Madeleine L'Engle - Revision history

Lquilter: cat

2010-07-19T20:05:29Z

cat

← Older revision		Revision as of 13:05, 19 July 2010
Line 50:		Line 50:
	[[category: 1918 births]]		[[category: 1918 births]]
	[[Category:2007 deaths]]		[[Category:2007 deaths]]
	[[~~category~~:Writers]]		[[Category:Writers by name]]
			[[Category:Women writers by name]]

Kitsuchi: /* Feminist, or Not? */

2009-01-01T06:31:21Z

Feminist, or Not?

← Older revision		Revision as of 23:31, 31 December 2008
Line 35:		Line 35:
	L'Engle's writing features [[strong women characters]] of all ages. Her female characters are often [[female scientists in SF\|scientists]]. They are almost always extremely beautiful. They continue their careers after they marry, but they also take primary responsibility for raising the children. Often, including in ''[[A Wrinkle in Time]]'', the woman's scientific prowess is lauded, but the husband's scientific career gets the attention, fame, and adventure -- a potential site of feminist criticism in the work, but most often a missed opportunity for L'Engle, who tended to normalize rather than problematize this treatment. For instance, instead of characters recognizing the disparate treatment and reacting to it with frustration, outrage, activism, despair, etc., the characters simply seem to accept the inequity without question or comment.		L'Engle's writing features [[strong women characters]] of all ages. Her female characters are often [[female scientists in SF\|scientists]]. They are almost always extremely beautiful. They continue their careers after they marry, but they also take primary responsibility for raising the children. Often, including in ''[[A Wrinkle in Time]]'', the woman's scientific prowess is lauded, but the husband's scientific career gets the attention, fame, and adventure -- a potential site of feminist criticism in the work, but most often a missed opportunity for L'Engle, who tended to normalize rather than problematize this treatment. For instance, instead of characters recognizing the disparate treatment and reacting to it with frustration, outrage, activism, despair, etc., the characters simply seem to accept the inequity without question or comment.

	A very disturbing strain of "[[female submission to husbands\|women should submit to their husbands]]" runs through her work, starting with an early mainstream novel, ''The Love Letters'' (1966, revised in 1983 and 1996), the clear message of which is that marital [[rape]] expresses the needs of the husband, and should be forgiven. ~~We also find a rather unpleasant~~ portrayal of a [[~~Lesbian~~]] character in ''[[A House Like a Lotus]]'', featuring Polyhymnia O'Keefe, a central protagonist of the Murry-O'Keefe novels. In this book, as in the early ''Love Letters'', the message is forgiveness, and yet the unhappiness of the ~~Lesbian~~ Max(imiliana) is portrayed as less powerful and more pathetic than the unhappiness of the husband in ''The Love Letters''.		A very disturbing strain of "[[female submission to husbands\|women should submit to their husbands]]" runs through her work, starting with an early mainstream novel, ''The Love Letters'' (1966, revised in 1983 and 1996), the clear message of which is that marital [[rape]] expresses the needs of the husband, and should be forgiven. The portrayal of a [[lesbian]] character in ''[[A House Like a Lotus]]'', featuring [[Polyhymnia O'Keefe]], a central protagonist of the Murry-O'Keefe novels, can also be seen as unpleasant. In this book, as in the early ''Love Letters'', the message is forgiveness, and yet the unhappiness of the lesbian Max(imiliana) is portrayed as less powerful and more pathetic than the unhappiness of the husband in ''The Love Letters''.

	In other political areas, such as anti-racism (see especially ''The Other Side of the Sun'') and peacemaking, a theme which runs throughout her work, L'Engle's political stance is less equivocal.		In other political areas, such as anti-racism (see especially ''The Other Side of the Sun'') and peacemaking, a theme which runs throughout her work, L'Engle's political stance is less equivocal.

Kitsuchi: /* Further reading */

2009-01-01T05:11:39Z

Kitsuchi: /* Mainstream Young Adult */

2009-01-01T05:09:25Z

Mainstream Young Adult

← Older revision		Revision as of 22:09, 31 December 2008
Line 26:		Line 26:
	* ''Camilla'' (1965)		* ''Camilla'' (1965)
	* ''The Young Unicorns'' (1968) (Austins)		* ''The Young Unicorns'' (1968) (Austins)
	* ''[[A Ring of Endless Light]]'' (1980)		* ''[[A Ring of Endless Light]]'' (1980) (Austins)
	* ''And Both Were Young'' (1983)		* ''And Both Were Young'' (1983)
	* ''[[A House Like a Lotus]]'' (1984) (O'Keefe)		* ''[[A House Like a Lotus]]'' (1984) (O'Keefe)
	* ''Troubling a Star'' (1994) (Austins)		* ''Troubling a Star'' (1994) (Austins)


	==Feminist, or Not?==		==Feminist, or Not?==

Debbie at 04:33, 27 November 2007

2007-11-27T04:33:10Z

← Older revision		Revision as of 21:33, 26 November 2007
Line 51:		Line 51:
	[[Category:2007 deaths]]		[[Category:2007 deaths]]
	[[category:Writers]]		[[category:Writers]]
	~~{{stub}}~~

