Lesbian Realism In Jane Rule's Desert Of The Heart

Margaret Atwood begins her essay by explaining the distinction between mild pornorgraphy, which portrays the nude form and sexual activities, and violent pornography, which depicts extremely violent activities in a sexual manner. When discussing pornography, people often assume Atwood is referring to mild pornography; however, even though this pornography is considered “mild” by Atwood, the reactions and perspectives from people are rarely mild. The passionate accusations declaring opposing sides “prudish” or “perverted” lead to the question of what is the meaning of pornography, if there is any? Whether it

As Tamsin Wilton explains in her piece, “Which One’s the Man? The Heterosexualisation of Lesbian Sex,” society has fronted

Envision a realm, filled with genderless inhabitants. A realm of pure bliss, where there is no such thing as “mankind and all beings are [biologically] equal. Now imagine an opposite realm, a realm in which Andrea Dworkin resided. Advocate turned author turned agitator. Andrea Dworkin was a heterodox feminist vanguard who paved a path of her own to support this women’s crusade. Defiant, confrontational and arguably offensive, she immersed herself into the tacit realm of patriarchy, seeking to enlighten and expose the sinister sexual methodologies of man that preserve the role of women as besmirched objects of male indulgence and exploitation. Her ideas and concepts of such is best expressed in Dworkin’s two earliest novels; Pornography: Men Possessing Women [1981] and Intercourse [1987]. Consecutively loved and loathed, Dworkin’s has exerted an important impact on the means and degree of male dominated sexuality and female oppression.

“A sex symbol's currency lies in her youth, her curves, in the suggestion that a sexual encounter lurks around the next corner.” (Sharon Krum, The Guardian) The media is one of the easiest ways to exemplify the power struggles between genders. In today’s society, celebrities, especially women, are judged largely on their appearance and sex appeal because it is critical for them to stay in the spotlight. This is a clear example of the inequality between the male and female, and what their roles are intended to be in society. Three Girls by Joyce Carol Oates is a story about a lesbian couple, and their observation of the behavior of a disguised Marilyn Monroe who, surprisingly to the narrator and her companion, wants to be seen as nothing more than a common person. During the progression of the story, the author provides perspective on the gender roles women faced in 1956 New York, and gives the reader insight into the thoughts and reservations of a lesbian couple in this time period. Through both implicit and explicit expression, Oates implements feminist and marxist ideas of power struggle into Three Girls in order to establish themes of imbalance and subordination by women in society.

This approach to queer subtext has been has always been a part of Western media as we as we explored in the film “The Celluloid Closet” (1995). Queer representation for many years was an continuous uncategorized personification that was vaguely acknowledged but to those who understood the subtext, it became an undercurrent of complex coded information that eventually paved the way for the integration of queer identification within the hetero film storylines. Doty speaks about this and also mentions that at some point in time representation of queer culture and sexuality

The third wave of feminism coincided with the end of the second-wave. It occurred from the 1990s and is still present in contemporary society. This wave focuses on a post-modern understanding of gender boundaries and sexual identity. Most notably, the emergence of anti-pornographic movements during the third wave created a divide between radical and sex-positive views on sexuality. In MacKinnon’s article “Feminism, Marxism, Method, and the State: An Agenda for Theory,” she draws on the parallel between sexuality and marxism. The exploitation of work in marxism is comparable to the exploitation of female sexuality for men (MacKinnon 16). The exploitation of women as a sexual object for male gratification is apparent in pornography. MacKinnon

Feminist Laura Mulvey asserts, “woman is traditionally a use-value for man… a commodity,” which, according to Hélène Cixous, censors the “relation of woman to her sexuality… [that] gives her access to her native strength” (262; 246). In Barbara Kingsolver’s The Poisonwood Bible, Rachel “is reduced to being the servant of the militant male” in her obedient childhood and unfaithful marriages where she appears “in a familiar state of dependency upon man” (Cixous 246; Mulvey 259). However, she embraces her role as an objectified woman to subvert the authoritative masculine dictation of her life. Rachel methodically uses her physical femininity to acquire ownership of her future, prideful empowerment in her sense of self, and independence from man’s provisions on her pursuit of liberation fueled by man’s inability to control his sexual desires.

