Category Archives: Lesbian

Discussion: Alison Bechdel’s The Essential Dykes to Watch Out For 


Veronika wrote: 

I really like the comics I dipped into. The way she captures every day politicising in the slice of life format is compelling for busy adults… I like the sustained way she did comic too! It’s not easy to create an appealing comic strip that panders exclusively to adult tastes. I mean, I usually associate comic strips to anthropomorphic animals or hyperbolic characters so at first flip it took a while for me to get used to reading unusually dense language for comic strips. I kinda see why XKCD strips the artwork to stick figures now, cause the dialogue is the focal point. For this, there were times when I felt a little too overwhelmed at the cramped drawings and dense text in the comics. Aaron did point me to a rather poignantly done comic strip in 2004 following the 9/11 event, and it was nice to see the art carry the weight of the message for once. I agreed with Aaron’s point that he finds the depiction of the fat or non-standard beautiful characters interesting. It adds to the raw, Real feel of the comics. Aaron thinks it is problematic that the text itself while promoting diversity, fails the inverse Bechdel test. However, I personally don’t think it’s problematic.


Aaron wrote: 

These are some of the discussion questions that I have prepared: 

1. In our discussion on Fun Home, we didn’t like the narcissistic nature of the graphic novel. In the introduction of DTWOF, Bechdel confided that she submitted a manuscript of a novel to Adrienne Rich. Rich rejected to publish  the novel because she, like us, found the storytelling narcissistic. But DTWOF comes in episodes, not a whole coherent narrative. Do you think DTWOF is narcissistic too? Or does the episodic form make the comics more inclusive and universal? 

2. The Bechdel Test originated from DTWOF. Think of your favorite movie and apply it to the test. Do you think the test is accurate or reliable? 

Now apply the inverse to DTWOF. Are there more than 2 male characters interacting with each other, talking about nonsexual topics? How are men generally portrayed in DTWOF?

3. In this interview, why did Bechdel feel uncomfortable about her characters being role models? 

4. In the same interview, she stated that she stopped DTWOF after more than a decade because it was no longer profitable. Does this affect the artistic integrity or the advocacy element of the comics for you? 

Also you may want to relate it to the characters in the comics who stick to their principles and those who don’t. 

5. In the interview, what is the “homosexual agenda” according to Bechdel? How is it reflected in her comics? 

6. Bechdel is constantly worrying about the homogenization of the world because big corporations are taking over the world. How does she negotiate that in her comics? 

7. What are some of the things that shock you in the comics? If you’re a gay man, what is the difference between the lesbian scene and the gay? 

8. Bechdel prides herself for being a feminist, which to her also means being antiestablishment. Is there a contradiction publishing things to make money?

9. Fat studies / disabled lesbians. Discuss. 

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Filed under Alison Bechdel, Class, Disability, Family, Graphic Novel, HIV/AIDS, Lesbian, Love

Lesbian Book Discussion: Emma Donoghue’s ROOM

We were a lively, loquacious bunch: Pierre, Mona, Liz, Sharad, Raj, Brian, Alex, Javin, Veronica, and Aaron.

We started the discussion with whether it’s better to watch the film first, or read the book first. S and B had different opinions. B found the space in the film important, especially the personal space the Grandma needs away from Jack. 

P was insistent that Ma should have committed suicide before the birth of the child. Why wait till the hospital? B argued that Ma doesn’t commit suicide because of Jack; she has no existence before Jack. “Is this sexist to depict that a woman’s existence lies in her motherhood?” Almost everyone in the group replied negative, but Aa and P weren’t so sure it isn’t sexist.

