Yesterday I visited the Clark Museum in Williamstown, MA. I
had been there many times before. Each time, I saw Jean-Léon Gérome’s 1866 magnificent
painting “Slave Market.” Each time, it touched me deeply. But in lieu of the subjectivization
of women by Donald Trump in the now infamous 2005 Access Hollywood video, and
the way the Republican presidential candidate - innocent till proven guilty -has
responded to the accusations of sexual misconduct by several women, I found the
painting extremely relevant.
Mesmerized, as if I was seeing it for the first time, I
could not move away from the painting. The way the stripped young woman, a girl
really, is presented by a slave trader to her potential male buyers; the way they
examine her; her graceful tilted head; her powerlessness, all broke my heart.
I feel as if I know that girl. You might have heard of her too.
She’s one of the Korean “comfort women,” forced into prostitution by Japanese
soldiers in World War II. She’s an Asian teen sex slave, forced into sex
tourism or into the porno industry. She’s a young Eastern European woman,
trafficked and forced into a life of prostitution in the Middle East or
elsewhere. She’s one of the 276 Nigerian schoolgirls captured and enslaved by
Boko Haram in 2014, 21 of whom have been released last week. Fifty-seven of
them were able to escape sometime after being captured. She’s one of the Yazidi sex slaves taken by
ISIS. The list is long.
I am familiar with how it feels to be subjectivized as a
woman. Year ago, as a young war widow, I knew what it felt like to be treated as
if I were a piece of meat sought by men for sexual pleasure. That experience
culminated when my fallen husband’s best friend, whom I had trusted like a
brother, raped me (the story of my rape appears in one of the posts in this
blog). That is why I am so taken by the painting each time I see it.
Perhaps something positive will come out of the scandalous
Trump video: an honest debate of the way men in positions of power feel sexually
entitled to women.
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