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Men Who Love Women: Pro-Feminist Masculinities in the Millennium Trilogy☆

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Men Who Love Women: Pro-Feminist Masculinities in the Millennium Trilogy☆ Women's Studies International Forum 46 (2014) 83–87 Contents lists available at ScienceDirect Women's Studies International Forum journal homepage: www.elsevier.com/locate/wsif Men who love women: Pro-feminist masculinities in the Millennium trilogy☆ Michael Kimmel Department of Sociology, Stony Brook University, Stony Brook, NY 11794, USA article info synopsis Available online 14 January 2014 This article examines the different iterations of masculinity represented by different characters in Larsson's Millennium trilogy. By examining especially the case of Mikael Blomkvist, and his relationship to Lisbeth Salander, the article describes the promises and perils of a profeminist masculinity. © [2014] Michael Kimmel. Published by Elsevier Limited. All rights reserved. Introduction 2001 and early 2002 there were two well-publicized murders of women in Sweden; a Kurdish woman named Fadime Sahindal Voracious readers have been devouring Stieg Larsson's and a Swedish model named Melissa Nordell. Focusing on Millennium trilogy the world over. They're fast paced, culture differences, the Swedish media described Sahindahl's intricately-detailed, and fun to read. A huge draw is punky, murder as an honor killing and Nordell's as a crime of passion. scrawny, tattooed hacker-sleuth Lisbeth Salander. Readers are Larsson would have none of it. He called them “sisters in death” probably familiar with the story surrounding Larsson's creation andstressedtheunderlyingsystematic and oppressive patriar- of such an uncompromising take-no-prisoners feminist hero in chal structure: they were both murdered (by men) because they Lisbeth. She's indifferent to fashion, to the feminine mystique; were women: she's technically competent (a computer hacker); she's familiar — with violence and unafraid to use it in a retaliatory fashion. She The forms of oppression differ but not the cause of may be the least feminine hero in contemporary fiction, and one oppression. The forms vary dramatically between Sicilian of the most feminist. honorary murders, burning widows in India, or battering of Many readers will recognize Salander as an expression of girlfriends and wives on Saturday nights in Sweden. The Larsson's long-held feminist views. He claimed that he was culture does not explain the underlying causes as to why the fi personally disgusted by sexual violence. As a teenager, he watched women of the world are being murdered, dis gured, circum- as several of his friends raped a 15 year-old girl he knew — also cised, beaten and forced into different forms of ritual behavior — named Lisbeth. Larsson reportedly never forgave himself for standing decided by men the causes being that men in patriarchal by and allowing it to happen. He eventually became a lifelong societiesoppresswomen.Thisisasystematicviolenceagainst – – campaigner against violence against women. (Indeed, I met him women for this is exactly what it is about and would be once, in 2002, while working with the Swedish Minister of Gender described as such, if violence ofthesameproportionwere Equality on a project to reduce men's violence against women.) directed against trade unionists, Jews or handicapped people. From the early 1970s until his death in 2004, Larsson was Feminism and anti-racism are two sides of the same coin. unswervingly identified as a feminist. For example, in late [www.thefirstpost.co.uk/54145,people,news,stieg-larsson- remembered by Eva Gabrielsson] ☆ This article has not been subjected to an external review process as it does not confirm to a scientific format. This has been previously published “ as chapter Men Who Love Women: Pro-feminist Masculinities in the Please note that these words were not written by some crazed Millennium Trilogy” in “Men Who Hate Women and Women Who Kick Their Asses: Stieg Larsson's Millennium Trilogy in Feminist Perspective”, radical feminist male-hating harridans of the fevered popular Eds: Donna King and Carrie Lee Smith (Vanderbilt University Press, 2012). imagination, but by the most popular novelist in the Western URL: http://www.michaelkimmel.com. hemisphere at the moment — whoalsohappenstobeaman. http://dx.doi.org/10.1016/j.wsif.2013.12.007 0277-5395 © [2014] Michael Kimmel. Published by Elsevier Limited. All rights reserved. 