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Splattered InkPostfeminist Gothic Fiction and Gendered Violence$
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Sarah E. Whitney

Print publication date: 2016

Print ISBN-13: 9780252040467

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252040467.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 18 October 2021

Uneasy Lie the Bones

Uneasy Lie the Bones

Alice Sebold’s Postfeminist Gothic

Chapter:
(p.23) 2 Uneasy Lie the Bones
Source:
Splattered Ink
Author(s):

Sarah E. Whitney

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252040467.003.0002

This chapter analyzes the works of Alice Sebold within the frame of postfeminist gothic. It shows how Sebold's literary work uses different modalities to bring the strains of gothic and postfeminist thought into dialogue. Her elegiac best seller The Lovely Bones can be profitably read as a gothic tempered by postfeminist ideals. By contrast, Sebold's second novel, The Almost Moon, reveals postfeminist dreams to be gothic nightmares. The chapter argues that Sebold's fictional universe deserves a closer, historicized investigation; her compelling works show how one woman writer responds to gendered violence in an age that prefers to disengage from questions of gender altogether. Should we continue to deny the materiality and impact of sexism and gendered violence, she suggests, we will make gothic novels of our own lives, and monsters of ourselves.

Keywords:   Alice Sebold, The Lovely Bones, The Almost Moon, gendered violence, sexism, gothic novels, male violence

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