Rethinking Gender 1 Desire, Pleasure, and Romance: Post-Feminism And

Notes

Introduction: Rethinking Gender

1. I borrow here a point made in the first instance by Larry McCaffery who says that ‘SF possesses the capacity to “defamiliarize our science fictional lives,” reflecting them back to us in more hyperbolic terms’ (Bukatman, 1990, p. 11). 2. See Lacan, J. (1977) Ecrits: A Selection for his discussion of the concept of desire as always unsatisfied, springing from lack (because it relates to a fantasy or imaginary object, rather than a real object). 3. Acronyms such as GLBTI (Gay, Lesbian, Bisexual, Transsexual, Intersex) provide a useful shorthand intended to be inclusive of different sexualities. However, such clustering also tends to limit the differences within each ‘classification’. 4. In her book Racism, Misogyny, and the Othello Myth: Inter-racial Couples from Shakespeare to Spike Lee (2005) Celia Daileader enquires into Anglo-American cultural obsession with stories of inter-racial sexual tension, particularly between a black male and a white female.

1 Desire, Pleasure, and Romance: Post-Feminism and Other Seductions

1. For example, the Bollywood film Bride and Prejudice (2004). 2. In a related way, Granny, in the television show The Kumars at No. 42, with her repeated sexual innuendos and flirtations with male guests similarly transgresses the grandmother figure as the morally superior and sexually restrained matriarch. 3. In the website, AfterEllen – Views, Reviews, and Commentary on Lesbian and Bisexual Women in Entertainment and the Media, it is claimed that Chadha’s decision to replace any lesbian romance (leaving it as an implied subtext and perception of other characters) was made to appeal to a mainstream audiences in both India and the West. 4. Gerard Manley Hopkins’s supposed homosexuality continues to influence dis- cussions about his poetry and its homoerotic content. Given that TJ constantly quotes from his works provides an interesting parallel between the two lives (one fictional and the other real) and the apparent ‘secret’ they both share.

2 The Beauty Dilemma: Gendered Bodies and Aesthetic Judgement

1. The novel has subsequently been remade twice as a film and as a telemovie. The most recent film (2003) starred ‘wild child’ Lindsay Lohan playing the part of the daughter, Annabelle Andrews. 2. Cited in Dickie (1997, p. 6).

200 Notes 201

3. As reported in a news article dated 4 December 2008, ‘Barbie beats back Bratz’, a US judge has made the decision that MGA Entertainment Inc. is to cease its production and sale of Bratz dolls. The decision was a major win for Mattel as it decided in Mattel’s favour that Bratz designer Carter Bryant developed the concept for the dolls while working at Mattel. (http:// money.cnn.com/2008/12/04/news/companies/bratz_dolls.ap/index.htm? postversion=2008120406 Accessed 8/12/08). 4. In 2003, 223,000 teenagers in the USA had cosmetic procedures (skin peels, collagen implants, Botox) and 39,000 teenagers had surgical procedures (nose reshaping, breast lifts, augmentation, liposuction, tummy tucks). In 2003, there was a 14 per cent increase on surgical procedures. (See Zuckerman: ‘Virtual Mentor’ American Medical Association Journal of Ethics 7, 3 (March 2005) http://virtualmentor.ama-assn.org/2005/03/oped1-0503.html. 5. See Review Report ‘Childhood Obesity, Prevalence and Prevention’ by Dehghan et al. in 74 Heart Views, 6, 3. 6. The Biggest Loser is a fitness reality TV series whereby overweight contestants undertake a gruelling exercise and dieting regime in order to win the title of ‘Biggest Loser’. 7. For example, it is speculated that Tinkerbell in the Disney version of Peter Pan was modelled on Marilyn Monroe (others claim it was Margaret Kerry), Ursula the sea witch in Little Mermaid on drag artist Divine, and Pocahontas on ‘supermodel’ Naomi Campbell. 8. JonBenét Ramsey was an American child beauty pageant contestant who was murdered at the age of six. She was found dead in the basement of her parents’ home. The case prompted considerable worldwide media attention and condemnation of child beauty contests.