When asked what we didn’t like about the novel: R, V, Aa, P, M all thought it was densely packed, full of many noun-things. Aa called the novel unimaginative and predictable, which V disagreed. B said that the brother is superfluous. V thought the breastfeeding should have been developed later in the novel. L commented the story is isolated in its world, divorced from other current events. Al thought it is the bestest book ever.

roomWe talked a lot on fatherhood. B noted that fatherhood in Room is more complex than motherhood, because there are different types of fathers whereas mothers seem giving. V said that the Father’s rejection of Jack adds to Ma’s guilt. We also questioned why Ma doesn’t allow Jack to interact with his father, but S and B bored us and we didn’t pay attention. Something about attachment/abuse theory, Jack as a form of pure extension of Ma which she must keep sacred, but it seems going into the sexist rhetoric that a woman is unpure after rape.

Another theme we talked about was media. Hey, wanna netflix and chill? Donoghue claims Room is part “a satire of modern mores and media.” We should have discussed more on it.

We also discussed a scene where a gay couple appear. S, P, and Aa thought it is a manipulative scene, bludgeoning our heads with the message that children know no sexuality and can love a boy or a girl. The other members protested, and called the trio cynical.

On favorite characters, everyone seemed to love the Grandma and the step granddad, except for Al. Al thought the grandma represents the normalizing, heteronormative force of society; she teaches Jack how to be normal. Gross, right? L and J liked the kid and mother. Aa liked the reporter but he was booed by everyone—we are a pretty “democratic” book club. Al liked Raja the dog and the Room as a character.

R claimed Ma uses Jack as a pawn to get Sunday treats. The rapist giving Sunday treats and not depicted as a complete villain: L said, “The worst kind of evil has some good in it.” She was on a roll and had several good epigrams that night.

V pointed that the rape is not dealt with directly and B said that circumventing the topic is a sophisticated way of dealing with the topic: it’s a traumatic experience, one of the worst things that can happen to a woman, but yet it’s not the be-all, and end-all of a person’s life.

On narrative structure, Aa asked if it is strange to have the climax of the story in the middle of the book, and V said it is more thrilling after the climax. V also liked the child narrator, arguing that it’s a convincing voice.

How about the ending? Is it a good ending? Ma and Jack treat the room differently; Ma hates it but it is Jack’s world. L wondered if it is an allegory for wanting to return to the mother’s womb.

S views the moral of the story differently. He sees J as a carte blanche using concepts to understand the world: he uses different concepts to deal with situations in the room and in the world. The message of the story is not to have a message.

V ended the discussion by aptly summing up: it’s a feel bad, feel good book, a book that makes you see how awful the world is so that you feel that you’re lucky.

These are some of the topics that Aa had on hand, but there was no chance to bring them up:
-Queerness of Jack
-Sexuality of mother
-why is Old Nick deliberately kept out of the picture?
-psychiatrist and nurse
-Universality of the experience?
-Donoghue says that Room is “a battle between Mary and Devil for young Jesus.” How so?
-Room is inspired by Austrian case of Josef Fritzl, who locked up his own daughter whose son escaped at age of 5. James Wood, New Yorker critic, said this adaptation is “exploitative and a little cheap.” “The real victim’s imaginings and anxieties,” Wood argues, “must have been abysmal, in the original sense (unimaginable, bottomless), and the novel’s sure-footed appropriation of this unknowability seems offensive precisely in its sure-footness.” Jack’s cheerfulness and charm “lend the book an inappropriate lightness.” Do you agree with him?

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Filed under Canada, Emma Donoghue, Family, Lesbian

71st Discussion: Dorothy Allison—Bastard Out of Carolina

This discussion note is written by Brian (who blogs at Foreign Influence).

Attending: Raj, Alexius, Paul (a first-timer), Sharad, Brian, and Dominic

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Bastard out of Carolina is a difficult book to finish. The Boatwright family in 1950s/1960s Greenville County, South Carolina—kinship, poverty, violence, abuse, humiliation, self medication, criminality, illegitimacy, and constant questions of beauty and ugliness. For some of us, the book was too traumatic to read without multiple breaks. For some, it was overly complicated or unnecessarily melodramatic in places. For others, the pace of the book was distracting: too many leaps or slow lags without a steady narrative. Even after some of us did manage to finish reading, we kept returning to questions of realism, silence, characterization, and the place of this book in American gay culture. The book did lead to some arguments—even about the weather in that part of the Southern United States.

