Social institutions in post-war suburbia were often controlled and centred around men and this was justified as tradition. Social institutions played a key role in reinforcing masculine authority while presenting themselves as necessary structures. In suburban culture, power was embedded within institutions that governed social life from behind closed doors.
In The Stepford Wives, (Forbes, 1975) this is literal through the Men’s Association. Housed in a restored “landmark” building the Association presents itself as a civic institution. The fact that its in this old building reinforces the idea of archaic patriarchal ruling and shows how they believe they are a part of history. Riesman corroborates the view that men are reluctant to let go of the past misogynistic structures, “men, already anxious among the antagonistic cooperators of their own sex, do not always welcome… the dropping of an older tariff.” (Riesman, 1950, ch. 14) Visually, the place is dark and shadowed, contrasting the bright, open lawns of Stepford. Women are excluded entirely and when Joanna is allowed to observe the meeting at her house she is ignored and instead reduced to an object as they sketch her. The Men’s Association, through replacing the women with technology and therefore removing all female autonomy also made a women’s group in Stepford obsolete, reinforcing the idea of total male control.
However, The Swimmer (Cheever, 1964) depicts a less overt form of institutional power. Suburban sociability is organised through informal networks such as parties. They appear inclusive but remain governed by unspoken masculine norms. Neddy Merrill moves through these spaces under the assumption that he belongs, yet his acceptance is conditional. As his social and financial decline becomes apparent his access is withdrawn through polite refusals and emotional distance. The social institutions in The Swimmer are governed by social power instead of it being gendered.
A gendered walking tour of post-war suburbia 