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Giles and the "Wild Woman"
Giles and the „Wild Woman“

Preface 1: No fic, sorry. These are some meta-y thoughts about Giles, his role on the TV show and his relationship with different women. It is a bit incoherent, jumping from point to point and not restricted to Giles-thoughts. The Master, Wesley, Angel/us, Caleb, Snyder, … all make a short appearance. Oh, and the women, of course: Buffy, Jenny, Faith, Willow

Preface 2: Instead of getting riled up on comics!Buffy, i thought a bit about gender roles in BtVS (the TV show). You know – stuff i love, instead of stuff i despise.

So,to begin with, i state the obvious, just as a remainder. BtVS is a show about women, mostly and how they relate to the world and the overwhelming presence of men in that world – men who rule that world. As i'm sure everybody is aware of, the roles of women in literature are quite a bit more limited than the roles for men – this is especially true for movies and TV shows.

In the beginning, there was man. And then the whore and the virgin. As times went by, a limited scope of other archetypes cropped up, like the femme fatale, the flapper, and then, unfortunately, Maryln Monroe. Now, don't get me wrong – Marylin Monroe is a tragic hero of the real world. Abused, mistreated, cheated on and ultimately destroyed by the surrounding society and work place.

I mention Marylin Monroe since the characters she played exemplify the the break between „the cult of woman“ and the cult of misogyny in pop culture. From sexy to sex bomb. From subject to object. Without the male gaze, Marylin Monroe is nonexistent.  The opposite of her is the „wild woman“, who exists completely without the male gaze – or even male interference or interaction. The „wild woman“ reaches back into time and myth, albeit her male counterpart is more well known, think Enkidu of the Gilgamesh epos, who is untouched by civilization (until he meets Gilgamesh and – consequently – dies). Modern incarnations of the „wild woman“ include „Tank Girl“ (the comics! NOT the movie – blech!), or, in the subject of matter at hand: Faith. Glory.  Willow (fully realized as „Dark Willow“). And, maybe, Buffy. These women (let's exclude Buffy for a moment here) are fully realized without male interference, male guidance or male sexuality.

("Wild Woman with Unicorn", painter unknown, ca. 1500, now Historical Museum Basel, Switzerland)

They are confident, self-reliant, powerful and own their own sexuality. And ultimately brought down by men or their female helpers. Their self-reliance, confidence and power and sexuality is depicted as something to be feared and controlled. To achieve this and lure the audience into conspiracy with the author, the show implements several devices and depicts their strengths in certain ways:

Self-reliance becomes selfish egocentrism, confidence becomes mental illness and psychosis and power becomes a source for and of destruction. Their sexuality becomes a danger to themselves and others.

These are „tricks“ to get the audience to root for the destruction, or at least the taming, of those „wild women“.

Now, when does Norwie start up with Giles? Wasn't this supposed to be about Giles?

So: Giles. Giles role in this play is that of a „tamer“ of the „wild woman“ - sometimes he succeeds, sometimes he doesn't and in the end he is conflicted about his own role in the play, which makes him a very sympathetic character in my book and the reason why i tackle this subject with Giles in mind.
Now, first we have to differentiate between the „tamer“ and the „destroyer“. The „tamer“ became necessary when women got more powerful and self-reliant in pop culture. Think flapper comedies of the 20s.Katherine Hepburn. Oh heck! Go back to good old misogynist Shakespeare: „The Taming of the Shrew“!

Unfortunately for women, there are some of them who are deemed unworthy of taming, and, consequently, have to be destroyed. Think about all the femme fatales of the cinema who end up murdered. Being a woman in pop culture ain't easy folks! Enslaved or murdered, men don't do it otherwise!

There is a whole host of famous destroyers in BtVS:

The Master, Angelus, Caleb. The Master and Angelus cross the border between tamer and destroyer quite fluently, depending on the woman in question and their own outlook on society (The Master tames Darla and tries to destroy Buffy. Angel tames Faith and tries to do the same to Buffy earlier, as well as he tries to destroy Buffy once he becomes fully realized as „Angelus“).

There are also a lot of tamers on the show, who don't cross the border: Snyder, Wesley, Xander. Out of these, only Xander succeeds with Dark Willow – but that scene can be interpreted in a myriad of ways, so i call him an unsuccessful tamer, too (like the other two).

(I left out Spike – not because he doesn't belong here, but because his story is more complicated, since he questions his own role at the end of season 6 and revolutionizes himself to not partake in one of the roles anymore, to become subservient to the female narrative.)