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Brian and Raj very much liked Bastard and the responses it evoked, even though Raj thought characters aged too quickly within the novel’s pace and Brian thought the novel could have developed some racial themes more fully.

Sharad and Dominic were generally positive, although more ambivalent toward the believability of the story and skeptical about the moral of the tale. Dominic summed the book’s message up as “Don’t be poor.” He didn’t like the presentation of that message.

Alexius and Paul didn’t like the book. Alexius thought Bone—the main character—never said or did anything; she never developed as a character. Paul thought the book tried to develop too many themes; it had little emotional depth. He asserted that his standard for gay and lesbian literature is Michael Cunningham’s The Hours, and that Bastard did not match up.

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After a long discussion of the poverty and violence in the novel in general, we talked about its portrayal of crime and incarceration. Going to jail makes these men adults, and you can beat someone in a fair fight or out of justified revenge as long as you don’t kill them. We noted that girls become women by having babies and boys become men by committing crimes.

(Bone is close to her Uncle Earle—the only (?) likeable male character in the book—and commits a crime with her cousin Grey. Does this put her between the men and women in the novel, like her Aunt Raylene, who late in the book describes her love for another woman?)

Then, we discussed the theme of fire. Many things and people burn in this book, and fire is always mentioned around Bone’s encounters with other girls she seems drawn toward—such as the Black girl in the apartment and the Albino friend Shannon.

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We also discussed race, skin tone, and hair in relation to questions of being pretty or ugly. Being pretty is a constant obsession in the novel. Everyone worries about it, and it is always related to being fairskinned and blond haired. Brian pointed out that the characters tease any children with curly hair, saying they are “from the wrong side of the family,” and Raj raised this question of the “curse” some children hinted at. Alexius linked this curse to themes of “destiny” in the book—to the idea that there is no way out of the cycles portrayed.

Raj brought up questions of the power of “unconditional love,” of course.

We discussed Anney in detail. Her jobs and economic situations. We discussed her relations with Bone’s unnamed father, her husband Lyle—who dies soon after their marriage—and her second husband Glen, the man-child prone to violent outbursts—who abuses Bone. Anney is a mother, a housewife, a waitress, and a mill worker. Always barely making ends meet. The ambiguity of one of the economic arrangements in the book led us to ask if Anney might have engaged in sex work of one sort or another once.

Considering themes of humiliation and legitimacy, we considered why Anney is so concerned about Bone’s birth certificate—even though no one else appears to be. Sharad thought it was a point of pride. Paul suggested it was a matter of social stigma. Dominic asserted that if being poor was bad, being poor and a bastard was even worse, and Anney wanted to keep Bone from that double humiliation.

We discussed whether or not Shannon’s immolation was a suicide or an accident. Raj and Dominic said, “Yes.” Sharad hedged. Paul said the scene was emblematic of being consumed by religion. Brian thought maybe. Alexius asked, “Who is Shannon?”

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The religious/gospel singing passages were interesting but didn’t garner much of our interest.

It seemed as if the book was introducing many homosocial/homosexual moments involving Bone: Bone’s links to Granny at first, the exchange of looks with the Black girl, Shannon, and then the “queer utopia” (???) of Aunt Raylene’s home. (Raylene who ran away with a woman once and now lives alone is also called “Ray.”) We debated if Raylene might be the moral voice of the novel but could not decide. Brian invested a lot in Raylene’s statement to Bone that, “‘People are the same,’ she said in a whisper. ‘Everybody just does the best they can’” and tried to find some morality in it.

