Rape Fantasies The author of the short story Rape Fantasies is Margaret Atwood-She is a renowned Canadian writer of poetry and fiction, she is best known for her novel The Handmaids Tail. The short story that I chose Rape Fantasies comes from Atwood’s first collection of short stories called Dancing girls and Other Stories. The anecdotes about each of the bridge players indicates the comfort Estelle finds in gossip, unfair criticism, and the sharing of the particulars of her own rape fantasies. Estelle, the narrator of the story, shares her fantasies with the girls. She believes that Greta and Chrisy’s idea of a rape fantasy is just a vivid, wet dream about having sex, a “one night stand” with a complete stranger and never seeing them again. Ecco, la Atwood è in grado di scrivere storie così con un'arguzia e un'analisi sottile e spietata... non la definisco con la parola femminista perché so che la Atwood non vuole essere definita così, eppure è per me quanto di più femminista, onesto e senza vergogna io conosca. Rămas-bun", îți spun, așteptând privirea ta îngândurată, plină de regret. Ar trebui să-mi întorci spatele și să te îndepărtezi, dincolo de cuferele vechi, după colț, în spălătorie, și să dispari în spatele mașinii de spălat și al uscătorului; însă tu nu te clintești."

Writing effective short stories is probably more difficult than writing effective novels. You have very little space; you have to create viable, breathing characters in paragraphs instead of chapters; you have to weigh every word and know that it is essential or it must go; and you must convey something important, an idea, a thought, that lasts or has impact. Margaret Atwood does that like it is a science.

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Margaret Atwood es maravillosa. Sus reflexiones y su modo de plasmarlas sobre el papel me impresionan. A monologue is a speech given by one person in a performance or work of literature. The entire narrative of "Rape Fantasies" is a monologue by Estelle. By creating a story in which the point of view is first-person and everything, including the descriptions, actions, and words of the other characters are filtered through the narrator's perception, Atwood creates a highly subjective story in which much of the interpretation is up to the reader. This is one reason why criticism on first-person stories, including "Rape Fantasies," often focuses on whether or not the narrator is reliable. If the narrator is reliable, then his or her words can probably be taken at face value, and little other interpretation of events need take place. If, however, the narrator is not reliable, readers must exercise caution in interpreting the events of the story. Atwood provides few clues to suggest how reliable a narrator Estelle is. While she seems to give biting and accurate character descriptions—describing Chrissy as "varnished," and even commenting negatively on herself as someone who cries at movies, "even the ones that aren't all that sad"—there is no alternate point of view in the story to corroborate the things she says. I prefer Atwood's novels to her short stories but I've had this book for eons and figured it was time to read it. And sure enough, I was nonplussed by most of the stories, hated a few, and enjoyed fewer still. No lo imaginaba en el ejército, ni en ningún bando; no encajaba con él, y , hasta donde sabía no tenía ideología alguna. Debía de ser algo anodino, al margen, como ella; tal vez se había hecho intérprete. De niña, siempre se identificaba con la novia engañada o la hermana fea; siempre que el cuento empezaba “Érase una vez una doncella tan bonita como bondadosa”, tenía la certeza de que no se trataba de ella.

The basis of the story is rape. Rape, as defined in the Gale Encyclopedia of Psychology, is an act of power and dominance; although 15% to40% of American women are victims of rape or attempted rape, there is also the chance that a man is assaulted also. It is said that women are more than likely going to get raped by someone they know. More than half of the nation’s rape assaults have been placed in the victim’s home. Many rape assaults are continued or completed because the victim didn’t use verbal or physical force as resistance. For more than 3 decades and now till this day, feminist organizations have been fighting successfully to change the publics’ attitude toward rape as well as how society treats rape victims. La sangre, el fluido elemental, el jugo de la vida, subproducto del nacimiento, preludio de la muerte. Questa raccolta di racconti mi lascia un'impressione duplice: da un lato è veramente bella, i temi, lo stile, le riflessioni infinite dei protagonisti, le ansie e le fantasie.

