Witches and Stepmothers in Kissing the witch - Essay Example

Module Witches and Stepmothers in Kissing the Witch BACKGROUND Fairy tales represent ancient short narrations or stories aimed at outlining certain societal values (Benson 22). These tales employ the use of fantasy characters such as goblins and giants. In most cases, fairy tales employ happy endings of stories that could either be true or false. In addition, fairy tales could also employ the use of witches and demons in their characterization. Fairy tales have been in existence for a long time and have continued to thrive even in modern day generations. However, most of the modern day fairy tales represent alterations and variations of ancient tales. These variations are based on different cultures of different parts of the world. One of the ways through which fairy tales can be manipulated and altered is through the employment of parody. Thus, parody allows the writers to come up with varied versions of original fairy tales with regard to their own intensions. Consequently, there exist several motives behind employment of parody. These may include ridicule, mockery or advancement of original tales in regards to different cultural settings and backgrounds. Such is the case in Emma Donoghue’s fairy tale writings in Kissing the Witch. These fairy tales represent a parody of original works by previous writers. In these fairy tales, Emma employs the use of parody in outlining the need for postmodern feminism. Thus, Emma employs the use of popular fairy tales such as Cinderella, Beauty and the Beast and even Snow White to further her thematic development of stigmatization and stereotyping of sexual desire (Bobby 13). However, her excellent employment of parody allows these popular tales to break from the regular and fancied orientations (Rose 35). For instance, Cinderella ditches the handsome prince for the fairy godmother. On the other hand, Beauty comes to the revelation that the Beast is feminine as opposed to being masculine. Therefore, her ability to effectively employ parody contributes significantly to the swift flow of the tales; thus linking all the tales together in a continuous flow to create what may be referred to as a long continuous tale. Moreover, the employment of parody also significantly contributes towards the development of the theme of postmodern feminism. In this regard, ordinary characters may be depicted from a homosexual point of view. Thus, these characters are involved in numerous discoveries that question the standard norms and societal practices. Through this process, the characters are able to discover new feelings and desires, such as the desire to relate intimately with members of the same sex. However, transition to these desires is not swift and smooth. On the contrary, it is marred by immense ridicule and societal stigmatization. Therefore, this creates a platform for Emma to champion for postmodern feminism (Bobby 14). This would, in turn, provide the modern woman with the liberty to engage in the desires of her heart without fear or ridicule; thus, paving way for assertive lesbianism which represents an active process of postmodern feminism (Heller 39). Consequently, Emma’s fairy tales in Kissing the Witch are skilfully interwoven to depict the search for power and transformation. This necessitates the need for women to be able to choose their own inclinations in their lives without any external interference. Thus, in Emma’s depictions, different variations of ancient tales are narrated by women of different ages with regard to love, rage, hate, deception and even passion (Bobby 14). Consequently, this contributes significantly to the advancement of her intended thematic views. Therefore, this essay shall outline Emma’s use of both the witch and the stepmother in furthering the quest for post-modern feminism. Thus, both the witch and the stepmother play different roles in Emma’s narrations with regard to advancing the quest for post-modern feminism as shall be outlined by the essay. EMMA DONOGHUE Emma Donoghue was born on 24th September 1969. Although she is Irish, Emma resides in Canada. Her involvement in poetry, literature and novel writing coincides with the birth of postmodern feminism. Thus, it is no wonder that Emma has been vehemently involved in championing for postmodern feminism. This represented the urge to create a platform for the liberation of women from stigmatization and ridicule associated with sexual objectification. Thus, Emma has been involved in numerous literatures with regard to lesbian fiction. Consequently, this has even enabled her to win literary awards with regard to lesbian fiction. Thus, Kissing the Witch represents one of Emma’s best lesbian literary fictions. The book represents a collection of fairy tales that embrace parody in order to effectively portray the postmodern thematic progression. These tales are skilfully interwoven together to form a continuous flowing tale. However, Emma has also been involved in other numerous writings. Marina Sarah Warner also hails from a similar literary field as Emma Donoghue. Like Emma, Marina is also a literary writer whose writings also depict feminism. Marina is a British novelist who specializes in feminism and myth. She has also been involved in the production of numerous writings with