“How could it feel so good when it should be disgusting and painful?” (Butler 75) These words spoken by Theodora, an elderly white woman, about her symbiotic and sometimes sexual relationship with Shori, a black “elfin little girl” (Butler 75), express a societal fear that Octavia Butler exposes in her characterization of Shori as a monster. Jeffrey Jerome Cohen asserts in his “Seven Thesis of Monster Culture” that monsters” reevaluate our cultural assumptions about race, gender, and sexuality our perception of difference, and our tolerance toward its expression.” (Cohen) Shori is a monster because her very existence testifies to the blurring of historically concrete lines of difference. She simultaneously exhibits traits that are male and female, adult and child-like, black and white, vampire and human. Cohen also writes shat monsters represent “that which warns” or “that which revels,” Shori does this by possessing the ability to control humans with pleasure. Through the characterization of Shori as a monster and her relationships with her human symbionts as well as other Ina, Octavia Butler uncovers the control that pleasure wields in the lives of humans and challenges mainstream American society’s beliefs of gender, sexuality, and the mixing of species and races.
Octavia Butler manipulates the relationship that Shori has with her symbionts on order to reveal the human capacity to allow pleasure to consume one’s life. The euphoric feeling inspired by the venom of the Ina combined with several health benefits cause humans to leave their normal ways of life and adapt to a foreign culture. Brook, a symbiont that Shori inherited from her father, articulates this point when she says, “They take over our lives. And we let them beca...
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...leeps lighter, and her dark skin is not as vulnerable to sunburn. It is Shori’s enhanced human and Ina capabilities that allow her to keep the Gordon family safe against attackers. The fact that most everyone except the Silk family sees Shori’s crossbreeding as a help and not a hindrance questions the American society’s fear of miscegenation and genetic engineering.
The Ina and their symbionts represent an alternate society of “other” people because they allow the lines between monster and friend, male and female, black and white, as well as vampire and human to become obscure. Octavia Butler’s presentation of Shori and the Ina provokes readers to question lines between species, genders, and races. Through Butler's creation of a new prototype of monster readers and society have the ability to explore the challenges and fears of the evolving contemporary society.
For centuries, women have been forced to live life on the outskirts of a male-dominated society. During the 1800’s, the opportunities for women were extremely limited and Mary Shelly does an excellent job portraying this in her gothic novel, Frankenstein. Furthermore, in this novel, Mary Shelly shows how society considers women to be possessions rather than independent human beings. In addition, the female characters rely heavily on men for support and survival, thus proving their inability to do it on their own. Lastly, the female characters in this novel are in many ways victimized by the male characters.
What defines an individual’s racial characteristics? Does an individual have the right to discriminate against those that are “different” in a specific way? In Octavia Butler’s works, which are mostly based on themes that correlate to one another, she influences the genre and fiction in ways that bring light to the problems of societies history. Through Kindred and the Parable of the Sower, Octavia Butler examines themes of community, racial identification, and racial oppression through the perspective of a black feminist. In each novel, values and historical perspective show the hardships that individuals unique to an alien world have to face. Through the use of fictional works, Butler is able to delve into historical themes and human conditions, and with majority of works under the category of science fiction, Butler is able to explore these themes through a variety of settings. This essay will discuss two of Butler’s popular works, Kindred and the Parable of Sower, and will interpret the themes of women, race, independence, and power throughout the two novels.
Asma, Stephen. On Monsters :An Unnatural History of Our Worst Fears. New York: Oxford University Press, 2009. Print.
Conclusively, while Bram Stokers novel Dracula is seen as a gothic and horror story, I argue that it is a novel that seeks to address female sexuality directly. Seen through numerous passages, Stoker confronts and battles the views between sexuality during the Victorian era though his genius of characterization of characters present within the novel. As it seems highly intentional to me, I respect the way in which he criticizes and critiques upon female sexuality by bringing into light new ideas regarding female desires. When contrasting his text upon today’s culture, the differences to how one perceived the vampire has changed significantly.
