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The Spinster and Her Enemies - Feminish

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WOMEN’S FRIENDSHIPS AND LESBIANISM<br />

dependence of women on sexual intercourse for their physical<br />

health for want of any more cogent arguments against<br />

lesbianism. Women were asked to have faith <strong>and</strong> carry on with<br />

heterosexuality.<br />

<strong>The</strong> writings of Stella Browne <strong>and</strong> Marie Stopes, since they<br />

are by women at a time when the vast majority of literature<br />

prescribing how women should relate to men was by men, could<br />

be seen as validating the prescription of the sexologists. Stopes<br />

<strong>and</strong> Browne could be regarded as promoting what women<br />

‘really’ wanted, what was ‘really’ in women’s interests. This<br />

cannot be a realistic picture. <strong>The</strong>y were writing at a time which<br />

was a watershed in the history of the construction of women’s<br />

sexuality. It was a time when the male sexologists were calling<br />

upon women to repudiate their love for each other <strong>and</strong> pour<br />

their energies into men. Browne <strong>and</strong> Stopes form part of a<br />

generation of women who had to twist themselves into knots by<br />

rejecting their own experience of loving women. From this time<br />

on the sex reformers would have had a less difficult task. In<br />

later generations women’s love for women would not appear as<br />

a conceivable choice, which they would then have to reject.<br />

Women’s friendships <strong>and</strong> lesbianism in British novels in the<br />

1920s<br />

As with any other set of ideas, there seems to have been a gap<br />

between the promotion of sexological theories on lesbianism<br />

<strong>and</strong> their filtering across to a more general readership. Some<br />

1920s novels by women indicate that this was the period in<br />

which these ideas gained public acceptance. What we see in<br />

1920s novels is a process by which passionate friendship between<br />

women, which was still being written about as unexceptional<br />

in the early 1920s is transformed by the intrusion of the lesbian<br />

stereotype. Radclyffe Hall’s <strong>The</strong> Unlit Lamp (1924) <strong>and</strong> Winifred<br />

Holtby’s <strong>The</strong> Crowded Street (1924) have as their theme the<br />

plight of middleclass unmarried daughters who seek to escape<br />

the stifling atmosphere of the family <strong>and</strong> find some means of<br />

personal fulfilment. In both books the spinster heroines engage<br />

in passionate friendships with other women. <strong>The</strong> most powerful<br />

<strong>and</strong> lengthy of such relationships is that between Joan <strong>and</strong><br />

Elizabeth described in <strong>The</strong> Unlit Lamp. <strong>The</strong> relationship<br />

remained unfulfilled in terms of commitment because, despite<br />

Elizabeth’s efforts, she cannot separate Joan from her mother in<br />

order to live with her. <strong>The</strong> relationship is described as one of<br />

intense emotional attachment, which includes physical caresses.<br />

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