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We asked about the book’s portrayal of straight culture. Paul thought it was stereotypical. Raj thought the story was biased against everyone. No one does well in this environment. Dominic reminded us that Anney and Lyle are a positive couple. But, Lyle dies right away, for no apparent reason. Sharad brought up ideas of toxic masculinity and constant economic dependency. Alexius mumbled something.

In closing, we brought out our favorite characters:

Raj: Granny doesn’t move! There’s stability to parts of this culture.

Dominic: Serving it real! There is so much food in the book, and Anney serves it all.

Sharad: You can’t get more right than the Boatwrights! The whole family is engrossing.

Paul: I didn’t like anyone.

Alexius: I liked the weather.

Brian: Raylene! Who doesn’t want to live alone at a bend in the river?

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Filed under Class, Classics, Dorothy Allison, Family, Lesbian, USA

68th Discussion: Julie Maroh’s Blue is the Warmest Colour

9781551525143_BlueIsTheWarmestColorThis discussion note is written by Brian (who blogs at Foreign Influence).

Blue is the Warmest Color drew a nice group of twelve folks together and provoked all of us to make comparisons, even when we tried to avoid them. We compared the book and the film. We compared the book (a graphic novel) to an imaginary “traditional” novel (without images). We compared the English version to the original French. And, we compared images of female nudity with images of male nudity. All-in-all, it seemed a good way to go about discussing Julie Maroh’s book.

 

Opinions were split on this book—as were opinions on the film—and the fact that not all of us completely liked it, let alone were completely satisfied with it, might have been what inspired the three-hour conversation.

 

In some ways, the tone was set early on by Vicki, who summed it up as, “…like a European/Art House version of a Korean drama…. I hate to love Korean Dramas.”

 

Cowen asked what the director (Abdellatif Kechiche) saw in the book to make him want to adapt it, and this led us further into our comparisons.

 

urlWe discussed the title, which, as Ken noted stressed the warmth rather than coolness of blue and Vishakah pointed out might be a reference to the idealization of a lover that runs through the book. We went on to talk about the use of color and b/w throughout the book—with Andrea and Vishakah lending some expertise in the genre, and we all pointed to our favorite images. Brian stressed that the last page was his favorite page of the book.

 

Looking into the characters a bit more, Sara asked if we thought Clementine was lesbian, bisexual, or curious and how that affected our reaction to her. Raj said that Emma definitely is a lesbian. Yi-Sheng and Ken also drew out points about the youth of the writer and the charm of the teenage drama in the book. They both focused on the theme of “innocence” at different points in the discussion. Cowen found parts corny and melodramatic. Sharad compared the book overall to a young adult novel.

 

Several folks questioned the balance of the timeline and the narrative gaps. We wondered if the book had originally been serialized. We also wondered if the unbalance might be a sign of an inexperienced writer.

 

We also wondered about a couple of particular scenes in the book. Why would anyone walk around a clandestine lover’s parents house in the nude? What exactly were those pills Clementine was taking? How did we respond to the portrayal of Emma and Clementine’s “mature” relationship? Raj raised the comparison to queer couples where one is completely out and the other is completely private. Vicki asked about the slut shaming in the book and film. Several people asked if Valentine was a good friend or not? We kept wondering if Blue truly is the warmest color?

 

In the end, some folks liked the pages without images quite a bit. Andrea thought it was a good message for young readers. And even some who did not like the book as much still thought it was worth considering if it is a work of art, if it is compelling, and if alters some ways we might tell stories about gay, lesbian, and queer lives.

 

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Filed under Family, France, Graphic Novel, Julie Maroh, Lesbian, Love

66th Discussion: Helen Oyeyemi’s White is for Witching

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Instead of chalk, plastic and dirt, Raj graciously provided cheese, nuts, and charcuterie. Thanks!

