Saturday, June 23, 2012
Xpressions and Xperiences: Rest in peace, my dearest friend…
Xpressions and Xperiences: Rest in peace, my dearest friend…: clockwise- (L) me, kalz, ekta we celebrated our birthday together (though it isnt together) last year... Rest in peace, my dea...
Monday, January 9, 2012
Loss of Innocence
Loss of Innocence
The Loss of Innocence
He was your quintessential average Joe. He hoped to fall in love and his eyes were full of hope for a future painted with the colours of dream. He believed in the whole made for each other theory. His dreams lived for eighteen years, ten months and thirteen days. They shattered like a palace of cards and he was trapped beneath the debris. The world had become monochromic. His eyes had no tears to shed or dreams to dream. A person observing would wonder what could have caused the blank look on his face. How could someone so optimistic and puerile turn into the converse figure overnight! Looking back now I feel he was such a fool, who shall wither away into oblivion.
As a little boy, he saw a couple who never wanted to be together. He called them mummy and papa. In his bedtime stories, Krishna’s parents never shouted at one another. He had no one to pinpoint at as the culprit, but, soon he realised that they were together for his sake. And it disturbed him. He wanted someone to comfort him and tell him it was going to be alright. He waited and waited for the comfort till adolescence came knocking at his door. His insides, untamed and feral, craved for something which did not understand. It was dark like a moonless night and nobody was in sight.
It is a bitter fact that children trapped in such a life are vulnerable to monstrous predators. Such little ones are an easy target. He was unaware, small, soft and delicate and young. Even now he cannot remember who had touched him that night and the night after. It did not soothe his nerves but instead activated a dormant feeling which seemed to reside on his skin. Those moments were scary and painful and yet, he craved for more. When the stranger felt his lips and caressed his cheeks, he felt special. He enjoyed it when the stranger did bad things to him. It felt good to please this stranger. It was like a drug and he wanted more. Within two nights he became a confirmed addict.
This high continued till it began to feel meaningless. He failed to understand how or when the concept of meaning crept inside his head. The previous illicit rendezvous disgusted him. He felt cheap. The angst began all over again. He did not know what was happening. His parents’ house could not be a home. It remained sterile and barren. After witnessing another argument, he knew he had had enough. He left it all behind him for a new beginning. He was just seventeen when he left without looking back.
The new city was full of life, unlike his small town. It never slept and every night was starry. It allowed everybody to live on their terms and he loved this freedom. He wanted to make his own home at such a place. He wanted someone special to share it with. He was sure something would happen and he would meet someone. It did happen, just like it happens in the movies. They met and they met again. He played the Rules. First they had coffee together and then a formal dinner date. Everything was beautiful – just like his dreams. A year later after strolling on a beach on a rainy day, he fell ill. Asthma attacks, high blood pressure continued for a week. He knew something was happening and he was right to feel so. A day before he was discharged the doctor said, “We are sorry to inform you. You are HIV-Positive.”
Those words kept playing in his head. Swift time too slowed down. He kept wondering how, when, why. There was no answer. He had always used protection, except that first night and the night after. Those two nights spent with that faceless man. That was the only time. How was he supposed to understand the concept of protection then? How could he be expected to insist on a condom? He was merely thirteen years old. At that time he had no idea of what was happening. It was such a good feeling when his skin was touched. Was he punished for enjoying those bad things? Or was he punished for continuing to enjoying those carnal pleasures?
This time he decided to do the right thing. He made up his mind to confess the truth. His beloved had the right to know. He would ask him to leave and begin a new life without him. He hoped his boyfriend would not leave. He hoped he would insist on staying. He expected a theatrical fight or an argument, a lover’s quarrel. When said what he had to, there was an uneasy silence. Awkwardness filled the room. His home had been broken. He got his answer without words. Just a few weeks before his nineteenth birthday, he was sentenced to a lifetime of solitude. He accepted this rejection silently. The skies cried for him for his tears had dried.
The karma system tells us we get what we plant – the good, the bad and the ugly. There is no heaven or hell; it is all here on this dry land. We say we will pay for our bad deeds, and the same applies to our good deeds as well. He had followed the desires of his flesh and enjoyed those sinned, sensual pleasures. He fell for a man and broke the law of Nature. God had paired Adam and Eve, not Adam and Steve. But he had followed his heart and did what he felt was right. He did the right thing by being honest and true to his love. He hoped, may be, to be accepted. He paid dearly. He is now alone and full of self-loathing. What should have he done? Remained silent like before or remain honest and find a new man? Who should he blame? Himself or that faceless monster that left behind his gift in his veins? It is said ‘there is nothing either good or bad, but thinking makes it so’. However, his innocence is lost for good.
