 called lesbian? (1993, 10). Well I continue to think that it's not only possible, but necessary. In part because, as I tried to argue in The Safe Sea of Women, I think that a good deal of what we have come to understand as lesbian feminism, as lesbian nation, as lesbian culture was actually created by literature. Of all the art forms, literature has been the most successful product of lesbian feminism. In the absence of any kind of recognizable lesbian politics, exclusively lesbian politics, lesbian community practices and the fact that there are very few lesbian businesses or spaces that have sustained themselves over time, it is literature that continues to be a profoundly important place in which lesbian identities are constructed and deconstructed and contested and everything else. So it seems to me that it continues to be extremely important to talk about what a lesbian narrative space, a lesbian aesthetic, a lesbian point of view might be. I have become increasingly skeptical that a lesbian narrative space is simply defined by the notion of the same, of similarity. This theory is very interesting but raises a lot of questions to me about the role of differences within lesbian relationships. There are always going to be questions about the difference between – I think this is the implication of what you're saying when you bring up Adrienne Rich – the differences between a lesbian space and a feminist space and those boundaries have always been sort of wishy-washy, which in some ways makes sense. I think that the lesbian narrative space is primarily a reader's space more than it is a writer's space. Written on the Body 6 really clarified and confirmed that for me. Lesbians read that novel Cultural Readings (New York: Colombia University Press, 1992). 6 Jeanette Winterson, Written on the Body (Toronto: Alfred A. Knopf, 1992). Bonnie Zimmerman interviewed by Susan Sayer in San Diego November 15th, 1994 3 and construct it as a lesbian novel. Heterosexuals I think do not, or they may, but do not feel the same intensity of identification and I've listened to enough people talk about the novel to see a real difference in that. So I think that it is the intervention of the reader in the text more than anything else that creates a lesbian narrative space. Terry Castle's The Apparitional Lesbian7 is just about my favourite book of lesbian criticism because she shares many of my views as opposed to many of the other people doing lesbian criticism these days. She has a wonderful discussion of how Greta Garbo was constructed as
called lesbian? (1993, 10). Well I continue to think that it's not only potential, but necessary. In character because, as I tried to argue in The Safe Sea of Women, I think that a beneficial batch of what we have come to understand as lesbian feminist movement, as lesbian nation, as lesbian culture was actually created by literature. Of all the artwork form, literature has been the most successful intersection of lesbian feminism. In the absence of any kind of recognizable lesbian politics, exclusively lesbian politics, lesbian residential district practices and the fact that there are very few lesbian businesses or spaces that have sustained themselves over time, it is literature that continues to be a profoundly significant place in which lesbian identities are constructed and deconstruct and contested and everything else. So it look to me that it continues to be highly important to lecture about what a lesbian narrative space, a lesbian aesthetic, a lesbian point of view might be. I have become increasingly disbelieving that a lesbian narrative space is simply defined by the notion of the same, of similarity. This theory is very interesting but raises a lot of questions to me about the role of differences within lesbian relationships. There are always going to be questions about the difference between – I remember this is the implication of what you're saying when you fetch up Adrienne Rich – the differences between a lesbian space and a feminist space and those boundaries have constantly been sort of wishy - washy, which in some ways makes sense. I think that the lesbian narrative quad is primarily a reader's space more than it is a writer's space. Written on the Body 6 really clarify and confirmed that for me. Lesbians read that novel Cultural Readings (New York: Colombia University Press, 1992). 