Realm: A Narrative Analysis

In “The Metaphorical Lesbian: Edna Pontellier in The Awakening” Elizabeth LeBlanc asserts that the character Edna Pontellier is an example of what Bonnie Zimmerman calls the “metaphorical lesbian.” It’s important to distinguish between Zimmerman’s concept of the “metaphorical lesbian” and lesbianism. The “metaphorical lesbian” does not have to act on lesbian feelings or even become conscious of herself as a lesbian. Instead, the “metaphorical lesbian” creates a space for woman-identified relationships and experiences in a heterosexually hegemonic environment.

"I wasn't blaming my teammates." I retorted, "We were out of rotation and I was trying to make sure my friend was ok playing setter." Her eyebrows shrunk and her jaw clenched

"I didn't even bother with doing it, I don't know why you did," she said. Emelie giggled.

Katie rolled her eyes. "Always blame this on me, right? I was having a bad dream, that's what."

Linda Brent is a strong-willed young girl who began life naïve to the fact that she is a slave. She is confident and has a strong sense of self which makes her deny the fact that she is a slave and is owned by another person. Linda has great spiritual and mental strength which helped her during the many years she spent suffering. She is a very loving and compassionate person; she evens feels sympathy towards Mrs. Flint despite Mrs. Flint’s hatred and jealousy towards her. Throughout her life Linda suffers many betrayals, this results in her finding it difficult to trust people.

Tom slammed the door behind him, and walked to his vehicle, which had been parked askew in the driveway in his earlier haste to get inside to Lila. It was only when he entered, and the sound of the ignition broke the silence, and the headlights, the darkness, that he paused to think of what had occurred. Regardless of the surprise gift that had arrived at his office, and the note that had accompanied it, Tom instinctively knew that the acts he’d perpetrated inside weren’t what Lila had wanted. How could any women wish to be struck about the face, called a slut and a whore, and be humiliated and degraded by the man she loved. Possibly in a roleplay, but that hadn’t been roleplay, or what Lila had wanted, but what Tom had. And the, recognition, of the stranger who’d invaded his mind, and raped his wife brought a nausea to the pit of his stomach, and as Tom reversed the car, with his gaze fixated on the living room windows, he wound

Rebecca tells a story through a sexually transgressive eponymous heroine who poses as the audaciously sexually transgressive side of the triangles. Yet, Rebecca is not the only character to throw the novel’s heterosexual blend out of balance. Maxim, the narrator, and Mrs. Danvers also contribute to the sexual queerness at play since each of them displays an overt transgression of his/her gender performance. Rebecca is independent, self-confident, outspoken, talented, and quite opinionated, a personality crossing to the side of masculinity. In addition, Rebecca’s sexual knowledge and alleged promiscuity destabilize the standard heterosexual stereotypes of the unquestionably chaste female Gothic heroine.

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).

Game 4 of the NBA Finals are tonight and a potential sweep could happen as the Warriors are up 3 games to 0. One of the Warriors star players Draymond Green commented on what it would feel like to win the title in Clevland 'Celebrating on their floor, in their locker room...it'd be very satisfying'. Draymond's mom was heckled on Wednesday's game at Clevland which Draymond then critisized the Clevland fans as rude.

If a respectable mother is exclusive of her sexuality, gender non-conforming lesbian mothers already exist as illegitimate parents. The heterosexual matrix instils the notion that gender non-conformity marks sexuality – more specifically, non-heterosexuality. Female bodies stand antithetical to masculinity (Moody 2011). The subtleties of Stef and Nic’s masculinity mark their lesbianism in contrast to Lena and Jules femme because without the slight masculinity, Lena and Jules’ “lesbianism disappears, or, more accurately, never appears in the first place” (Martin 1996). This is perhaps why the characters all lean toward femininity. While the productions allow room for lesbianism, it is what Roseanne Kennedy refers to as an “absent presence” (Suk Gersen 2009, 513).

As a matter of fact this assignment is more real than fantasy. I am currently at a crossroads in my life and my pursuit of higher education. When I made the discussion to return to school after being a stay at home mom, I choose the automotive program. The only experience I had that was remotely close to auto technology was a pick-up truck I financed that kept breaking down. This truck was my worst dream come true but it was from that experience that I suddenly became very interested in wanting to know how cars worked so I checked out a couple of books on the subject and then turned to my friend and said “I’m going to school for automotive technology”

“You’re going to think I’m being silly if I tell you.” She pouted in frustration.

Even now, the raunchy image of Spencer with Buffy Madison played out in her mind. Her lips trembled. It was humiliating to lose her fiancé to another woman, but to lose him to a popular talk radio host whose face flattered the side of every bus in the city—crushed her soul. He claimed the affair meant nothing, but his confession shattered her dreams, leaving her with doubts about men and relationships.

Lucy is a short novel by Jamaica Kincaid, that was published in 1990. Upon publication, it faced serious allegations of being “angry”. Though it may seem like a normal thing today, when venting out and expressing anger is easier and more accepted and the set of circumstantiality that attributes to these reactions are given care and tried to be understood, in the time of this book’s publication the social norms were quite different (Martin). Critics argued that in the vortex of anger, love was missing, and the veil that was supposed to depict the protagonist’s quest for love came out as mislead and even misplaced.

Eve was the softer of the two friends, but whenever Shirley got under her skin, she got fired up. She couldn’t let wrong-mindedness and messed-up thinking pass, wouldn’t compromise principle. Eve wouldn’t stop herself from saying what she needed to say when she needed to say it, lest a twisted notion keep itself hidden and locked away in Shirley’s mind, and then spring up like a jack-in-the-box nightmare, playing out a terrifying relational scenario because she didn’t say no when she needed