Women from the point of view of the Bukowskian narrator: the representation of the feminine universe in Erections, Ejaculations, Exhibitions and General Tales of Ordinary Madness

Abstract

Russell Harrison (1994) recognises the male chauvinism of Charles Bukowski's work and argues that his novels must be seen in the context of the 'second wave of the feminism', a time in which Bukowski established himself as a writer, and which certainly influenced him. This point in the struggle for women's liberation is represented by books such as Sexual Politics, by Kate Millett (1969), and The Female Eunuch, by Germaine Greer (1970). Bukowski, known for his presentation of women as the objects of male desire, demonstrates a sensitivity concerning the objectification of the female body in the story 'The Most Beautiful Woman in Town', in which he depicts the protagonist, Cass, as vulnerable and in need of assistance. The dissertation situates this story in the context of the 64 stories of Erections, Ejaculations, Exhibitions and Tales of Ordinary Madness (1972) in order to demonstrate how exceptional its sensitivity with regard to women is in a collection characterised by its misogynism

Russell Harrison (1994) reconhece a presença do chauvinismo machista na obra de Charles Bukowski e afirma que a redação de seus romances tem de ser vista no contexto da 'segunda onda do feminismo', época na qual Bukowski se consolidou como escritor, e como consequência recebeu influência. Esse momento da liberação feminina é representado por livros tais como Sexual Politics de Kate Millett (1969) e The Female Eunuch de Germaine Greer (1970). Bukowski, conhecido por apresentar a mulher como objeto do desejo masculino, demonstra uma sensibilidade diante da objetificação do corpo feminino no conto 'The Most Beautiful Woman in Town', no qual o autor retrata a protagonista Cass como vulnerável e carente de assistência. A dissertação situa esse conto no contexto dos 64 contos de Erections, Ejaculations, Exhibitions and Tales of Ordinary Madness (1972), para demonstrar a forma excepcional com que o autor mostra a sua sensibilidade em relação à figura feminina no contexto de uma coletânea caracterizada por sua misoginia