Lilith begins not as a Goddess, but as a demon, a malevolent force that you can hear when the wind howls in the desert, carrying with it the sharp sting of sand. The distinction between Demon and God is somewhat in the eye of the beholder; it isn't so much a matter of power as of function. Demons are that which is cast out, at the same time divine themselves. I'd like to point attention to the way that Lilith represents forces that are cast out of the social sphere, a force that must be banished to make domesticity possible, at least when conducted within the confines of the paradigm of marriage-as-ownership. From within that circle, she would certainly look frightful. Consider that, moving forward. She appears in the Fallen Nation screenplay I have been working on concurrently with this project. Or, at least, we find there a woman who believes she is the modern incarnation of Lilith. When she has led a number of would be initiates (nubile girls themselves) to a hot tub with her, she reveals this, explaining,
Women told tales of me...I would steal the men away from them. I would devour their children. I was an abomination. I lived inside mirrors to seduce the vanity of nubile girls. Can you imagine?
Lilith, the first Eve, is first recognized by her defiant nature; she is another anti-patriarchal, anti-authoritative symbol. At least, this is the form we encounter her in as she left Babylon with the Jewish exile. So on the one hand we have Lilith as a spirit of the desert, a creature that could slip into your house and devour your children. This is how she would be presented to women, a bogeyman to keep them in place. Of course, this fear tactic isn't often capitulated consciously; it is something that all the members of a cultural domain participate in unconsciously. On the other, there is this idea of her as the seductress, luring men away from their societal commitment to the “good mother.” This is an element which some superficially similar symbols, such as Kali, lacks. Without needing to return to textual source, it's easy enough to typify “this sort” of woman. She has the audacity to do what she wants, and it very well might not be what you or the society wants. There is something impetuous and child-like about her, which can manifest as a resolute defiance when placed within the context of a system of rules. So long as she's cast in the role of villain, this arouses the suspicion and fear of the wives of men, and their shameful observance to whichever force is the stronger.
|No, not quite.|
This is an important point: Lilith often appears in a different guise to men than women. Of course, there are personal and cultural factors. To women, especially within sexually restrictive cultures, we see more of the “devourer of children,” aspect. To men, she appears as the seductress, the dark anima. The kind of girl that you don't take home to mother. But in either case she represents a direct threat to the established social order, especially the order of marriage and monogamy. She is an enemy of stasis, of duty and societal bonds. In modern contexts, the threat posed to women is re-enforced by the ad and fashion industries efforts to increases competition and insecurity, as well as the conflict of the myths of domesticity, “slut shaming,” and so on. In a softer, more romanticized form, it is not surprising that Lilith has re-appeared as a potent symbol in bi-, lesbian, and polyamorous communities, especially amongst those who might have some derision towards “breeders.” However, Lilith is not simply a symbol of liberation. She also represents a point of contention between personal senses of restriction and freedom.
|Lilith, by Daniele Serra and James Curcio.|
Illustration for Citizen Y.