Sex, death and aliens: a feminist watches ‘Arrival’

arrival-language

Last week I saw Arrival, the recently-released film with Amy Adams as Louise Banks, a linguist recruited by the US military to decode the language of some non-humanoid aliens who have unexpectedly arrived on earth. I wasn’t expecting to love it; in fact, when I first heard about it I thought I’d probably give it a miss. For one thing, I’ve never been a great fan of the ‘aliens have landed’ genre; for another, I’d read that Arrival leans heavily on the Sapir-Whorf hypothesis, a 20th century theory which says that your perceptions of reality are influenced—or in the strongest version of the theory, determined—by the characteristics of the language you speak.

People in my line of work tend to approach anything based on this premise with caution. Most linguists rejected the ‘strong’ version of the hypothesis long ago (though ‘weak’ versions continue to be debated), but that hasn’t prevented it from being endlessly recycled in popular culture, often in crassly simplistic ways. Some propositions based on it have been around forever, repeated so often they’ve passed into received wisdom (like the indestructible zombie fact about Eskimos having a lot of words for snow—they don’t, but even if they did, as Geoff Pullum says in his classic debunking piece ‘The Great Eskimo Vocabulary Hoax’, why would that be any more significant than printers having a lot of words for fonts?) Others, testifying to its continuing vitality, have popped up more recently (remember the headline-making claim from 2013, that people save more if their language lacks a future tense?)

The Sapir-Whorf hypothesis has also been of interest to feminists. In 1980 Dale Spender invoked it to support her thesis that women were oppressed by having to view the world through the lens of a ‘man made language’. And a few years later, as I explained in an earlier post, the feminist linguist and sci-fi writer Suzette Haden Elgin made it the premise of a series of novels, for which she also created an alternative ‘women’s language’.

Not all versions of the idea that idea that language determines thought are directly indebted to Sapir and Whorf. Another perennially popular source for it is George Orwell’s Nineteen Eighty-four. (Orwell was a contemporary of Whorf, though it’s unclear if he knew Whorf’s writing). Though Arrival refers explicitly to the Sapir-Whorf hypothesis, in some ways it seemed closer to the Orwellian tradition. Specifically, it reminded me of a classic piece of feminist writing in that tradition: Carol Cohn’s 1987 article ‘Sex and death in the rational world of defense intellectuals’.

Cohn wrote this article after spending a year at what she refers to as ‘the Center’, an institution devoted to studying the technology and strategic use of nuclear weapons. (She memorably describes herself as ‘a feminist spy in the house of death’.) A critic of US defence policy, she hoped that spending time with ‘defence intellectuals’ would give her politically valuable insights into their thinking. But she gradually became aware of a paradox. To interact with the experts it was necessary to speak their language, since if you didn’t use their specialist terminology they dismissed you as ignorant and naïve. But as Cohn learnt the language she realised her attitudes had changed:

The more conversations I participated in using this language, the less frightened I was of nuclear war.

Why did learning the language have this effect?  Cohn’s answer is that ‘nukespeak’ is designed to make its users feel powerful and in control. By positioning them as knowledgeable, rational agents, planning and overseeing the use of weapons of mass destruction, it insulates them from the emotions they would feel if they identified with the mass of powerless victims.

The most obvious feature of nukespeak which enables it to do this job is abstraction: it’s full of acronyms and obscure nominalisations (like ‘escalation dominance’ and ‘strategic stability’) which are, as Cohn comments,

so bland that they never force the speaker or enable the listener to touch the realities of nuclear holocaust.

But it isn’t all about bland euphemisms. Another way in which users of nukespeak are induced to feel powerful is by imagining weapons as extensions of their masculinity. Cohn reports being both amazed and appalled by the extent to which explicitly sexual imagery pervaded the experts’ discourse:

Lectures were filled with discussion of vertical erector launchers, thrust-to-weight ratios, soft lay downs, deep penetration, and the comparative advantages of protracted versus spasm attacks—what one military adviser to the National Security Council has called “releasing 70 to 80 percent of our megatonnage in one orgasmic whump”.

Yet the same weapons could also be imagined as cute animals or harmless pets: one anti-ballistic missile system went by the acronym ‘BAMBI’, and on a tour of a nuclear submarine the visitors were asked if they wanted to ‘pat’ a missile.

