The New York Times Champions a Bizarre Feminist Novel 'To Topple the Patriarchy' #Political
It didn’t take long for the tweeters to notice this New York Times book-review headline and insist it was the Real Deal, even if it seems like too bizarre for the Babylon Bee:
To Topple the Patriarchy, These Women Have Sex With Vegetables
Times book reviewer Sadie Stein underlined that this might be the next book that public librarians will champion as a “free speech” moment to influence your children:
Let’s start with the content warnings. Hexes of the Deadwood Forest, the best-selling Polish author Agnieszka Szpila’s first book to be translated into English, includes the following: adult themes, adult content, adult language, violence, suicide, sexual assault, torture, murder, genocide, bestiality, cruelty to children, sex with moss, sex with grass, sex with mushrooms, sex with lichens, sex with feathers, sex with rotten vegetables and sex with frozen dirt.
Your final warning? All this gets weirdly tedious.
Europeans can be deeply weird people. The plot is something like this: “In a wealthy suburb of Warsaw, the monstrous C.E.O. of an equally monstrous oil company, Anna Frenza,” was living the dream of success. “But when Frenza is who goes viral for passionate, painful sexual congress with the trunk of an oak tree, she’s thrown into a mental hospital.”
Transported by either psychosis or mystical connection to the 16th-century Silesian ecclesiastical duchy of Neisse, Anna finds herself inhabiting the body of Mathilde Spalt, leader of the Earthen Ones, a pagan sect devoted to replacing patriarchal penetrative sex with a devotion to Nature….
Back in her present-day psych ward, Anna/Mathilde rallies her fellow inmates (mostly troublesome feminists or environmentalists) against what the narrator calls “a Polish Gilead, but without any of the well-tailored red dresses and cloaks.”
Since this uber-horny phantasmagoria is populated almost exclusively by grotesques — not merely the universally hideous men, but also women characterized only by their Valerie Solanas-level fundamentalism — by the novel’s end, the reader begins to understand the appeal of inanimate moss (if not bark).
Solanas was a radical feminist who shot Andy Warhol in 1968 and was institutionalized for several years.
None of this sounds like a book you'd like to read over a weekend. But that’s not to say that Stein doesn’t love the book. This is the last paragraph:
“I thank all women who, in their fight for equal rights and the well-being of our planet, are not afraid to use their madness as a political weapon,” the author writes in the acknowledgments. By these standards, this novel certainly deserves all the plaudits.
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