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Abria Flack
Professor Ditch
English 115
6 November 2017

Social Saints

Western society has been persistent and successful at fooling its inhabitants into believing

that socially constructed gender concepts are naturally imposed. All must simply comply with

these predetermined guidelines or face the possible consequence of societal jeering and put

downs. Nonconformity to these so-called natural procedures is not valued, nor promoted.

However, it should be recognized that a humans natural behavior, regardless of its masculine or

feminine favor, deserves to be free of labels as every refined personality harbors characteristics

from both gender classifications. In the novel The Guernsey and Literary Potato Peel Pie Society

by Annie Barrows and Mary Ann Shaffer, there are two characters who both satisfy and

dissatisfy their prescribed gender roles by demonstrating both assertiveness and compassion in

their performances: Juliet Ashton and Sidney Stark.

The concept of gender performance is highly influenced and enforced by society. And

the differences between each performance are very significant. A masculine performance grants

title to activity, speech, or body language that typically lacks gentle or submissive properties. It

has also branded western society's definition of male, though the word implies no natural

correlation to a specific, biological sex. Aaron Devor in the article Becoming Members of

Society: The Social Meanings of Gender, elaborates upon this subject by presenting how the

ideology which schema grows out of postulates that the cultural superiority of males is a natural

outgrowth of the innate predisposition of males towards aggression and dominance (40)
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Though this fragment of text offers an explanation regarding the male label, it also expresses the

terribly inaccurate ideology of women being incapable of evoking the same qualities. Juliet

Ashton in the novel The Guernsey and Literary Potato Peel Pie Society by Annie Barrows and

Mary Ann Shaffer is a fantastic example of a woman who can embody these characteristics. On

the contrary, a feminine performance is just as perverse as one that is masculine. It offers label to

activity, speech, or body language that does indeed consist of gentle, compliant, maternal

qualities. This term has been assigned to the female sex, though, just as the term masculine, it

has no natural correlation to either biological identity either. As also stated by Aaron Devor, the

female, family-oriented characteristics contribute to the gender branding that places women in a

more domestic role. However, similar to how versatile the compliance of male standards are, a

man can assume the same familial inclination as well.

In the novel, Sidney Stark, a close friend of Juliets, who both complies with and

digresses from gender norms, demonstrates the so-called male abnormality that diminishes the

compassionate qualities of the paternal role. Due to Sidneys recognition of this notion, he

exercises discomfort within situations where his paternal qualities are potentially made evident

and recognized. With acknowledgment of how men are to avoid projection of profound familial

involvement Sidney essentially averts from a male performance by doing so. During Sidney's

visit to the island of Guernsey, he had taken quite a liking to the child Kit, just as Juliet did. The

trip was initially organized for business purposes, however the longer he stayed the more he

became affected by the positive energy offered by the environment. However it seemed as

though he did not want to admit it with acknowledgement of how lackluster the paternal role is

meant to be. If Juliet had never lured the answer from him, he would have never vocalized it. To

elaborate, Sidney had never quite expressed his fondness of any of the surroundings granted by
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Guernsey, but Juliet still managed to notice by close observation. Having been meant to assume

his authoritarian role as editor while visiting, Sidney refused to abandon the masculinity that he

typically displays within that field of business and professionalism, therefore falling under the

influence of the male gender aspect that disregards profound familial involvement.

On the other hand, the strength of Sidneys masculinity is assured by his position as

editor. Considering it to be his professional career, Sidney exercised very masculine qualities in

order to maintain this status. He was very strict with deadlines and product consistency in order

to satisfy his job requirements effectively. He was not afraid to confront Juliet with what he felt

she could do better, and constructively criticized her rather frequently. Reviewing Juliets

manuscripts, he would distribute input on what it was she could do better and identify where she

lacked skill. Sidney's assertiveness accommodated the dominant qualities of the male social

construction, so therefore he is unlikely to experience opposition. And in that particular instance,

the sole dominant position had been assumed by Sidney, leaving the submissive position to be

filled by Juliet.