Out of all these male characters, i think Giles is the most interesting, because he IS „The Tamer“ (capital T).

Now, why does the „wild woman“ needs taming? To make her pliant to the male power and world view, to make her a companion to the male ruler, a servant to the male desire. Men, it seems, fear independent women, but suspect that women are individuals, too. Thus the trope of the tamed women is born, and repeated ad nauseam in literature and pop culture. They know that there are „wild women“ out there and turn them into unlikeable villains, or (self-)tamed companions („Valeria“ of Conan the Barbarian fame).

But the free and wild, independent, powerful female is nearly non-existent in pop culture. Whenever such a woman enters a male mind (or play), she has to be the villain or she has to be tamed, to wield to the male desire and power.

This is very apparent in the relationship between Giles and Buffy. Buffy has power, Giles tames her and uses that power for how he sees fit. Buffy is an interesting character in that respect, as it is hinted at that Buffy could be a „wild woman“, too. It is teased in her rebellious streak, but is more „flapper“ than „wild woman“: She is halfway self-tamed by having internalized patriarchal structures. Nonetheless, her narrative is often depicted as the fight against her tamers, destroyers and her internalized self-taming. (Just to pre-empt the happy ending: Buffy runs wild and free at the end of her seven seasons long arc! Yay! Buffy!) Along the road, she meets the temptation of the „wild woman“ in form of Angel, Faith and Spike. Angel is introduced as the temptation, changes into the destroyer and leaves the show as an unsuccessful tamer (but fear not, dear reader: whereas he failed in taming Buffy, he is allowed to succeed with „wild woman Faith“. Poor Faith!). Her adversaries in the form of tamers are Snyder (who obviously fails on a spectacular level), Xander (who equally fails, and becomes content with his failure), Angel (who only succeeds in breaking her heart), Wesley (see: Snyder), The CoW represented by Travers (who is openly rebuked) and, first and last, Giles. And, Giles succeeds for a while, he implants his ideas very successfully into Buffy so that – when confronted with the reality of her inner „wild woman“ represented by Faith, she becomes the destroyer herself, destroying the „wild woman“ in the name of her male superiors. (Tangent: I personally consider Buffy's betrayal of Faith – on the meta level, in-story-wise, there are a lot of „good“ reasons for her to stand against Faith in the end, and please remember what i said about „tricking the audience“ above! - as her gravest misstep on her way to become a self-reliant, independent, powerful woman owning her own sexuality apart from male desire, male guidance, male gaze, male power and male sexuality. Since i'm on a tangent here anyways, i want to reference the blackout scene between Buffy and Spike at the end of season 7: Shrouded from male gaze! Yay!)

So, Giles. What? Of course this is about him! (Just kidding.)

I just love the interaction between „conflicted woman“ Jenny Calendar, and Giles. She is – like Buffy - on the verge of breaking out of her inner tamed status: She tries to escape the patriarchal system of her clan, she is self-reliant, independent, powerful in knowledge (a teacher! Information Technology!) and mystic power (Witchcraft!). While her sexuality is centered around Giles, the tamer – she is the one who initiates the contact, expresses her desire. She is not a fully formed „wild woman“, as she still answers to Enyos and Snyder (as representatives of the patriarchal order) and – sadly - ultimately ends as a typical dead woman in pop culture. But, she is enough of a self-informed person, has enough of a wild streak in her to seriously rattle Giles, as well as being a dangerous opponent to Angelus, who therefore decides to destroy her (a femme fatale, a villain in his eyes). We don't know if Giles would have tried to tame Jenny, as she unfortunately dies before they make any meaningful headway in their relationship in that regard. But i think what we see here is a crack in Giles' armour: Before Jenny, we have seen Giles as the typical tamer, the representative of the patriarchal order, trying (and succeeding) to break up the matriarchal home of Buffy Summers (by excluding her mother from Buffy's life on purpose). Giles is the male stand-in for the male need to control female power, female individuality and self-actualization. Jenny Calendar rattles Rupert Giles – and instead of being revolted, he is intrigued! This woman, who is maybe not everything he stands against, but at least a good chunk of it, gets under his skin. We see that Giles is maybe not entirely comfortable with his role, or at least he is curious, seriously curious about The Other, the female not as a means to his ends, but to understand and form a companionship on a level of equality.

