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Masturbation in Women's Coming

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Masturbation in Women's Coming “FEELING MYSELF”: MASTURBATION IN WOMEN’S COMING OF AGE NOVELS A Thesis submitted to the FaCulty of the Graduate SChool of Arts and SCiences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Arts in English By Sienna Brancato, B.A. Washington, D.C. April 16, 2021 Copyright 2021 by Sienna Brancato All Rights Reserved ii ACKNOWLEDGMENTS To my mom and dad, for your unwavering support. I can’t fully artiCulate everything you mean to me, but I would quite literally be nowhere if not for you. To my housemates, for listening to me vent endlessly and always providing welCome distraCtions. To Team Dragon, a truly indomitable thesis group, for your wise feedbaCk and stabilizing influence. To Allie, for always bringing the light and teaChing me the importance of rest and balance. To my brother, who’s always good for a “you got this, dude.” To my advisor, Professor Merish, for your insightful input and frequent resource-laden emails. To Professor Phillips, my seCond reader, for reminding me why I love what I do, and that all aCademiC work is essentially an exercise in mental masturbation. To every supportive friend who’s offered a much-needed word of encouragement along the way. To AliCe Walker, Dorothy Allison, and Caitlin Moran (and, by extension, Celie, Bone, and Johanna), for breathing life into my work. Your words, thoughts, and feelings have helped me determine my own. To all the women and feminist advocates and sCholars who came before me, I write in the imprints of your footsteps, in the paths you’ve carved. To all the sexist, raCist, homophobiC, misogynistiC sexuality researchers, “sCholars,” and “Cultural authorities” who’ve pathologized, minimized, dismissed, suppressed, attempted to regulate, and ridiCuled young women’s expressions of sexuality. I couldn’t have done this without you. Thanks for all the writing material. (IroniCally, it took a village to produce a thesis on solitary sexuality.) iii TABLE OF CONTENTS Introduction ......................................................................................................................... 1 “Healing Pleasure”: Masturbation and Silence-Breaking in AliCe Walker’s The Color Purple ............................................................................................................... 30 “Masturbatory Pleasure and OrgasmiC Rage”: Coming of Age in Bastard Out of Carolina .................................................................................................................. 65 “Lady Sex Adventurers”: Masturbatory Sexuality in How to Build a Girl ............................................................................................................................... 98 Conclusion ....................................................................................................................... 135 Bibliography .................................................................................................................... 139 iv Introduction Masturbation is great. It’s as simple as that. Well, aCtually, it’s not nearly as simple as that, or I wouldn’t have written an entire thesis on it. But overarchingly, if you take one thing from this projeCt, I hope it’s that masturbation is great. Masturbation is potential. Masturbation is endorphin rush. Masturbation is the first blush of sexual selF-disCovery. Masturbation is catharsis. Masturbation is safety and risk in the same stroke. Masturbation enables women’s coming of age. Masturbation is our own intimate, searching hands. The prevailing cultural attitudes toward masturbation when I was growing up were expressed in whispers and giggles, dismissal and jokes, noses sCrunched in disgust while eyebrows raised curiously. If you were a boy who masturbated, you were maybe a little desperate, maybe a little pathetiC, the butt of the joke, but also maybe a little intriguing. To masturbate meant you were sexual. If you were a girl who masturbated, you kept quiet, offended at even the aCCusation. It was gross, it was weird, it was more than a little sCary. It was mysterious and intimidating and shameful. (Nonbinary and/or queer people barely even entered the social equation. A perpetually parenthetiCal existence in my hostile high sChool.) I’ll never forget the moment during a quintessential drunken game of “Never Have I Ever” senior year, when I found out that more of my friends masturbated than didn’t. I was shocked. I hadn’t yet explored south of my waistline, so to hear friends openly admitting it, shy and nervous and blushing, really made me reConsider why I hadn’t. 1 Masturbation undoubtedly enabled my sexual coming of age, and my coming of age in general. It gave me hard-fought selF-assurance and