MOM 2006 journal for pdf.pmd - University of Michigan-Flint
MOM 2006 journal for pdf.pmd - University of Michigan-Flint
MOM 2006 journal for pdf.pmd - University of Michigan-Flint
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adjourned to the boozer” (9). Dora does not even sound like a woman talking; she speaks <strong>of</strong> drinking,<br />
bodily functions, women’s private parts, and is quite open about sex, “Old Charlie Hung like a horse”<br />
(26) and “I always preferred <strong>for</strong>eplay, too. Well, not always” (54). If one were to listen to her speak,<br />
they would think she was a man with an identity crisis, “But we were all a tremble, all anxiety; what<br />
the f*** was going on?” (10) and “It was pissing down with rain” (34). She is extremely bold and<br />
funny all in one mix, “Not many people can boast a photo <strong>of</strong> their grandmother posing <strong>for</strong> kiddiporn”<br />
(13) and “Tony, Tony, macaroni, show us all your big baloney. Pardon me, vicar” (117). Even as she<br />
speaks <strong>of</strong> her own creation, she holds no boundaries in her speech, “…although whoever it was who<br />
contributed the actual jism, no child need ever have been ashamed <strong>of</strong> either contender” (21) and “I did<br />
piss myself when I saw him, in fact, but only a little bit, hardly enough to stain the s<strong>of</strong>a” (72).<br />
Although Dora is a woman, it is almost as if she puts on a front <strong>of</strong> a man; kind <strong>of</strong> like the<br />
“carnivalesque” concept in the novel. She masks her identity and true feelings with her vulgar<br />
language, quick wit, and sexual innuendos, “If I don’t get drunk tonight, I’ll kill myself” (153) and<br />
“One little sperm out <strong>of</strong> a million, swims up the cervix…whose emissions sparked <strong>of</strong>f our being”<br />
(174). Dora’s speech is extremely bold and not lady-like, “A hand on my breast, even if I cannot recall<br />
precisely whose hand” (195), as are her actions throughout the novel.<br />
Dora’s actions throughout the novel depict her as not-the-typical-woman. She is bold, sexual, and<br />
does not care what others think <strong>of</strong> her. As Nora told her about her quick fling with a soldier, Dora<br />
replies, “I was only doing my bit <strong>for</strong> the war ef<strong>for</strong>t” (3). Dora is very sexual and care-free in her<br />
choices; she acts like a man who does not have any feelings, just the need to have sex. She has no<br />
emotional attachment with any <strong>of</strong> the men, “He gave me the confidence to use a word like<br />
“philanthropic.” In return, I broke his heart. Fair exchange is no robbery” (13). Dora uses Nora’s man,<br />
because she wants him, that’s all, “If it was only the once and if I keep my mouth shut…he is as<br />
innocent as asparagus, his heart as pure as Epps’ cocoa, poor lamb. Why should he guess? Nora, I<br />
want him so” (83). Dora, again, takes up with a boy that thought she was Nora, “We hid behind the<br />
feathers we kissed, and kissed, and kissed until by unspoken mutual consent we ducked under the<br />
tablecloth…I only had to speak, to say, ‘Not Nora, but Dora’” (99-100). She also has her way with an<br />
older man, Irish, whom she uses just <strong>for</strong> pleasure, “’God you’re lovely,’ he said, when he turned to<br />
look. I knew he’d say that. Id known in advance, I wouldn’t be able to return the compliment…My<br />
first old man…He was a burned-out old case. I knew I must be very gentle” (119).<br />
Dora does not even take the concept <strong>of</strong> marriage seriously, she allows Mrs. Khan to marry Genghis<br />
and act like her, “I <strong>of</strong>fed that diamond bruiser as if it were a burning coal…’Here, shove it on. You go<br />
marry him’” (156). Lastly, Dora sleeps with Perry, her uncle, “…because not since the change had<br />
your truly felt such a sudden rush <strong>of</strong> blood in that department, down there,” (208). She and Perry had<br />
sex in the upstairs at Perry and Melchoir’s birthday party, “Even in old age it was easy to see why<br />
Peregrine had always had such success with women” (219). Even while she was having sex with<br />
Perry, she was visualizing her other lovers throughout her life, “…but Peregrine wasn’t the only one<br />
dear man, tonight, but a kaleidoscope <strong>of</strong> faces, gestures, caresses…the curtain call <strong>of</strong> my career as<br />
lover” (221).<br />
Thus, Carter made Dora the epitome <strong>of</strong> a man, according to the feminist period; she used men <strong>for</strong><br />
pleasure and fun. It was as if Carter used Dora to throw men’s actions back into their faces; as a type<br />
<strong>of</strong> “ha-ha, we can do it too,” kind <strong>of</strong> tone <strong>of</strong> her character. Women do not have to be perfect, because<br />
they are not perfect. According to Carter, they burp, swear, and act go<strong>of</strong>y too; women are human, and<br />
Meeting <strong>of</strong> Minds <strong>2006</strong> 52