Mildred Cable: Why no Bio-Pic?

Stella Atrium 12/12/11
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And here's another adventurer who was overlooked for a bio-pic because she was a woman -- actually three women who explored China and the Gobi Desert for 20 years and wrote extensively about what they learned there as missionaries.

Midred Cable, Eva French and Francesca French worked together as  missionaries with an inspiring story largely related in Cable's book "The Gobi Desert".

From an early age Mildred wanted to be a missionary in India. However in 1902 she went to China . Eva French was already there, she had joined the China Inland Mission before the Boxer rising of 1900 in which many Christians were killed. Her sister, Francesca joined them later on.

The three women worked in China for nearly twenty years, setting up schools and a rehabilitation centre for opium abusers. But they began to feel the need to take the Gospel to new areas where the missionaries had not been to.

In 1923 the three women went to Kanchow, traveling on the Silk Road and evangelizing as they went. There they trained Christians and traveled throughout the region holding tent meetings. But they knew that their destination would be the Gobi desert, a most inhospitable place with few inhabitants who were scattered throughout the area.

In 1926 they returned to England and their story caught the public imagination. Less than two years later they returned to the Gobi desert and stayed until they were forced to leave in 1936 during a time of political uprising. They had survived in a hostile environment and successfully proclaimed the Gospel of Jesus Christ throughout the region.

The three women returned to England after 36 years in China and worked for the British and Foreign Bible society for the rest of their lives.

SOURCE: http://www.christianheroes.com/people/christian_heroes_mildred_cable.asp


Learn more by following a group of today's adventurers who are undertaking a similar journey. 

Threads in the Sand

http://www.greenkiwi.co.nz/footprints/frames/ts.htm

Anticipating the January 2012 launch of SufferStone, Book 1 of the Dolvia Saga, author Stella Atrium sat down with Marc Roster, a Chicago radio personality from the public access channel.


Marc Roster: So, you have an interesting premise here; space travel and women living under the veil.

Stella Atrium: Over the decades, sci-fi fans have seen many cultures depicted in stories about offworld adventures. But I have not seen an alien culture where women struggle against the burka.

Marc: Are the female characters also Muslim?

Stella: Desert garb with flowing robes and headgear pre-dates the birth of Mohammad. In the story, the sisters of Arim live on a savannah with a long dry season.

Marc: But the story is meant to reflect issues of global women's rights?

Stella: The cultures for the four tribes are unique to the story with their own languages, along with standards of dress, local animals, gestures of power for the men.

Marc: Of the four sisters, Kyle Le is the youngest, but she's the leader?

Stella: Kyle Le is troubled with the gift of second sight, like flashes of insight for events in the near future. She's an orphan, and her sisters clings to the land her father owned. They have no status in community, only the service of her gift to a tribal leader.

Marc: So Kyle Le takes work at the mill where she meets the story's hero Brian Miller. They fall in love and live happily ever after?

Stella: Not likely. Brian Miller can only run the mill because he doesn't abuse native women. The differences between their cultures are too great.

Marc: In the story's plot, what is the purpose of the Brittany Mill?

Stella: The savannah on Dolvia has what we call a Third World economy. Corporations from Earth have come adventuring through the wormhole to take advantage of the mineral wealth and the cheap labor market. But the tribes are protective, and their women are mostly illiterate. Brittany Mill is where these disparate groups begin to mingle.

Marc: That premise sounds like what happens in many countries here on Earth.

Stella: The dichotomy is delicious. Inside the fantasy genre, I try to present women who need to solve real problems like having no voice in community, or no right to work; no access to capital to start a business. No reinforcement for talent.

My intent was to pry open the archetypes of alien women in sci-fi who are, shall we say, sexually available to the story's hero. You know the types — warrior, witch, street urchin, unavailable princess who sneaks around, armless mermaid. Let's present a few female characters who drive the story and solve problems using the tools at hand.

Marc: You mentioned unique animals. Any dragons?

Stella: (chuckle) No dragons; no fairies. One sister named Terry befriends a wild ketiwhelp, which is similar to an oversized fox. She's later martyred in prison and a tribal myth about her is told in chants.

Marc: So what are the elements of fantasy in the story?

Stella: The savannah is being settled, unevenly, by offworlders who seek fortunes by mining the mineral wealth. They have a network for supply lines through the worm hole to Earth, and introduce futuristic gadgets to indigenous cultures, changing the balance.

