By M. Axelrod
Coming near near the query of the way male novelists understand their woman characters, this selection of inventive but analytic literary essays unwinds the complexities of male authorship as opposed to narration. Mark Axelrod seems at quite a lot of male authors together with Fydor Dostoevsky, D.H. Lawrence, Carlos Fuentes, and the theories of Jacques Lacan.
Just how do male novelists understand their woman characters? Are there sophisticated or now not so refined symptoms within the narrative that replicate the perceptions of the writer instead of the narrator? And are a few of these perceptions pre-conceived in line with convinced cultural biases? those are a number of the questions that Notions of the female: Literary Essays from Dostoevsky to Lacan addresses. With that during brain, the essays examines these notions in such texts as: Dostoevsky's, Crime & Punishment; Tolstoy's, Anna Karenina; Lawrence's ladies in Love and The Virgin and the Gypsy; Fuentes', The previous Gringo; Boll's, The misplaced Honor of Katharina Blum; and with an extra essay in keeping with Lacan's suggestion of The Gaze that's germane to the opposite texts.--Page four cover. Read more...
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Sample text
Her hate was so clear, that while she was feeling strong, she enjoyed it. The old woman sat with her big, reddened face pressed a little back, her lace cap perched on her thin white hair, her stub nose still assertive, and her old mouth shut like a trap. (139) He goes on to write her lips were that of a toad’s, that she had a prognathic chin, and a wall-like forehead. In so many respects, she was the female embodiment of Joseph Merrick. By the time the gipsy is introduced, Lawrence has sketched the Saywell family and its dysfunction fairly well.
The bedclothes rustled” (334). She asks if it’s Ursula who’s in her room, but, no, it’s Gerald who says, “[I]t’s me,” and she is clearly taken by surprise. Third, he trespasses Gudrun’s bed. “He had found his way to the bed, and his outstretched hand touched her warm breast blindly. She shrank away” (335). Fourth, he trespasses her body. Gudrun looks at him and his “strange and luminous” face. Lawrence writes, “He was inevitable as a supernatural being. When she had seen him, she knew. She knew there something fatal in the situation, and she must accept it.
But why vindication? Vindication for what? The justification for some act or belief? In the paragraph that follows, the discourse is patently clear. She let him hold her in his arms, clasp her close against him. He found in her an infinite relief. Into her he poured all his pent-up darkness and corrosive death, and he was whole again. It was wonderful, marvelous, it was a miracle. This was the ever-recurrent miracle of his life, at the knowledge of which he was lost in an ecstasy of relief and wonder.