As for flaws, Raj felt that there wasn’t character development for some of the auxiliary figures. Daniel disliked the self-centeredness of Miranda. And Brian couldn’t get into the book until the second half where male characters are eliminated from the narrative. The novel, he noted, could be funnier. Aaron argued that Oyeyemi is trapped in a bind: she wants to write on women oppression but it is almost impossible to write “pure” feminist texts, like Gilman’s “Yellow Wallpaper,” that claim patriarchy drives women mad since the 21st century isn’t a patriarchal system anymore for UK where the book is set. In the end, Aaron claimed that there is no message in the novel, a beautiful nothing.

6277227-1Although this was a fruitful discussion, we couldn’t phantom (PUN!) several things, such as the metaphorical possibilities of the house, the ghosts, the eating disorder, soucouyant, and goodlady; the use of different narrators; the style of using one word to connect the passages.

But Brian suggested that pica, domesticity of women, and circularity of narratives stem from the inescapability of structural patriarchy. Raj added that perhaps stopping reproduction is to stop the cycle of oppression of women.

Brian alerted us about the title and house as an allegory of British immigration laws, keeping black people out.

Strong woman characters are always a favorite: Raj liked Sade, a strong black independent oracle woman, while Brian, Ore, a well-rounded character with surprises. Daniel observed that the strong female characters are blacks.

We ended with nice words for the book: it makes a good movie (Raj); the kissing scene is well-written (Brian); pica is a fascinating topic (Daniel); and it is poetic (Aaron.)

 

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Filed under Family, Food, Helen Oyeyemi, Lesbian, Love, Race, Religion, UK

62nd Discussion: Ellis Avery’s The Teahouse Fire (or Q&A with Raj)

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Poor Raj! He set such a beautiful table, and no one came for the book club. Aaron had emailed Raj a list of questions beforehand to moderate the discussion, but since no one came, Raj decided to answer them.

 

Questions for Teahouse Fire:

  1. On p. 284, there is a Japanese phrase “ichigo ichie” for the tea world. It means “one moment, one meeting,” or in the deepest sense, it means there are no mistakes in life. What does this phrase mean about life in general? Does the novel embody this phrase? Which character, do you think, apply this philosophy?

avery - The_teahouse_fireIchi-go ichi-e is linked with Zen Buddhism and concepts of transience, particularly depicted during the tea ceremony conducted in the style of famed tea master Sen no Rikyu where unique scrolls, tea bowls and flowers are set up in the tea room. In the context of tea ceremony, ichi-go ichi-e reminds participants that each tea meeting is unique. This is also true that there is has been no repetition of the set up for the varios tea ceremonies in the book. In each of the tea ceremony, the host and guest had one unique experience that lead to friendship or disaster

In a deeper sense, it is about Aurelia meeting Yukako in the teahouse that night of the fire – it is that one moment, one meeting that changed the courses of their lives. Towards the end, in the same tearoom, Aurelia kissed Yukako and again changed the course of their lives.

  1. What are the similarities and differences between Western and Japanese cultures in the book?

Similarities:

Mary vs Goddess of Mercy.

The status of fallen women is the same – Aurelia’s mom and Kenji’s girlfriend Aki – outcast.

Differences:

Bath rituals

Role of wife

Social order – Samurai, Traders and the untouchable working class

  1. Is Urako/Aurelia responsible for her uncle’s death? (Also note the molestation scene before the fire.)

She prayed for her life to change and she rather not have the uncle with her – shown by her praying to change her life before the goddess and also her uncle only showed up in nightmares later in her life as Urako. Also, she never bothered to find if her uncle survived the fire at all.

  1. Why does Urako/Aurelia have made up last names?

I believe that she doesn’t know her father’s name and that name “Bernard” was given by her uncle. Hints that her mom could have been raped by a priest was suggested by both Aurelia and her mom when she said, “Aurelia Bernard. Who is this Bernard, tell me? The Church hates truth, and the nuns hate it most of all.”

  1. Why does Urako have sex with Nao?

She wanted someone who desire Yukako to desire her as well. Also she believes Yukako desires Nao instead of her and she wants to punish her.