Words: 1023 (essay)
KEY
Ø Thesis Statement:
An emotionally neglected thirteen year abused by a stranger, grew on clichéd notions of love and life. He escaped his parents and small town life for the city, got a boyfriend and discovered he was HIV-Positive. Ultimately, he was abandoned and left wondering where he went wrong and philosophies about the same.
Ø Writer’s Purpose:
To inform and to educate.
Ø Readership aimed at:
General public, youth, parents, psychologists, counsellors, social workers, support groups, police and administration, doctors, educators, LGBT groups, parents of Gay/Lesbian/Bisexual/ Transsexual children, NGOs, HIV-positive persons and parents of HIV-positive persons.
Ø Summarisation:
A victim of sexual abuse enjoyed the violation, and craved for more. He grew up on clichéd ideas of love. An argument between his parents acted as a catalyst and he left home at the age of seventeen. In the big city he found a desirable life and a boyfriend. He was informed about being HIV-Positive a year later. After his confession, he was forsaken by the boyfriend. The narrator questioned who was to be blamed for the boy’s predicament and society’s outlook towards homosexuality.
Ø Rhetorical Analysis:
1. Discursive
2. Comparison – Contrast
3. Narration
4. Expository
5. Causal analysis
6. Descriptive
Ø Linguistic Features:
1. Use of visual imagery
2. Informal language (‘quintessential average Joe’)
3. Use of metaphor (future painted with the colours of dream, monstrous predators, Swift time...)
4. Use of onomatopoeia (shattered)
5. Use of simile (...like a palace of cards)
6. Use of proper noun (Krishna, Adam and Steve)
7. Use of personification (...adolescence came knocking at his door; Untamed and feral his insides craved...)
8. Use of internal rhyme (night/sight – last sentence)
9. Use of explicit language
10. Use of italics in bold for emphasis (bad things, high, meaning)
11. Use of a French word (rendezvous)
12. Use of Medical terms (asthma, high blood pressure, HIV- Positive)
13. Use of Abbreviation (HIV)
14. Use of Rhetorical questions (Was he punished for enjoying those bad things? What should have he done?)
15. Use of Pathetic Fallacy (Swift time too slowed down, The skies cried for him for his tears had dried)
16. Use of Idiom (sentenced to a lifetime of solitude)
17. Use of Popular phrases (Adam and Steve)
18. Use of Biblical ideas (Adam and Eve)
Ø Authority:
Writer, the Bible (ref.: Book of Genesis) and W. Shakespeare: Hamlet
Ø Appeal:
Emotional
The Holy Bible:- Book of Genesis
W. Shakespeare:- Hamlet (Act 2, scene 2, 239-251)
The most beautiful people we have known are those who have known defeat, known suffering, known struggle, known loss, and have found their way out of the depths. These people have an appreciation, sensitivity, and an understanding of life that fills them with compassion, gentleness, and a deep, loving concern. Beautiful people do not just happen.
- Elizabeth Kubler Ross
A Feminist Rereading of ‘The Hours’
The Hours
Virginia - The Creator
Laura - The Reader
Clarrisa - The Character
A Feminist Rereading of ‘The Hours’
Thesis Statement:
Michael Cunningham presents a relation between the writer, the reader and the character of ‘Mrs. Dalloway’ in ‘The Hours’, while vacillating between these three women he reveals their endeavours to rebel against the constraints of their everyday, domestic roles through their identity crisis, rebellion and existential despair which reveals Marxist, Radical and Postfeminist approaches of Feminism.
Feminism can be defined as a movement which focused upon creating and maintaining equal political, economic, and social rights and equal opportunities for women. Though feminism deals mainly with women’s issues, it also seeks gender equality since even men are harmed by sexism and gender roles as well. A feminist can be a person of either sex.
Feminist literary criticism is linked to the political movement for equality for sexes. A feminist critic seeks to examine the extent of patriarchal ideology in works of art. It was established to expose the misogyny in literature and the literary canon. It refutes the claim that literature is universal, objective and humanistic. By rereading literary texts for their representation of women by both men and women, it aims to reveal how gender is culturally constructed. In this paper, various approaches to feminism like Radical, Liberal, Marxist and Postfeminism shall be discussed in relation to the novel The Hours.