There is a nonexistent correlation between sex and gender, though societys persistence

in implying the opposite has unfortunately fooled people into believing that one truly exists. One

would question how these labels have remained existent for so long as they are hardly beneficial

and problematic, as expressed by Jason Del Gandio in the novel Rhetoric for Radicals (Del

Gandio 113). It is heavily indicated that men are to conceal the more expressive human qualities

and exert those that are more gallant. But, men simply would not have been born with such

characteristics if they were never meant to exercise them. As for women, it is a strong and lasting

stereotype that they belong to and embody a more domestic role; as the socially-designated

caretaker, such an amiable figure has no room for assertiveness or certitude. When in reality, for
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human beings there is no essential femaleness or maleness, femininity or masculinity,

womanhood or manhood, but once gender is ascribed, the social order constructs and holds

individuals to strongly gendered norms and expectations (Lorber 25). Humans are born

genderless, but when socially-constructed behavioral influence is enforced upon them in

response to their biological sex, they learn to perform as what is perceived as acceptable.

The standards of each gender performance evolve with the times and accommodate what

is socially acceptable during that given period. Both labels experience a fluctuation of strength.

Within the post World War II era that the novel takes place in, gender roles are far more

powerful and strictly enforced by society and the people manipulated by it. In the article Night

To His Day: The Social Construction of Gender, the author Judith Lorber elaborates upon this

social institutional base of societal procedures and how they continuously change and label the

ideal gender standards present in western society, due to the transformation of cultural and

material practices. For example, Juliet Ashton in the novel pursues the exact opposite of what

women are and were expected to, assuming more outstanding roles than just a mere housekeeper,

and in some situations resolved to aggression.

Just as there are those who unapologetically comply with gender standards, there are also

those who refuse to satisfy them. Gender nonconformity is the refusal of practice of socially-

asserted gender norms or roles. It is both admired and rejected in the circumstance of

favorability. For example, when someone who identifies as female exerts more masculine

tendency than feminine, they can be met with opposition, though likely to a feeble extent.

However, men who do not comply with the standards that construct the male image can be met

with more brutal responses. The be a man statement and what it demands highly contributes to

the strength of what is perceived as the ideal male image.

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In the novel The Guernsey and Literary Potato Peel Pie Society specifically, the

character Juliet Ashton demonstrates both conformity and nonconformity to prescribed gender

roles. During her time in Guernsey, Juliet had taken quite a liking to the orphan-child Kit, as she

did her. She acted as her mother: looked after her, made sure she was well fed, dressed her,

played with her, took her out. The novel concludes with Juliet engaging in the process of

adopting her. Guernsey provided a comforting and home-like environment for Juliet, an

environment where her feminine grace could and did rule. In Guernsey, she rarely maintained the

somewhat tough faade that she did by her lonesome in London. Concluding that within spaces

where she is more comfortable and of genuine happiness, the necessity for dominant behavior

is unessential. After having spent quite a while in Guernsey, Juliet expressed how she had

bounced out of bed feeling frisky as a lamb, and how Kit and her spent the morning running

races in the pasture (Shaffer-Barrows 212), insinuating that she had established comfort within

that space. Considering the maternal responsibility that brands the female identity, Juliet is

satisfying a feminine performance and is therefore conforming. For instances where Juliet is

satisfying female gender roles, she is not confronted. But, in situations where she does violate or

accommodate opposing gender roles, she can be approached with conflict.

However, Juliet also displayed a masculine performance by ending the romantic

relationship she had with the American soldier, Mark Reynolds. In the environment where she

was most comfortable and could behave as her true self (Guernsey), Juliet began to realize the

superficiality of her relationship with Mark, and began to reject it out of repulsion and loss of

desire. She became so happy with the quality of her surroundingsthe people especiallythat

