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, but they are also erotic, angry, floundering, nostalgic, courageous, and poignant. They mark a momentous occasion not because they close the door on victimhood or feminism, but because they are among the most inclusive compilations of fiction by contemporary American women.

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y Better o Better Records n usearchc Records nvsearchn Collectables io View al sort. "Rescue Fantasies," by Laurie Foos, is comprised of surreal snippets in which a woman pursues her suicidal mother across both a brutal natural landscape and a horrifically banal suburban one, time eternally running out before her. "Stage Fright," by Lisa Natalie Pearson, slowly reveals a disturbingly "invited" act of sexual violence through the day-to-day lives of a man and woman performing for a lonely neighbor who watches their television - and them - through the window across the way. "Up There," by Lily James, depicts a men's impotence group run by a female therapist, in which macho posturing is stripped bare, simultaneously robbing the cult of the cock of its power and shedding an uncomfortably sympathetic light on the misogynist mi·sog·y·nist
n.
One who hates women.

adj.
Of or characterized by a hatred of women.

Noun 1. misogynist - a misanthrope who dislikes women in particular
woman hater group members, who are unable to integrate sexuality with the rest of their humanity. Finally, "A??I," by Thalia Field, is a tour de force through the mind of a client in the midst Adv. 1. in the midst - the middle or central part or point; "in the midst of the forest"; "could he walk out in the midst of his piece?"
midmost of a tense and nearly wordless therapy hour, where silence has become her only weapon, the only possible route to an urgently needed moment of intimacy via nonverbal connection. This is ground we know well, but it is captured here with the wit, bravado, and healthy dose of perversion that it takes finally to solidify a new, more irreverent era. Perhaps this is why the only story in the first anthology to stand out like Andrea Dworkin in a leather bar is Peggy Shinner's "Our Bodies Spoke in Tongues," a 1970s-styled piece of deadly earnest lesbian erotica erotica - pornography that seems to have taken the wrong turn in New York City New York City: see New York, city.

New York City

City (pop., 2000: 8,008,278), southeastern New York, at the mouth of the Hudson River. The largest city in the U.S. and ended up here instead of alongside Adrienne Rich's "Twenty-One Love Poems" two generations ago.

Chick Lit 2 is, overall, even more sure-footed than the first anthology, while continuing along similar themes. There are again two stellar psychotherapy pieces. The more poetic of the two, "The Many Tenses of Waiting," by Rikki Ducornet, hauntingly chronicles the last chance of a sensual but frigid woman who turns to a new psychiatrist to help her fulfill her lifelong quest for the perfect union of sex and love. Cynical of the therapy culture into which she's been indoctrinated, she can only confide in a man who will not "bludgeon me with terminology, demand that I worship in the Holy Temple of Freud, look for the goddess within, mother me, seduce me - or allow me to seduce you." Her plea is one for salvation through severing "the knot of my perplexed (my perpetual) infancy," her final hope to "help you rob my own grave so that I may steal away with my own intrinsic capacity to be someone." Ducornet provides a central character who is anything but a "neat" symbol of contemporary American or Middle-Eastern femininity; numbed by childhood guilts and betrayals in Babylon, and suffering from jaded ennui in post-sexual-revolution New York City, the narrator NARRATOR. A pleader who draws narrs serviens narrator, a sergeant at law. Fleta, 1. 2, c. 37. Obsolete. can experience no arousal, and feels pain only over her inability to feel.

A grittier shrink story, "from Loving Dora," by Lidia Yuknavitch, is an Ackerean piece of hysterical prose that redefines both the literary study of Freud's "Fragment of an Analysis of a Case of Hysteria" and the l'ecriture feminine revisions by theorists like Helene Cixous. Full of chilling maxims - "I cut therefore I am," "Illness is the most useful form of love," and "hysteria is an occasion for sexual excitement" - the unflinchingly unsentimental Dora asks us, "[w]hat else is sixteen but pure excess?...I mean, you want to live life on the edge, right? You want to take the order of things and abandon it, replace it with pain and risk." She hangs out at one of Seattle's seedier underage clubs; her friends are pierced, tattooed, and dying of AIDS; she's got scars on her stomach; she sucks the nipples of her father's mistress because the older woman is "tired of being made love to like Emma Bovary"; she thinks Freud's "j'appelle un chat un chat" is "the fucking funniest thing she has ever heard in her life." Horny horn·y
adj.
1. Made of horn or a similar substance.