selF-knowledge. It also provoked more than enough frustration. But over time, I’ve found the resilience and the confidence to speak. The Scope of this Project This projeCt will center around how masturbation influences coming of age in The Color Purple (1982) by AliCe Walker, Bastard Out of Carolina (1992) by Dorothy Allison, and How to Build a Girl (2014) by Caitlin Moran. The Color Purple tells the story of Celie, a BlaCk girl growing up in the AmeriCan South in the early twentieth century. Celie suffers extreme abuse as a child and in marriage, as her care work is repeatedly exploited. Her existence beComes an exercise in selF-Containment, until she meets Shug, an aspirational queer figure who awakens her sexuality through guided masturbation. Through masturbation, Celie expresses pent up emotions, Combats long-imposed silencing, and ultimately redireCts her own care work toward herself, enabling her coming of age. Bastard Out of Carolina reCounts pre-teen protagonist Bone Boatwright’s experiences of abuse at the hands of her stepfather in 1950s South Carolina. Bone’s masturbatory fantasies, and masturbation itself, generate spaCes through whiCh she can renegotiate sCenes of her abuse while maintaining control. Masturbation allows Bone to channel internalized emotions, combat shame, and regain agency over her body, faCilitating her transition from “bastard” girl to Boatwright woman. Finally, How to Build a Girl, set in 1990s Wolverhampton, England, follows 14-year-old protagonist Johanna Morrigan as she beComes a London musiC reviewer. Initially, Johanna masturbates to relieve stress and as a substitute for a sexual partner, but over time, she dives headfirst into the realm of partnered sexuality, where her masturbation morphs from literal selF-stimulation to figurative masturbation via bodily displaCement and masturbation as compensation for unsatisfying sexual encounters. Johanna 2 Comes of age when she rejeCts the patriarchal influences that have co-opted her masturbatory praCtiCe and reCenters her erotiC energy toward herself. Mirroring the ways that female masturbation has beCome much less stigmatized over the years due to changes in the mediCal Community, increasing seCularization, and targeted feminist movements, masturbation in these texts moves from the margins to the center of our protagonists’ lives as they more openly embraCe it. EaCh novel’s representation of masturbation is distinct, as I will explore further later in this introduction. However, in all three novels, masturbation enables the disCovery of feminist self-knowledge neCessary to come of age. Masturbation provides a cathartiC outlet for the release of pent up emotions, enabling our three protagonists to process abuse and trauma, combat imposed silences, and relieve anxiety. Through masturbation, our three girls build themselves, assert control over their identities, and selF-direCt their sexuality. My examination of these texts has revealed that the erotiC selF-knowledge produced by masturbation exceeds cultural sCripts and mandates, opening up antinormative future possibilities. Celie, Bone, and Johanna, beCause they masturbate, are better equipped to resist, to shape their future selves. Masturbation faCilitates Coming of age. Central to my analysis is the way all three protagonists enaCt alternate models of futurity, defined through reworking the familial model, reConceptualizing imposed domestiCity, and ultimately writing their own lives, not circumsCribed by their relationships with men. Growing up is a process of shedding the constraints that channel their sexuality in a partiCular direCtion, generally a direCtion that serves a normative ideal of sexual regulation. However, antinormativity on principle is not the aim. Instead, the key to my argument is that masturbation illuminates oppressive societal forces. Once masturbation makes these forces visible, palpable, the 3 protagonists’ new awareness prompts them to more comprehensively choose to shape their lives in aCCordance with or refutation of them. Masturbatory praCtiCes drive the three protagonists’ reCognition of how power operates in their lives and on their bodies. Differences Among the Texts Differences in the charaCters’ raCial, geographiC, sexual, and temporal identities distinguish their coming of age processes. Johanna and Bone are both white, while Celie is BlaCk. Bone and Celie grow up in the AmeriCan South, while Johanna grows up in the industrial town of Wolverhampton, England. Celie is an expliCitly queer charaCter, and Bone’s queerness is implied. Johanna is ostensibly not attraCted to women, though she does take a nonnormative approaCh to sexuality. SignifiCantly, the three also grow up in very different time periods, Celie from the beginning of the 20th century to around the 1950s, Bone in the 1950s,
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