Marc: What kind of gadgets?

Stella: Brian Miller communicates offworld using an EAM, or extra atmosphere modem. He shows Kyle Le how to access the transport's library where they call up an image of Dolvia, a blue and green planet with atmosphere and clouds. Kyle Le is very impressed with seeing the whole face of Dolvia.

Marc: So, the story is about culture shock?

Stella: For several cultures, yes. The reader also meets indentured colonists and military personnel stationed on the orbiting transport. Some characters are from a nearby planet and compete for work with the corporations to get ahead. They even adopt English over their own languages and shorten their names for advancement.

Marc: You mean, like people changed their names when they came to America through Ellis Island?

Stella: Examples from our history are illustrative. The pressure to fit in is universal, such as Jews in Spain in the fourteenth century who pretended to practice Catholicism. Or tribal people in South Africa who lived under Western names. Power structures exist everywhere, and the people from the subservient culture use similar strategies to get by and put food on the table.

Marc: So, what's the story's outcome.? Do Kyle Le and Brian Miller hook up?

Stella: Kyle Le is promised for the warrior Cyrus, even though she doesn't like the idea. She's motivated to resist the future planned for her by others. That's why she's open to new ideas like working for wages, and traveling offworld with soldiers.

Marc: Well, we certainly look forward to reading reviews for this unique story. Our time is up now, but I enjoyed the talk.

Stella: Thank you.

The Appeal of Thelma & Louise; a buddy movie about two women on the run

Stella Atrium 11.11.11
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The 20th anniversary of Thelma & Louise was in February 2011.

Critics claimed the movie directed by Ridley Scott broke stereotypes and allowed female characters to step out of a corseted past into liberated action.  Never mind the movie presents women acting like men would act.  Never mind that Thelma robs a store only after she receives instruction from a drifter.

Once again, the characters we love don't solve problems the way women solve them, but rather ape the actions of the men. Where are their mothers, aunts, sisters, cousins, best friends, daughters?

Movies about women must appeal to men, even when the male characters are secondary, as with a sympathetic policeman played by Harvey Keitel and ex-boyfriend played by Michael Madsen. The movie audience was mostly men, and they liked the idea of women on a lark with 2% body fat and oversized handguns.  We still have the standard scenes for car chases, gun violence, fiery explosions, and a hero's ending.  The twist is that women get to blow up stuff.

Except are they liberated? Or... are they just acting like a guy would act in similar situation?  Maybe a woman would find other ways to hide by changing her looks and blending in, or entering a brothel where the police never investigate.

In Thelma & Louise a struggling waitress and repressed housewife take off one day while the husband is fishing.  They stop to cat-around at a dance hall, and Thelma (Geena Davis) is pressured by a drunken cowboy who Louise (Susan Sarandon) shoots with her Texas-purchased gun. Adventures on the run after the feminist statement include picking up a drifter, scaring a truck driver, packing a cop into his car trunk, calling home to bring down the police, and sprinting toward the Mexican border.

The 1974 movie Thunderbolt & Lightfoot (Clint Eastwood and Jeff Bridges) depicted drifters in a similar socio-economic strata.
Lightfoot is beaten by bad guys who pursue them, and the tension between Lightfoot and Thunderbolt is tentative friendship built on a common need to escape jeopardy.  They end badly, too, when Lightfoot dies of injuries from the beating.  We expect less of this movie, though, and treasure it for the performances.

What social wrong was righted in Thelma & Louise?  Besides the eye-candy, what did we learn about ourselves? I'm reminded of the old adage that "she acted like a man because she was treated like a woman".

The scenes are well played, especially when Thelma says, "Something broke inside me," but Thelma & Louise is ultimately unsatisfying.

I object mostly to the ending when the pair drive over a cliff rather than return to society and face jail time.

Many have claimed this ending shows that there's no place in real life for rogue women; except Thelma and Louise aren't acting like women.  The pair is acting like they think the men would act, all the way to driving off into the sunset.  

Young women today mention Thelma & Louise as a shining example of liberated acts, of improvising, of getting a little of her own back.  I despair for our young girls who have few role models and must fit behavior into unnatural patterns to find acceptance among peers who believe that women should act like the guys.