The 1970’s are hailed as a time of sexual revolution in the United States. From the landmark case of Roe v. Wade in 1973 to the Shere Hite reports on women’s sexuality in 1977, the 70’s were marked by historic advancements in the fields of sexuality and women’s rights. In 1973, Rita Mae Brown published Rubyfruit Jungle, a novel which depicted the coming-of-age and subsequent coming-out of Molly Bolt. Brown’s writing and characterization of Molly exemplifies the theory that people who are homosexual feel different from a young age and do not express gender conformity. Even from a very young age, Molly exhibits behaviors that are not typical of little girls, such as when she charges money to her classmates to view a misshapen penis. Molly’s mother …show more content…
In an interesting role reversal, where men are usually considered the purveyors of flesh, Molly assumes the role of the purveyor as she shows off her friend’s genitals. Molly says “We oughta make some money off of it [the misshapen penis]…Broccoli and I had a thriving business” (Brown 5). Instead of assuming the usual female role of object in this type of situation, Molly is the pimp, collecting money off the genitals of a man, completely reversing the typical gender roles. The way Brown wrote this scene has a subtle brilliance about it, as the gender role swap is not obvious, yet it plants the seeds for Molly’s later, more obvious deviations from the expected gender …show more content…
Carrie, Molly’s mother, rants about her tendency to play with the boys instead of behaving like a proper lady. Carrie rages “It ain’t right for a girl to be running all around with the boys at all hours. She climbs trees, takes cars apart, and worse tells them what to do and they listen to her. She don’t want to learn none of the things she has to know to get a husband” (Brown 39). Carrie was furious that Molly did not act like other girls her age normally did. This anger stemmed from the fact that Molly was not conforming to the gender norms and ideas that were deeply rooted in Carrie’s mind. Carrie also mentions that Molly refuses to learn the skills needed “to get a husband,” a phrase that foreshadows Molly’s acceptance of her own sexuality as a lesbian, and subsequent lack of a husband. Molly’s behaviors from an early age already show her tendency to gravitate away from the norm and this tendency only developed further as she got
At the beginning of the 1900s, there was a “sexual revolution” in New York City. During this time, sexual acts and desires were not hidden, but instead they were openl...
Sebold portrays the 1970’s by developing the character of Ruth Connors who represents the rise of the feminist movement. From the beginning of the novel, Ruth is described as a closed-off and intelligent girl whose love of art and literature makes her stand out from all the other student. It becomes apparent to readers that she holds unconventional views over the gender roles of men and women when Susie observes how one day, Ruth was carrying “feminist texts and...held them with their spines resting against her stomach so that no one could see what they were” (Sebold 39). This suggests that Ruth did not want anyone to notice what she was reading as feminist books were not popular since they questioned the traditional gender hierarchy that
Julie Carter, was born in Salud, Virginia in 1943. After discovering her new identity as a lesbian in 1973, Julie Carter renamed herself as Julie Blackwomon. Her work ranges from fictional stories to poems in which “Revolutionary Blues” was the most notable. Julie Blackwomon is an African American author who themes her work after herself, the tension of being African American and lesbian. She depicts her life as being difficult and unacceptable by her own people. Her work characterizes the struggle and fear of “coming out of the closet.”
This essay will analyse whether the iconic representation of the roaring twenties with the woman's new right to sexuality, was a liberal step of progression within society or a capitalist venture to exploit a new viable market. Using Margaret Sanger's work in comparison with a survey conducted by New Girls for Old, the former a more mature look at the sexuality and ownership to a woman's body and the second a representation of girls coming of age in the sexually "free" roaring twenties. Margaret Sanger is known as "the mother of planned parenthood", and in the source she collates a collection of letters to speak of the sexual enslavement of motherhood through the fulfilment of the husbands desires. While Blanchard and Manasses of New Girls for Old suggests the historical consensus that the flapper is a figment compared to the reality where promiscuity was largely condemned.
Women during this Jazz era were freer about their sexuality, but due to this freeness, an article called “Negro Womanhood’s Greatest Need” criticized the sexuality of Black women. In this article, the writers criticized Black women of the Jazz era; one part stated “.“speed and disgust” of the Jazz Age which created women “less discreet and less cautious than their sisters in the years gone by”. These “new” women, she continued, rebelling against the laws of God and man” (p.368). Women expressing their sexuality is not only an act against God, but also against men. In Toni Morrison’s “Recitatif” Twyla’s mother Marry had no problem expressing her sexuality because she was a stripper, who danced all night, she wore a fur jack and green slacks to a chapel to meet her daughter Twyla.
Nella Larsen’s novel presents us with a good view of women’s issues of the early 20th century. We see in the two characters seemingly different interpretations of what race, sexuality, and class can and should be used for. For Clare, passing takes her into a whole new world of advantages that she would not have had if she had remained a part of the African-American community. She gains social status and can be seen as an object of sexual desire for many people, not only the black community. Irene leads herself to think that passing is unnecessary, and that she can live a totally happy life remaining who she is. What she fails to realize is that she is jealous of Clare’s status and sometimes passes herself subconsciously. Larsen presents to us the main point of the book – that the root of the love, hate, desire, and rejection that Irene holds for Clare is a result of social standing, not only passing and sexuality.