regard to feminism. This in turn has resulted in her winning of numerous awards and recognition as one of the propagators of feminism. Thus, she is an example of other numerous writers who have significantly contributed towards the development of postmodern feminism. Use of Witch and Stepmother in Kissing the Witch. Emma Donoghue effectively employs the use of the stepmother and the witch in her narrations (Donoghue 179). For instance, in her tales, she uses these characters as a source of wisdom to the young feminine characters. Therefore, they affirm that they were once just little girls, although not easily fooled. Consequently, through her reflections we are able to derive some of the roles that were associated with women in ancient days. Therefore, from her writings, it is clear that the boys were considered as a source of honour to the family. On the other hand, women did not amount to much in the society. Therefore, women were just reduced to performing domestic chores such as cleaning, washing and cooking. Thus, this represented the ancient quagmire that necessitated the liberation of the modern woman. Hence, postmodern feminism had been charged with the responsibility of the liberation of the postmodern woman (Genz and Benjamin 113). In addition to the stigmatization of the ancient woman, barrenness was not tolerated by the society. Consequently, barren women were alienated and segregated. In addition they were not even given food to eat or water to drink. Therefore, this further created the need for the liberation of the ancient woman from such cultural practices. Consequently, this forms the basis of Emma’s tales. Her tales depict the zealous urge for the liberation of the ancient woman (Bobby 14). This desire was so gross was that one girl opted to take to the caves as opposed to her home. This escape was fuelled by the urge for freedom. Thus, the cave provided a peaceful habitat for the girl. This was owed to the fact that the cave offered freedom to the girl. In the cave, there was no one to feed or nurse. Consequently, this gave the girl a break from her domestic chores. Besides, the girls also had the laxity of making independent decisions. Thus, this exposed her to the desired freedom and peace. The tales also depict how Emma creatively uses the witch and the stepmother to advance her theme for freedom. After the death of the stepmother, her daughter, having had enough of scolding, washing and feeding to do, takes off to the cave in search of solace. Here, the daughter hoped to find rest. Consequently, the daughter had no one bothering her. She was isolated from the repetitive and strenuous domestic chores. Thus, she was able to test the freedom that she wanted. However, unknown to the girl, the cave in which she hid belonged to a witch. Consequently, it was just a matter of time before she started experiencing numerous visitors with numerous wants. Nevertheless, the girl braves to her new occupation and performs it diligently, administering to the needs of her enormous patient base using the herbs she had gathered. Consequently, the “witch” carries on this practice for a long spell of time. In the process, she helps numerous people concerning their unique, individual problems. However, on a certain day, the witch is confronted by a weird scenario. This scenario was weird in the sense that the witch received two similar complaints about a wayward girl from both parents on different occasions. Nevertheless, she came up with satisfactory answers to both parents. In addition, she also protected the girl from the wrath of her parents. Thus, this incident left the witch feeling weird and lonely. However, it is only when the witch wakes up in the middle of the night that she realizes that she is in love with the girl. Consequently, she wanted to run out to the village and express her love to the girl. She wished to hold and share moments with the girl. Therefore, this represented a strong connection towards the girl, and she was in love with this girl. However, the witch was afraid of going after the girl in the village to express her love. Wouldn’t children laugh and throw stones at her? Consequently, through this tale, Emma clearly outlines the stigma that engulfed the ancient woman. Even though the witch had no doubt concerning her feelings for the girl, the society could not accept and celebrate their union. The girl was bound to be married of to a certain man, probably a wealthy one. Therefore, the witch could not express her feelings freely to the girl. Thus, this forms the basis of Emma’s quest for postmodern feminism. Postmodern feminism offered the desired platform for women to freely express themselves, including their sexual orientation desires (Grewal and Caren 29). Consequently, it would offer an opportunity for lesbians to interact freely without the fear of ridicule or sexual objectification. In a similar tale, Emma narrates the experiences of a fully grown woman. Despite her advanced age, the woman bumps into an extremely intriguing man at the market and she can not help but continually stare at the man. She is so intrigued by this man that she even forgets selling the fish that she had come with to the market. Moreover, she did not mind that the neighbors were watching as she stared at the man. However, the woman could not get a