This paper aims to examine Gilman and Lessing's intention of creating a world of only women with parthenogenesis. This feminist utopian world is observed and represented by male narrators who are unreliable for they just rely on their memories and archives about the stories. In Herland, women have managed their land with parthenogenesis for 2,ooo years; with the visit of three American men, this land faces with turmoil, which makes the women plan to restore the society of both sexes they used to have. In The Cleft, the women as an original organism consist of their generations with parthenogenesis while killing every boy-baby at birth; the women-only land, however, is dismantled by a group of male survivors, which causes the women's loss of their ability of parthenogenesis. In Herland and The Cleft, the male narrators reveal the suppression and violence of the patriarchical system toward the women. On the other hand, they criticize the women's atrocity and violence towards the boy-babies and the lowest girls. This paper argues that regardless of the time difference of about 90 years, Gilman and Lessing's narrators propose the harmonious coexistence of the both sexes by capturing the limitations and possibilities of the women-only land.

The Sympathizer provides a turning point in the literary representation of the Vietnam War in the US. As a Vietnamese-American, Nguyen attempts to describe how the Vietnamese experienced and understood the war differently from Americans. Furthermore, as a sympathizer of the North Vietnamese Communists, the protagonist shows the perspectives of the Communists, not to mention those of the indigenous South Vietnamese.
One of the themes the Sympathizer deals with is the question of the subaltern subjects and the possibility of their representations. The protagonist participates in the making of a Vietnam War film in Hollywood as a consultant of the film director, who is a white male American. From his observation and discussion with the director, the protagonist realizes that the American film director appropriates the field of representation and that the specificity of the Vietnam War experiences of the Vietnamese is totally erased in the film. The protagonist ultimately succeeds in tacitly inserting traces of the Vietnamese presences within the filmic space, thereby seeking ways to alter the course of representation appropriated by the director.
If Gayatri Spivak raised the question of representing the subaltern subjects in the third world, critiquing the European scholars' sanctioned ignorance towards them as evidenced by Foucault and Deleuze, Nguyen seeks ways to expand her notion in the form of fiction through the protagonist's critical views and actions. Especially, the similarity between Spivak and Nguyen reveals itself when the two juxtapose Marx's notion of 'representation' and 'being represented' with the 20th century reality, in which the symbolic subjectivity, power, and appropriation play more significant roles than ever before.

This paper is written on the premise that the use of English, a colonial heritage from the perspective of post-colonialism, can be a postcolonial resistance. Arundhati Roy believes that the use of English can be a strong resistance to colonialism if it is not used in a way that unconditionally praises the West. In The God of the Little Things, The Ipes have been Anglophiles since the colonial era, and have excellent English speaking skills and wide knowledge on English literature. For them, English literature text is an excellent textbook to learn English and English values, but it also serves as an ornament to show off themselves. Baby Kochamma asks Sophie Mole to show off her knowledge of English literature and Chacko cites vast sentences of English literature at any time, anywhere. This atmosphere of adults in the Ipes naturally drives the twins, Rahel and Estha in a direction that forces them to speak English and read English literature text. Baby Kochamma made twins to write the sentences, "I will always speak English.“ and ” “In future, we will not read backward.” a hundred times in a notebook whenever they speak Malayalam and read a sentence or words backwards and forwards charging them a fine. The way twins react to this atmosphere is similar to how Arundhati Roy recreated English words in various ways in The God of Small Things. The twins resist adults who is forcing English speaking by twisting English pronunciation, reading backwards and forwards, and palindrome. The paper argues that the twins' various English-speaking methods can be a resistance to colonialism.

This paper examines Jean Rhys's Good Morning, Midnight (1939) through the lens of citizenship in order to complicate previous readings that flatten the protagonist Sasha Jensen's disenfranchisement, and resulting misery, as conclusively defining her plight. Citizenship serves as a useful rubric in that the novel is clearly engaging with its contemporary historical context in which the categorization of documented nationality across international borders emerged as a key issue, but also in that Rhys's heroines, including Sasha, have been discussed in terms of a more figurative sense of social disenfranchisement. By shifting and expanding my focus to the variable relations that connect Sasha to her expatriate milieu in both predictable and surprising ways, I attempt to delineate a social landscape not necessarily always determined by an official, state discourse that requires a stark opposition between citizen and non-citizen. Curating three concepts―interrogation, performance, and solidarity―that refer to specific acts and modes that constitute citizenship, I analyze through each the ways in which Sasha is at times completely subject to citizenship's exclusionary categorizations and, at other times, finds herself in unscripted relations that can circumvent that allegedly pervasive logic.

This essay examines the role of gender ideology in Agatha Christie's The Body In the Library (1942), which according to Kathleen Gregory Klein is an “unexpectedly female-centered text” (103). This essay takes Klein's argument to task in order to examine if The Body in the Library is unequivocally a “female-centered text” and how Miss Marple's capacity to transgress as a spinster detective withstand against (or perhaps is undermined by) the tendency of detective fiction to recreate a world of stability and restore, especially in Christie's case, the “values of the English property owning bourgeoisie” (Knight 107). It is my contention that even as Christie casts women in the most essential roles within detective fiction―that of the detective, the victim, and the killer―she in the end voids the subversive potential of these women (individual and collective) by her eagerness to restore a “cozy” world of nostalgia and tradition within her work.