Radical feminism is a branch within feminism which locates the roots of women’s oppression in patriarchal gender relations. It aims to defy and to bring down patriarchy by opposing male oppression of women and demands for a radical restructuring of society.
Liberal feminism is an individualistic form of feminism which seeks equality for both the genders through political and legal reforms without changing the structure of society. It deals with women’s ability to maintain their quality through their choice and action.
Marxist feminism focuses on the idea that a woman's subordination is not a result of her biological disposition but of social relations. Family as an institution exists as a complex system in which men command women's services. It discusses women’s conditioning or socialization into unpaid domestic labour and responsibility for child-rearing.
Postfeminism is a relatively new approach to feminist theory. It gives the idea that equality has been achieved and that feminists can now focus on something else entirely.
The Hours is a postmodern novel written by Michael Cunningham who is an American novelist. He won the Pulitzer Prize for Fiction and the PEN/Faulkner Award in 1999 for his 1998 novel The Hours. His other well known novels are A Home at the End of the World (1900), Flesh and Blood (1995), Specimen Days (2005) and By Nightfall (2010).
Cunningham stated that:
“there's something [in 'The Hours’] to offend almost everybody . . . I am a man writing about a feminist icon, I am a regular guy doing the best I can writing about a genius . . . People have a remarkably proprietary sense of Virginia Woolf, more than just about any other figure I know. We all seem to feel that we have our Virginia Woolf . . . and I think we're all right. She's that big.”1
Critics have highly praised Cunningham’s efforts. According to Richard Eder (Los Angeles Times Book Review) The Hours is "an exquisitely written, kaleidoscopic work that anchors a floating postmodern world on pre-modern caissons of love, grief and transcendent longing"2. While Jameson Currier (The Washington Post Book World) stated that "[Cunningham] has deftly created something original, a trio of richly interwoven tales that alternate with one another chapter by chapter, each of them entering the thoughts of a character as she moves through the small details of a day. . . Cunningham's emulation of such a revered writer as Woolf is courageous, and this is his most mature and masterful works”3.
The Hours is Cunningham’s homage to Virginia Woolf, his self-confessed inspiration, and also an independent work of postmodern literature. Cunningham presents Woolf as a character and interweaves her tale with two other women – Laura Brown and Clarissa Vaughan. He vacillates from Richmond in 1923 to suburban Los Angeles in 1949 to the present day in Greenwich Village in New York. In the novel all three women are connected by Woolf’s 1925 novel, Mrs. Dalloway. Woolf is seen struggling to write Mrs. Dalloway, while a pregnant and unsettled Laura Brown, attempts her best to prepare a cake for her husband’s birthday, but she cannot seem to quit reading Mrs. Dalloway. Clarissa is seen planning a party for her oldest lover and best friend, a poet consumed by AIDS.
These three women are in quintessence living parallel lives as people tormented by the monotony of domesticity, and the inability to reconcile their common need for freedom with the lives that they are leading.
Cunningham alludes to Woolf’s 1925 novel Mrs. Dalloway for his novel. He borrows from his source its working title (The Hours), names of characters, the stream-of-consciousness technique and unity of time. In The Hours an early chapter ends with Woolf writing the first sentence of Mrs. Dalloway, ‘Mrs. Dalloway said she would buy the flowers herself’4. The next one begins with Laura captivated by that line and the fictional world of Clarissa Dalloway. Meanwhile, Clarissa Vaughan’s day mirrors with that of Mrs. Dalloway’s – but as a contemporary woman. Like Clarissa Dalloway, Clarissa Vaughan is a middle-aged woman planning a party for her friend however the latter is a lesbian living with her partner Sally while the former is married to Richard Dalloway.
Shana Alexander stated that, ‘When two people marry they become in the eyes of the law one person, and that one person is the husband’5. Similarly Cunningham labels the three protagonists as Mrs. Woolf, Mrs. Brown and Mrs. Dalloway respectively so as to symbolically represent the binding constraints of patriarchal oppression which traps women who struggle for a way out. This use of Marxist approach to feminism reveals how women lose their identity and become mere possessions of their husbands. All three women are undergoing identity crisis since they are known as the wives’ of their husbands. Their individual identity is lost. While Virginia and Laura are married, Clarissa is called Mrs. Dalloway by Richard since he believed ‘she was destined to charm, to prosper’6.