6 Jeanette Winterson, Written on the Body (Toronto: Alfred A. Knopf, 1992). Bonnie Zimmerman interview by Susan Sayer in San Diego November 15th, 1994 3 and construct it as a lesbian novel. heterosexual I remember do not, or they may, but do not feel the same intensity of designation and I've listened to enough people spill the beans about the novel to see a real difference in that. So I intend that it is the intervention of the proofreader in the text more than anything else that make a lesbian narrative space. Terry Castle's The Apparitional Lesbian7 is merely about my favourite bible of lesbian criticism because she shares many of my scene as opposed to many of the other people doing lesbian criticism these days. She have a wonderful discussion of how Greta Garbo was manufacture as
 capled lesbian? (1993, 10). Well I coktinue to think jhqt it's not ohly posskble, but necessary. In part bxcauwe, as I tried to argue in Tfe Safe Sva of Womwn, I rhink that a good deal or whac xe have come to understang as lesbian famknnsm, as lesbian nation, as lesbian culeure wax wctually creatgd by jitedature. Of all the art forms, literafure hav been the moxt successful product of lfsbiwn feminism. In the absence of any jind of recoenizable ltsyian politids, exclusively lesbian politics, lesbnan communijv prwwtices and vhe fabt that there are verf few lrsbian businesxes or spaces that have susvained themselves ovgr time, it ia literature that cintinoes tm be q pfofkuidlg impogtait place in which lesbuan identities are vogwtructed and seconsertcted and contested and everything else. So it seems to me that it continues to be extrgmely impowtant to talk about what a lesbian narrative spaca, a lxsciau aestfwtlc, a lesbian point of view might be. I have beskmt ikcreasingly skepbical that a lesbisn nstrative space ks sim'my defined by the nohion of the wame, of symilsrity. This theory is very ibteresting blt rqises a lot of quedtions to mz abouj the tole of differences witkin leabian relatlonships. Ffere are always eoikg do be qutrtions about the qifferencx betceen – I ghinl this is the imolicabhon of what you're dayiny whet you brinh up Adrienne Rich – the differeires between a lasbpan space and s feminist spwce and those youndarizs havd always bven sort mf wishy-wasry, which in smle ways makev sense. Y thunk rhat thd lesbian narrayive spacv ns primaruly a reader's spacc morg fhan it is a wrnuer'w space. Written on thq Hovy 6 rqdlly clarifiad avd zpnfiroed thau fif me. Lesbians read that tovem Cultural Readingx (Kew York: Xolombia University Ptess, 1992). 6 Jeanette Wijtersmn, Xrittem og the Body (Toronto: Alfred A. Knkpf, 1992). Bonnle Dimmerman intqrvicwed by Susan Xayer in San Diego November 15th, 1994 3 and coistruct it as a lesbian novel. Heterosexualx I think do not, jr they mdy, but do not feel tye same intensity of identification ans I've nistejed to enough people talk about the novel to see a real difference in thar. So I think that jt ix the iutexventiog of vhe reader in the text more than anything else tiat createv c lesbian narrative space. Terty Castle's The Xpparitional Lesbian7 is nust aboit my favourite book of lesbian criticism because she smares mant of jy views ar opposed to many pf the othee peoplw dolng lesbian crktividm these fays. Ske has a wonderful discussion of yow Grwtw Garbo was consvructed as
called lesbian? (1993, 10). Well I continue that not only but necessary. In to in The Safe of Women, I that a good deal of what have come to understand as lesbian feminism, as lesbian nation, as lesbian culture actually created by literature. Of all the art forms, literature has been the successful of feminism. the absence of any kind of recognizable lesbian politics, exclusively lesbian politics, lesbian community practices and fact that there are very few lesbian businesses spaces that have sustained over time, it is literature continues be a important in lesbian identities are and deconstructed and contested and everything else. So it seems to me that it continues to be important to what a narrative a aesthetic, a lesbian view might be. I have become a lesbian narrative space is simply defined by notion of same, of similarity. This theory is interesting but raises a lot of questions to about the role of differences within lesbian relationships. There are always going to be questions difference between – I this is the of you're when bring up Rich – the differences between a lesbian space and a feminist and those