Debbie at 03:00, 27 November 2007

2007-11-27T03:00:32Z

← Older revision		Revision as of 20:00, 26 November 2007
Line 34:		Line 34:
	==Feminist, or Not?==		==Feminist, or Not?==

	L'Engle's writing features [[strong women characters]] of all ages. Her female characters are often [[female scientists in SF\|scientists]]. They continue their careers after they marry, but they also take primary responsibility for raising the children. Often, including in ''[[A Wrinkle in Time]]'', the woman's scientific prowess is lauded, but the husband's scientific career is the ~~one that gets~~ attention, fame, and adventure -- a potential site of feminist criticism in the work, but most often a missed opportunity for L'Engle, who tended to normalize rather than problematize this treatment. For instance, instead of characters recognizing the disparate treatment and reacting to it with frustration, outrage, activism, despair, etc., the characters simply seem to accept the ~~treatment~~ without question or comment.		L'Engle's writing features [[strong women characters]] of all ages. Her female characters are often [[female scientists in SF\|scientists]]. They are almost always extremely beautiful. They continue their careers after they marry, but they also take primary responsibility for raising the children. Often, including in ''[[A Wrinkle in Time]]'', the woman's scientific prowess is lauded, but the husband's scientific career gets the attention, fame, and adventure -- a potential site of feminist criticism in the work, but most often a missed opportunity for L'Engle, who tended to normalize rather than problematize this treatment. For instance, instead of characters recognizing the disparate treatment and reacting to it with frustration, outrage, activism, despair, etc., the characters simply seem to accept the inequity without question or comment.

	A very disturbing strain of "[[female submission to husbands\|women should submit to their husbands]]" runs through her work, starting with an early mainstream novel, ''The Love Letters'' (1966, revised in 1983 and 1996), the clear message of which is that marital [[rape]] expresses the needs of the husband, and should be forgiven. We also find a rather unpleasant portrayal of a [[Lesbian]] character in ''[[A House Like a Lotus]]'', featuring Polyhymnia O'Keefe, a central protagonist of the Murry-O'Keefe novels. In this book, as in the early ''Love Letters'', the message is forgiveness, and yet the unhappiness of the Lesbian Max(imiliana) is portrayed as less powerful and more pathetic than the unhappiness of the husband in ''The Love Letters''.		A very disturbing strain of "[[female submission to husbands\|women should submit to their husbands]]" runs through her work, starting with an early mainstream novel, ''The Love Letters'' (1966, revised in 1983 and 1996), the clear message of which is that marital [[rape]] expresses the needs of the husband, and should be forgiven. We also find a rather unpleasant portrayal of a [[Lesbian]] character in ''[[A House Like a Lotus]]'', featuring Polyhymnia O'Keefe, a central protagonist of the Murry-O'Keefe novels. In this book, as in the early ''Love Letters'', the message is forgiveness, and yet the unhappiness of the Lesbian Max(imiliana) is portrayed as less powerful and more pathetic than the unhappiness of the husband in ''The Love Letters''.

JLeland: /* Names */ formatting

2007-09-12T00:29:48Z

Names: formatting

← Older revision		Revision as of 17:29, 11 September 2007
Line 10:		Line 10:
	* Madeleine L'Engle Camp - full legal name		* Madeleine L'Engle Camp - full legal name
	* Madeleine L'Engle - first and middle name; primarily published name		* Madeleine L'Engle - first and middle name; primarily published name
	*

	==Bibliography ==		==Bibliography ==

Lquilter: /* Further reading */ links

2007-09-11T19:59:23Z

Lquilter: /* Feminist, or Not? */ copyediting

2007-09-11T19:54:08Z

Feminist, or Not?: copyediting

← Older revision		Revision as of 12:54, 11 September 2007
Line 35:		Line 35:
	==Feminist, or Not?==		==Feminist, or Not?==

	L'Engle's writing features strong women characters of all ages. Her female characters are often scientists. They continue their careers after they marry, but they also take primary responsibility for raising the children. Often, including in ~~<I>~~A Wrinkle in Time~~</i>~~, the woman's scientific prowess is lauded, but the husband's scientific career is the one that gets attention, fame, and adventure.		L'Engle's writing features [[strong women characters]] of all ages. Her female characters are often [[female scientists in SF\|scientists]]. They continue their careers after they marry, but they also take primary responsibility for raising the children. Often, including in ''[[A Wrinkle in Time]]'', the woman's scientific prowess is lauded, but the husband's scientific career is the one that gets attention, fame, and adventure -- a potential site of feminist criticism in the work, but most often a missed opportunity for L'Engle, who tended to normalize rather than problematize this treatment. For instance, instead of characters recognizing the disparate treatment and reacting to it with frustration, outrage, activism, despair, etc., the characters simply seem to accept the treatment without question or comment.

