Disposable Women

The role that women play in Ghostwritten both struck and upset me.  While the opening chapter does not discuss women at length, “Tokyo” reveals one of the most womanizing characters I have come across in a novel in quite some time.  Takeshi is absolutely unapologetic about his treatment of women.  In fact, he has even developed his own revolting and chauvinistic motto when it comes to having sex with women: “Only shag women who have more to lose than you do” (36).  Throughout this chapter, Takeshi goes on to brag about his multiple adulterous affairs with multiple women.  He doesn’t care that most are engaged or involved with other men.  In fact, that is exactly what makes these women most attractive to him.  Don’t forget that Takeshi is also in the middle of a bitter divorce with his estranged wife whom he is semi-desperately attempting to win back from time to time.  Not only does he seek out emotionally vulnerable and perhaps often unstable women, but the manner of which he speaks about each conquest is enough to make any feminist dry-heave.   Here are a few of his best gems:

-“She came out of the shower, naked, brown, and dripping, and damn if she wasn’t still gasping for it!” (36).

-“Seriously, you should see her ass!  Two overripe nectarines squeezed together in a paper bag.  One prod and they explode!  Juice everywhere!” (36).

-“What the eyes don’t see, eh?  She’ll make a good little wifey, I’m sure.  She’s after a few nights of lust and sin before she becomes a housewife forever” (36).

While Takeshi is well on his way to winning the “Man of the Year” award, both Taro’s and Koji’s comments may rank them as candidates for Prince Charmings as well:

-“Somewhere frequented by nubile girls on the prowl for young male flesh” (48).  -Koji

-“Brains aren’t everything in a women.  Ayaka was saying this morning, a lad your age should be stoking the poker more…” (51).  -Taro

-“…so, have you, y’know, snipped her ribbons and unwrapped her packaging yet?” (56).  –Koji

Not to be outdone though, Neal Brose is quite the Rico Suave as well.  How could anyone expect such a catch like Neal to be devoted to just one female?  I mean, a man needs to spread his seed, right?  (I sincerely hope you are not missing my sarcasm here!)  It is clear that Katy was not enough for Neal.  He needed to start shagging his maid as well.  His description of the cleaning lady made me feel as though I was witnessing an old pervert describing an innocent school girl: “She was in a black and white uniform with black tights.  The material must make her skin sweat…Her hair was luscious, her skin dusky.  After thirty seconds of being in the same room, I knew that she and I would end up f***ing each other, and I knew that she knew it too” (84).  While we discover that the maid is anything but a poor and defenseless little doe, the way Neal accounts their sexual escapades feels as though it is smeared with grime and disrespect: “I wanted her again.  This was costing me more than money, so I may as well push for maximum value and damn myself properly.  I got up and f***ed her from behind, on the dressing table.  We broke the mirror” (88).

While Takeshi’s, Koji’s, and Neal’s attitudes toward and about are less than desirable, they look like choir boys in comparison to the Warloard’s Son and the father from “Holy Mountain.”  Aside from slapping his young daughter for merely asking a question, the father basically pimps her out for two lousy bowls.  To add insult to injury, the father actually praises this dirty bastard for allowing him to rape his daughter: “My Lord’s reputation for generosity is just!  No wonder all who hear of My Lord’s grace weep with love at the very mention—” (112).  My skin just crawls recollecting this scene again.

           After the Warlord’s Son brutally rapes the young girl, stealing her virginity and any promise of a future suitor (which is a whole different problem with the role of women), he has the audacity to say to the father, “You should be paying me.  For breaking in your foal” (113).  To say that a women is only “worth” anything if she is a virgin and that her virginity can be used as some sort of currency is deplorable.  This entire scenario is a testament to the absolute dismal treatment of women.  Ultimately, however, despite the destitute future her shameful action of “allowing” herself to be raped, the young girl overcomes countless obstacles and lives a life worthy of the utmost respect and honor.

           Mongolia’s chapter introduces us to a husband—Buyant—who repeatedly disrespects and talks down to his wife, Gunga.  Petersburg showcases a little sexpot, Margarita, who intentionally whores out her body as a way to gain access to priceless art.  London gives us Marco—a man who concocts various “angles” in order to get women into bed.  Clear Island’s physicist, Mowleen Montervary is ultimately unable to out run the male-dominated government agency.  And “The Bat” from Night Train continually insults his ex-wife with misogyny-laden comments on air.

            Overwhelmingly, this novel often treats women as either a mode of currency or simply the means to get a man’s “jollies” off.  Whatever way you look at it though, Mitchell gives us multiple female characters that are semi-disposable.  Sure, some of them serve a purpose but ultimately, the only ones who show perseverance and any redeemable qualities are the woman from the Holy Mountain and Mo.  One dies and the other is captured, but they refuse to let their life circumstances dictate their fate and instead, takes the metaphorical bull by the horns.