'Nothing is as it seems in this twisted fairytale of moral ambiguity and corrupted innocence. Just as the tropical beauty of The Frangipani Gardens conceals its inherent menace, watercolour painter Doll lives a prim, respectable existence belying her wildest fantasies. But when her young niece and nephew come to stay, Doll’s true self threatens to be exposed.' (Publication summary)
Epigraph:
Wilt thou go with me sweet maid
Say maiden wilt thou go with me
Through the valley depths of shade
Of night and dark obscurity
Where the path hath lost its way
Where the sun forgets the day
Where there's nor life nor light to see
Sweet maiden wilt thou go with me
– John Clare
'This chapter explores Barbara Hanrahan’s notion that sexuality “can manifest itself in all sorts of ways” disrupts the naturalised binary logic that governs cultural intelligibility about what constitutes “real” sex and what remains unimaginable and unspeakable. It also highlights a preoccupation in her writing with non-normative sexual desires and identities that is akin to the critical concerns of queer epistemologies. The chapter takes Hanrahan’s contestation of normative thinking about sexuality as a starting point to critically examine the queerness of her “fantastic novels”. By reading Hanrahan’s fiction queerly we are offered a valuable critique that challenges the normalising power of heterosexuality and its claims to be the only intelligible and “natural” way to organise desire.'
Source: Abstract.