Alas, it is not meant to be. And so Giles stumbles through this play, and his challenges as the tamer. And Buffy is difficult to control, to tame. He hasn't got the time and will and capability to tame the other wild streaks in other women, namely Willow and Faith. He looks away: Someone else should tame these women! He's doing as best as he can in the way patriarchy asks him to do! With Willow, i think he is blind to see that the male narrative asks (him) to tame her, because Willow is a master deceiver. With Faith, he is willfully blind, maybe because he sees her as too far gone to be tamed, but since he isn't a destroyer, nor wants he to be a destroyer, he neglects his male role in the subjugation of women (and thanks for that!).

Once Buffy becomes more self-reliant after high school, he starts to flounder. Was he successful, can he be successful in the taming of the shrew? He thinks he wasn't, and he thinks he cannot control Buffy. But fear not, dear Giles! You were very successful! Buffy totally internalized her own taming. Your work is done here, tamer! But still, Giles doubts (himself). And he tries to change his role: From tamer to tutor, to guide. Of course, these roles are intertwined and we see Giles going back and forth between these roles, unsure of what to do, unwilling to be a tamer again, but also not able to fully embrace his new role without relying on the former role. He was never a tutor before, just a tamer. He doesn't know how to relate to women on a level of equality. On we go to the two seasons, when his inner conflict breaks out fully, when both his best sides, as well as his worst, become fully realized: Season 6 and 7. In season 6, at last he is willing to let Buffy go, to be whatever she wants to be, even a feared „wild woman“, if she desires so. He leaves Buffy to her own devices, he doesn't try to control her anymore. Go! Giles! I knew there was a human being behind that role! Of course, the tragedy here is that Buffy wants a tutor, after her resurrection. And Giles, not knowing how to be a tutor – all he ever was, he has learned to be was  tamer – cannot respond to her call. In the end though, he makes the right call. Since he only knows how to be a tamer, but since he doesn't want to be that anymore, he rather withdraws than staying the oppressor.

For Buffy, this is a cast of fortune. Depressed, desperate and nearly broken she now has the chance to become, to free herself of her chains and run wild! And she tries. Oh how does she try. She goes to the one creature she knows who has no restraints (apart from some tiny clockwork orange problem...). Who seems to be free (Haha! as if!). And Spike is eager to please: He wants Buffy to become a „wild woman“, without (moral) constraints, full of power, confidence and sexuality. Well, he nearly wants that... deep down, of course, he hopes to be able – maybe not to control Buffy – but to steer her, participate in her sexuality, her power. And of course, he is an amoral ass. So, Buffy's first steps onto the road to freedom are difficult. She has her own deep problems, and her chosen companion has a whole set of other deep problems. But, this phase does something wonderful for Buffy: She discovers her inner „wild woman“, something the show describes as „inner darkness“ (and again, gentle reader, i want you to remember what i said about „tricking the audience“ in this play). She becomes Faith and anticipates Dark Willow, so to speak. She's torn between her internalized taming and the things her companion offers. This inner conflict cannot turn out well. Since the show is eager to describe „wild women“ as insane and dangerous, it cannot allow Buffy to break free in this manner. But, Buffy lucks out again: Her companion gets that he is not a fit companion to a „wild woman“ - he is a controlling, needy freak! The miracle that is the diversity of male roles in pop culture strikes again: Spike revolutionizes himself! He transforms himself from destroyer and tamer to supporter. (Well, he goes through that tiny phase of insanity, of course, and needs rescuing on a really grand scale....)

But back to Giles. A shitstorm is brewing, Buffy is trying and there is another „wild woman“ on the loose back in sweet old Sunnyhell: Willow Rosenberg, self-reliant, knowing, owning her sexuality apart from male control and desire, POWERFUL. Willow wants to change the world – and conflicted or not, Giles cannot let this happen! Those women! The world will be destroyed when they try to come into their own! One mustn't allow women independence and power (and just think of  the sexuality – it is unnatural, it is!).

So, The Tamer comes back with a vengeance!  Fortunately – powerful entrances not withstanding – the Tamer actually doesn't succeed fully. While he is able to implant a doubt in the mind of the „wild woman“, he is unable to tame her (that role falls to Xander, of all male characters! Ick!).

And so „wild woman“ Willow is tamed, and brought back into the benevolent hands of patriarchy (or not – but that is a tale for another time).

