...Sarah E. Cornish The World War II diary A Woman in Berlin: Eight Weeks in the Conquered City (2005) documents one woman’s story of survival in the spring of 1945 in Berlin, during which upward of 130,000 women were raped by soldiers of the Red Army. First, this essay introduces the politics...

... hand Petrus purports to be Lucy’s protector, but on the other hand he seems to have been complicit in some way in her gang rape, the massacre of her dogs, and the setting alight of Lurie himself. On Lurie’s best reading, Petrus would, as a fellow farmer, probably assist Lucy in a crisis...

... Nancy Paxton focuses on the ubiquitous theme of rape in post-1857 British Indian fiction as the site around which anxieties about miscegenation cluster. Both Paxton and Jenny Sharpe use­ fully demonstrate how the rape of an Englishwoman by an Indian man was one of the mobilizing tropes to emerge...

..., then, that a 294 Sophie’s Choice victim shows any volition (for good or ill), she slides away from victim toward agent, a position that resists claims to the innocence of victimiza­ tion. We still see this opposition between agent and victim used against female victims in actual rape trials—a rape...

... the widest reaches of the disgrace provoked initially by his affair with a student and then exacerbated terribly by the rape of his daughter; when surrounded as he is by abandoned, dying, and dead animals (those whose period of grace is either ending or has ended), the first flickering...

... deploys elements of (postmodernist) narrative previously reserved for the narrator. Among the characters in Gravity’s Rainbow , only Margherita offers metadiegetic narratives that prompt action on the narrative’s diegetic level. The uncertain ontological status of Margherita’s rape claim aligns...

...-consciousness about doing so:2 “I realized I had never loved anyone. Isn’t that trite? Like a canned line?” (313). This real- ization is evoked by a story about abduction, rape, and near murder told by a woman the interviewee has picked up for a one-night stand (I will take a risk and call...

... for rape, to be “Caught in the woods by a drunken old man” (93). In the end, martyr­ dom allows him to experience the agony and ecstasy he imagines a raped woman would feel: So he devoted himself to God. Because he was in love with the penetrant arrows He danced on the hot sand...

... and “look[ing] good doing it” (90). The Hun is everywhere in these narra- tives, a “devil-brute” intent on murder, rape, and pillage, the threat of his appearance at the door serving as a goad “to subjugate the needs of the family to the needs of the state” (92). Kingsbury concludes this chapter...

..., experienced by some women who, after having been raped, may “describe how during the event they were no longer in their bodies but had somehow managed to ‘escape’—floating up to the ceiling and looking down on the horrific scene.” Such temporary dissociation is “a universal survival mechanism, meant to help...

... as a “Georgian black boy” (152), with all of the baggage (his parental abandonment, his rape) that entails, transplanted into this new region. And ultimately, Pauline’s rotten tooth suggests the hid- den decay “eating away at the root” (116) of this Southern identification, unseen and unfelt until...

... and Elizabeth Curren bear witness to the sins of the nation through their abject maternity. In Disgrace Lucy is raped 179 Rachel Ann Walsh into maternity and refuses to report the crime, realizing that her story cannot be told “in this place, at this time” (112). As Meg Samuelson has argued...

...—the threats posed by individuals who “pass”; the “one-drop-of- blood” rule of racial taint; the repulsion against the physical traits of “miscegenation”; the paranoia of black-men-raping-white- women; the double standard for racial mixing that makes it more threatening for white women...

... , Macalister’s novel about an ex-Marine who was dishonorably discharged for not having corroborated the “official” story of rape and murder of an Iraqi girl. The ex-Marine, Tiny Walker, visits the families of his fellow Sergeant Briggs, who caused the death of the young girl, and of Declan, who committed suicide...

... fore the beginning of the beginning” (14). Amid Carter’s antic motifs, Baroslav talks about the death camps and how the Gestapo raped and dis­ membered his wife. By the final sequence of the book, amid the warfare in California, Eve is “filled with a raging curiosity to see the end of the world...

... kiss each other fervently, but already something has gone wrong. I am uneasy, half 441 Maren Linett of myself somewhere else” (177). Soon, in fact, the encounter becomes violent, as René describes gang rapes he has enjoyed in Morocco and begins to force his knee between her knees...

... bar backed by pink shell. The air is cloyed with a sweet evil substance like decayed honey. Men and women in evening dress sip pousse-cafés through alabaster tubes” (62-63). On stage in the rumpus room a “boy” is simultaneously hanged and raped by a “mugwump,” Burroughs’s science-fiction...

... Gillette she liked him” (154), he qualifies that “if a nigger had raped her, it’d be different—it’d be different, but” (151). Allowing for abortion in cases of white women’s rape by black men, Deen mobilizes abortion as a nativist mechanism for policing white racial purity and supremacy. Despite...

..., and in both cases this attraction ends disastrously. In the original 1948 edition of The City and the Pillar, Jim Willard murders Bob Ford, the man he has loved since high school, when Bob rejects his sexual advances; in the revised edition of 1965, Jim rapes Bob instead of murdering him.1 And David...

... it goes by, is one of control: does the artist exert control over his or her materials, or do they in some wise take control of their maker? Golding replies in an appropriately Delphic mode that allows him to have it both ways: although Arieka is compelled, undergoing rape...