p 5)
By faith, they accept every complaint, reproach, and charge women make against men, as if all women were perfectly honest or cut from a finer moral fabric than men. Yet, as Tara Roth Madden notes, this is hardly the case: "When the going gets tough, many women loudly blame others -- the boss, coworkers, politicians." (Women Vs. Women, Tara Roth Madden, p 109)
Pop-feminism has become a distinct movement. A spin-off of the feminist movement that has little of substance in common with its mother. Feminism is about empowerment, pop-feminism, about power. It's about greedy individuals using hate and fear to get power for themselves by turning men into scapegoats.
Rod Van Mechelen