The most striking feature of Cunningham’s novel is that he creates a character out of Virginia Woolf who is also his inspiration. Woolf is seen as a woman disturbed by spells of ‘headaches’ and domestic life. The author through her character in the novel reveals her passion to write and the responsibilities of a household which constantly conflict. This conflict between creativity and domesticity is seen when she is thinking intensively about her novel whilst feeling stressed about having her sister Vanessa and her children over for tea. Therefore she creates a character (Clarissa Dalloway) that has excellent domestic skills, who can host parties – in short someone unlike her. The reader also gets to understand the state of a female writer who is not given the required creative space since she is a woman and she has to fulfil her role as a wife as well.
Virginia is seen wanting to escape the mundane life of Richmond and domesticity. She secretly attempts to escape from Richmond to go to London – which is an overt display of her rebellion, however she does return home to her husband Leonard. Her constant rebelliousness finally manifests itself in totality when she feels she will have another nervous breakdown and she commits suicide. The author describes this radical act of Virginia Woolf in the Prologue to the novel when she drowns herself in the Ouse, a river in Sussex, England in 1941.
Woolf’s creation, Mrs. Dalloway, connects her story with the story of Laura Brown and Clarissa Vaughan. The character Laura Brown, set in suburban Los Angeles in 1949, married to a Second World War veteran, Dan, is the most conflicted and troubled in the novel. Though suppressed, Woolf had the support of her husband, Leonard, but Laura is completely isolated without anyone to share her anxieties with. She feels trapped in her marriage and finds it difficult to ‘play’ the role of wife to Dan, mother to her son Richie. She tries making Dan's birthday cake. While Richie is helping her, Laura passes through emotions of intense love for, and annoyance with Richie. The cake does not meet her expectations; however, she knows Dan will be happy with whatever she prepares, which somewhat annoys her. She realises her husband's happiness "depends only on the fact of her, here in the house, living her life, thinking of him"7.
Laura contemplates over her conjugal and familial life: her husband is good to her and she loves her son yet she feels unsettled and uncertain about the present and the past. She wonders “why did she marry him (her husband)? She married him out of love. She married him out of guilt; out of fear of being alone; out of patriotism”8. Throughout the narration Laura appears unsatisfied with her life. Her potential as a person remains unexploited as a housewife. Her dilemma could be well explained through what Betty Friedman observed in ‘The Feminine Mystique’ where she stated that ‘the problem that has no name – which is simply the fact that American women are kept from growing to their full human capacities...”9. This observation is true for Laura’s character. Since Laura is confined to normative role of a housewife she felt her creativity or the lack of it shall remain unknown.
As ‘the reader’ in the novel Laura connects ‘the character’, i.e., Clarissa Vaughan to the narrative strand. The fictitious life of Mrs. Dalloway that Laura so fondly admires is lived by Clarissa Vaughan. Cunningham establishes another link between Laura and Clarissa. Laura’s son Richie is Clarissa’s oldest lover Richard. As mentioned earlier, it was Richard who named Clarissa Mrs. Dalloway.
As a modern embodiment of Woolf’s character, Clarissa is a middle-aged lesbian in New York City living with her partner, Sally. Clarissa, like her namesake, is planning to organise a party in honour of Richard. According to her Richard would have complained about her being ‘a society wife’10 just like Mrs Dalloway. The crux of Clarissa’s story is existential in nature. She wonders ‘what does anyone want’11 and also she thinks she is ‘trivial, endlessly trivial’12. Her thoughts about love and life are satisfied though she seems to undermine herself and questions her self worth. This existential approach is postfeminist in nature as it concerns with people in general, and her woes echo just not the female but the male characters, like Richard as well.
Clarissa as a character is liberal, though there are very evident lapses like her dislike for Mary Krull, a friend of her daughter Julia. When comparing Mary and Clarissa the reader can understand that while Clarissa is more liberal in her attitude towards life, Mary is more radical. Clarissa does not want to alter the societal order nor does she consider gender to be a ‘sorry masquerade’13. Mary Krull comes across as a radical feminist who is postmodern in her approach and considers Clarissa ‘quaint’14.
In this novel, the primary male characters, Richard, Leonard and Dan, appear in a positive light. The novelist presents Leonard as a caring husband to Virginia who in her own words has “been entirely patient ... incredibly good...”15 She states that “if anybody could have saved me (her) it would have been you (him)...”16
Dan and Richie adore Laura but they, particularly Dan remains blind to her unsettled frustration. Richie worships Laura. As a grown man, he is known as Richard, the poet, the ‘anguished, prophetic voice in American lectures’17. Laura is ‘the lost mother, the martyr and fiend’18 in his life and literary works. He is also a part of Clarissa’s happiest moment and he is her harshest critic and her best friend. His death frees her from the name ‘Mrs. Dalloway’ since he was the only one to call her so. It is Richard who forms another link between all the three women in the novel. His mother read Mrs. Dalloway, and he bestowed Clarissa with the same name. He quotes the very words Virginia Woolf wrote in her own suicide to her husband: “I don’t think two people could have been happier than we’ve been”19.
