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The Husband Stitch By: Carmen Maria Machado
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Natalia
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Updated Jan 9, 2021
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00:01 - 00:01
Hello, everybody.
00:02 - 00:05
Today we'll be talking about the Husband Stitch by Carmen
00:05 - 00:06
Maria Machado.
00:07 - 00:09
I was really excited that I got this story because
00:10 - 00:13
I had read it before in a previous class, Um,
00:14 - 00:17
in literary and critical theory, and now I have the
00:17 - 00:20
opportunity to take a closer look at it again, which
00:20 - 00:22
is wonderful because I love this story.
00:23 - 00:27
Um, so to provide a little context, this story was
00:27 - 00:29
actually published fairly recently.
00:30 - 00:34
It was published in 2014 and would later become part
00:35 - 00:38
of Machado's short story collection, called Her Body and other
00:38 - 00:42
parties. Uh, this collection of short stories and dresses, themes
00:43 - 00:47
of feminism, sexuality, bodily autonomy and womanhood.
00:49 - 00:52
The title of this story, the Husband Stitch, is actually
00:53 - 00:57
reference to a postpartum procedure where a woman is given
00:57 - 01:01
in unnecessary additional stitch after childbirth.
01:02 - 01:05
In order, Thio tighten the vagina for the pleasure of
01:06 - 01:06
the husband.
01:09 - 01:13
The story itself is, uh, like the Werewolf by Angela
01:13 - 01:17
Carter, A reinvention of the tail of the green ribbon,
01:17 - 01:20
which I believe is part of ah, larger collection of
01:20 - 01:24
horror stories called In a Dark Dark Room and other
01:24 - 01:24
scary stories.
01:26 - 01:29
I remember when first reading this story, thinking that it
01:29 - 01:30
seemed oddly familiar.
01:30 - 01:33
And so if you got that feeling to that might
01:33 - 01:39
be why, in terms of content, the story follows ah,
01:39 - 01:41
young woman as she enters married life and motherhood.
01:43 - 01:46
The story details her intimate and passionate relationship with her
01:46 - 01:49
husband, as well as her husband's desire to touch and
01:49 - 01:52
remove the narrator's ribbon of what she is forbidden.
01:54 - 01:57
The story also touches on themes of bodily autonomy or
01:58 - 02:01
lack thereof, when the narrator becomes a victim of the
02:01 - 02:04
husband Stitch after giving birth to her first and only
02:04 - 02:08
son. Although the story seems to exist in an almost
02:08 - 02:12
fable like universe, the sexual and societal political, uh, the
02:13 - 02:16
sexual and societal politics of womanhood that the narrator must
02:16 - 02:17
maneuver are very much riel.
02:19 - 02:24
Machado makes an effort to interrogate those patriarchal expectations of
02:24 - 02:27
women and motherhood through the relationship that her narrator has
02:28 - 02:30
with her husband and the outside world.
02:32 - 02:35
In terms of forms, something very interesting that Carmen Machado
02:35 - 02:36
does throughout her story.
02:37 - 02:41
She includes parenthetical tze, which are often found in scripts
02:41 - 02:44
or in monologues or in anything that is meant to
02:44 - 02:47
be read aloud, and they provide instructions for the reader
02:48 - 02:50
as to how the author wants to literature to be
02:50 - 02:56
read. Machado's parenthetical tze are not typical parenthetical xcx if
02:57 - 03:00
you notice ah, lot of them are very unusual requests.
03:01 - 03:02
They're very symbolic.
03:03 - 03:07
So instead of providing just basic reading instructions, there are
03:07 - 03:11
also a tool in order to deliver a lot of
03:11 - 03:14
emotional insight as to how the narrator's feeling and what
03:14 - 03:17
the narrator must endure as a woman, as a wife
03:18 - 03:18
and as a mother.
03:21 - 03:25
Another thing that Machado does is she separate sections of
03:25 - 03:27
the story with white space and an Asterix symbol.
03:28 - 03:31
Ah, lot like in, uh, the Paper Menagerie by Ken
03:32 - 03:33
Loo, which we read last week.
03:34 - 03:36
Much like that story, the brakes air used to symbolize
03:37 - 03:40
the passage of time moving from one scene to the
03:40 - 03:43
next. But every now and then, Machado will use that
03:43 - 03:47
break to transition into the retelling of a folklore, specifically
03:48 - 03:50
the narrator's rendition of the folklore.
03:51 - 03:54
So what we get is a few sections of the
03:54 - 03:57
narrative, and then the narrator will pause and take a
03:57 - 03:59
moment to tell us her version of a fable that
04:00 - 04:00
she has heard in the past.
04:03 - 04:05
Now this is interesting because What we're looking at is
04:05 - 04:09
almost like, um a fable within a fable.
04:10 - 04:12
The introduction of the story is very much like a
04:12 - 04:13
fairy tale.
04:13 - 04:16
The princess meets her prince and they marry.
04:16 - 04:18
And then we follow her through her journey of womanhood
04:19 - 04:21
and motherhood until the very end.
04:21 - 04:25
When the narrator reveals to her husband the reason for
04:25 - 04:25
her green ribbon.
04:26 - 04:30
Embedded into this grand, overarching narrative are several well known
04:30 - 04:33
stories with a twist that the narrator provides in order
04:33 - 04:38
to interrogate the patriarchal archetypes present within the story, as
04:38 - 04:41
well as incorporate some of her own personal truth.
04:43 - 04:48
As for discussion questions, Um, there is ah lot of
04:48 - 04:52
symbolism in the story and in fables and fairytales in
04:52 - 04:55
general. But I want to know what you guys think.
04:55 - 04:59
The green ribbon is a metaphor for if you notice
04:59 - 05:02
um ah, lot of other women also wear riven some
05:03 - 05:05
in more inconvenient places than others.
05:06 - 05:08
So you can also talk a little about that if
05:08 - 05:09
you want and what that means.
05:11 - 05:14
And um I would also love to hear about what
05:14 - 05:17
you guys think about her use of parenthetical Tze.
05:17 - 05:19
Why does she include them?
05:19 - 05:21
And what purpose do you guys think that they serve?
05:25 - 05:26
Okay, I think that's everything.
05:27 - 05:29
Thank you for watching and happy writing
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