3 Gendered Cyber-Bodies: The Dilemma of Technological ‘Existenz’

1. Virtual technologies is used here in a generic sense to encompass related terms, such as: cyberspace, artificial reality, augmented reality, telepresence, and virtual environment. 2. For a more detailed discussion of genetic engineering in YA fiction refer to Elaine Ostry’s (2004) article: ‘“Is He Still Human? Are You?”: Young Adult Science Fiction in the Posthuman Age’, The Lion and the Unicorn 28, 2, 222–46. 3. In Eva (1988) by Peter Dickinson a girl’s brain is transplanted into the body of a chimp. In Shade’s Children (1997) by Garth Nix, children are removed from their families at the age of 14 and placed in Dorms where their brains are removed and inserted into artificially generated creatures. In the Hollywood comedy film, The Man with Two Brains (1983) Steve Martin plays Dr Hfuhruhurr, the world’s greatest neurosurgeon, who has invented the cranial screw-top brain entry. 4. For interesting future human-robot scenarios, refer to the work of robotics researcher Hans Moravec, including his book, Mind Children: The Future of Robot and Human Intelligence (1988). 5. Several intertextual jokes run through the film, Sky High: the Principal is former Wonder Woman star Lynda Carter who comments at one point: ‘What do you 202 Notes

think I am? Wonder Woman?; and the family Stronghold is the name of the producer Max Stronghold’. 6. Manga is the Japanese word for comics and animé is a style of Japanese animation. Both forms are extremely popular in Japan and are growing in popularity in Western cultures.

4 Queer Spaces in a Straight World: The Dilemma of Sexual Identity

1. See Chapter 2, ‘The Pool of Tears’ in Alice in Wonderland by Lewis Carroll. 2. Roughgarden has been both criticised and praised for her book. Some of the criticisms concern her Disneyfied approach to writing about non-humans with her use of cute anthropomorphism, and misrepresenting Darwin and not providing convincing research to support some of claims about social selection. On the positive side, there has been praise for her transdisciplinary approach across the sciences and cultural studies and for providing general readers with information about the diversity of animal species’ genders, sexualities, and sexes. For a full critical review, see Dickemann (2008) Journal of the History of Sexuality 17, 2, 313–29. 3. See ‘Inappropriate Penguins? Children’s Book Moved’ Deseret News, Salt Lake City, 5 March 2006: http://www.deseretnews.com/home. 4. For a detailed discussion of families in utopian and dystopian fiction refer to Chapter 7: ‘Ties That Bind: Reconceptualising Home and Family’ in Bradford et al. (2008) New World Orders in Contemporary Children’s Literature: Utopian Transformations. 5. In Chapter 6, Sebastian and Grady hire Ma Vie en Rose from the video shop providing an intertextual point of reference. 6. For example, psychological counselling is recommended for Charlie/Charlotte in the Australian novel Obsession (2001) by Julia Lawrinson as a way of help- ing her come to terms with her aberrant lesbianism. Also, she is forbidden to see Kate (the girl that she desires). In Ma View En Rose, eight-year-old Ludo undergoes unsuccessful counselling. When his cross-dressing becomes public knowledge, he and his family are marginalised by the middle-class neighbour- hood in which they live, and eventually are forced to move to another more ‘downmarket’ location. 7. A similar scene serves as the introduction to Ma View en Rose where the viewer witnesses Ludo in female clothes, applying lipstick, and singing softly in the private space of a bedroom while the family entertains neighbours at a ‘welcome to our family’ party. Given that the film has been referenced in the text, it would seem that this scene attempts to replicate/reappropriate this moment from the original text.

5 No Laughing Matter … or Is It?: The Serio-Comic Dilemma of Gender

1. Baz Luhrman’s Romeo and Juliet is arguably the film that began the procession of teen films, since the 1980s, based on Shakespeare’s plays such as Twelfth Night (She’s the Man), The Taming of the Shrew (10 Things I Hate About You); Notes 203

As You Like It ( Just One of the Guys). For a study of the marketing of Shakespearean teen films refer to Emma French (2006) Selling Shakespeare to Hollywood. 2. In The Birdcage (a remake of the French film La Cage aux Folles) a gay couple (Armand and Albert) pass as a heterosexual married couple to avert any problems with the prospective parents-in-law of Armand’s son – the outcome of his one and only heterocoital engagement. By the ending, the subterfuge is exposed but both couples come to an amiable acceptance of their difference when the right-wing parents of the son’s fiancée are forced to cross-dress to avoid a political scandal from being spotted in a gay nightclub. In Kinky Boots, Charlie Price inherits the family shoe factory after his father dies, but the factory is a financial disaster and closure is imminent. A chance encounter with a drag queen, Lola, solves Charlie’s financial crisis when the factory decides to produce a range of extravagant ‘kinky’ boots for the drag queen and other drag artists for their cabaret act. References

