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Susanne Becker

own life, and the lives of people that I have known’, as well as ‘a critique of America’ (Oates 1988 , 371). She emphasises the personal and political powers of the feminine gothic that also work in ethnic texts like Toni Morrison’s Beloved (1987), with its black orality and its gothic ghost baby-woman; or Maxine Hong Kingston’s interweaving of Chinese and (to the Western reader) gothic ghosts in the

in Gothic Forms of Feminine Fictions
Aritha van Herk and No Fixed Address
Susanne Becker

-gothic texture – by lesbian writers like Daphne Marlatt (for example in her Ana Historic , 1988 ) or by women of colour like Maxine Hong Kingston and Toni Morrison. In No Fixed Address , the ironic representation of the post-feminist dilemma is effectively (dis)placed into a mock-gothic setting: ‘the castle-like hotel on top of the hill’ in Banff (251). The very

in Gothic Forms of Feminine Fictions
Generic experimentation in My Life as a Man, The Counterlife, The Facts, Deception and Operation Shylock
David Brauner

Lurie, Jayne Anne Phillips, Anne Tyler and Carol Shields. There are of course a number of writers who don’t fit easily into these categories, or who straddle the two. Many ethnic minority American women writers, for example Toni Morrison, Alice Walker, Gloria Naylor, Louise Erdrich and Maxine Hong Kingston, write fiction that has certain affinities with the magical realism popularised by South American writers such as Isabel Allende and Gabriel Garcia Marquez. Others, such as Joyce Carol Oates, Annie Proulx and Cormac McCarthy, seem to have more in common with the

in Philip Roth