Arrival and the Translator

Ted Chiang wrote this character, Amy Adams acted her out in the film Arrival.  She’s a quiet, solitary academic.  A translator.  A de-coder of languages that are not her own.  She is tapped to decipher the non-verbal, pictographic language of alien visitors.

The metaphors here are just so good.  The female translator, Louise Banks, beats her male competition to become the translator of aliens by correctly translating the Sanskrit term for ‘war’ as meaning ‘a desire for more cows.’  Not bulls, but cows.  Not male beef, but female fecundity and nurturance.

At the crucial moment, when governments worldwide are misunderstanding the aliens and shutting down communications in order to aim munitions, Banks speaks up.  She shouts, “we need to be talking to one another!”  She knows that cooperation is necessary.  The men in the room aren’t listening.  So she walks out to have a private, nonverbal conference with alien beings.

Louise learns an alien language, sees and hears echos from the future, and then she saves the world.  The pivotal message is spoken over a stolen telephone, in Chinese without subtitles.  She speaks aloud, just as she receives the same message in her ear from the future, from the person she is speaking to.  Louise is echoing the words of a man’s dead wife over the telephone.  This echo of female voices alters the fate of humanity.  The voice of the woman heralds arrival and survival.

all stills from Arrival, Dir: Denis Villeneuve, Paramount Pictures, 2016

Colette: Echos of Silenced Artists

Tapping into the magical zeitgeist can be an under-the-radar activity for many artist/alchemists.  And then there are these blips on the radar when they get seen or heard.

I went to a talk at the Brooklyn Museum Sackler Center called “Fashioning Personae: Collage, Gender, and Feminism.”

One of the presenters was the performance artist Colette, who is sensitive and lovely, like all visionary healers.  Her strong work wasn’t received as positively as the work of other women artists of her time.  Not that she is marginal, but she hasn’t been canonized or refashioned by the feminist artist literature.  She suspects this is because she is so girly, frilly and feminine.  She was lamenting her situation to the audience.

In a Brooklyn Museum elevator after the event I overheard two young women talking about Colette.  ‘She was so insecure,’  they both agreed,  ‘Why was she talking about other artists being more famous than she is and using her ideas?’

Because Colette didn’t have her voice stolen, she had her visions stolen.  But she can still sign her name:

And who else?  Women artists who’ve had visions stolen or echos silenced?

9 to 5 Grrrl Talk

At their best, conversations between female friends start worlds.  We may not know quite what we’re thinking until the words start to form as we talk.  We sense our friend listening in a way that changes how we hear our own speech, changes how we speak, changes what we feel capable of making happen.

Jane Fonda, Dolly Parton and Lilly Tomlin in “9 to 5”, 1980

 

Post some world-making conversation starters here.

 

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