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• W126331633 abstract "Justine Ettler: The River Ophelia Justine Ettler's The River Ophelia asks questions about sex and power in a postmodern, postfeminist, urban world. Those questions are not new ones, and her central character, Justine's, experience of being fucked has painful resonances with the experiences of many literary figures, whether fictional heroines or their creators. Ettler's text discloses a genealogy of such women, transposing the Marquis de Sade's Justine and Juliette and the pre-Raphaelite river Ophelia of Millais to a contemporary urban culture, in the company of the flâneur, Sade and the decadent intellectual, Bataille. The nineteenth century's fascination with relations of sex, death and power are reconfigured in a late twentieth century context, but this time, as Ettler tells it, power is scrutinised from below. She began the book, she says, by wondering about how it felt to be a female character in Brett Easton Ellis' American Psycho; how the women of the Brat Pack genre were implicated in, and complicit with, its ruses of power. Given the timing of its appearance, and the age and institutional locations of the established reviewers of Australian fiction, it was not surprising that Ettler's questions about sex and power were recast. A fascination with, or repugnance for, sex talk characterises reviewers' responses. While the secret of sex is ever more noisily bruited, questions of power are dispersed. The Weekend Australian's announcement (June 24-25 1995) of the emergence of a new genre, dirty realism, situated Ettler's work alongside Andrew McGahan's: sleaze and violence to excite a new generation. The Higher Education Supplement's cultural commentator, McKenzie Wark, took an opportunity to draw a Sydney-Melbourne comparison, approving Ettler and Linda Jaivin at the expense of the moralising seriousness of Helen Garner. While Garner's fuzzy theorising of eros as a free floating sexual power has a certain libertarian innocence, Wark's idea that the pursuit of sexual pleasure is power-neutral is similarly innocent, even though grounded in a Foucauldian knowingness. As it happens, there is an energetic feminist argument for abandoning the moral high ground, put most provocatively by Wendy Brown,(2) but Wark's interest does not encompass current feminism's engagements with post-structuralist and other accounts of power. This, though, is Ettler's interest, and it underpins all the novel's relentless talk about sex. Relentless talk about sex, and a character who shares her author's name: this is a kind of excessive performance which, when enacted in the name of a woman, makes many readers uneasy. It's too much for Rosemary Sorensen, and for Don Anderson: but these two give up the ghost in significantly differentiated ways. Anderson makes a generational concession, and hands over the space to his graduate student. But he doesn't cede his authority by this act, and in another gesture asserts his mastery: he puts in the place of his own speech a lengthy quote -- Julia Kristeva on abjection. If we're speaking feminsm, (hetero)sexuality and power, then abjection is the theory that keeps women in their place. I'm reminded of Lisa Jardine's comment on literary critics' uses of Irigarayan psychoanalyis: Woman (for the time being) is the source of the authoritative discourse, the one they need to hear, need to listen to. The frisson of feeling (for the time being) is marginal, on the edge. But only (and I think this is all I shall say about appropriation) until they have it. Until it is a body of text they can return to and subject (victim again) to its own discourse analysis (there is an outbreak of footnote references to Irigaray in Shakespeare criticism wherever a male critic encounters a female figure speaking -- Irigaray has given him the model for analysis and application of `peculiarly female discourse').(3) Anderson's and Wark's appropriations are not of the same kind, but such appropriations are anticipated in Ettler's text. …" @default.
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• W126331633 date "1995-01-01" @default.
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• W126331633 title "Justine Ettler: 'The River Ophelia.'(The River Ophelia: Four Views)" @default.
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