By Lucie Armitt (auth.)
This quantity examines a large choice of the ways that the wonderful has impacted upon modern women's fiction. a few of the concerns addressed comprise: the significance of the cyborg and the spectre to serious and fictional discourses of gender; the interface among the gruesome and modern readings of feminist utopianism; the transforming into similarity among past due twentieth-century gothicism and the paranormal genuine. The research relies upon the paintings of fifteen writers and contains novels via Allende, Atwood, Carter, Head, Morrison, Weldon, Winterson and Wittig.
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Additional resources for Contemporary Women’s Fiction and the Fantastic
Trips, crossings, trudges . . ”; 31 but Wittig takes a differing perspective, emphasizing the need to separate female sexuality away from the mother in order to give her autonomous definition. Hence, in her fourth novel Across the Acheron (1987), her protagonist, also called Wittig, underlines her horror for “anything to do with grottoes, cellars, subterranean passages, trenches”. 32 Wittig’s sustained exploration of how to reconceive the female genitalia in ways that disconnect them from their status as reproductive apparatus anticipates the work of another feminist thinker, Luce Irigaray, whose work has much in common with Wittig’s, not least in her superimposition of a type of crosscurrents metaphor upon the female anatomy.
More disturbingly still, with their wide pelvis and incompetent legs they actually seem more of an extreme form of passive femininity than a (r)evolutionary new form of the female grotesque. Challenging the common identification of the grotesque with the “low”, Russo speaks of aerialism introducing a “principle of turbulence” into the equation, which will not only shake up patriarchy but also continue to stir up the female body politic. 39 Take, for example, The Female Man, in which references to women in flight occur repeatedly, if fleetingly, as in the case of Etsuko Belin, a superior of Janet’s, who is depicted piloting a glider, “stretched cruciform .
This re-encoded reading of the mother’s genitalia is entirely in keeping with Hélène Cixous’s own utopian reading of The Voice of the Mother, the source, as she sees it, of écriture féminine: “There is almost nothing left of the sea but a word without water . . But a clarice voice only has to say: the sea, the sea, for my keel to split open, the sea is calling me, sea! ” 26 Similarly, when Jordan compares his life to a secret letter “ . . written in milk . . squashed between the facts . . [SC, 2], he again forges an image of Cixous’s Medusa who, writing “ .
Contemporary Women’s Fiction and the Fantastic by Lucie Armitt (auth.)