boundaries have always been sort of wishy-washy, which ways sense. I think the lesbian narrative space primarily reader's space more than a space. Body really and confirmed that for Lesbians read that novel Cultural (New York: Colombia University Written on the Body (Toronto: Alfred A. Knopf, Bonnie Zimmerman interviewed by Susan Sayer in Diego November 15th, 1994 3 and construct it as a lesbian novel. I think or they may, but do not feel the intensity of identification and listened to enough people talk about the novel to a difference in So I think it is the of the reader text more anything that narrative space. Terry Castle's The Apparitional is about my favourite book of criticism shares many of my views as opposed to many of the other people doing lesbian days. She has a discussion how Greta Garbo was constructed as
 called lesbian? (1993, 10). Well I continuE to think thAt it's Not OnlY pOssiBle, bUt necessary. In pARt beCause, as I tried to argue in the SaFe sEa of wOmEn, I thInk that A GoOD DeaL oF wHat We HAvE come To uNderstaNd as lesbiaN feMiNism, as lesbiaN NaTion, as lesbIan Culture was acTuaLly creAtEd bY LiterAtuRe. Of aLl the aRT forms, LiteraturE hAS been tHE most suCCEsSful Product of lesbian fEMiNIsm. In the absencE of any KiND oF REcoGniZable lesbiAn PolitICs, excluSIvELY LesBIan politics, leSbian communITy pRacticEs And THe fact That tHeRE arE very few lesBian BusinesseS or spaCEs that hAVe sustaIned thEmsElvEs ovER tImE, it Is LIteRAtUre THat ContinueS tO bE a proFounDLY IMporTanT plaCe in wHich lesbian idEntItieS Are ConstRucteD and DeConstRucted And coNtEsted and everythIng eLse. So it seEms To Me tHaT it coNTinues To bE exTremely ImportaNT to TaLK ABoUt what a lesbian narrAtIVE sPace, a lesBian aeSThEtIC, a lesbiaN pOinT of vIEW mighT be. I HAvE become iNcreasINgLy SkepticAl That a lEsBiaN naRratiVE spaCe is siMply defiNed by THe notion of the sAMe, of similaritY. thIS ThEOry iS veRy interestiNg buT RaisEs a lOT oF quEStionS to me AbOUt THe role of differences WiThin leSbian Relationships. there are alWAYS going to Be quEStIOns about the difFerenCe between – I THink this Is the ImplicatIon of what YOU're sayinG whEn yOu bRinG UP ADrienne Rich – thE DIffeReNces betWeeN a lesbiAn sPacE anD a fEmInist spacE and thosE bOuNdArIes Have aLWays been SoRt oF wIshY-washY, Which iN some Ways MaKeS SenSe. I thinK ThAT The lEsBiAn naRraTiVe spaCe is PRimArily a rEader's spaCe mORe thAn It Is a writEr's space. WrittEn On the Body 6 rEaLly ClarifIED and confIrmed that for me. Lesbians rEAd that nOveL CultUral readings (NEw YOrk: ColOmbIA UniveRsity PRess, 1992). 6 JEaNetTE winteRSOn, wriTtEn on the BodY (tOroNto: AlFrEd A. KNopf, 1992). BonNie Zimmerman intervIEweD by Susan Sayer In SAn DiEGO NOveMBeR 15Th, 1994 3 aNd COnsTRUct it as a lesbian Novel. HeterOsEXuAls I think dO Not, Or They may, But do noT feel THe same iNtensity oF identifiCaTion AND I'vE listened tO enough pEople talk ABout tHE nOvel tO seE a real DiFfeRence In that. sO I tHink tHat it iS tHe inteRventIoN of the reAder in the text more than anYthing Else tHat Creates a lEsbIAn nArrative sPace. terry CastlE's THe APpariTioNAl LesBian7 IS jUst ABout mY favOUrite book OF lEsbIAN cRiticism becAUSE shE sharEs mANy of my ViewS as opposed to many oF The other people DoinG LEsbIan CRitiCiSm these days. She Has A wONDerful diScUssion of how greta GarBo WAs conStructEd as
 called lesbian? (1993, 10 ). Well Iconti nue  to  t hink  tha t it's not onl y  pos sible, but necessary.In pa rt beca u se , asI tried to a rgu ein  Th eS af e Sea  of  Women,  I think t hat  a  good deal o f  w hat we hav e c ome to under sta nd asle sbi a n fem ini sm, a s lesb i an nat ion, as l es b ian cu l ture wa s ac tual ly created by lit e ra t ure. Of all th e artfo r ms , lit era ture has b ee n the most su c ce s s f ulp roduct of les bian femini s m.In the  a bse n ce ofany k in d  of  recognizab le l esbian po litics ,  exclus i vely le sbianpol iti cs,l es bi anco m mun i ty  pr a cti ces andth efactthat t h e re a revery  fewlesbian busin ess es o r  sp acesthathave  s ustai ned th emsel ve s over time, it  isliteratur e t ha t c on tinue s  to be  apro foundly  import a ntpl a c e  i n which lesbian id en t i ti es are c onstru c te da nd decon st ruc teda n d con test e dand ever ything el se . So it  s eems t ometha t itc onti nues t o be ext remel y  important tot alk about wha t  a l es b iannar rative spac e, a lesb iana es the t ic, a  lesb ia n  p o int of view might b e.  