In the novel, both Woolf and Richard are treated and stereotyped as ‘the mad woman in the attic’20. They are both literary creators who have either been locked or shunned from or by the society. Virginia’s unstable mental state had forced her to live in Richmond, a place she loathed. Richard is literally banished from the gay community and society because he has AIDS. They both end their lives and say the same words. While Woolf drowns herself, Richard jumps off the window sill. Virginia and Richard were revolutionary in their thoughts but they are deviant so they were ostracised. They are artists who battle mental illness, remain outcasts and ultimately tragically end their lives.
Cunningham deals with various themes in the novel. In each narrative strand, the themes of fascination with mortality, suicide and domestic life and roles are explored. Virginia, Laura and Richard appear to be fascinated with death. While Laura does not act upon her closet thought Richard does. As stated before, Richard and Virginia committed suicide. The most prominent theme which Cunningham explores in the novel through Virginia’s lack of skill at everyday tasks, Laura’s desperate desire to bake the perfect cake for her husband and Clarissa’s preparation for the party – is the ordinariness of household tasks.
The dead bird, Richard’s chair and Laura’s cake are the major symbols in the novel. The dead bird is the symbol of death. Virginia is fascinated with the way the thrush’s body becomes smaller and seems less important after it dies. It displays how death leaves behind only a small body. The bird helps Virginia decide that she is not ready to die, but ultimately she does decide to end her life.
Laura makes the cake for Dan to fulfil her desire for meaning in her role as housewife. The cake she bakes does not satisfy her creativity although she tries to convince herself that it turned out well. She bakes another cake which is ruined after Dan spits on it as he blows out the candles. She felt Dan and Richie will ‘ruin’ whatever cake she produces by reminding her of the restricted nature of her role. The cake compels her to consider the idea that merely having a family will not be enough for her.
Richard’s decaying armchair symbolizes his declining health and state of mind. Clarissa attempts to remain optimistic about Richard’s decline, but she cannot ignore the chair. The chair represents Richard’s body. The chair makes Clarissa wonder at the idea that the human desire to live is so profound that even when the body has decayed totally, human beings still have a powerful will to live. She describes the chair as being sick, and Richard clings to it stubbornly.
Cunningham employs a number of narrative techniques in the novel. Intertextuality, shifting narrative strands, plurality of voices and perspectives, stream-of-consciousness and unity of time are the key techniques in the novel. Cunningham alludes to the working title of Woolf’s novel Mrs. Dalloway and titles his novel as The Hours. He borrows a number of situations from Mrs. Dalloway like Clarissa’s party, her dislike for Mary, fascination with death, reunion with a friend, a lesbian kiss and a suicide in the end. Cunningham also uses many names from his source. Thus one of the protagonists is fondly called ‘Mrs. Dalloway’ by her friend, she is named Clarissa and in her life he places characters named Richard, Sally, and Mary who exist in Woolf’s Mrs. Dalloway. Cunningham observes the unity of time just like it was maintained in Mrs. Dalloway. The story of his novel as well is set within a single day.
The shifting (multiple) narrative threads, which is a postmodern technique, makes the plot dense and complicated. The plurality of voices and perspectives which range from first person to third person omniscient narrator makes the overall point of view more elaborate. The reader gets the perspectives of three women and Cunningham’s as well. The novelist uses the technique of stream-of-consciousness which was pioneered by Woolf. The reader gets a glimpse of the character’s mind and is also made aware of their lives and their relationship with other characters.
The author has taken extracts from Mrs. Dalloway by Virginia Woolf to further enhance the credibility of the text and provide the reader better insight in the characters’ psyche.
Cunningham uses extremely lucid language and simple diction in the novel. The imagery has Woolf’s style which is highly intricate and layered. The author describes Clarissa as ‘the old beauty, the old hippie, hair still long and defiantly gray... she still has a certain sexiness; a certain bohemian, good-witch charm...’21 , this detailed style is similar to that of Woolf’s.
Michael Cunningham creates a unique connection between his muse and two entirely imaginative characters in this postmodern novel. Though temporally and geographically separated, each woman is related one other through passions and woes. He subtly deals with the issues of gender bias, identity crisis and female writer’s dilemma. He brings out these issues by simply exploring a single ordinary day of their lives.
