Roxana – Guide for Entrepreneurial Women

April 6 2025

Do you think this is a “conduct manual” or a “how to” guide for entrepreneurial women?

If we want to twist the meaning of “conduct manual” to mean teaching a woman how to conduct herself in order to not be miserable, then it’s definitely a “conduct manual.” Ha! However, if not twisting the definition, then I say it is a “how to” guide for entrepreneurial women.

During the time of this novel, women were not allowed agency, not allowed to fully participate in the economy, nor the labor market. It was a full blown patriarchy. Roxana was in the position she was in due to the men in her life. First, her father married her off to a fool of a man. When her father died, he entrusted Roxana’s inheritance to her brother who lost it. And her fool of a husband abandoned her and their children, leaving only a small amount of money. Wollstonecraft writes that, “It would be an endless task to trace the variety of meannesses, cares, and sorrows, into which some are plunged ….. that they were created rather to feel than reason, and that all the power they obtain must be obtained by their charms and weakness” (The Enlightenment 174).

This leads Roxana to resort to the only capital she has, her charm and her body. I would say she learned the art of being opportunistic. However not in the bad sense of the word. She used what the men and young girls of society ingrained in them as put forth by de Beauvoir. “Many are the young girls … who dream of being the private spectacle, the playing, the licentious masterpiece of a mature man” (The Second Sex 392). She did so to survive, with perhaps a wee bit of selfishness. She may have taken it too far, but having lived through near starvation, not knowing how to pay for lodging and food; this surely propelled her further than she necessarily needed to be in relation to her wealth.

Roxana begins by telling the reader it is better to be an Old Maid than to marry a fool (Roxana 8). This would seem to be step one in the entrepreneurial guide. She then goes on to share how to be a woman entrepreneur if you unfortunately married a fool, and that fool abandons you to starve and suffer. First, one must find a relation or parish to care for the children. I personally am nauseous at the thought of this but we have choices now that were not available during Roxana’s time. We have agency, and thanks to feminism have made loads of progress.

Roxana’s husband’s brother-in-law agrees to take the children into their home (Roxana 23). Next, Roxana’s landlord begins to show kindness and generosity to her. She leans into this and into pleasing him for her and her maid’s survival. Their relationship had to remain secret as the landlord was married. Definitely not in good character for that time period, or I suppose any time period. Unless you’re in an ethical polyamorous relationship, that is. She no longer has to worry about food, clothing, and lodging. Once her landlord dies, she continues to move through relationships, using her body to survive and provide for herself and her maid, Amy.

Perhaps this book could have been titled, “How to Survive When You Marry a Fool”. I’m in a cheeky mood while writing this. I think our current state of affairs has me being a bit snarky.

On a side note, having to use one’s body in this nature may seem like a thing of the distant past. Perhaps not so. In 2006 when I divorced the fool I married in 1998, I experienced something a tiny bit similar. Absolutely everything was in my name. All assets, more importantly all debts; which far outnumbered the assets. I was left with a huge amount of debt, with he not helping with any of it. Until I could get on my feet, I allowed myself (my body) to be a part of the picture when he visited the kids because he gave me money for food and necessities. When I withdrew myself from those visits, he stopped visiting the kids and stopped with helping financially. I’m not proud of it. I hate that I did that. But a mother will do what she has to do to feed her kids and herself and to have a roof over their heads.

*This is a discussion question from my Women in Literature class at UNR. I love this class.

Mae West – Agency through the Power of Sexuality

March 22 2025

This Women in Literature class is intense y’all. Damn. But I am enjoying the heck out of it. I love the content, the books we are reading, and the one movie we’ve watched.
I now proclaim Mae West as my spirit animal-person.

Discussion Question: Claudia Pierpont pinpoints Mae West’s sexuality as a source of her power. What reasons does Pierpont give for Mae West’s success? Use quotations and page numbers.

Mae West absolutely tapped into sexuality as a source of power. She then harnessed this power using it to springboard her to success. She began as a writer for vaudeville acts as there were no acting roles for someone like her. She perfected her playwriting skills until she broke through with writing and starring in her own movies. Mae West had a unique, distinctive style. Her “style and content are so tightly joined that the comedy seems but a natural consequence of her remarkable bearing and physique … “ (p 81). She was popular with young women, becoming America’s leading actress-playwright.

“Sex was her subject, not her effect. And it was what she had to say about sex that was genuinely dangerous” (p 83). As much as the studios censored her scripts, she did what came naturally to her and the censored content still shined through. “Torpedoed content bubbled right back up in innuendo and undulation” (p 90). The young women of her audience were really into her message and her distinct style, propelling her success further after the movie, I’m No Angel (1933).

Mae West grabbed the “male gaze” by its gun, wrestled it to the ground, tamed it, and then turned it back on those who pointed it her direction. And she did it without even breaking a sweat! After learning about her, I”m fan. I love that swagger of hers. If I feel this way, I can just imagine how the young women of the 30s felt about her.

Mae West was consistent. She discovered what worked, cultivated her distinctive style and stuck with it.

“Nothing about Mae West ever changed. …. you found what worked and you stuck to it. A lot of it was believing her act, and a lot more of it was actually being her act” (p 95). Mae West’s success was a combination of her sexuality, her style, her strength, and her consistency.

Notes: Voyage With Rainbow Succulent Shadows

March 5 2025

Reading for Women in Literature – Number 5 of 10.

Finished this last night. Heartbreaking, maddening, and not my type of book. But the writing is phenomenal and it’s clear why this one is a part of the Women in Literature class. 💕💕💕

March 9 2025

Succulents in rainbows
Rainbows in succulents
🦄💜🦄