Marks negative influence became apparent and she no longer wanted him to be a part of the new

life she was constructing for herself. She placed her happiness above satisfying someone else's,
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which was rare because self-sacrifice was quite a frequent gesture made by and expected of

women during that time. Juliet had told him that [she] would never marry him or anyone else

who did not love Kit and Guernsey and Charles Lamb (Shaffer-Barrows 213), which were all

things that she profoundly cherished. As expressed by Jason Del Gandio in the novel Rhetoric

for Radicals, the trick is to understand who you are, where you come from and where you want

to go (Del Gandio 95). She acknowledged what she wanted prior to asserting anothers

happiness. By her friends, this behavior of Juliets was never demeaned, as the strong mentality

that encouraged it was and continually constructed who she was as the person they were so fond

of. However, by anyone who is unfamiliar with Juliet, this behavior can be met with a negative

response as it does not accommodate the ideal feminine performance that women are to

constantly evoke under societal viewpoint. This is labeled as a gesture of nonconformity because

the concept of partnership and marriage is strongly imposed upon women.

There is a powerful gravity generated around seeking a significant other and therefore

founding the ground for initiation of the assigned, female, domestic role. Initially, Juliets

thoughts and actions toward Mark were persuaded by this social construct, hence how she forced

and somewhat rushed certain aspects of their relationship. She felt that as a woman it was her

responsibility to define such areas of her life, as she has been raised in a society that implies such

notion as necessity. From an alternative viewpoint, women can be perceived as only a piece that

contributes to the male ideology, only part of a greater imagenever independent. Therefore,

Juliet rejecting her relationship with Mark was essentially her rejecting what can be depicted as a

primary aspect of the female, gender construction as wellnonconformity. It is a popular

opinion that this is due to how benevolent sexism involves the attribution of typically positive

traits or qualities towards women but these traits are derived from stereotypes that see women in
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limited ways and often stem from male-centered perspectives (Power). A certain authenticity is

established within those who refuse to comply with even the most minor gender norms.

Without the occasional non-conformers, every existing human would essentially be the

exact same. And though some people could be satisfied with that potential outcome, the species

in entirety would eventually reach a standstill. The structure of living and action would become

robotic and lack the authenticity granted to those who adopt behavioral tendencies and interests

from personal assertion, rather than in response to what is socially acceptable. Not only would a

genderless future allow exercise of natural and confident behavior, but areas of gender

confliction would be soothed as well: job status, familial standards, public depiction, etc. And

most people fail to believe that Related to the sociological perspective, a feminist perspective

on gender roles might assert that because gender roles are learned, they can also be unlearned,

and that new and different roles can be created (Blackstone 335). Every gender standard and

expectation is socially constructed, which essentially means that new and genuine standards can

be created in replacement. Gender roles are constantly changing in response to the times and

strive to accommodate what society perceives as appropriate.

Humans should not shamefully conceal behavioral aspects or interests that compose their

internal structure just because an authoritative position deems them as displeasing. Juliet had

been approached by many people throughout the novel who questioned and jeered at her female

portrayal, as it was not primarily feminine, however she was not discouraged by those comments

and received quite positive outcomes from her performance. And Sidneys unideal qualities as a

man were never established as an obstacle in his career or everyday life, as he refused to allow

that occurrence and simply proceeded with his own will and determination. Each individual life

should be granted the opportunity of ambiguity, and should remain unhindered by any external
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input. From this, an outcome that has not yet been entirely developed may be accomplished

complex diversity.

Works Cited

Blackstone, Amy M. "Gender Roles and Society." Digital Commons. N.p., 2003. Web.

Devor, Aaron. "Becoming Members of Society: The Social Meanings of Gender." Composing

Gender: A Bedford Spotlight Reader. Boston: Leasa Burton, 2014. 35-45. Print.

Gandio, Jason Del. Rhetoric for Radicals: a Handbook for 21st Century Activists. New Society
Publishers, 2008.

Lorber, Judith. "Night to His Day: The Social Construction of Gender." Composing Gender: A

Bedford Spotlight Reader. Boston: Leasa Burton, 2014. 19-34. Web.

Power, Maria, and Alexia Jo Adams October 8, 2011 "The Social Construction of Gender." The
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Social Construction of Gender - Applied Social Psychology. N.p., 3 Oct. 2011. Web. 13
Oct. 2017.