2. Tough and calloused, as of skin. , needy, edgy, and wise, Yuknavitch's Dora highlights the very question inherent in the anthology: What constitutes victimhood and what constitutes choice? The lines between complicity and violation blur as they so often do in life.

Such pieces are welcome exceptions to the editors' agenda of excluding "victims" from Chick Lit 2. The editors' real concern is to demand that stories be more than mouthpieces for New Age inner-child healing or feminist anger at patriarchy. Victimhood does not preclude collaboration, abuse does not preclude desire. What constitutes a victim is contingent. Christal McDougall's "An Ad for Murder" could, after all, be accused of falling back on the old Freudian standby of the oppressive mother, rather than liberating us from the feminist cliche of the abusive father. Here we must ask why having a judgmental judg·men·tal
adj.
1. Of, relating to, or dependent on judgment: a judgmental error.

2. Inclined to make judgments, especially moral or personal ones: , cold mother is insufficient to render one a victim, but having been abused by a man does grant (or condemn) one to victim status. Yet these "lapses" are strengths: they show the messiness, the permeability of boundaries, definitions, experience, and perception - which is what these anthologies are all about.

Ultimately, Chick Lit 2 is not only smoother, it's also riskier than its predecessor. There is more erotica, including the great one-night-stand story, "Paradise," by Rachel Salazar, and the dangerous and sexy lesbian porn piece, "CAUTION: Sharp Objects," by Tristain Taormino, as well as more strident experimentalism. Both factors give the collection an edgier feel; Chick Lit 2 doesn't try so hard to justify its existence, but rather has made its bones and now feels free to juggle its unconventional themes. "Rat Mother," by Ursule Molinaro, a story about a beautiful woman who sacrifices her body for her fat daughter, typifies this self-assurance. It plays on the trope trope
n.
1. A figure of speech using words in nonliteral ways, such as a metaphor.

2. A word or phrase interpolated as an embellishment in the sung parts of certain medieval liturgies. of maternal altruism and self-sacrifice that two generations of feminists set about to expose with as much ease as it engages the emerging postfeminist trope of self-victimization (as opposed to victimization victimization Social medicine The abuse of the disenfranchised–eg, those underage, elderly, ♀, mentally retarded, illegal aliens, or other, by coercing them into illegal activities–eg, drug trade, pornography, prostitution. by an outside - read male - force).

Since feminism is an ideology rather than a period, it can't logically be subjected to the trendy prefix, "post," any more than, say, Marxism or Catholicism can be. The more important fact, however, is that these stories cut deep. The two Chick Lit anthologies are a force to be reckoned with. They include the sort of work, with the sort of agenda, that movements grow out of, and that criticism seeks to articulate and define. But in the end, I suspect that these stories can no more be defined by scholars than they could by their editors; they are written by women and they transcend gender, they are damned funny, and they are not afraid to bleed. They, and their "postfeminist" label, will, I hope, be read and debated for many years to come.

GINA GINA - Generic Interactive Application. An application framework based on Common Lisp and OSF/Motif, designed to simplify the construction of graphical interactive applications. FRANGELLO

Gina Frangello is a Ph.D. candidate in the Program for Writers at the University of Illinois-Chicago. Her short fiction has appeared or is forthcoming in Fireweed fireweed, any of several plants that spring up in fire-swept regions, especially the great willow herb Epilobium, which is classified in the family Onagraceae (evening primrose family). : A Feminist Quarterly, Fish Stories: Collective II, American Literary Review, Cafe Eighties, and 13th Moon. She is on the staff of Other Voices (Chicago).

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Author:	Frangello, Gina
Publication:	Chicago Review
Article Type:	Book Review
Date:	Jan 1, 1997
Words:	1630
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