  1. Objects in the book often have significant meanings: the lightning cup, Yukako making a spoon out of Baishian’s wood for Urako, and Urako’s Catholic medal. What gives these things meaning? And what is the significance of these things? On a side note, does Yukako’s marketing on tea ware cheapen or ennoble the art?

Symbolism and subtle messages are very much a cultured Japanese behaviour – the book is full of hidden messages just like Urako’s closeted sexuality – classic example of her dress handing in the alcove.

Yukako’s marketing of the tea sets made them more of a commercial item rather than “ichigo ichie”- “one moment, one meeting”.

  1. Why does Yukako set Baishian on fire? What is the significance of fire and water in the book?

Yukako’s way of atoning for her mistake – she will never be able to host another tea ceremony in Baishian again – again on the theme of Ichigo Ichie.

You need fire and water to make tea – its sweet irony. Also Aurelia had a fire after a long journey over sea into Japan and after another fire she sails away from Japan.

  1. Yukaka appears to be half sister to Koito. Does it give her a right to teach Koito, a geisha, chado?

Yukako did it for other reasons rather than the fact that she is a half sister. Yukako , according to the book, has been key reason for women to learn tea. She also introduced this to the Geisha world through Koito. But whether she has a right – it all depends on who’s perspective you want to look from.

  1. During one teaching lesson with Koito, Yukako honors Urako’s Western dress. Why?

Yukako’s acceptance of the western influence into their lives. Also Urako is her first student.
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  1. Why does Aurelia’s mother insist on calling her blond when she has black hair?

Maybe her real father had blond hair??

  1. Comment on the throwaway reference to Singapore as a name for a ship. Is it exoticizing Singapore?

Author wants to show the historic importance of Singapore as a port as well of the fact that Japan owned Singapore at one time.

  1. Incest: Comment on the rampant incest that occurs in the novel: Aurelia with her uncle, Yukako with her half brother, Nao; Kenji (Yukako’s son) with Akio (Nao’s daughter).

Its common in those days – people don’t get out of their circle and houses too much

  1. Why does Akio dress Koito in Yukako’s kimino?

Fantasy – Fetish – every man wants a virtuous wife who is a whore in bed!

  1. Discuss the male-female relationships in the book. Are there any positive ones? (Also look at mother-son relationships).

Yukako – Tai – positive

Tai – Tsuko – positive

  1. Discuss the male-male relationship in the book, especially the triangle between Nao, Hiro, and Akio.

There is a lot of brotherly love and jealousy by Nao to Hiro and Akio. Hierarchy in the teahouse is one the reason for this and class status.

  1. Nao’s class struggle.

Didn’t help when he married an untouchable gal !!

  1. Love: Does Urako love Yukako or Inko?

Different sort of love – Yukako is a sort of motherly-sisterly love – whereas Inko was more of her equal. Inko loves Urako more that Urako loves her while Urako love Yukako more than Yukako love her.

  1. Discuss the female characters (Pipe Lady, Yukako, Urako, Chio, Aki, Koito, Inko)

Really? Why??? There is too many female characters in this book!!!!

  1. Discuss the male characters. Are there any strong and positive male characters? Is this another male-bashing lesbian novel? (Mountain, Akio, Jiro, Kenji, Tai.)

There was no real great male characters , but at the same time there is no real male bashing. There are more mean gals depicted in this book than lame men. This book centres on women rather than men.

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Filed under Bisexuality, Class, Colonialism, Ellis Avery, Family, Food, France, Historical, Japan, Lesbian, Love, Race, Religion, USA, War

59th Discussion: Sarah Waters’ Fingersmith

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Moderator: Aaron
Attendees: Alexius, Dominic, Javin, Jiaqi, Raj, Timmy

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Raj and Alexius thought that the book was repetitive; the latter further added that the plot twist was predictable and expected, which Dominic concurred. The story did not interest Jiaqi as well, who felt that it was contrived. Timmy, who went the “alternative route” and watched the miniseries, felt that it was draggy at some parts of the show. Aaron declared it “the lesbian version of Fifty Shades of Gray.”