grasp of the man because the man went back to the city leaving the woman with nostalgic memories. However, the woman was sure that she was in love with this man. Therefore, nothing was going to keep her from getting the man of her dreams. Consequently, determined to land her man, the woman took bold, decisive measures to visit the witch. In spite of all the teasing stories she had heard concerning the witch, the woman was determined to land this extremely handsome man. Therefore, she braved herself and took to the cave to seek the intervention of the witch concerning her need. Therefore, towards the end of the tale the woman is gutted by her realization that her esteemed lover was also a woman. Thus, she has to come back to the village and be married by an ordinary fisherman. Moreover, this process is spearheaded by her sisters. Consequently, such is the dilemma that the ancient woman had to get accustomed. They could not make their own decisions. Thus, they always had to rely on alternative interventions even with regard to matters concerning their own lives. Therefore, this created the need for postmodern feminism (Grewal and Caren 32). Through this process, women would have the assertiveness to make their own decision without any external interference. Moreover, in the Tale of the Apple, Emma candidly narrates the horrific experiences of a young girl under the stewardship of her stepmother. The young girl, who is supposed to be a princess, suffers immense rejection and torture from her wicked stepmother. In some instances, the stepmother would try to force the young girl to proclaim that she was a queen. Therefore, failure to oblige to this by the girl would, in turn result in immense lashing from her stepmother. In addition, the girl was subjected do immense domestic chores that weighed her down. Her stepmother even threatened to have her thrown out of the home upon the demise of her father. Therefore, the young girl had to seek refuge deep within the woods. However, even deep inside the woods her stepmother would still track her and attempt to poison her. Thus, the girl lives in constant fear of being killed by her step mother. Therefore, in her book Kissing the Witch Emma Donoghue makes use of both the witch and the stepmother to further her quest for post-modern feminism. Whereas the stepmother represented an obstacle towards the realization of post-modern feminism, the witch represented the quest for post-modern feminism. Therefore, Emma employs parody in an attempt to associate popular ancient fairy tales with the issue of post-modern feminism. Thus, parody can be defined as the imitative use of original work for an individual’s own purposes. The purpose may be to comment, mock or critic original piece of literature. Consequently, Emma effectively employs parody in Kissing the Witch in outlining post-modern feminism. Thus, postmodern feminism can be defined as a call for the alleviation of sexism (Haase 19). Thus, the practice is aimed at championing for women rights. These rights may be political, social or economic. Consequently, feminism actions are geared towards creating equal opportunities for women and providing a platform for their voice. Thus, this presents practices to fight vices such as discrimination, stereotyping, sexual objectification, and oppression of women. Therefore, this forms the basis of Emma’s use of parody in the narration of the fairy tales in Kissing the Witch. In this book, she makes effective use of both the grandmother and the witch to outline the plight of the postmodern woman with regard to these issues. Therefore, this significantly contributes to the advancement of postmodern feminism. Consequently, Emma’s sentiments with regard to the sexual objectivity of women can also apply to the political nature of feminism. Since the system seeks to champion for the rights of the women without altering the societal structural alignment, it can, thus, be referred to as liberal feminism. Moreover, the feminism approach championed for by Emma in her portrayal of the tales can also be referred to as separatist feminism. This is because separatist feminism does not favor transgender relationships. Lesbianism is highly valued by separatist feminism practices (Heller 45). Such is the cases when Emma resolves to portray majority of her female characters as lesbians in Kissing the Witch. Therefore, lesbianism wars date back to the early 80s when feminism movements begun the process of sexual objectification liberation (Heller 51). Consequently, some feminists have argued that effective feminism calls for lesbianism and that the two can not be separated. Thus, they also argue that heterosexual relationships promote sexism. Therefore, since feminism’s chief goal is to fight sexism, advocating for lesbianism among feminists helps in boosting their commitment to the fight against sexism. Perhaps, this explains why Emma portrays lesbianism with the help of the female characters in her fairy tales. This is, therefore, accomplished though the effective use of parody in the delivery of the fairy tales. Consequently, this effectively underlines Emma’s view that lesbianism and feminism form a social identical phenomenon and that there exists an extremely thin line between lesbians and feminists. Moreover, in the development of the theme of