The female body has occupied a central place in the Western imagination, its images pervading poetry and story, mythology and religious doctrine, the visual arts, and scientific treatises. It has inspired both attraction and fear, been perceived as beautiful and unclean, alluring and dangerous, a source of pleasure and nurturing but also a source of evil and destruction.
In The Female Body in Western Culture, twenty-three internationally noted scholars and critics, in specially commissioned essays, explore these representations and their consequences for contemporary art and culture. Ranging from Genesis to Gertrude Stein and Angela Carter, from ancient Greek ritual to the Victorian sleeping cure, from images of the Madonna to modern film and Surrealist art, the essays cover a wide spectrum of approaches and subject mailer. They all converge, however, around questions of power and powerlessness, voice and silence, subjecthood and objectification. And they point the way to the new possibilities and displacements of traditional male-female oppositions. Androgyny in a new key? This book demonstrates that a blurring of gender boundaries does not have to deny difference.
Grappling with innate desires and LGBTQ identity, a family struggles under the oppressive expectations foisted on them by fundamentalist Christianity.
Told through alternating perspectives, God of River Mud chronicles the lives of Berna Minor, her husband, their four children, and Berna’s secret lover.
To escape a life of poverty and abuse, Berna Cannaday marries Zechariah Minor, a fundamentalist Baptist preacher, and commits herself to his faith, trying to make it her own. After Zechariah takes a church beside the Elk River in rural Clay, West Virginia, Berna falls in love with someone from their congregation—Jordan, a woman who has known since childhood that he was meant to be a man. Berna keeps her secret hidden as she struggles to be the wife and mother she believes God wants her to be. Berna and Zechariah’s children struggle as well, trying to reconcile the theology they are taught at home with the fast-changing world around them. And Jordan struggles to find a community and a life that allow him both to be safely and fully himself, as Jay, and to be loved for who he is.
As the decades and stories unfold, traditional evangelical Bible culture and the values of rural Appalachia clash against innate desires, LGBTQ identity, and gender orientation. Sympathies develop—sometimes unexpectedly—as the characters begin to reconcile their faith and their love. God of River Mud delves into the quandary of those marginalized and dehumanized within a religious patriarchy and grapples with the universal issues of identity, faith, love, and belonging.
Frank’s ethnography draws on her work as an exotic dancer in five clubs, as well as on her interviews with over thirty regular customers—middle-class men in their late-twenties to mid-fifties. Reflecting on the customers’ dual desires for intimacy and visibility, she explores their paradoxical longings for "authentic" interactions with the dancers, the ways these aspirations are expressed within the highly controlled and regulated strip clubs, and how they relate to beliefs and fantasies about social class and gender. She considers how regular visits to strip clubs are not necessarily antithetical to marriage or long-term heterosexual relationships, but are based on particular beliefs about marriage and monogamy that make these clubs desirable venues. Looking at the relative "classiness" of the clubs where she worked—ranging from the city’s most prestigious clubs to some of its dive bars—she reveals how the clubs are differentiated by reputations, dress codes, cover charges, locations, and clientele, and describes how these distinctions become meaningful and erotic for the customers. Interspersed throughout the book are three fictional interludes that provide an intimate look at Frank’s experiences as a stripper—from the outfits to the gestures, conversations, management, coworkers, and, of course, the customers.
Focusing on the experiences of the male clients, rather than those of the female sex workers, G-Strings and Sympathy provides a nuanced, lively, and tantalizing account of the stigmatized world of strip clubs.
How does someone experience things from the viewpoint of the other sex? It is this question that has led to Guillem Vildot’s creation of Ruth, the genre-defining story of a sex change told by the protagonist through a series of letters to an anonymous friend. Demonstrating the sentimental and intellectual intimacy of a man transitioning into a woman, Ruth describes a profound, touching process in which frustrations, ideas of liberty, and changes of identity are interwoven.
Without descending into easy morbidity or sensationalism, Viladot expresses his indignation at the limitations of both masculine and feminine sensibilities, while championing diversity of thought, love, liberty, and, most importantly, desire.
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