Gender Trouble in Katherine Mansfield’s ‘Bliss’

“. . . but I tell you, my lord fool, out of this nettle danger, we pluck this flower, safety.” [1]

‘Bliss’ opens with the heroine – Bertha – being moved by an overwhelming, and misunderstood, feeling of anticipation, which is particularly characterised by her inability to give expression to it. Throughout much of the story she is unable to give full expression to her inner passions, whether out of fear or inability, ‘her discourse is tempered by social conditioning.’[2] When she is overcome by this intense feeling of bliss she asks whether there is ‘no way to express it without being ‘drunk and disorderly’’ and perceives civilisation as ‘idiotic’ because of its control over her own individual expression. When she desires to ‘get in touch’ with her husband, she becomes paralysed on the phone, ‘What had she to say? She’d nothing to say… She couldn’t absurdly cry: ‘Hasn’t it been a divine day!’ Again, in the nursery, the contrast between her internalised feelings and her verbalised response is striking, ‘You’re nice – you’re very nice! … I’m fond of you. I like you,’ she says to her baby daughter. Continue reading “Gender Trouble in Katherine Mansfield’s ‘Bliss’”

Representation, Expression and Censorship: Same-sex Desire in ‘Orlando’ and ‘The Well of Loneliness’

By 1928 – the year The Well of Loneliness[1] and Orlando[2] were published –there was an increasing social awareness of female same-sex desire in Britain.[3] Whilst The Well engages in religious and contemporaneous sexological discourse in order to legitimise and justify ‘sexual inversion’; Orlando adopts metaphorical language and narrative strategies to deconstruct and expose conventional heterosexuality, exploiting the possibility for same-sex desire.[4]

Continue reading “Representation, Expression and Censorship: Same-sex Desire in ‘Orlando’ and ‘The Well of Loneliness’”