lesbianism as portrayed in Emma’s tales, lesbianism can be described as the freedom to love as an individual so wishes (Heller 19). For instance, Cinderella leaves the charming prince for the old stepmother and Snow White is woken up by a desire to love. Consequently, both characters deserve the chance to exercise the freedom to love as their hearts desire. Thus, this forms the gist of Emma’s message with regard to lesbianism and feminism. This implies that lesbianism is part of feminism. Therefore, an individual can not be committed to supporting feminism without also supporting lesbianism as the results would be contradictory. This also goes a long way in reinstating that lesbianism and feminism are intertwined and interrelated. Thus, both practices cannot be separated and must, therefore, be addressed in similar contextual settings. In other words, feminism must justify lesbianism. Therefore, Emma used the portrayal of lesbian characters in her tales to create awareness with regard to postmodern feminism. Consequently, this significantly contributed towards the need for diverse approaches to feminism with regard to social and cultural frameworks (Genz and Benjamin 113). Emma uses the witch and the stepmother in the narration of her fairy tales to create awareness about the social needs of the postmodern woman. Through this process, Emma effectively highlights the need for women’s liberation with regard to sexual orientation. Such are the issues that surround the postmodern woman. This is effectively brought out in the narration of Beauty and the Beast. Here, Beauty discovers that the face of the Beast behind the mask is just like hers and there exists not much difference. Consequently, this insinuates that the Beauty and the Beast were of the same sex. Therefore, this goes a long way in championing for the rights of the women with regard to sexual orientation. Beauty was free to interact with the Beast regardless of the sexual orientation. Such is the employment of parody that Emma resolves in the development of Kissing the Witch. CONCLUSION Therefore, according to Emma’s fairy tales it is evident that lesbianism represents a potent force in contemporary postmodern feminism. Moreover, lesbianism and feminism can not be separated. Owing to this, an individual can not profess feminism and deny lesbianism. In other words, lesbianism and feminism go hand in hand. Such is the case as portrayed by various characters in Emma’s fairy tales. Numerous characters come to shocking revelations of a new beginning with regard to love. Therefore, Emma sought to accord these characters the opportunity and freedom to choose to love freely with their hearts. However, the characters are still hindered by various societal perceptions and stereotypes. Consequently this hinders some of the characters from fully exercising the desires of their hearts. As a result, this forms the basis of Emma’s thematic development in the quest for postmodern feminism. Emma’s excellent employment of parody accords her the freedom to come up with different variations of popular ancient tales. Moreover, the use of parody also accords her the freedom to deviate from the accustomed happy ending of fairy tales. Thus, Emma’s fairy tales assume differentiated ending schemes with each tale paving way for the subsequent tale. Consequently, this significantly contributes to the suspense and fluidity of the tales. Thus, rather than assuming happy endings, most of Emma’s tales entice the reader’s mind into an infinite journey. Therefore, throughout her tales, women struggle with issues of love, identity, acceptance, sexual objectivity and self esteem. This depicts the heights to which women had been marginalized and isolated in the ancient days. Consequently, the investigation of discovery of individual orientations is accomplished through interaction and relationship with other people regardless of their sex. Thus, in most instances, love is discovered in unexpected places. Therefore, this necessitates the need for freedom and independence in regards to the process of making individual decisions. Thus, in Emma’s view, postmodern feminism would result in the creation of social justice and equality in which individuals would relate freely with one another in the full recognition, acceptance and appreciation of their needs and complexities. Works Cited Benson, Stephen. Contemporary Fiction and the Fairy Tale. Detroit. Wayne State University Press, 2008. Print. Bobby, Redington. Fairy tales reimagined: Essays on new retellings. Jefferson, N.C. McFarland & Co., 2009. Print. Donoghue, Emma. Kissing the Witch: Old Tales in New Skins. New York. HarperCollins, 1997. Print. Genz, Ste?phanie, and Benjamin, Brabon. Postfeminism: Cultural Texts and Theories. Edinburgh. Edinburgh University Press, 2009. Print. Grewal, Inderpal, and Caren, Kaplan. Scattered Hegemonies: Postmodernity and Transnational Feminist Practices. Minneapolis. University of Minnesota Press, 2004. Print. Haase, Donald. Fairy Tales and Feminism: New Approaches. Detroit. Wayne State University Press, 2004. Print. Heller, Dana. Cross-purposes Lesbians, Feminists, and the Limits of Alliance. Bloomington. Indiana University Press, 2007. Print. Rose, Margaret. Parody: Ancient, Modern, and Post-modern. Cambridge. Cambridge Univ. Press, 2003. Print. Read More