Reading Emily Steinberg’s remarkable comic Paused, what grabs me is her remarkable recognition: her gripping ability to see the Dark Horse Menopause approaching (“unbidden and unwelcome”) amidst the dailyness of a young woman’s life, to envision Menopause announcing herself in her calamitous lability, her flow of symptoms (waking, drenched, freezing, stuck, and then raging heat surges/broiling/sweating), and finally her mythic multiplicity.
Steinberg’s wonderful, witty comic reintroduces us to our manifold ways of unknown knowing (sorry, Rumsfeld) about what menopause is, culturally and personally: she’s a banshee; she’s La Belle Dame sans Merci in her fully cloaked and unwelcome glory; she’s a desiccated Madame Frankenstein (in academic jacket) lurching towards us and yearning for the lube that love requires; she’s the fabulously trans-Tin Man, hoping for that oleaginous elixir; and she’s even the marvelous girl-golem, a Mummy prostrate but ready to display her power, even in her full body cast, nose-cone bras fully extended. The passion, the power, the colorful claiming of what menopause is for women, for women artists, for those of us deeply attached to both science and culture in the Western world, is the wonderful gift of Emily Steinberg’s comic, “Paused.” But more than that, it’s the example that Emily Steinberg offers us: of using our colorful imaginations, our mythic archives, and our gutsy ability for backtalk to counter the greying, damping, muting effect of an unchallenged menopause. I love her closing words: “I will vanquish you yet, sucker. You, and your bony horse too.”
Susan Squire, PhD, Brill Professor Emerita of English and Women’s Studies, Penn State University, and Einstein Visiting Fellow at Freie Universität, Berlin