End Note:
1) Wood, Michael. ‘Parallel Lives’, The New York Times on the Web. U. 22nd Nov. 1998. Web. 28th Dec. 2010. http://www.nytimes.com/books/98/11/22/reviews/981122.22woodlt.html
2) Farrar, Straus and Giroux. The Hours. Michaelcunninghamwriter.com. U. 15th Jan. 2000. Web. 24th Dec. 2010. http://www.michaelcunninghamwriter.com/books/the_hours
3) Farrar, Straus and Giroux. The Hours. Michaelcunninghamwriter.com. U. 15th Jan. 2000. Web. 24th Dec. 2010. http://www.michaelcunninghamwriter.com/books/the_hours
4) Cunningham, Michael. “The Hours”. Great Britain: Fourth Estate, 2002, 1999. 35. Print.
5) Alexander, Shana. Welcome to The Quote Garden! U. n.p. 9th Sept. 2010. Web. 30th Dec. 2010.
6) Cunningham, Michael. “The Hours”. Great Britain: Fourth Estate, 2002, 1999. 11. Print.
7) pp. 100 ibid
8) pp. 106 ibid
9) Friedman, Betty. ‘The Feminine Mystique’. Information Gospel. Chris Simonson. U n.d. Web. 23rd Dec. 2010 http://www.informationgospel.net/the_feminine_mystique.htm
10) Cunningham, Michael. “The Hours”. Great Britain: Fourth Estate, 2002, 1999. 20. Print.
11) pp. 21 ibid
12) pp. 94 ibid
13) pp. 23 ibid
14) pp. 23 ibid
15) pp. 6 ibid
16) pp. 6 ibid
17) pp. 11 ibid
18) pp. 225 ibid
19) pp. 200 ibid
20) Gilbert, Sandra M.; & Gubar, Susan. ‘The Madwoman in the Attic; The Woman Writer and the Nineteenth-Century Literary Imagination, Second Edition.’ Yale University Press. U n.p. n.d. Web 5th Jan. 2011. http://yalepress.yale.edu/book.asp?isbn=9780300084580
21) Cunningham, Michael. “The Hours”. Great Britain: Fourth Estate, 2002, 1999. 13. Print.
Bibliography
· Cunningham, Michael. The Hours. Fourth Estate: Great Britain. UP. 2002.1999. Print.
· Woolf, Virginia. Mrs. Dalloway. Harcourt Books: United States of America. UP. 2005.1925. Print.
Webliography
1) Alexander, Shana. Welcome to The Quote Garden! U, n.p. 9th Sept. 2010. Web. 30th Dec. 2010.
2) Farrar, Straus and Giroux. The Hours. Michaelcunninghamwriter.com. U, 15th Jan. 2000. Web. 24th Dec. 2010. http://www.michaelcunninghamwriter.com/books/the_hours
3) ‘Feminism’. Wikipedia. U n.p. 25th Jan 2011.Web 26th Jan. 2011. http://en.wikipedia.org/wiki/Feminism
4) Friedman, Betty. ‘The Feminine Mystique’. Information Gospel. Chris Simonson. U n.d. Web. 23rd Dec. 2010 http://www.informationgospel.net/the_feminine_mystique.htm
5) Gilbert, Sandra M.; & Gubar, Susan. ‘The Madwoman in the Attic; The Woman Writer and the Nineteenth-Century Literary Imagination, Second Edition.’ Yale University Press. U n.p. n.d. Web 5th Jan. 2011. http://yalepress.yale.edu/book.asp?isbn=9780300084580
6) ‘Liberal Feminism’. Wikipedia. U n.p. 10th Jan 2011. Web 21st Jan. 2011. http://en.wikipedia.org/wiki/Liberal_feminism
7) ‘Marxist Feminism’. Wikipedia. U n.p. 26th Jan 2011. Web 27st Jan. 2011. http://en.wikipedia.org/wiki/Marxist_feminism
8) ‘Post Feminism’. Wikipedia. U n.p. 17th Jan 2011. Web 21st Jan. 2011. http://en.wikipedia.org/wiki/Post-feminism
9) ‘Radical Feminism’. Wikipedia. U n.p. 17th Jan 2011. Web 21st Jan. 2011. http://en.wikipedia.org/wiki/Radical_feminism
11) Wood, Michael. ‘Parallel Lives’, The New York Times on the Web. U. 22nd Nov. 1998. Web. 28th Dec. 2010.
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