Oranges Are Not the Only Fruit Essay – A/A* essay
Jeanette Winterson’s purposely provocative, quasi autobiographical meta
fiction “Oranges are not the only fruit” (Oranges), is a transgressive
Bildungsroman; chartering the sexual and spiritual journey of the
protagonist Jeanette as she deftly defies societal norms. Similarly, Duffy’s
bitingly ironic tender yet coarse, eccentric, body of poetry “Feminine
Gospels” (FG), published in 2002, delves into the intricate tapestry of
female identity. Through its evocative verses and unashamedly crude
language, both postmodern writers aim to obstruct dogmatic doctrines
and thwart truths by highlighting the changing social attitudes in a
patriarchal society that has nihilistic values.
In ‘Oranges are not the only fruit,’ the “oranges” are emblematic of the
restrained life Jeanette is ultimately succumb to. This is evident as the
metaphor “oranges are not the only fruit” acts as an intruding barrier that
inhibits Jeanette from pursuing any form of “unnatural passions.” Here the
use of the euphemistic term “unnatural” highlights a sense of foreign
abnormality and disapproval from Jeanette to indulge in a life of
homosexuality and sin. This is proven to being a crucial factor in
maintaining the fundamental relationship with her mother who desires her
to be a “Christian missionary.” It’s also crucial for her relationship with the
Pentecostal church and God. Clearly at the start of the novel the lack of
changing social attitudes acts a driving force for the establishment of the
rest of the novel as Jeanette’s homosexuality leads her from once claiming
“I cannot recall a time when I did not know I was special”, to then being
associated with “having fallen under the spell of the devil” and “making
the whole house ill.” Here the juxtaposing nurturing and celebratory
connotations of “special,” contrasting with the religiously macabre and
direful connotations of “devil”, accentuates how Jeanette’s gradual
deterioration of her relationship with her families is due to her changing
attitudes of sexuality deviating from the ones of society; the repressive
dogmas of a religious sector separating her from cherishing both, leading
to an ultimately sacrifice.
Moreover, the inflammatory connotations of “making the whole house ill,”
alludes to to how Jeanette’s homosexuality taints her spirituality and leads
to her disputes with her mother. This may link to contextually her mother
doing the same dismissal of Jeanette due to homosexuality still being
frowned upon in the late 1950’s. Additionally this view can be exacerbated
Jeanette Winterson’s purposely provocative, quasi autobiographical meta
fiction “Oranges are not the only fruit” (Oranges), is a transgressive
Bildungsroman; chartering the sexual and spiritual journey of the
protagonist Jeanette as she deftly defies societal norms. Similarly, Duffy’s
bitingly ironic tender yet coarse, eccentric, body of poetry “Feminine
Gospels” (FG), published in 2002, delves into the intricate tapestry of
female identity. Through its evocative verses and unashamedly crude
language, both postmodern writers aim to obstruct dogmatic doctrines
and thwart truths by highlighting the changing social attitudes in a
patriarchal society that has nihilistic values.
In ‘Oranges are not the only fruit,’ the “oranges” are emblematic of the
restrained life Jeanette is ultimately succumb to. This is evident as the
metaphor “oranges are not the only fruit” acts as an intruding barrier that
inhibits Jeanette from pursuing any form of “unnatural passions.” Here the
use of the euphemistic term “unnatural” highlights a sense of foreign
abnormality and disapproval from Jeanette to indulge in a life of
homosexuality and sin. This is proven to being a crucial factor in
maintaining the fundamental relationship with her mother who desires her
to be a “Christian missionary.” It’s also crucial for her relationship with the
Pentecostal church and God. Clearly at the start of the novel the lack of
changing social attitudes acts a driving force for the establishment of the
rest of the novel as Jeanette’s homosexuality leads her from once claiming
“I cannot recall a time when I did not know I was special”, to then being
associated with “having fallen under the spell of the devil” and “making
the whole house ill.” Here the juxtaposing nurturing and celebratory
connotations of “special,” contrasting with the religiously macabre and
direful connotations of “devil”, accentuates how Jeanette’s gradual
deterioration of her relationship with her families is due to her changing
attitudes of sexuality deviating from the ones of society; the repressive
dogmas of a religious sector separating her from cherishing both, leading
to an ultimately sacrifice.
Moreover, the inflammatory connotations of “making the whole house ill,”
alludes to to how Jeanette’s homosexuality taints her spirituality and leads
to her disputes with her mother. This may link to contextually her mother
doing the same dismissal of Jeanette due to homosexuality still being
frowned upon in the late 1950’s. Additionally this view can be exacerbated