In contrast to the commonality of sex in Diaz’s Dominican world, sex in Kindred is secretive, violent, and has a negative connotation attached due to the culture norms in the early 19th century. Even though Rufus supposedly loves Alice, he repeatedly rapes her because “There was no shame in raping a black woman, but there could be shame in loving one” (124 Butler). Rufus uses sex as a form of violence against women, which could have been influenced by his father’s rape relationships with other slave women, during Rufus’s childhood. As a powerful white man Rufus is able to control Alice and since she is a slave and a woman, she is unable to refuse him, which is evidence to suggest women’s low status. Another example of the dark, violent depiction of sex in Kindred is the almost rape between Dana and the policeman. Her fear of rape allowed her to return home, which indicates that sex is a form of violence in this setting. Dana’s narration of the event signifies the negative depiction of sex and violence expressed in a black woman’s life in the early 19th
Bram Stoker’s novel Dracula, is a highly controversial work of fiction that is still being read for the first time today. Dracula touches many different categories including; sci-fi horror to 1800’s English romance literature. This is the main reason why the novel Dracula can be analyzed in many different ways using many different literary theories. The theory which stuck out most to me while reading this novel was the Feminist Theory. The Feminist Theory cannot be used to analyze Dracula as a whole novel, but it can be used in order to analyze the different female characters throughout the book. Therefore, Bram Stoker’s Dracula can be analyzed through the feminist theory by focusing on the characters Mina Harker, Lucy Westenra, and the three brides of Dracula.
In the novels Grendel and Frankenstein, two characters are presented as one of, or the, isolated and alienated main character. Both experience rejection by the hands of man, and are pushed into roles by the actions of man. Their relation to man, or their state as man’s, “otherkin” magnifies their rejection, but again their status as being “other” justifies their rejection in spite of the harshly negative results. Their status in these novels reflects much of how contemporary authors write about monsters. Out of ignorance, humans rejected their otherkin, Grendel, and the creature from Frankenstein, and as a result the rejected became violent and wreaked retribution on humanity.
Jeffery Cohen's first thesis states “the monster's body is a cultural body”. Monsters give meaning to culture. A monsters characteristics come from a culture's most deep-seated fears and fantasies. Monsters are metaphors and pure representative allegories. What a society chooses to make monstrous says a lot about that society’s people. Monsters help us express and find our darkest places, deepest fears, or creepiest thoughts. Monsters that scare us,vampires, zombies, witches, help us cope with what we dread most in life. Fear of the monstrous has brought communities and cultures together. Society is made up of different beliefs, ideas, and cultural actions. Within society there are always outcasts, people that do not fit into the norm or do not follow the status quo. Those people that do not fit in become monsters that are feared almost unanimously by the people who stick to the status quo.
The creature’s embodiment of the non-European, the outcast, the alien and the other stems from the incompleteness of the monster ability to engage in cretin perceptions of the world he was brought in. Unlike the Europeans, the monster was brought to life with no concept of value, or cultural norms. T...
Moers, Ellen. "Female Gothic: The Monster's Mother." Reprinted in Mary Shelley's Frankenstein. Norton Critical Edition. 1976; New York: W. W. Norton, 1996. 214-224.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
Sex in Kindred is far from the fun pleasure of sex in the Dominican world. Due to the culture normality for relationships in the early 19th century, sex is secretive, often violent and has a negative connotation. A clear example of the violent nature of sex in Kindred, is Rufus raping Alice repeatedly and ultimately doing anything to maintain his pleasure of raping her. “I was beginning to realize that he loved that woman- to her misfortune. There was no shame in raping a black woman, but there could be shame in loving one (124 Kindred). Rufus used his status as a powerful white male to obtain Alice, however the relationship between the two of them is extremely violent, it may be love, but only physically. Rufus continues to rape and beat Alice despite her unwillingness because she as a black woman, could not have refused his offer. In addition to the violent domestic relationship between Alice and Rufus, Dana goes through a similar experience as one of the white policemen chases her off into the woods ripping off her clothes. This indicates the negative violent form of sex that was embedded in a black woman’s life in the early 19th
Nowadays, people are still enticed by fear, they have a curiosity for the supernatural, evil and frightening. Although modern day society is supposedly politically correct, we are still an immoral society and many of us would treat a creature like Frankenstein’s creation or a vampire like Dracula like a monster. In this way, the novels still have social significance.
Yousef, Nancy. "The monster in a dark room: Frankenstein, feminism, and philosophy." Modern Language Quarterly 63.2 (2002): 197+. Literature Resource Center. Web. 24 Jan. 2012