Sexuality has an inherent connection to human nature. Yet, even in regards to something so natural, societies throughout times have imposed expectations and gender roles upon it. Ultimately, these come to oppress women, and confine them within the limits that the world has set for them. However, society is constantly evolving, and within the past 200 years, the role of women has changed. These changes in society can be seen within the intricacies of literature in each era. Specifically, through analyzing The Scarlet Letter by Nathaniel Hawthorne and The Bell Jar by Sylvia Plath, one can observe the dynamics of society in regards to the role of women through the lens of the theme of sexuality. In both novels, the confinement and oppression of women can be visibly seen as a result of these gender roles. Yet, from the time The Scarlet Letter was published to the time The Bell Jar was written, the place of women in society ultimately changed as well. Hence when evaluating the gender roles that are derived from sexuality, the difference between the portrayals of women’s oppression in each novel becomes apparent, and shows how the subjugation of women has evolved. The guiding question of this investigation is to what extent does the theme of sexuality reflect the expectations for women in society at the time each novel was written. The essay will explore how the literary elements that form each novel demonstrate each author’s independent vision which questions the

In a man’s world, women who want must suffer. They are turned away from personal achievement and forced down a path that encourages a devotional, misguided love. The desperation derived from this obsessive love inevitably causes destruction to its bearer in Toni Morrison’s Song of Solomon. In her novel, the protagonist Milkman searches for his personal and communal identity against a backdrop of disenfranchised, lovelorn women, and the reader watches as their inescapable desires for affection bring women to ruin. Morrison’s female characters are constantly wanting, propelled by their quest for intimacy. In this novel, female love is all-consuming and obsessive to reflect age-old oppressive patriarchal values; women are primarily defined by the men in their lives and achieving a home and a husband should be paramount for even nonconforming women. This wreaks havoc on the psyches of Hagar and Corinthians and begets endless anxiety over marriage and commitment. Through the consistent disintegration of her female characters, Toni Morrison examines the repressive, traumatic ‘ideal’ path for women and its prevalence in our and her novel’s society.

Faderman takes a decidedly social-constructionist analysis as she examines lesbian life in Twentieth Century America, arguing from the start that its definition has less to do with innate same-sex attraction than with external sociopolitical influences. It is apparent that in the debate between the “essentialist lesbians” and “existentially lesbians” she offers no apologies (and plenty of reasons) in siding with the latter. Not only does she explore how the sub-culture continually responds to external pressures such as conservative politics and institutional biases but deeply analyzes how then the community expands and contracts to its marginalization and oppression. For instance, she describes numerous times (such as the butch/femme role enactment and the demand for a regulated sexual intercourse between women in the 1970’s) when the lesbian community – and corresponding social movement – enacts various border patrolling and internal policing to maintain its strict identity as women to keep the pressure and agents of the patriarchy outside.

Irene’s queer personality lives repressed in her id and the attraction can be noticed through many too detailed descriptions of Clare body parts and personality. “Her lips, painted a brilliant geranium red, were sweet and sensitive and a little obstinate. A tempting mouth” (45). It is impressive to see how this supposedly straight woman describes Clare’s mouth as tempting, yet she does not stop there, because Irene also describes her voice, “What was it about Clare's voice that was so appealing, so very seductive?” (52). The utilization of these adjectives is questionable because even when Irene talks about her husband Brian, she never uses adjectives that could express desire or even love. Irene is aware that her marriage is an arrangement where according to Brian sex is a just grand joke (60).

Lesbianism plays a significant role in the book. It may be seen as the alternative world that the author knows nothing about, but latter explores it eagerly, making it an irreplaceable element of her personality. She finds out that lesbians were able for form communities and she was able to become part of them in several countries. Furthermore, the author explores all aspects of lesbian love ranging from genuine to

In Sylvia Plath’s The Bell Jar and Alice Munro’s Lives of Girls and Women, Esther and Del try to take control of their sexuality and their sexual lives. These two female protagonists attempt to gain sexual confidence by quietly rejecting the societal images of women. They are able to seduce men and pilot their own sexual lives. These women are also able to ignore the popular beliefs about marriage and motherhood, thus freeing them from the traditional, restrictive female sexual roles. By rejecting the popular notions of womanhood, sexuality, and marriage, Esther and Del become the mistresses of their sexuality and sexual

In his novel The Hours, Michael Cunningham creates a dazzling fabric of queer references managing to intertwine the lives of three different women into one smooth narrative. In this essay, I will discuss what makes The Hours queer literature, how the novel has contributed to the queer genre, the cultural significance of the novel, and I will discuss several points made in Jeanette McVicker’s critical article “Gaps and Absences in The Hours.” My aim, however, is not to say that Michael Cunningham’s The Hours is strictly a queer novel, but to highlight what makes the novel queer and to discuss Cunningham’s idea of sexual orientation as a fluid entity.

Women in literature have been portrayed in a multitude of ways throughout time. From goddesses to witches, and even prostitutes, women have not been limited in their representations. One challenge, in particular, is repression of their sexuality. In novels by Kate Chopin, George Orwell, and Kazuo Ishiguro, female characters live in societies that seek to regulate their sexuality. Published in 1899, The Awakening by Chopin focuses on Edna Pontellier, a woman who seeks to create a life outside her marriage by pursuing relationships with various lovers. George Orwell’s 1984, which was published in 1949, features Julia, a woman who rebels against her society by having sex for pleasure and not for reproduction. In addition, like Chopin and Orwell,