	A very disturbing ~~trend~~ of "women should submit to their husbands" runs through her work, starting with an early mainstream novel, ~~<I>~~The Love Letters~~</i>~~ (1966, revised in 1983 and 1996), the clear message of which is that marital rape expresses the needs of the husband, and should be forgiven. We also find a rather unpleasant portrayal of a Lesbian character in ~~<I>~~A House Like a Lotus~~</i>~~, featuring Polyhymnia O'Keefe, a central protagonist of the Murry-O'Keefe novels. In this book, as in the early ~~<I>~~Love Letters~~</i>~~, the message is forgiveness, and yet the unhappiness of the Lesbian Max(imiliana) is portrayed as less powerful and more pathetic than the unhappiness of the husband in ~~<I>~~The Love Letters~~</i>~~.		A very disturbing strain of "[[female submission to husbands\|women should submit to their husbands]]" runs through her work, starting with an early mainstream novel, ''The Love Letters'' (1966, revised in 1983 and 1996), the clear message of which is that marital [[rape]] expresses the needs of the husband, and should be forgiven. We also find a rather unpleasant portrayal of a [[Lesbian]] character in ''[[A House Like a Lotus]]'', featuring Polyhymnia O'Keefe, a central protagonist of the Murry-O'Keefe novels. In this book, as in the early ''Love Letters'', the message is forgiveness, and yet the unhappiness of the Lesbian Max(imiliana) is portrayed as less powerful and more pathetic than the unhappiness of the husband in ''The Love Letters''.

	In other political areas, such as anti-racism (see especially ~~<I>~~The Other Side of the Sun~~</i>~~) and peacemaking, a theme which runs throughout her work, L'Engle's political stance is less ~~ambiguous~~.		In other political areas, such as anti-racism (see especially ''The Other Side of the Sun'') and peacemaking, a theme which runs throughout her work, L'Engle's political stance is less equivocal.

	== Further reading ==		== Further reading ==

Lquilter: more

2007-09-11T19:48:59Z

← Older revision		Revision as of 12:48, 11 September 2007
Line 3:		Line 3:
	Her work has significant spiritual themes, often identified as [[Christianity and feminist SF\|Christian]], and particularly focused on "love" and the holistic nature of the universe. Strictly read, her treatment of these themes is closer to the fantasy works of [[Diane Duane]] than to the more overtly Christian works of [[C. S. Lewis]]. However, the universality of her works and her themes is limited by L'Engle's very public Christian identity, and her centering of Christian characters — many of her most likable and admirable characters are Christian.		Her work has significant spiritual themes, often identified as [[Christianity and feminist SF\|Christian]], and particularly focused on "love" and the holistic nature of the universe. Strictly read, her treatment of these themes is closer to the fantasy works of [[Diane Duane]] than to the more overtly Christian works of [[C. S. Lewis]]. However, the universality of her works and her themes is limited by L'Engle's very public Christian identity, and her centering of Christian characters — many of her most likable and admirable characters are Christian.

	In other political areas, such as [[anti-racism]] (''The Other Side of the Sun'') and [[peacemaking]] (most books), her politics are less ambiguous: She was unequivocally opposed to racism and war.		Perhaps in part as a result of Christian influences, L'Engle's gender politics were questionable. (See below.) In other political areas, such as [[anti-racism]] (''The Other Side of the Sun'') and [[peacemaking]] (most books), her politics are less ambiguous: She was unequivocally opposed to racism and war.

	==Names==		==Names==

← Older revision		Revision as of 22:11, 31 December 2008
Line 45:		Line 45:
	* [http://blogs.feministsf.net/?p=233#comment-68689 FSF blog entry] - with links		* [http://blogs.feministsf.net/?p=233#comment-68689 FSF blog entry] - with links
	* [http://www.librarything.com/talktopic.php?topic=19825 LibraryThing Authors In Memoriam]		* [http://www.librarything.com/talktopic.php?topic=19825 LibraryThing Authors In Memoriam]
			* [http://revolutionf.blogspot.com/2007/02/observation.html An Observation] on L'Engle's Christian themes, at [[I Am A Tree]]

	{{DEFAULTSORT:L'Engle, Madeleine}}		{{DEFAULTSORT:L'Engle, Madeleine}}

← Older revision		Revision as of 12:59, 11 September 2007
Line 45:		Line 45:
	* [http://www.nytimes.com/2007/09/08/books/07cnd-lengle.html New York Times article] about her death		* [http://www.nytimes.com/2007/09/08/books/07cnd-lengle.html New York Times article] about her death
	* [http://www.publishersweekly.com/article/CA6476596.html Publishers Weekly obituary]		* [http://www.publishersweekly.com/article/CA6476596.html Publishers Weekly obituary]
			* [http://blogs.feministsf.net/?p=233#comment-68689 FSF blog entry] - with links
			* [http://www.librarything.com/talktopic.php?topic=19825 LibraryThing Authors In Memoriam]

	{{DEFAULTSORT:L'Engle, Madeleine}}		{{DEFAULTSORT:L'Engle, Madeleine}}