In his novel The Hours, Michael Cunningham creates a dazzling fabric of queer references managing to intertwine the lives of three different women into one smooth narrative. In this essay, I will discuss what makes The Hours queer literature, how the novel has contributed to the queer genre, the cultural significance of the novel, and I will discuss several points made in Jeanette McVicker’s critical article “Gaps and Absences in The Hours.” My aim, however, is not to say that Michael Cunningham’s The Hours is strictly a queer novel, but to highlight what makes the novel queer and to discuss Cunningham’s idea of sexual orientation as a fluid entity.
To begin my analysis on the queer narrative in The Hours, we must fist discover what makes a queer narrative. Marilyn Farwell discusses what makes a lesbian narrative in her book Heterosexual Plots and Lesbian Narratives:
“Does the text have a political purpose? Can we identify the lesbianism of the authors and characters? What do these writers and characters say about lesbianism and more particularly their own lesbianism?” (Farwell 11)
Using Farwell’s breakdown as a guide, we can then determine what makes a novel like The Hours into a queer narrative.
In an interview with Steven Drukman, Cunningham discussed the political purpose of the novel:
“I originally imagined I would…try to use the AIDS epidemic very much the way Woolf used World War I – with this sense of a new culture rising up out of the ruins of the old.” (Drukman 62)
As an author, Cunningham dedicated much of his early writing to chronicling the experience of gay Americans in the age of AIDS - working closely with the gay activist group ACT UP several times. He was able to use his experiences as an activist to bring...
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... you get through that one and then, my god, there’s another. ” (Cunningham 197-198)
Both characters also hear the voices of their past – eventually leading to both Septimus’ and Richard’s deaths. The parallelism between the two characters is impeccable, leading me to believe that if Richard is “emptied out of the world” as McVicker states, then Septimus must be as well.
By exploring the various queer references in The Hours, I have untangled some, but hardly all, of the queer references that Cunningham wove into his novel by adopting, and adapting, Virginia Woolf’s Mrs. Dalloway for his own purposes. He was able to transform the reader’s view of literature and of queer narratives by reviving an old work and giving it a modern spin – replacing World War I with AIDS and exploring the sexuality of Mrs. Woolf, Mrs. Brown and Mrs. Dalloway through their respective eras.
Irving Katrina. "Displacing Homosexuality: The Use of Ethnicity in Willa Cather's My Antonia." Modern Fiction Studies 36 (1990): 91-111.
Since the dawn of the Victorian Era, society has perpetuated unrealistic gender performance ideals that supposedly find their roots within biological sexual differences. Judith Butler has spent a lifetime seeking to break the mold todays social constructions, specifically surrounding gender and sexuality. The theory this pioneer pegged is now known as Queer Theory, and brought forth in the education system through Queer Studies courses. In the text Sexing the Body: Gender Politics and the Construction of Sexuality by author Anne Fausto-Sterling, gender and sex are similarly challenged on both a social and biological level. When reviewing Fausto-Sterling’s work in conjunction with Queer Studies and Human Sexuality, an efficient and effective format is loosely based upon a Critical Literary analysis.
The Movie “And the Band Played On” is the framework of the earliest years of the human immunodeficiency virus (HIV) and acquired immune deficiency syndrome (AIDS). Also known as the Gay disease. The movie examines HIV/AIDS epidemic in the United States in the earlier 1980’s and emphasizes on three crucial components. An immunologist with knowledge in eradicating smallpox and containing the Ebola virus, joins the Centers for Disease Control (CDC) to attempt and recognize just what this disease is. The film also deals the administration and government side that does not seem to care. The homosexual community in San Francisco is separated on the nature of the disease but also want to know what should be done
“Angels in America” is a highly dramatic piece that deals with the AIDS crisis in New York, and the lives that are impacted directly and indirectly by the disease. In this time period in which the play takes place homosexuals are struggling to obtain their rights. Reagan's reforms and policies gave homosexuals the power, and the courage to be open about their sexuality. Throughout this play coming out, and being openly gay is a evolution that Kushner bases his play on.