Where does Giles stand now? Last we've seen him, he tried to give up on his role as the tamer. But now, the narrative asked him to don that mask again. This is rather unfortunate for Giles, since all the progress he made is undone. While he acknowledges that he cannot be the tamer of Buffy anymore, he is further away from being a tutor than ever. And thus comes season 7 and the last act of this play and his role.

Giles tries to be supportive of Buffy, he tells her she is the one who counts, that she has to make her own decisions and shape this world in her image. But, deep down, he cannot trust her: Those women! Better not left to their own devices. He has one last lesson to learn, and he cannot learn this by himself (the history always happens behind the backs of the people involved in it). Buffy, in her generous way, teaches him this last lesson: „No, i think you've taught me everything I need to know“. He either can fall back on his role of tamer, maybe in the more defined role of the manipulator – or he can accept this, Buffy doesn't need a tamer nor a tutor. He chooses the latter, and good for him! Giles ends the play as a human being, instead of a misogynistic jerk.

Buffy is finally free, she has taken the necessary steps to become – a „wild woman“. She has defeated everyone who tried to destroy her and tame her, the destroyers and tamers she thought of as her allies (-> internalized self-taming) have finally reformed and accepted that she is free (and i want to take this moment to remind everyone of Spike, who gave up his own narrative so that Buffy's narrative can continue. The male narrative vanishes, the female narrative stands and goes on. Go! Spike! Err, well. He's not going anywhere, actually).

I have so many more thoughts on the “wild women” of the show, how they are depicted, where the show falls victim to misogynistic clichés in storytelling, where it succeeds in telling a wonderfully different narrative: Faith, Glory, Willow. The best and the worst moments of the show.

But that's for another day.

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For your sake as well as mine, I'll write a bit less this time. :) I struggle with the victims in the story generally. These are minor in comparison to season eight, and are their own can of worms. but I'll start here: I mean, in BtVS. The people Angelus kills are his fault, not Buffy's; the people who die in the Graduation Day Fight are the Mayor's fault, not the gang's; all the partygoers who get killed by Joyce's zombie mask; the Knights of Byzantium are necessary casualties in protecting Dawn, who does not deserve death, even though the Knights, while I do not support them, are still acting (in-story) in something resembling self-defense. And very little word about those deaths. Buffy could have killed Angel in Innocence, and besides Jenny, the story continues. Could the Mayor have been stopped from Ascending had the gang held onto the Box of Gavrok at Willow's expense? How does Buffy live with it? How does *Willow* live with it? That maybe, just maybe, Larry and Harmony died because her friends chose to save her? Does Joyce blame herself for bringing a mask of destruction into her home? Can Willow just give Buffy an enthusiastic hug after all those deaths at Buffy's welcome back party (DMP again)?

They are victims and it is victim-blaming to give them too much responsibility, especially in the Choices case where giving Willow up to certain death to hold onto an uncertain hope that the Mayor can be stopped by keeping his box from him; but still, the story moves on from the question so quickly, and the characters continue living with all the death in a way I can't quite wrap my head around as a literal story. As with vampires, the way the story makes sense is to have fluidity in reading those dead: OK, the people who died at the Dead Man's are there to symbolize the eruption of buried rage. The knights draw a parallel between Buffy and Glory (both killing them!) and provide a visual metaphor for the onslaught on Dawn, as well as symbolizing the medieval thinking that motivates the obsession with death. Angel's victims are 'real' but his redemption plays in a sense as a man trying to overcome a lifetime of hurting people, not killing them. In-story, we can justify the nonchalance of deaths by appealing to humanity's adaptability to extreme circumstances, and I think that covers a lot, but out-of story I sometimes worry about it. I mean, red shirts are (probably) necessary in this type of story, and (probably) not a bad thing in and of themselves (or at least, I like so many stories that have red shirts!) -- but the question of how to treat them looms large.

So the victims in #39, yes. You're right. And of course there is a big difference between deaths Our Heroes are not responsible for, but had some choices that may have indirectly led them to, and Buffy's betrayal and nonchalance about it in the Last Gleaming arc. As well as between deaths as a matter of course, because there just *are* deaths in the story world, and deaths that are there for shock value only. I think that the idea isn't quite that she's 'right' in taking slayers down a notch in #40, but I see how it reads that way.

I hope that Dawn gets out of the attic of "Xander's girlfriend" as well -- though there is also a non-zero chance that the attic is there for both of the two characters.

