marriage

Women Who Refuse To Take Their Husband’s Surnames

I found this article about women who did not take their husband’s surnames upon marriage interesting and I do agree with it to some extent. I took my first husband’s surname. That marriage ended in an ugly divorce. I kept my maiden name when I married my second husband, and we’re going strong over 20 years later. Take all that as you like.

I kept my maiden name because it’s my name. I am already known well by that name. I used it for my past political and feminist writing. I am aware of the irony of my maiden name coming from my father – another man – but I didn’t sign over my identity by changing my name upon marriage. That’s how I see name changing for me personally. I already have an identity and I didn’t want the hassle of changing a multitude of legal forms. I could have taken my maiden name as my middle name and my husband’s name as my married name but I rejected that, too. I did that for my first marriage. Switching back and forth before and after that marriage was a pain in the ass.

The problem is that the description of men whose wives do not take their surnames as being perceived as being “less masculine” in the article from the Independent seems to be seen as a negative thing. Far from it. How do we define what is masculine? The traditional definition seems to me to be somewhat harmful to men. Some positive attributes considered masculine include being assertive and ambitious. However, “Real” men are also strong who keep their emotions in check. Big boys don’t cry. Brute force is a positive thing. And what’s wrong with a man being seen as more feminine? A balance between stereotypes would go a long way towards showing more humanity.

Those who decried the research (the term “hostile sexism” was thrown about) thought of men whose wives did not take their surnames were “disempowered as a result of their wife’s decision.” That’s a load of crap.

This statement also intrigued me: “A woman’s marital surname choice therefore has implications for perceptions of her husband’s instrumentality, expressivity, and the distribution of power in the relationship,” explains lead author Rachael Robnett. My marriage is not traditional. The power is evenly distributed throughout our relationship. There is no God-ordained leader in my household. I’m not submissive and when I’m upset or angry I feel free to express myself without repercussions, unlike my first marriage. That’s not related to whether or not I took my husband’s name but due to the nature of each marriage.

I also kept my maiden name upon my second marriage because I had taken his surname for my first marriage. I had done it once and didn’t see a need to do it again. I also didn’t have a traditional white wedding for my second wedding. We had a nondenominational ceremony in our backyard with me in a green lace dress. The town clerk officiated. Our sons and my son’s best friend attended. Then we went inside, had my chocolate sachertorte wedding cake I had baked and watched Hellraiser. Hey, there are newlyweds in that movie! It’s appropriate!

I am probably viewed as non-traditional in my marriage, my actions, and beliefs. According to previous studies, “women who violate the marital surname tradition are viewed differently from others. They are described in terms of instrumental traits that in a gendered society are typically assigned to men. These include having a higher status, wielding more power, being more self-focused, ambitious and assertive. These traits contrast with the expressive characteristics that are typically assigned to women, such as being more nurturing, kind and having less influence and power.” My husband freely expresses his emotions like sadness and insecurity as well as anger. Why is anger seen as a masculine emotion? I see why nurturing is seen as feminine since women traditionally have raised children, but that is not an exclusively feminine characteristic.

My point in this rambling post is that keeping my maiden name was a personal choice between my husband and I with my feelings being paramount. Maybe it reflects the dynamics of my second marriage, maybe not. I just know that traditional definitions of masculinity and femininity can be harmful to both men and women. It’s time we viewed ourselves as individual human beings with our own wants and needs and not be held hostage by stereotypes.

Deal-Breakers

by Jean Roberta

Writing fiction set in the past (even a past era of the writer’s own lifetime) is a challenge because, as someone once said, the past is a foreign country; they do things differently there.

When writing a story set in the 1920s, I introduced my teenage female narrator to a handsome boy in her class in high school. His parents were friends of her parents, and now that her father is dead, his father is providing a salary for her mother, who works as his secretary. The boy likes the girl, and she is delighted to discover sexual pleasure with him when they are alone together. She is terrified of getting pregnant too soon, but he assures her that they are planning to marry anyway, so if they “start a family,” they only have to arrange an earlier wedding.

Realistically, my heroine knows she isn’t likely to get a better offer. She is also practical enough to know that she – a very intelligent person who is not male and not white – can’t leave home alone to seek her fortune and expect to be better off than she is in the relative safety of the community where she grew up.

In the real world, my young storyteller would probably settle, as so many women did in her time. Yet she really doesn’t want to marry her boyfriend. His chivalry often slides into condescension, even though she gets better grades in school than he does. Sex is a revelation to her, but does the ecstasy of his touch really mean that he is her soul-mate? She hasn’t had enough experience to know.

She has heard mutterings about sexually-experienced women: hoochie-coochie dancers who drink illegal booze in joints that cater to dangerous men. She doesn’t know how or where to apply for a job like that, but she knows how all her nearest and dearest would react if she did.

I don’t really know what better future I could provide for my character than marriage to her boyfriend, followed by childraising and membership in his church, one of the things they disagree about. The spell of historical fiction should not be broken by the intrusion of twenty-first century options and values.

Still, I want more for her. She wants more for herself, and she knows on a gut level that there must be a companion for her somewhere in the world who is more than “a good provider” with conventional beliefs.

I’ve always had trouble writing happy-ever-after endings, and I sometimes think this is because men and women still don’t really have equal status, even in Canada where we’ve had it in theory since the 1980s, according to a marvelous federal policy called the Charter of Equality Rights. However, the problem isn’t just a gender clash. Many a lesbian relationship has ended with hard feelings on both sides, and communities of gay men are also full of gothic stories about deception, heartbreak and violence – so I’ve heard.

In traditional romance plots, the lovers persevere despite threats to the relationship from other people and from each other. They have faith that in the long run, being together will be much better for both of them than being apart, and so it turns out. Most people claim to admire long-term relationships, but only if no one is being exploited, abused, or diminished in any way. That’s a big if.

In fiction, as in life, I worry about exaggerating the fault-lines that exist in every relationship, but I also worry about limiting a character’s potential by keeping her in a trap. There were several notable differences between my parents besides gender, but if they hadn’t stayed together for the first seven years of their marriage, I would never have been conceived. To honour my own roots, I should probably value sacrifice and compromise, even in a fictional world.

One of the appealing qualities of a short story, as distinct from a novel, is that not all questions have to be answered. The plot can end on a hopeful note, with an implication that the central character(s) will boldly go to an unknown destination. So I keep writing in order to discover new plots. Maybe some day I’ll have a clearer sense of when a happy ending requires an escape, and when it requires a commitment.
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