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abjection/the abject, 14, 16, 71, 77–84, cyberbody beauty, 101 109–13,146, 177, 185–6, 193 cosmetic surgery/procedure, 69–70, see also Kristeva, Julia 89–90, n.201 adaptation, 3, 158, 160, 193 Bell, David, 94, 116 Adkins, Lisa, 69 Belsey, Catherine, 8 aesthetics, 26, 59–92 Bend it Like Beckham, 44–50, 54, 164, class aesthetics, 75–6 n.200 de-aesthetic, 74, 77–84 The Biggest Loser, 71, n.201 of disgust, 26, 61, 77– 90 Bildungsroman, 30–1, 122 of female body, 67, 71, 73–4 The Birdcage, 172, n.203 homoerotic aesthetic, 168 Black, Paula, 67–8 agency, 9–10, 14–16, 48, 53–4, 63, 90, Bloch, Ernst, 37 104, 138–9, 151, 185–6 body/bodies, 6, 14–6, 19–20, 23, 69 female agency, 36, 38, 40, 92, 158, cultural construction of, 15, 31, 63 190 cyberbodies, 93–124 marketing of, 68 grotesque body, 32, 64, 183–5 paradox of, 194 maternal, 64–5 see also subjectivity as object of gaze, 20, 42, 45, 52, Ahmed, Sara, 9 77–8, 153 alternative reality, 94, 97 as site of desire, 31, 39, 62–3 see also virtual reality as site of personal investment, anamorphosis, 95, 99 70–1, 73 animé, 121–3, n.202 Bollywood, 46, n.200 Arthurs, Jane, 64 Bordo, Susan, 70 Ashby, Justine, 48, 50 Bougaeva, Sonja, The Visitor, 177–81 Atkinson, Meera, Beauty and the Boys Don’t Cry, 146 Bête Noir, 91 Bradford, Clare, 16, 24, 94, n.202 Braidotti, Rosi, 99 Bakhtin, Mikhail, 10, 163, 177, Brand, Peg, 71 182–3, 185 Bratz dolls, 60, 68, 73 see also carnivalesque Briggs, Raymond, Fungus the Balsamo, Anne, 94 Bogeyman, 80 Bansch, Helga, Odd Bird Out, viii, 129, Bronfen, Elisabeth, 62 142, 144 Brooks, Ann, 13, 33, 34 Barnes, Helen, Killing Aurora, 85 Bryce, Mio, 122 Barreca, Regina, 156 Buchbinder, David, 4, 11 Baudrillard, Jean, 95, 99 Bukatman, Scott, n.200 Beatts, Anne, 156 Burgess, Melvin, Sara’s Face, 69, beauty, 26, 59–92, 182, 195 89–91 beauty ideal, 60–2, 64–7, 69, 77, Butler, Judith, 5, 11–16, 41–2, 69, 79, 85, 90–1 78–9, 96, 100, 102–3, 110–14, beauty contests/pageants, 71–7, 130–2 n.201 desire, 20–1, 25, 63

