This song has been bugging me, so I thought I'd try to rationalise it using the 'feminist' theory - more to get my head around my own interpretation than anything else. Maybe it will help you decide what it means to you...
The protagonist perceives stereotypical feminism as seeing females as subrogated in the social architechture of society (feminism asks her to "wait beneath" the "statue"). When the protagonist reflects on the shape and construction of society (when she "goes" there), it causes sadness (she "weeps").
Instead the protagonist takes a post-feminist stance, taking control of her own subrogation by using her sexuality to her advantage ("onto the counter"), being proud of it ("showgirl") and perfecting it ("perfect the slow body roll"). The protagonist is "breaking away" from the anger of social contructs, by breaking away from one set of sterotypes (the virgin wife), but at the same time she is self critical ("hoe"), and realising that in letting go of anger she may be lettig go of something more ("let it all go").
The protagonist is conflicted, wanting to reject stereotypical feminism, but at the same time being drawn to it. In the same way it is hard to get rid of/escape those who love you (family/friends/bad relationships) she finds it hard to escape feminist notions ("But she loves me"), even if stereotypical feminism is forceful in its approach ("more than anyone wouldn't lay a hand"). At the same time she is repulsed by how vulnerable females are within the feminist stereotype, as victims who cannot trust anyone and need to take steps to protect their rights ("keeps mace spray"), because according to feminist stereotypes the male race will not do it for them (you can't rely on the common man").
All of these ideas are not clear, or only barely illuminated ("night", "under the starlight"), Feminism calls for the protagonist ("you call"), and shows that the protagonist is cold/detached (blistering as in blistering cold, blue being a colour for cold). Confronting feminism, the protagonist sees that the rigid contructs of society begin to change. The constructs begin to break (the ceiling began to move) and the very the formation of society shatters, but it is wonderful (glistens). Feminism postulates that the protagonist will be lost without having gender roles to ascribe to (won't find her way through the plaster") and the values and attitudes the protagonist held inside as being hers will be exposed as being common, and insignificant (an empty hourglass in the sand).
But the protagonist can't escape feminism, and the protagonist is attracted to feminist thought despite how cruel its philosophy is to ideals that many women ascribe to ("ore than anyone who wouldn't speak like that" - ie saying that the protagonist will be lost)
In the end the protagonist accepts that she will have this love/hate relationship with feminism, and its stereotypes, and accepts that she may never resolve it. It is alright for her to feel this way, and where she is emotionally and philosophically ("the place I am"), with an air of hope that in time that will change (the reference to "time") and someday will be able to rationalise her relationship with feminist thought. Feminism hopes the protagonist will come full circle and embrace feminist beliefs, leaving a "light on at night". The prospect of fully embracing one ideology, at thisstage, only reinforces the pprotagonist's aversion to feminism, and her love/hate relationship with its moores.
This song has been bugging me, so I thought I'd try to rationalise it using the 'feminist' theory - more to get my head around my own interpretation than anything else. Maybe it will help you decide what it means to you...
The protagonist perceives stereotypical feminism as seeing females as subrogated in the social architechture of society (feminism asks her to "wait beneath" the "statue"). When the protagonist reflects on the shape and construction of society (when she "goes" there), it causes sadness (she "weeps").
Instead the protagonist takes a post-feminist stance, taking control of her own subrogation by using her sexuality to her advantage ("onto the counter"), being proud of it ("showgirl") and perfecting it ("perfect the slow body roll"). The protagonist is "breaking away" from the anger of social contructs, by breaking away from one set of sterotypes (the virgin wife), but at the same time she is self critical ("hoe"), and realising that in letting go of anger she may be lettig go of something more ("let it all go").
The protagonist is conflicted, wanting to reject stereotypical feminism, but at the same time being drawn to it. In the same way it is hard to get rid of/escape those who love you (family/friends/bad relationships) she finds it hard to escape feminist notions ("But she loves me"), even if stereotypical feminism is forceful in its approach ("more than anyone wouldn't lay a hand"). At the same time she is repulsed by how vulnerable females are within the feminist stereotype, as victims who cannot trust anyone and need to take steps to protect their rights ("keeps mace spray"), because according to feminist stereotypes the male race will not do it for them (you can't rely on the common man").
All of these ideas are not clear, or only barely illuminated ("night", "under the starlight"), Feminism calls for the protagonist ("you call"), and shows that the protagonist is cold/detached (blistering as in blistering cold, blue being a colour for cold). Confronting feminism, the protagonist sees that the rigid contructs of society begin to change. The constructs begin to break (the ceiling began to move) and the very the formation of society shatters, but it is wonderful (glistens). Feminism postulates that the protagonist will be lost without having gender roles to ascribe to (won't find her way through the plaster") and the values and attitudes the protagonist held inside as being hers will be exposed as being common, and insignificant (an empty hourglass in the sand).
But the protagonist can't escape feminism, and the protagonist is attracted to feminist thought despite how cruel its philosophy is to ideals that many women ascribe to ("ore than anyone who wouldn't speak like that" - ie saying that the protagonist will be lost)
In the end the protagonist accepts that she will have this love/hate relationship with feminism, and its stereotypes, and accepts that she may never resolve it. It is alright for her to feel this way, and where she is emotionally and philosophically ("the place I am"), with an air of hope that in time that will change (the reference to "time") and someday will be able to rationalise her relationship with feminist thought. Feminism hopes the protagonist will come full circle and embrace feminist beliefs, leaving a "light on at night". The prospect of fully embracing one ideology, at thisstage, only reinforces the pprotagonist's aversion to feminism, and her love/hate relationship with its moores.