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This is the story of Jeanette, adopted and brought up by her mother as one of God's elect. Zealous and passionate, she seems seems destined for life as a missionary, but then she falls for one of her converts. At sixteen, Jeanette decides to leave the church, her home and her family, for the young woman she loves. Innovative, punchy and tender, Oranges Are Not the Only Fruit is a few days ride into the bizarre outposts of religious excess and human obsession. With a new introduction by the author 'Witty, bizarre, extraordinary and exhilarating' The Times 'She is a master of her material, a writer in whom great talent abides' Vanity Fair 'Many consider her to be the best living writer in this language... In her hands, words are fluid, radiant, humming' Evening Standard 'A novel that deserves revisiting' Observer 'A wonderful rites-of-passage novel' Mariella Frostrup
Winner of the Whitbread Prize for best first fiction, Oranges Are Not the Only Fruit is a coming-out novel from Winterson, the acclaimed author of The Passion and Sexing the Cherry. The narrator, Jeanette, cuts her teeth on the knowledge that she is one of God’s elect, but as this budding evangelical comes of age, and comes to terms with her preference for her own sex, the peculiar balance of her God-fearing household crumbles.
The is the story of Jeanette, adopted and brought up by her mother as one of God's elect. Zealous and passionate, she seems destined for life as a missionary, but then she falls for one of her converts. At sixteen, Jeanette decides to leave the church, her home and her family for the young woman she loves. Innovative, punchy and tender, Oranges Are Not the Only Fruit is a few days' ride into the bizarre outposts of religious excess and human obsession.
Seminar paper from the year 2005 in the subject English - Literature, Works, grade: 1,0, Johannes Gutenberg University Mainz, language: English, abstract: In terms of genre, Jeanette Winterson's 1985 novel Oranges are not the Only Fruit is definitely groundbreaking. The author uses autobiographical elements, elements of the female Bildungsroman but also of the typical coming out novel. Furthermore, besides many allusions to other literary works and an enormous use of intertextuality, Winterson constructs girlhood through fantasy, myth, and fairy tales which challenge the expectations about any conventional novel. As Paulina Palmer describes, in Oranges "Examples of realism, fantasy and anti-realism flourish side by side," co-exist and intermingle with each other (2). By mixing all these different genres in her novel, Jeanette Winterson destabilizes the possibility of a single authoritative reading of her fiction. Definitely intriguing is her use of fairy tales within Oranges. Because traditional fairy tales have often been subject of feminist criticism, it seems curious that especially Winterson, as a lesbian author, interweaves many, seemingly traditional fairy tales into her plot. After the 20th century suffrage and liberation movements, feminists such as K.E. Rowe argue that these "domestic fictions" have encouraged women throughout centuries to blindly await Prince Charming in order to fulfil their primary goal in life: marriage (237). These tales picture women as subdued to men, first to their fathers, then to their husbands, as dependent heroines who need to be rescued from the dangers the world bares. It is furthermore well known that "By virtue of the beautiful simplicity that folk tales have, by virtue of their single context, they become ideal vehicles for incorporating elements of the cultures which produce them" (Rabkin 100). Yet, I argue that the fairy-tale episodes in Oranges are not as traditiona
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Cologne (Englisches Seminar), course: Hauptseminar: Concepts of Britishness in British Cinema, 13 entries in the bibliography, language: English, abstract: The drama Oranges Are Not the Only Fruit tells the story of a young lesbian girl, Jeanette/Jess, who is raised in a repressive Pentecostal home by an overpowering mother. Jess tries to find her sexual identity in the context of the fanatical Pentecostal church. Although Jess herself does not have any problems with her sexuality combined with her religiosity at all, she gets into a conflict with the Christian community and into a deep inner conflict because the church regards her sexuality as a sin and herself as possessed by demons. This paper discusses how the different conflicts in the story arise and which impact the film’s way of representing religion and lesbianism has on the viewer. It demonstrates how the ways in which the novel and the film version ofOrangespresent lesbianism work to naturalize and normalize it. By its representation of lesbian love and the church as its enemy Oranges challenges normative values and conventional standards.Oranges makes an attempt to reverse the viewer’s former attitudes towards these opponents.