216 Index 217

heterosexuality, 18, 126, 128 Denny, Dallas, 129 kinship/marriage, 120, 139, 141–2, Derrida, Jacques, 13 144–5 desire, 12, 17–21, 25–6, 28–58, 62–4, melancholia/melancholy, 53, 174 67, 88–91, 113–14, 139, 158–9, norms, 111, 116, 136, 138, 192 168, 177, 187–90 phallus, 113–4, Deleuze/an, 17, 79, 150, 197 see also performativity desire for recognition, 41, 57, 110, 197 camp sensibility, 160, 168 Lacanian, 17, 32, 38–9, 150, 197, Carlson, D., 126 n.200 carnivalesque, 76, 157, 163–4, 177, queer, 21, 148–50, 153 182–3, 185, 193 Devereaux, Mary, 71 see also Bakhtin, Mikhail; humour Dickie, George, 59, n.202 Carter, Susan, 31 Dickinson, Peter, Eva, n.201 The Cat in the Hat, 158, 177, 182–6, Dickemann, Jeffrey, 137, n.202 194 Downard, Barry, The Race of the Chadha, Gurinder, 46, n.200 Century, 159, 168–71 Chatterjee, Partha, 44 Dudek, Debra, 198 Crutcher, Chris, Staying Fat for Sarah Byrnes, 85 Eagleton, Terry, 8, 64 Cohen, Leonard, 62 Elam, Diane, 37, 43 Cole, G. D. H., 125 Eng, David, 143–4 comedy/comic, 156–94 Existenz, 93–124 camp humour, 157, 167, 194 see also Jaspers, Karl; Cronenberg, irony, 159, 165, 178 David kinging/king effect, 159, 167–76, 194 Fairclough, Norman, 6 parody, 160, 167–8, 185, 193 Faludi, Susan, 33, 34 see also humour Feelings, Tom, The Middle Connell, R. W., 2 Passage, 23, 60 Coward, Rosalind, 43 feminism, 2, 4, 12–13, 18, 32–4, 53, Creed, Barbara, 186 63, 79, 90–100, 190 Cronenberg, David, 94, 96 cyberfeminism, 13 see also Existenz First Wave, 12 cross-dressing, 160–7, 193 and the media, 33–4 Culler, Jonathon, 3, 7, 9, 10, 14–15, monstrous feminine, 186 197–8 postfeminism, 2, 13, 28–58, 61–3, cyberpunk, 93–4, 97 68, 76, 99–101 cyborg, 93, 95, 101, 116–24 Second Wave, 2, 12–13, 35, 61, 190 Third Wave, 12–13, 34–5, 190 Dahl, Roald, Charlie and the Chocolate femme fatale, 20, 40, 151 Factory, 70 Finding Nemo, 129, 137–41, 144–5 Daileader, Celia, n.200 Fine, Anne, Bill’s New Frock, 16 Davis, Kathy, 69 Alias, Madame Doubtfire, 16, 160 Deleuze, Gilles, 17, 59–60, 66, 79, see also Mrs Doubtfire 91–2 Flanagan, Victoria, 16, 21, 136, 160 Dennett, Daniel, Brainstorms: Foucault, Michel, 14, 17–18, 25, 126, Philosophical Essays on Mind and 177, 179 Psychology, 106–7, 109 French, Emma, n.203 218 Index

Freud, Sigmund, 19, 39, 59 hooks, bell, 24 Friedman, Natalie, 48 humour, 45–6, 64–6, 80, 84, 128, Fucking Åmål, 25 137, 157–8, 160–1, 167, 177, see also Show Me Love 182, 187, n.202 gross, 157, 182 Gamble, Sarah, 32–3, 35 scatological, 157 genetic engineering, 16, 101, n.201 anal jokes, 157 Gibson, William, Neuromancer, 93 see also comedy; carnivalesque Giddens, Anthony, 38 Hunt, Peter, 6 Gill, Rosalind, 63, 74, 76 Hutcheon, Linda, 158–9, 165, 182, 193 Gimlin, Debra, Body Work: Beauty and Self Image in American identity, 7–10, 14–15, 21, 27, 29–30, Culture, 73 62, 69, 88, 97, 100, 107, 117, Goble, Mark, 97 126, 145, 150, 160, 162, 181 González, Jennifer, 122 gendered, 15, 31, 102, 104–5, 113, Greer, Germaine, 34 123, 148, 185 Grosz, Elizabeth, 5, 13, 18, 39 identity makeover, 90 Griffiths, Andy, The Day My Bum Went moral, 119 Psycho, 157 and place, 45, 48, 130 Bumageddon, 157 racial, 22, 122 Zombie Bums from Uranus, 157 sexual, 1, 21, 102, 113, 123, Guattari, Felix, 17, 79, 91–2 125–55, 135, 137, 154, 175 Gwynne, Phillip, Deadly Unna?, 22 virtual, 104 see also subjectivity; performativity; Hagman, George, 84 queer Halberstam, Judith, 94, 111, 138–9, Irwin, Bindi, Bindi Kidfitness, 70 145, 167–8, 170, 173–5 Issacharoff, Michael, 158 Hall, David, 21, 127, 135, 150, 155 Hall, Donald, 159 Jaspers, Karl, 94, 97, 116 Hammer, Rhonda, 35 see also Existenz Haraway, Donna, Manifesto for Johnson, Merri Lisa, Third Wave Cyborgs, 93, 109, 115–17, 120, Feminism and Television, 35–6 124 Juno/Juno, 158, 177–93 Hayles, Katherine, 15–16, 115–17, 120, 124 Katz, Alan, The Flim Flam Fairies, 77, hermaphrodism, 131–2, 137 80–4, 182 heteronormativity, 16, 129, 160–1, Kellner, Douglas, 35 191–3 Kemp, Gene, The Turbulent Term of heterosexuality, 13, 18, 24, 27, 31, Tyke Tyler, 1, 15–16, 25 120, 125–6, 128, 141 Kennedy, Barbara, 66, 101 crisis of, 159–176 Kidd, Kenneth, 21, 29 heterotopia, 177, 179, 182, 194 Kincaid, Jamaica, Lucy, 53–7 Hetherington, Kevin, 177 Kinky Boots, 172, n.203 Heyes, Cressida, 129 Kincaid, James, 60, 75 Holmlund, Chris, 77 Kirkup, Gill, 116 homophobia/homophobic, 2, 118, Kolko, Beth, Race in Cyberspace, 121 121, 126 Kristeva, Julia, 14, 77, 80, 83, 186 homosexuality, 18, 24, 126–7, 140, see also abject 142, 153–4, n.200 Kumars at No. 42, n.200 Index 219

