Davison’s humour was met by the wry humour of this letter which managed to turn the
tables on the usual gender stereotypes that Davison tried continually to rebuff:
October 10 1912, To the Editor of The Newcastle Daily Journal , “The Hunger
Strike”
Sir, –I fear it would not be easy to enforce a hunger strike upon the male sex
during the festive season, as Miss Davison suggests in your paper today; since
all the most accomplished cooks are men, who might have a sneaking sympathy
with the starving victims. It is precisely in the domestic arts, such as cooking,
housework, and dressmaking that a man excels; let us give the devil his due; but
over wider affairs of national importance he invariably makes a most conspicuous
ass of himself. When it comes to positions requiring high powers of organization,
tact, and diplomacy, a wide and intimate grasp of detail, and an incorruptible
devotion to duty, then a woman is required.
To take one small example: if Miss Davison will enter any of our best
shops, doing a large and successful business, she will find that the window-
dressing and other work which requires a man’s taste and a man’s skilful fingers
is done (as it should be ) by men; but at the cashier’s desk a woman sits
enthroned.
9th October, 1912
LOOKER-ON
Davison, however, did not take kindly to the tone or the content of “Looker-
On’s” letter, missing the cues that might have signaled some support for women. She
took the argument at face value and engaged it seriously and angrily in this letter
which takes the opportunity of Looker-On’s observations about the dominance of men
in women’s so-called sphere, to castigate pervasive male influence in all aspects of
English culture. The letter also indicates Davison’s awareness of William Morris’ and
the Arts and Crafts’ Movement’s interest in unrestricted and natural clothing for
women.
October 15, 1912, To the Editor of The Newcastle Daily Journal
Sir, Your correspondent, ‘Looker On,’ is evidently given to the art of picturesque
abuse when he unkindly reflects on the diabolic tendencies of the male sex, and
at the same time cunningly displays the male cloven hoof by referring to the age-
long masculine tendency to absorb all the paying and comfortable sinecures,
which belong to the sphere usually elegantly described as peculiar to women.
Thus, too, ‘Looker On’ is cleverly forcing upon our notice how absolutely the
average male is thrusting his tongue into his cheek, when he urges the exploited
female to shine brightly in her own ‘sphere’ when he can tell her to pay up and
shut up, so long as he controls the law and the purse-strings!
‘Looker-On’ rams home the little fact that the astute (or asinine!) male still
sees to it that he runs the gamut of guiding women by shop windows, and great
autocrats of fashion, such as Worth, to exhaust their energy and cash on the
very prettiest and most changeable of fashions, so that they may all through the
ages play into his hands! And the amusing commentary on it all is that ‘Looker
On’ points to the fact that the gentle devil does it all through those very acts in
which he is deficient .
The average masculine good taste is abundantly evidenced in his
hideosities, in his sight-offending cities, his own monstrosities in the matter of
male and female attire (which causes him to clothe himself in the beauteous
topper and sightly [sic] bifurcated garments, while he orders his female to
veer from the cramped shoes of old China to the alternatives of the crinoline
and hobble-skirt of Europe), to the very ugliness of his own private dens and
city offices. ‘Looker On’ is evidently possessed by a satire almost worthy of
Dean Swift in referring to the ‘skilful fingers’ of the male, when we consider the
blasphemy to which the latter is given when faced by the departing button or the
recalcitrant collar-stud!
EMILY WILDING DAVISON