84 M. Kimmel / Women's Studies International Forum 46 (2014) 83–87 While it is clear that Larsson's feminism is reflected in the too, abuses his power for sexual access — treating Lisbeth as a character of Lisbeth Salander, I want to explore a somewhat sex toy and a human experiment. He knows she's not insane, different side of the story — one no less compelling, but far but he derives sexual pleasure from torturing her. He will be less visible. In Mikael Blomkvist and some of the other men exposed as a pedophile in the third volume, as his testimony is who inhabit the world of the Millennium trilogy, Larsson has discredited and he is utterly disgraced. created characters that embody a complex and ambivalent We also meet Lisbeth's father Zalachenko and her freakish new Swedish masculinity – a pro-feminist masculinity – that half-brother Ronald Niedermann. Their crimes include the is markedly different from more traditional notions of both systematic trafficking of Eastern European and Asian women “good” and “bad” men. into Swedish brothels, where the women are raped, mur- dered, and abused for men's perverse pleasure and profits. Misogyny and toxic masculinities in the Millennium trilogy Zalachenko abuses Lisbeth's mother as well, beating her, raping her and eventually incapacitating her. Indeed, the Mikael Blomkvist is no ordinary masculine hero. Hardly a primal crime that sets Lisbeth's trajectory in motion is her James Bond type. He is invariably disheveled, often melan- adolescent effort to protect her mother and exact revenge on choly, and a bit feckless. But he also emerges as a deeply her abusive and violent father: after he beats and rapes her moral character, whose sense of ethics leads him to painful mother, Lisbeth follows him to his car, throws a bottle of discoveries about the society in which he lives. He is gasoline on his head and calmly lights a match to set him on unmarried (divorced, with a grown child who figures almost fire. (He survives, badly scarred, so that he can return to not at all in his life). He is a devoted friend to Lisbeth (yes, menace her in the third book.) indeed, a friend with benefits in the first volume), and an Niedermann is particularly interesting, since he suffers attentive lover to Erika Berger, his closest friend and from a rare malady, congenital analgesia, the inability to feel editor-in-chief (who is married to a man who knows about pain. What more searing commentary about the man who and accepts her affair with Mikael, since it enables his sexual would equate masculine power with brute force: that relationships with other men). He is somewhat standoffish traditional masculinity is possible only if one is incapable of and aloof, self-effacing and even somewhat socially graceless. feeling anything at all. Yet his heart (and his powers of deductive and inductive Finally, in Hornet's Nest, the toxic masculinities Larsson reasoning) is always in the right place. exposes expand to include corrupt and calculating bureau- What a contrast to the series of foils that Larsson crats, especially those in the Swedish secret police or Säpo. constructs for him. In each of the three volumes, Blomkvist Men like Evert Gullberg and Gunnar Bjork represent a form is set against “men who hate women,” as the literal of hysterical, masculinity. In their frenzy to make sure that translation of the first book would have it — men who use their secret deal with Zalachenko remains hidden, they are women, exploit them, assault and rape them, and who show prepared to sacrifice the lives of any number of people. contempt for them. In Dragon Tattoo that includes several Women, in particular, are expendable, disposable, collateral elder members of the Vanger family, representing old-money damage. In this way, agents of the state are no better than wealthy industrialists, the old bourgeoisie. They are thor- the criminal they are trying to protect. Secretive and corrupt, oughly corrupt, venal, and in this case, Nazi sympathizers and these hysterical villains are exposed as fraudulent men and, collaborators during World War II (as many Swedish significantly, none of these older misogynistic characters industrialists exploited Sweden's neutrality during the war survive the trilogy. to profit by selling to both sides). What then are we to make of these men who hate We also meet Nils Bjurman, the scoundrel-lawyer who women? First, Larsson suggests that the sins of the fathers becomes Lisbeth's legal guardian through conniving and have not yet been peacefully put to rest. Larsson means this deceit. He abuses his position and rapes Lisbeth twice. He both literally and figuratively. In the literal sense, the vicious considers these quid pro quo sexual favors, not at all sexual damage that Zalachenko inflicts on Lisbeth's mother plays assaults in return for his promise not to cut her off from out as a prime mover in Lisbeth's idiosyncratic development money she earned working for Milton Security. (not that one necessarily needs an abusive violent father in In Dragon Tattoo, Lisbeth exacts revenge on Bjurman, order to become a feminist hero). Symbolically, Larsson uses incapacitating him, and tattooing on his body “I am a sadistic the depraved misogyny of the Nazi wing of the Vanger family pig, a pervert, and a rapist.” Having secretly videotaped him to suggest that Sweden has not yet come to terms with its raping her, she threatens to expose him should he ever shameful past, and that “neutrality” is often a convenient retaliate against her. Indeed, she symbolically castrates him, cover for unspeakable crimes. promising to release the video if she ever finds him in bed Secondly, the sins of the fathers are visited upon the with any other woman.
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