Cohn was also struck by what the experts couldn’t talk about. The model that informed their strategic discussions had been developed mainly by mathematicians, and its internal logic excluded the human factors which would be likely to affect any real-world conflict. For instance, discussions of ‘limited nuclear war’ were conducted on the assumption that

Our rational actors would be free of emotional response to being attacked, free of political pressures from the populace, free from madness or despair or any of the myriad other factors that regularly affect human actions and decision making. They would act solely on the basis of a perfectly informed mathematical calculus of megatonnage.

Which brings me back to Arrival, and why it reminded me of Cohn’s article. What I saw in the film was the same opposition Cohn posits between militaristic ‘male’ values (rationality, dominance, destructiveness) and their ‘female’ opposites (emotion, co-operation, nurturance). In Arrival the female values ultimately defeat the male ones. Whether you think that makes it a feminist film will depend on what kind of feminist you are.

What I knew about Arrival before I saw it suggested it would be a feminist film in the more conventional Hollywood sense. It doesn’t pass the Bechdel test (which requires at least one scene where two named female characters discuss something other than a man), because there’s only one adult female character in it. But that character, Louise Banks, is the main protagonist, and her role in the story is defined by her intellectual and professional achievements. She isn’t just a man’s sidekick or his love interest. She’s smart and brave and she ends up saving the world.

But at a deeper level the narrative is structured by the stereotypical male/female opposition I mentioned earlier. Louise isn’t just a brilliant linguist who happens (like many real-life brilliant linguists) to be a woman. The logic of the film requires her to be a woman—Venus to the military establishment’s Mars. I said before that what defines her role is her profession, but in fact she is also identified, in the opening moments of the film, as a mother—one who (we are led to believe) has suffered the death of a beloved child. And this is not irrelevant. Her success in decoding the aliens’ language is shown to depend not only on her technical skills (which are alluded to more than they are displayed), but also and crucially on her feminine/maternal qualities of empathy, intuition and compassion.

These qualities are especially prominent in the scene where Louise makes her initial breakthrough. She manages to connect with the aliens, before she knows how to communicate with them, when she impulsively abandons the defensive posture required by military protocol, and instead makes herself vulnerable. Defying her orders, she removes her protective gear, walks up to the glass wall that separates the humans from the aliens, and presses her naked palm against the glass—a gesture which the aliens reciprocate, and then follow up by offering the first, all-important evidence of their writing system.

Later on, Louise will apply her emotional intelligence to defusing the threat of global war, which arises because of a conflict among rival human powers (China, Russia, the US and their various satellites) about how to deal with the aliens, and in particular, whether to use force against them. This part of the film is like a textbook illustration of Carol Cohn’s point about the practical irrelevance of defence strategists’ abstract models. The politicians and generals who must decide what to do are clearly not in control, and nor are they making rational decisions. As their terrified populations riot, loot and demand immediate action against the alien menace, these leaders stop trying to figure out whether the aliens are really a threat, shut down communications and focus solipsistically on their own political interests (apparently they reason that it’s better to blow up the world than give up your strategic advantage by sharing intel with your rivals).

As the crisis escalates, the rational, pragmatic army colonel in charge of the US military operation seems to accept that the world is heading for catastrophe. Louise, however—who by now is in touch not only with her own feelings, but also with the aliens’ minds (this is where the Sapir-Whorf hypothesis comes in: by learning the aliens’ language she has become able to cognize the way they do)—refuses to accept defeat. Disobeying orders one last time, she makes a phone call and averts disaster. (I won’t reveal how she does it, but her strategy is definitely from Venus.)

Louise isn’t exactly a ‘feminist spy in the house of death’, since she appears to have no political convictions of any kind. But she can be seen as a disruptive female force in a world whose rules are made by men, and in the context of the film as a whole I think she does symbolise the old idea that women are the creators and protectors of life, whereas men—or at least the powerful ones—are the bringers of death and destruction.

That was also, of course, an argument used by some feminist peace activists in the 1980s. It’s not my favourite feminist idea; but the popularity of Arrival suggests that, like the Sapir-Whorf hypothesis, it still resonates. And when you look at what’s happening around the world today, perhaps that isn’t hard to understand.