OK, not so short! I might actually have to close my e-mail tomorrow so that I can get a bit more work done and give you time to respond. :)

Yes, the victims. I am actually able to gloss over the victims for similar reasons to your own: They are, after all, symbols, just like the vampires and demons. I think it becomes a bit more problematic when dealing with the redemption of a character (and this is one of the reasons why i cannot really bring myself to really care about the character of Angel: he broods. And....?).

On the other hand, this shoving the victims in the attic of "symbols!" does make #39 even harder: the women dying there are supposedly empowered women! But the narrative heeds no call to that - or, worse, shows them as pure victims. Wasn't that one of the premises of BtVS, that the slayer(s) is (are) not a victim?

as well as symbolizing the medieval thinking that motivates the obsession with death.

... and sacrifice! The knights are really wonderful in that: as you say, they are there to parallel both Buffy and Glory in multiple ways: not only are they killed by both, Buffy and Glory, they also take aspects of the two women, acting as mirrors: Onslaught on Dawn (like Glory), martyrdom (like Buffy). Also: Insanity.

Very acute observations on the victims, like always. :)

Another thought: I think the narrative could go on, without being entirely centered around the protagonist. Like "Graduation Day": That episode had both, the dashing hero Buffy, the heartbreak of the personal level for Buffy, as well as a "community-driven" solution to the plot. Or, you know, there could be several "protagonists", especially in a comic, without the restraint of actor contracts, etc: Like "The Chain". Center different issues around different characters, even no-name characters, like "The Chain" (which is widely acclaimed as one of, if not the best issue overall!).

Well, in the end, season 8 is water under the bridge (slightly foul smelling water, but gone nonetheless...).

We'll see if season 9 is salvageable. Off to a bad start, cliché ridden, and without addressing the problematic areas of season 8 (i don't mean the plot of season 8 - i mean the failing in the storytelling choices). I'm sure you'll tell me if it gets better. ;-)

I know what you mean re: redemption. It's perhaps why Selfless almost has to exist in order for Anya to have a real redemption story: for the first time, her victims move from being symbols to actual human beings, and she gets to undo that (though not all the ones who did suffer, even though, to the audience, they remain symbols). I think that while Warren and Rack are vile, they nevertheless feel human, which is why I think Willow's story has a weight to it (though other fans disagree); similarly with Allan Finch and the vulcanologist (though less vile -- well, Allan is an open question: I disagree with Giles' description of him in Angel & Faith, considering that while he was working for the Mayor, he was in the process of trying to go to Buffy to expose him, I think; but it's another topic). The two slayers Spike killed do not feel like symbols, either. But of course, to SOME degree, every character in this story is at least partially a symbol, it's just hard to distinguish them all.

On protagonists: I do think Whedon is fixated on the way people on the sidelines just are hurt by there being a protagonist. Season eight *did* move away from a protagonist-centred narrative in many ways: The Chain, No Future For You, the Predators and Prey arc in which only one issue -- the P&P issue itself -- focused on Buffy, and there it focused on her relationships with two minor characters (Andrew and Simone). Plus the Willow one-shot, the Riley one-shot (though of course the Riley one-shot especially was more about Angel and contrasting B/A with Riley/Sam). But ultimately, the non-Buffy issues were still in some sense 'about' Buffy. NFFY has Faith contrasting Buffy; The Chain comments on what Buffy is when you remove Buffy the character and look only at Buffy the icon, with a different character. I think Swell is primarily about Buffy & Willow, by showing their "castoffs," Satsu & Kennedy. Now, Whedon *could* have done something differently, and indeed he is capable of writing ensemble works: his run on X-Men (while there are problematic elements of course) is very deeply an ensemble work with the 'protagonist' varying depending on the issue. But...I don't know. I think that he felt that Chosen did not sufficiently dismantle the protagonist-centred narrative. And indeed, season eight's story has Buffy and Angel (the two protagonists of the Buffyverse) creating their own universe, and Buffy has to smash the Seed in order to remove it. Aycheb writes about the season in terms of being about celebrity. I see the Seed smashing as being Buffy removing the possibility of protagonists having global power -- which, of course, is not so fun for other people who could be protagonists in and of themselves and possibly use that power for good (like Willow).

Problematizing your own work and undermining it are subtly different things, and I'm not sure if Whedon is prepared for how much his problematizing BtVS undermined it. I don't know. I would let you know if season nine gets better, but of course I like season 8, so... ;) I enjoyed issues #1 and #5 of season 9 quite a bit and have high hopes. But oh well -- we'll see. :)

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