THEMES

Everyone had differing opinions on who should be deemed as a/the villain. Dominic picked John Vroom, who “doesn’t owe Dainty yet beats her up to assert control.” Uncle Christopher Lilly was also brought up, because he mindfucked – mentally and sexually abused – Maud (Aaron) and was just a perverted, demented being (Raj). Alexius, however, found him interesting and wanted to “shiver together” with him.

Ultimately, the award for “Greatest Villain” was tied between Richard – Aaron viewed him as unscrupulous, though Jiaqi begged to differ – and Mrs Sucksby, who was willing to give Sue up to a madhouse, according to Jiaqi.

We discussed on death and noted how women’s deaths were painted as some form of redemption for their errors, while men’s deaths were treated as punishment for their sins.

…Which led us to the question – why so much man hating in this book? The men were either portrayed negatively (orderlies in the madhouse were described as “manly”) or just nothing, while the women experienced a plethora of emotions, in particular sadness. Aaron also highlighted the very (obvious?) maternal instincts evident throughout the book, in the form of Mrs Sucksby and Mrs Stiles. “At least there is no gay bashing,” Javin quipped.

Speaking of gay bashing, we questioned Gentleman/Richard Rivers’ sexuality – is he a homosexual? Asexual? He had sex with neither Maud nor Sue, and his only noted “sexually charged” moment was when he touched Charles’ cheek. Timmy brought up an interview with the actor who played the Gentleman, who shared similar observations as us.

Dominic noted the lack of proper family unit as a running theme throughout the book, deeming it unconventional. Aaron viewed it – Mrs Sucksby and the gang, in particular – as a “queer kind of family.” Alexius brought up the cold weather as the reason why they randomly convened together.

Maud and Sue were seen as the victims throughout the ordeal (Jiaqi), despite the fact that Maud has been in the know the entirety of the ruse while Sue was the more innocent one of the two. Alexius asked whether Maud really loved Sue, to which Raj replied that her love stemmed from sympathy.

The similarities as well as differences of Maud and Sue were discussed. Dominic brought up the rationality of switching the two at birth when Mrs Sucksby has other babies that could have taken Maud’s place. We also entertained the idea of the two being possibly related, which means whatever they have for each other bordered on incestuous.

With such a title as Fingersmith, hands obviously featured prominently throughout the book, which disgusted Aaron. Dominic looked at it as a form of penis envy, with the finger(s) as a phallic symbol. Because of this, there was a lack of girl-on-girl sex, which bored Raj and Jiaqi.

The ending drew the biggest ire from everyone. Dominic saw it as a being purposely written as a transaction point for the characters. For Timmy, however, it was all just one big fuckery.

FAVOURITES

Raj picked Dainty for the fact that she “has heart”, was portrayed as a strong character and ultimately redeemed herself.

Jiaqi also liked Dainty because she is kind; he also selected John because of his loyalty towards Mrs Sucksby.

Dominic admired Sue for her tenacity.

Alexius chose Christopher Lilly because of his vast collection of porn books, which are “more interesting than (Waters’) Fingersmith.

Aaron didn’t have any favourite characters, though he cited the Rivers/Charles cheek scene as his favourite.

CONCLUSION

In capping the discussion, Raj thought the book was good and really liked the twist at the end of each act. Timmy appreciated the plot twist as well, which made the miniseries move at an exciting pace. Dominic enjoyed it because it was well written and researched. Alexius felt that reading the book allowed him to feel “cooler and refreshed”, thanks to its time period and weather setting. Jiaqi commented that the book was a good read as well as a page turner, comparing it to a magician performing his tricks. Aaron agreed with Jiaqi’s sentiments.

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Filed under Class, Family, Historical, Lesbian, Love, Sarah Waters, Time, UK