La Farge, Benjamin, 156, 157, 159 Munsch, Robert, The Paper Bag Lacan, Jacques, 17, 189, n.200 Princess, 33–4 Law of the Father, 18 see also desire Negra, Diane, 37 Langbauer, Laurie, 51–2 Negrin, Llewellyn, 69 Lars and the Real Girl, 96 Nelson, Claudia, 8 Lawrinson, Julia, Obsession, n.202 Lefebvre, Benjamin, 21 Ommundsen, Wenche, 198 lesbian, 13, 20–1, 31, 45–7, 49, 114, Ostrey, Elaine, n.201 126, 140, 146, 148–51, n.200, n.202 Pacteau, Francette, 59, 92 The Little Mermaid, 73, n.201 Pawuk, Michael, 122 Little Miss Sunshine, 73–7 performativity/performative, 5, 14, Litton, Joyce, 50 21, 24, 27, 36, 55, 65, 69, 96, Livingstone, Ira, 94, 111 101, 104, 107, 109, 123, 126, loathly lady, 30–2, 34 128–31, 139, 147, 151, 158–9, Luhrman, Baz, n.202 161, 165, 181, 187, 191, 197–8 Ma Vie en Rose, 146, n.202 drag performance, 103, 136, MacFarlane, Geoff, 140 160, 167 MacLeod, Doug, Tumble Turn, gender performance, 5, 9, 14–16, 171–6 51, 69, 102, 103–4, 132–3 Mahlis, Kristen, 55 see also Butler, Judith; identity; Mallan, Kerry, 20, 21, 23, 158 queer The Man with Two Brains, n.201 Pearce, Lynn, 36–7, 43 manga, 122–3, n.202 Pearce, Sharyn, 8 Marchenko, Michael, 33–4 Pennell, Beverley, 21 Martin, Michelle, 8 Peters, Julie Anne, Luna, 146–51 McGillis, Roderick, 84, 157 Pinar, Bill, 23 McInally, Kathryn, 18 pleasure, 9, 17, 28–58, 61, 66, 82, Meagher, Michelle, 77–9, 84 106, 118, 124, 158–60, Meyer, Stephanie, The Host, 176–93, 198 106–15 bodily pleasures, 57, 100, 114 Twilight, 106 guilty pleasures, 35, 38, 159 Miler, D.A., 127 jouissance, 80 Mills, Alice, 157, 198 politics of, 35–6 Miss Bimbo, 71–3, 76 visual/viewing pleasures, 19–20, Misson, Ray, 10, 17–18, 18, 36, 73–4, 79, 159, 166, 172, 184 60–1, 196 Pocahontas, 73, n.201 Modleski, Tania, 32 Polan, Dana, 60 Moore, Perry, Hero, 116–21 posthuman, 16, 93–4, 97–8, 106–124, Moravec, Hans, Mind Children: n.201 The future of robot and Pouchard, Line, 125 human intelligence, n.201 power, 5, 10, 12–3, 20, 22, 30, 71, Morgan, Wendy, 10, 17–18, 36, 102, 106, 160, 175, 179, 60–1, 196 182–90 Mrs Doubtfire, 16, 160 regulatory, 110–11, 115 see also Fine, Anne superpower, 116–20, 124 Mulvey, Laura, 19, 40, 73, 78, 162 Pung, Alice, Unpolished Gem, 53–8 220 Index queer, 114, 125–55, 161–2, 164, 181 Sedgwick, Eve Kosofsky, 14, 114 community, 139 Selden, Raman, 126 diaspora, 143 Sells, Laura, 20 queerness, 113, 129, 133–4, 143, Sendak, Maurice, Where the Wild 145–6, 150 Things Are, 29 readerly approach, 21, 27, 127–8, sex, 2, 11, 13–14, 24, 36, 39–40, 46, 145, 147 52, 57, 78, 102, 104, 106, 108, texts, 21, 127, 129, 146, 153 126, 129–32, 135, 137, 141, theory, 13, 20–1, 126 –7, 