The prevailing standards of masculinity have placed a trivial label on female values compared to the values of men. Most noticeably, A Room of One’s Own, authored by Virginia Woolf, effectively conveys the inequalities between men and women. During this era, Woolf recognizes the literary cannon works of women; her successful recognitions allow for the questioning as to why these accomplished female authors are not given the acknowledgment to which they are entitled. This inquiry is also conveyed in the work of Carol Shield’s, Unless. Unless effectively conveys the progression of anger, which is blamable for Norah’s breakaway from reality. This break from reality causes Reta’s melancholic feelings to transform
Sedgwick, Eve Kosofsky. "Paranoid Reading and Reparative Reading; Or, You're So Paranoid, You Probably Think This Introduction is About You." Novel Gazing: Queer Readings in Fiction. Ed. Eve Kosofsky Sedgwick. Durham: Duke UP, 1997. 1-37.
n Prelude, Katherine Mansfield explores issues of sexual frustration and the restrictions on female identity in a patriarchal society, as experienced by three generations of Burnell women. Linda Burnells responses to male sexuality are tainted by their inevitable association to her obligations in fulfilling her role as a wife and a mother, both of which Linda has shown indifference towards. As a result, Linda's own sexuality suffers under feelings of oppression.
Just as Arthur Miller, the writer of “The Crucible”, said, “Sex,sin, and the devil were early linked” (Miller,1125). During the AIDS hysteria, homosexual intercourse was thought to be the cause of widespread immune deficiency, so the disease was soon labeled “Gay Men’s Health Crisis” (“History of HIV and AIDS”). As time progressed AIDS, it was discovered, could also be spread through heterosexual couples(“History of HIV and AIDS”). This
Stillinger, Jack, Deidre Lynch, Stephen Greenblatt, and M H. Abrams. The Norton Anthology of English Literature: Volume D. New York, N.Y: W.W. Norton & Co, 2006. Print.
Kramer, Lawrence. “Gender and Sexuality in the Prelude: The Question of Book Seven.” ELH 54 (Autumn 1987): 619-637.
Wolff, Cynthia Griffin. "Un-Utterable Longing: The Discourse of Feminine Sexuality in The Awakening." Studies in American Fiction 24.1 (Spring 1996): 3-23. Rpt. in Twentieth-Century Literary Criticism. Ed. Janet Witalec. Vol. 127. Detroit: Gale, 2002. Literature Resource Center. Web. 19 May 2014.
Evelyn Waugh’s 1945 novel Brideshead Revisited is a story about an upper class family observed and narrated by a middle class outsider Charles Ryder. The author introduces various motifs and themes throughout the novel, specifically the exploration of sexuality. Sexuality is defined as the expression of sexual receptivity or interest especially when excessive. Waugh successfully portrays homosexuality in this novel through the use of characterization, symbolism, and the nature of the relationship between the protagonist Charles Ryder and his tragic friend Sebastian Flyte. In Brideshead Revisited, homosexuality is the hidden love story concealed through the term friendship between Charles Ryder and Sebastian Flyte.
This quote addresses directly the primary difficulty of the issue. The terms gay and lesbian are useful in literature in that they allow a group of people who have been marginalised and even persecuted to become visible. They enable a way of life and a set of identities, harmonious or conflicting, to be presented, to be questioned, to be understood and accepted. As categories they create ‘space’ in which there may develop a more evolved understanding of texts and they also create a genre within which many lesbian and gay writers are comfortable with being placed. A gendered reading of a text can reveal undercurrents and depths which might otherwise not be apparent. These categories also make ‘space’ for the author within the text which leads to a closer tie between the author and the reader in the reading process.
Clarissa Dalloway and Peter Walsh are defined by their memories. Virginia Woolf creates their characters through the memories they share, and indeed fabricates their very identities from these mutual experiences. Mrs. Dalloway creates a unique tapestry of time and memory, interweaving past and present, memory and dream. The past is the key to the future, and indeed for these two characters the past creates the future, shaping them into the people they are on the June day described by Woolf. Peter and Clarissa’s memories of the days spent at Bourton have a profound effect on them both and are still very much a part of them. These images of their younger selves are not broad, all-encompassing mental pictures, but rather the bits and pieces of life that create personality and identity. Peter remembers various idiosyncracies about Clarissa, and she does the same about him. They remember each other by “the colours, salts, tones of existence,” the very essence that makes human beings original and unique: the fabric of their true identities (30).
In the Broadview Anthropology of Expository Prose, Buzzard et al. describe Virginia Woolf’s essay “Professions for Women” as a “lecture to a society of professional women” (100). As a queer writer, Woolf’s voice during the 1930’s received much attention, along with praise and criticism. Woolf’s fight for women’s empowerment and gender equality are evident throughout her essay, and as of now, in the 21st century, it is unequivocal that Woolf saw herself as a feminist. However, as Woolf writes her “Professions for women” she makes use of the blanket terms “the woman” and “herself” to refer to a general professional woman. It leads us to question who the woman really is: which kinds of individuals are included in and excluded from Woolf’s filtered view of women. How does