To do so, Levy turns to the experiences of several young women whom she interviews. From her interpretations of these experiences, Levy reaches the conclusion that these women’s sexual nature revolves around their need to feel wanted and to gain attention rather than to satisfy their own sexual needs (Levy, 194). But by drawing her experiences from only a small subset of the population, her analysis is ultimately restricted to that of a simulacral woman: specifically, one constructed from the characters that actively participate in raunch culture.
The adults in the story expect the children to grow into the gender role that their sex has assigned to them. This is seen in several places throughout the story, such as when the narrator hears her mother talking to her father, “I heard my mother saying, ‘Wait till Laird gets a little bigger, then you’ll have a real help’…. ‘And then I can use her more in the house’” (Munro 495), when her grandmother comes to visit and tells her all the things girls aren’t supposed to do, and when she is roughhousing with her little brother and the farm hand, Henry Bailey, tells her, “that there Laird’s gonna show you, one of these days” (Munro 497). While the narrator disagrees with the adults, and tries not to conform to their expectations, at the end of the story both she and her brother end up acting exactly as a child of their age and gender would be expected to act: the preteen girl crying with no apparent logical reason, and the young boy excited to have been included with the men, and talking about the thrilling tale of slaying a horse.
Understanding sex and sexuality in the South is beyond a challenge. Those wanting to explore these concepts are met with rigid, religious traditions and ignorant, bigots who perpetuate the ideals of the stubborn South. This is especially difficult for the youth of the South who are still trying to find themselves and navigate the trials and tribulations of life.The protagonists of both Jesmyn Ward’s Salvage the Bones and Jim Grimsley’s Dream Boy come from two contrasting backgrounds yet, both share the same struggles of understanding themselves and their sexuality and coming to terms with their sexuality.
McMahan, Elizabeth E. "'The Chrysanthemums': A Study of Woman's Sexuality." Modern Fiction Studies 14 (1968-69): 453-8.
Society continually places restrictive standards on the female gender not only fifty years ago, but in today’s society as well. While many women have overcome many unfair prejudices and oppressions in the last fifty or so years, late nineteenth and early twentieth century women were forced to deal with a less understanding culture. In its various formulations, patriarchy posits men's traits and/or intentions as the cause of women's oppression. This way of thinking diverts attention from theorizing the social relations that place women in a disadvantageous position in every sphere of life and channels it towards men as the cause of women's oppression (Gimenez). Different people had many ways of voicing their opinions concerning gender inequalities amound women, including expressing their voices and opinions through their literature. By writing stories such as Daisy Miller and The Yellow Wallpaper, Charlotte Perkins Gilman and Henry James let readers understand and develop their own ideas on such a serious topic that took a major toll in American History. In this essay, I am going to compare Gilman’s “The Yellow Wallpaper” to James’ “Daisy Miller” as portraits of American women in peril and also the men that had a great influence.
King, Rosamond S. "Sex as Rebellion: A Close Reading of Lucy and Brown Girl, Brownstones." Journal of African American Studies 12.4 (2008): 366-377. Academic Search Premier. EBSCO. Web. 20 July 2011.
This twentieth-century tradition of dystopian novels is a possible influence, with classics like Aldous Huxley’s Brave New World and George Orwell’s 1984 standing prominent. The pessimism associated with novels of this genre—where society is presented as frightening and restrictive—exposes the gender inequality between men and women to be deleterious. An aspect of the way male/female relationships are presented in both texts is the repression of female sexuality by men, possibly stemming from a subliminal fear of women attaining power in a male-dominated society. Brocklehurst—a possible reflection of Bront’s Evangelical minister at Cowan Bridge, her own poorly run school—is a male authoritative figure whose relationship with the girls at Lowood is one of imposed tyranny. He means to “tame and humble” them through deprivations and restrictions, but such removal of liberties like cutting off the girls’ hair, consequentially robbing them of female attributes, can be interpreted as the male repression of feminine sexuality.... ...
Mothers, fathers, daughters, sons, aunts, uncles, grandparents, pimps, prostitutes, straight people, gay people, lesbian people, Europeans, Asians, Indians, and Africans all have once thing in common: they are products of sexuality. Sexuality is the most common activity in the world, yet is considered taboo and “out of the norm” in modern society. Throughout history, people have been harassed, discriminated against, and shunned for their “sexuality”. One person who knows this all too well is activist and author, Angela Davis. From her experiences, Davis has analyzed the weakness of global society in order to propose intellectual theories on how to change the perspective of sexuality. This research paper will explore the discussions of Angela Davis to prove her determination to combat inequality in gender roles, sexuality, and sexual identity through feminism. I will give a brief biography of Davis in order for the readers to better understand her background, but the primary focus of this paper is the prison industry and its effect on female sexuality.
Advocating social, political, legal, and economic rights for women equal to those of men, Charlotte Perkins Gilman speaks to the “female condition” in her 1892 short story “The Yellow Wallpaper”, by writing about the life of a woman and what caused her to lose her sanity. The narrator goes crazy due partially to her prescribed role as a woman in 1892 being severely limited. One example is her being forbidden by her husband to “work” which includes working and writing. This restricts her from begin able to express how she truly feels. While she is forbidden to work her husband on the other hand is still able to do his job as a physician. This makes the narrator inferior to her husband and males in general. The narrator is unable to be who she wants, do what she wants, and say what she wants without her husband’s permission. This causes the narrator to feel trapped and have no way out, except through the yellow wallpaper in the bedroom.