129, 132, 160, n.202 135, 150 same–sex desire, 114, 128 see also subjectivity; identity sex change, 137 Sex and the City, 43, 100 race, 12, 22–4, 31, 46, 54, 63, 111, Shakespeare, William, 157–8, 160, 116, 121–4, 186 162, n.200 Ramanathan, Geethan, 73–5 She’s the Man, 158–76, 193, n.200 Ramsey, JonBenét, n.201 Shearer, Alex, The Speed of the Rayban, Chloë, 96–9, 105, 113, 115, Dark, 85 Virtual Sexual Reality, 96–7, Shelley, Mary, Frankenstein, 89 100, 102–5 Shrek, 30–1, 36, 80 Love. in Cyberia, 96–100, 105 Show Me Love, 25 Terminal Chic, 96–102, 105, 121 see also Fucking Åmål Real Women Have Curves, 77–80, 82–3 Siegel, Carol, 190 Reeve, Phillip, Mortal Engines, 85 Sisterhood of the Traveling Pants, 79 Rich, Adrienne, 13 Sky High, 116–21, n.201–2 Richardson, Justin, And Tango Makes Sontag, Susan, 160 Three, 129, 140–1 Springer, Claudia, 97 Rifkin, Mark, 141 Stephens, John, 8, 14–16, 21, 25, 103, Robertson, Pamela, 159 118, 122 Rodgers, Mary, Freaky Friday, 60–1, Stone, Allucquere Rosanne, 104 n.200 subjectivity, 8–10, 15, 17, 20, 25, romance fiction/narrative, 28–58, 140, 30–2, 54–5, 62–3, 76, 78, 151–2, 191, 193, 197, n.200 131–3, 139, 167, 197, 199 Medieval, 29–30 and community, 108, 124, 143 popular romance, 36, 43, 56 see also agency; identity; queer Rosoff, Meg, What I Was, 146, 151–4 Sugg, Katherine, 56 Roughgarden, Joan, Evolution’s Rainbow: Diversity, Gender, Takeuchi, Naoko, 122 and Sexuality in Nature and Tasker, Yvonne, 19, 23, 37 People, 131–2, 137–41, 143, Tatar, Maria, 185 n.202 transgender, 99–106, 128–48 Rowe, Kathleen, 156 see also transsexual Rowley, Hazel, 39 transsexual, 21, 25, 129, 131, 146, 148, n.200 Sailor Moon, 115, 121–4 see also transgender Salih, Sara, 13–4, 22, 126 Trites, Roberta Seelinger, 21, 24, 31 Sato, Kumiko, 122–3 Troughton, Joanna, Sir Gawain and the Saunders, Corinne, 29, 44 Loathly Damsel, 28, 29, 36 Saville, Jenny, 77 Tulloch, Scott, Willy’s Mum, 63–7 Schwartz, Hillel, 93 Twelfth Night, 158, 160, n.202 Index 221 violence, 2, 25, 41, 111–12, 145, 147 Wilkie-Stibbs, Christine, 18 festive violence, 182, 185 Wilson, Robert, 93 virtual reality/technologies, 26, 71–2, Winnubst, Shannon, 22 93–102, 104, 106, 116, 121, Wittig, Monique, 14 124, n.201 Wittlinger, Ellen, Parrotfish, 129–37, see also alternative reality 147–8 Hard Love, 148–51 Walkerdine, Valerie, 68 Wolf, Naomi, 35, 43 Wersba, Barbara, Whistle Me Wolff, Janet, 63 Home, 44, 50–3 Westerfeld, Scott, Uglies, 84–9 Zeigesar, Cecily von, You Know You Pretties, 85, 86, 195 Love Me, 36–44 Specials, 85 Žižek, Slavoj, 95 Whelehan, Imelda, 56 Zuckerman, Diana, 69, n.201 Whiteside, Anna, 158 Zurbo, Matt, Idiot Pride, 85