Critical Trilogy

a critic's millennial journey

AMERICAN WOMAN

Birth of the USA, Sibly chart, July 4, 1776, Philadelphia, PA

Attending the press preview of the spring exhibition at the Metropolitan Museum Costume Institute has been a ritual ever since I received a press pass — about a decade or so.  The year I was finishing the final volume of Kundalini’s Daughter the exhibition theme was “Goddess,” extremely helpful in my description of the goddess attire in the manuscript!

This year the theme is “American Woman: Fashioning a National Identity” which is right in tune with my thinking about “Margaret Fuller and the Sacred Marriage.”

I was attending this preview the Monday before my Mother’s Day sermon on “Margaret Fuller and the Sacred Marriage.”  Therefore, the Mother of the American canon was very much on my mind as I traveled through the four stages of the development of the “American archetype.”  It intrigued me that this Jungian term, archetype, rarely used in art writing, was now being attached to the American female.

Margaret Fuller inner chart, rectified by Lisa Paul Streitfeld May 23, 1810, Cambridge, MA

Could we indeed read an American feminine archetype signaling liberation in the USA astrological chart (above)?

Could Margaret Fuller be re-visioned as a cultural pioneer who excavated the face of the divine feminine in her creative writing so that the “sacred marriage” be the foundation of a new American literature?

Unable to find a birth time for Margaret Fuller, I had rectified her birth chart (left) to give her a Leo rising.  After all, they called her Queen Margaret!

Giving her a 2 degree Leo Rising places her Moon on her descendant at 4 degrees Aquarius conjunct my Aquarian Sun (left).  This is also conjunct the Sun on the January 23, 1997 Seal of Solomon configuration of the hieros gamos archetype (right).

Margaret’s chart indicates her karmic path as attuned with America; both charts have North Node in Libra, the sign of the Sacred Marriage!  Couldn’t Margaret Fuller have been seeking this archetypal energy in the dark recesses of the unconscious?

Jeffrey Steele, a lone Fuller scholar who has researched and examined Fuller’s mysticism and occult sensibilities, sent me his essay, “Symbols of Transformation: Fuller’s Psychological Languages,” which I read under the Full Moon last week. I felt a resonance of the Merkaba light body and everything fell into place.  I knew my life would never be the same.

An amazing synchronicity: the essay contained an excerpt from Fuller’s journal dated January 24, 1841, when the Sun was at 4 degrees Aquarius!

I wandered in the subterranean recesses, the light was darkness; my feet bled with the sharp stones I could not see to avoid; cliffs pierced my ardent breast; cold and foreign substances slid on either side from my seeking hands.  Gleams of light came sometimes only to show me that the path wound on and on. . . . (The Essential Margaret Fuller 18-19)

This would explain the connection which sent me underground for the past year in order to deliver a new birth — the exhibition that feels like it was being guided by Margaret’s spirit.  How much surrender did I have to go through for this to take form:  “Woman in the 21st Century: Margaret Fuller and the Sacred Marriage.” And now, another synchronicity, this exhibition at the Metropolitan Museum of Art Costume Institute, revealing the evolving “American Archetypes” through six galleries, ending with a multi-media slide show of the face of the American woman!

1890s:  THE HEIRESS

Portrait of Nancy Astor by John Singer Sargent, 1909

Worth Ball Gown, 1898

Consuelo Vanderbilt by Boldini,1906

1890s: BOHEMIAN

Liberty1910 and AnonFrench1909

Callot soeurs
Cyclaman, Mrs.                                          Philip Lydig by Steichen, 1905

SOLDIERETTE & SUFFRAGATE

1910: GIBSON GiRL

Vacation by JC Leyendecker, 1907

1920s: FLAPPER

FLAPPER GALLERY VIEW: Anon (French) 1925 & Anon (American) 1926 1930s

circa 1928: American actress Louise Brooks (1906 – 1985)


1930s: SCREEN SIREN

Charles James and Madame Eta

Jessie Franklin Turner 1933, Chanel 1934, Travis Banton 1934

Anna Wintour and Bill Cunningham of the New York Times at the morning press preview

Which brings us to the English born and bred females at the helm of VOGUE, made prominent by the film, The September Issue. Editor-in-Chief Anna Wintour is quite obviously Athena identified.  She tells us of following her father’s suggestion that she write “Editor of Vogue” on a form as a career goal.  Creative Director Grace Coddington is a far more complex and interesting figure, who turns out to be the unintended star of the film.  She seemed to be a grounded Inanna type, fiercely protective of her Sky Children, her creative output.  The chief of these was a twenties feature which correctly forecast the mood before the September 2007 financial crash, which brought an altogether new perspective to the Conde Nast high life, where $50,000 was tossed in the garbage bin at the flick of Wintour’s wrist !

Grace Coddingham & Anna Wintour

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May 11, 2010 Posted by | Uncategorized | Leave a comment