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A highly inclusive collection, "Sexuality And Masquerade" celebrates the erotics of indecision, of gender performance, of sexual artifice in its full range.
"Somehow I woke up one day and found myself in bed with a stranger." Meant literally or figuratively, this statement describes one of the best-known plots in world mythology and popular storytelling. In a tour that runs from Shakespeare to Hollywood and from Abraham Lincoln to Casanova, the erudite and irrepressible Wendy Doniger shows us the variety, danger, and allure of the "bedtrick," or what it means to wake up with a stranger. The Bedtrick brings together hundreds of stories from all over the world, from the earliest recorded Hindu and Hebrew texts to the latest item in the Weekly World News, to show the hilariously convoluted sexual scrapes that people manage to get themselves into and out of. Here you will find wives who accidentally commit adultery with their own husbands. You will read Lincoln's truly terrible poem about a bedtrick. You will learn that in Hong Kong the film The Crying Game was retitled Oh No! My Girlfriend Has a Penis. And that President Clinton was not the first man to be identified by an idiosyncratic organ. At the bottom of these wonderful stories, ancient myths, and historical anecdotes lie the dynamics of sex and gender, power and identity. Why can't people tell the difference in the dark? Can love always tell the difference between one lover and another? And what kind of truth does sex tell? Funny, sexy, and engaging, The Bedtrick is a masterful work of energetic storytelling and dazzling scholarship. Give it to your spouse and your lover.
Masquerade, both literal and metaphorical, is now a central concept on many disciplines. This timely volume explores and revisits the role of disguise in constructing, expressing and representing marginalised identities, and in undermining easy distinctions between 'true' identity and artifice. The book is interdisciplinary in approach, spanning a diverse range of cultures and narrative voices. It provides provocative and nuanced ways of thinking about masquerade as a tool for construction, and a tool for critique. The essays interrogate such themes as: *mask and carnival *fetish fashion *stigma of illegitimacy *femininity as masquerade *lesbian masks *cross-dressing in Jewish folk theatre *the mask in seventeenth and eighteenth century London and nineteenth century France *the voice as mask.
Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period—Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Behn, Mary Davys, Eliza Haywood, Elizabeth Inchbald, and Frances Burney, masquerade is double-sided. It is represented in some cases as a disempowering capitulation to patriarchal strictures that posit female subordination. Often within the same text, however, masquerade is also depicted as an empowering defiance of the dominant norms for female behavior. Heroines who attempt to separate themselves from the image of womanhood they consciously construct escape victimization. In both cases, masquerade is the condition of femininity: gender in the woman's novel is constructed rather than essential. Craft-Fairchild examines the guises in which womanhood appears, analyzing the ways in which women writers both construct and deconstruct eighteenth-century cultural conceptions of femininity. She offers a careful and engaging textual analysis of both canonical and noncanonical eighteenth-century texts, thereby setting lesser-read fictions into a critical dialogue with more widely known novels. Detailed readings are informed throughout by the ideas of current feminist theorists, including Luce Irigaray, Julia Kristeva, Mary Ann Doane, and Kaja Silverman. Instead of assuming that fictions about women were based on biological fact, Craft-Fairchild stresses the opposite: the domestic novel itself constructs the domestic woman.
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The beloved and award-winning novel now available in a new format with a great new cover! When Wesley Boone writes a poem for his high school English class, some of his classmates clamor to read their poems aloud too. Soon they're having weekly poetry sessions and, one by one, the eighteen students are opening up and taking on the risky challenge of self-revelation. There's Lupe Alvarin, desperate to have a baby so she will feel loved. Raynard Patterson, hiding a secret behind his silence. Porscha Johnson, needing an outlet for her anger after her mother OD's. Through the poetry they share and narratives in which they reveal their most intimate thoughts about themselves and one another, their words and lives show what lies beneath the skin, behind the eyes, beyond the masquerade.
Seth Dickinson's epic fantasy series which began with the “literally breathtaking” (NPR) The Traitor Baru Cormorant, returns with the third book, The Tyrant Baru Cormorant. The hunt is over. After fifteen years of lies and sacrifice, Baru Cormorant has the power to destroy the Imperial Republic of Falcrest that she pretends to serve. The secret society called the Cancrioth is real, and Baru is among them. But the Cancrioth's weapon cannot distinguish the guilty from the innocent. If it escapes quarantine, the ancient hemorrhagic plague called the Kettling will kill hundreds of millions...not just in Falcrest, but all across the world. History will end in a black bloodstain. Is that justice? Is this really what Tain Hu hoped for when she sacrificed herself? Baru's enemies close in from all sides. Baru's own mind teeters on the edge of madness or shattering revelation. Now she must choose between genocidal revenge and a far more difficult path—a conspiracy of judges, kings, spies and immortals, puppeteering the world's riches and two great wars in a gambit for the ultimate prize. If Baru had absolute power over the Imperial Republic, she could force Falcrest to abandon its colonies and make right its crimes. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
In Masquerade, Alfred F. Young scrapes through layers of fiction and myth to uncover the story of Deborah Sampson, a Massachusetts woman who passed as a man and fought as a soldier for seventeen months toward the end of the American Revolution. Deborah Sampson was not the only woman to pose as a male and fight in the war, but she was certainly one of the most successful and celebrated. She managed to fight in combat and earn the respect of her officers and peers, and in later years she toured the country lecturing about her experiences and was partially successful in obtaining veterans’ benefits. Her full story, however, was buried underneath exaggeration and myth (some of which she may have created herself), becoming another sort of masquerade. Young takes the reader with him through his painstaking efforts to reveal the real Deborah Sampson in a work of history that is as spellbinding as the best detective fiction.
Born in 1728, French aristocrat Charles d'Eon de Beaumont had served his country as a diplomat, soldier, and spy for fifteen years when rumors that he was a woman began to circulate in the courts of Europe. D'Eon denied nothing and was finally compelled by Louis XVI to give up male attire and live as a woman, something d'Eon did without complaint for the next three decades. Although celebrated as one of the century's most remarkable women, d'Eon was revealed, after his death in 1810, to have been unambiguously male. Gary Kates's acclaimed biography of d'Eon recreates eighteenth-century European society in brilliant detail and offers a compelling portrait of an individual who challenged its conventions about gender and identity.