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Her character is developed richly and efficiently through the moments of humor that surround her absurd fantasies of rape; her voice and thought process is illustrated clearly through the transitions between serious concepts and silly ones; and it is these transitions that reveal the contradictions in her thinking that she is unable to recognize. The Grave of the Famous Poet" has a couple visiting a small town in search of literary tourism. The hum-drum of their relationship is broken by a too-violent sexual escapade that is likely to break them apart.

The story brings out the inner feeling of the characters on how they feel about the subject of rape and how they look at it. In Margaret Atwood’s 1977 short story “ Rape Fantasies,” the narrative situation is revealed through the narrator’s sarcastic, ironic, and ultimately sincere style of speaking. Despite the name, "Rape Fantasies" is the funniest story in the collection, and one of the most interesting. Starting with a Cosmo-style magazine piece about how all women have rape fantasies once in a while, the ladies of the office pool compare theirs. Our snarky narrator spins increasingly hilarious and absurd variants, partly to amuse herself and partly to annoy her co-workers. My favorite is the one where a rapist with a cold comes into her window, only to find that she, too, has a cold. "I'b goig to rabe you," he says through stuffy nose. They lie in bed handing each other kleenex and watching the Late Show.

Explains that the women's liberation movement had been fighting for women’s rights and equality in society since the publication of "rape fantasies" in 1977. Estelle is unsure of some of the most important rape questions but is somehow satisfied with this uncertainty. The author shows this attitude to be a constant in Estelle’s character, present whether she considers concrete or abstract ideas; and it is this trait, so deeply embedded in her very fiber, that negatively affects her humor, creativity, and other redeeming qualities so completely. At lunch with her coworkers, there is no reprieve from the rape conversation. Estelle tries to steer her friends toward a bridge topic, but they insist on swapping rape fantasies. To cope with their discourse, Estelle continues to make fun of the situation. She makes fun of Greta. Apparently, Greta thinks she’s a “war hero or something” for having worked in Detroit. She also specifically ridicules Chrissy’s rape fantasy by comparing her dreamed-up assailant to Tarzan. The way they’re going on about it in the magazines you’d think it was just invented, and not only that but it’s something terrific.

Aceasta mi-a plăcut cel mai mult, deși mai sunt destule notate cu 5*: Omul de pe Marte, Betty, Polarități, Pregătire, Dansatoarele ș.a.Analyzes how margaret atwood's "rape fantasies" explores the issues of power between men and women as it relates to society. The premise that “all women have rape fantasies” is a hasty generalization that the magazines use to fuel the female readers’ fancies about rape. For example, Darlene asserts, “I certainly don’t (have rape fantasies).” Darlene’s assertions refute the argument presented in the magazine concerning the generality of rape fantasies. Even though the Magazines put forward statistical proof to validate that the fantasies involve recognizable people such as bosses, all the rape fantasies presented by the narrator and her associates involve unacquainted men. If the characters in “Rape Fantasies” were a sample used to assess the hypothesis relating to the familiarity of rapists in rape fantasies, then the hypothesis would be false. Barajo mi juego de impertinencias y saco una: haces el amor como un cowboy violando a una oveja. Llevo tiempo queriendo decírselo, pero acaso la paz sea más importante. Arguably, what many women visualize is agreeable sex (which is not the same as rape) with ‘handsome strangers.’ The narrator confesses, “Maybe I’m abnormal or something, I mean I have fantasies about handsome strangers coming in through the window too, like Mr. Clean, I wish one would, please somebody without flat feet and big sweat marks on his a shirt, and over five feet tall.” The narrator’s aspiration cannot be categorized as rape fantasy because she is envisaging herself having sex with her idyllic man. Accordingly, she would not repel the man’s attempts to be intimate with her because it is what she yearns. Conversely, in a rape fantasy, woman resorts to actions to thwart the rapist’s efforts to intrude upon her body. I mean, I know it happens but I just don’t understand it, that’s the part I really don’t understand (36-37). These two sentences capture the irony of a woman giving her interpretation of the rapist when she readily admits that she does not understand the feelings of someone who would actually do it. It is the irony of a situation that could never be pleasant, yet the potential victims of the violent act of rape happily daydream and converse about participation. But this allows us to accept Estelle as a genuine person with both clear and faulty thinking, and both good and bad personality traits.