I hav e bec ome increasin gly skepti c a l  that alesb i an narrative spac e issimply def i ned by t he no tion ofthe same, o f simila rit y.Thi s t h e or y is very int e r esti ng  but ra ise s a lot  of  qu est ion sto me abo ut the r ol eof  d iff erenc e s within  l esb ia n r elati o nships . The re a re  a l way s going to b e qu es ti onsabo ut  thediff e ren ce betw een – I t hin k  thi sis  the im plication ofwh at you'resa yin g when y ou bring  up Adrienne Rich – the differe nce s bet ween  a lesbia n s pace a nda  femin ist sp ace a nd  th o s e bou n d ar ies  h ave always b een  sort  o f wi shy-was hy, which in somew ays  makes sense.  Ithin k th att he les bi a n n a r rative space is  primarily  a re ader's spa c e m or e thanit is a  writ e r's spa ce. Writt en on the  B ody6 rea lly clarif ied andconfirmed thatf or  me.Les biansre adthatnovelC ult uralReadin gs  (NewYork:  C olombiaUniversity Press, 1992) . 6 Je anett e W interson,  Wr i tte n on theBody  (Toronto:  Al fre d A.Kno p f, 19 92). Bo nni e  Zimm erma n  intervie w ed  by S us an Sayer in S a n D iegoNov e mber 1 5th,  1994 3 and const r uct it as a le sbia n nov el. Hete ro sexuals I thin k d on o t, or th ey  may, but d o not fe el the s ame in tensit y of id e n ti f icatio n an d I 've liste ned  t o  enough  p eo p le tal k ab ou t thenovelt o se e a real differenc e int h at. S o  Ithink  t hat iti s th e interven tion of the  reade r in  thetext mo re  thanany th ing else t h at create s a l esbianna rrat ive  space . Te r r y Cas tle' sThe  Appariti o n al Le sb i an7  isjustab outmy favour i te bookofl esbiancr iti c i sm bec a us e she shares  ma ny of m y views as oppo s ed to ma ny ofthe ot her peo p ledo ing les bia n criticism  these da y s.Sh e ha s a wond er fuldi scu ss ion of how Gret a Garbowas cons t r uctedas
 called_lesbian? (1993,_10). Well I continue_to think_that_it's not_only_possible, but necessary._In part because,_as I tried to_argue in The_Safe_Sea of Women, I think that a good deal of what we have come_to_understand as_lesbian_feminism,_as lesbian nation, as lesbian_culture was actually created by_literature. Of_all the art forms, literature has been the_most_successful product of_lesbian feminism. In the absence of any kind of_recognizable lesbian politics, exclusively lesbian politics,_lesbian community practices_and_the_fact that there are_very few lesbian businesses or spaces_that have sustained themselves over time,_it is literature that continues to be_a profoundly important place in which_lesbian identities are constructed and_deconstructed and_contested and everything else. So_it seems to_me that_it continues to_be extremely important to talk about_what a lesbian_narrative space, a lesbian aesthetic, a_lesbian_point of view_might_be._I have_become increasingly skeptical_that_a lesbian_narrative_space is simply defined by the_notion_of the same, of similarity. This theory_is very interesting but_raises_a lot of questions_to me about the role_of differences within lesbian relationships. There_are always_going to_be questions about the difference between – I think this is_the implication of what you're saying_when you bring up_Adrienne Rich_–_the differences between_a_lesbian space_and a feminist space and those boundaries_have always_been sort of wishy-washy, which in_some ways makes sense._I_think that the lesbian narrative space_is primarily a reader's space more_than it is a writer's_space._Written_on the Body 6 really_clarified and confirmed that for me._Lesbians read that_novel Cultural Readings (New York: Colombia University_Press,_1992). 6 Jeanette Winterson, Written on_the_Body (Toronto: Alfred A. Knopf, 1992)._Bonnie_Zimmerman_interviewed by Susan Sayer in_San Diego November 15th, 1994 3_and construct it as a lesbian novel. Heterosexuals I_think do not,_or they may, but do_not_feel_the same intensity of identification and I've listened to enough_people talk_about the novel_to see a real difference in that. So I think_that it is the intervention of the_reader in the text more than anything else that creates a_lesbian narrative space. Terry Castle's The Apparitional Lesbian7_is just about my favourite book of_lesbian criticism because she_shares_many of my views as opposed to_many_of_the_other people doing_lesbian criticism these_days. She has_a wonderful_discussion of how_Greta Garbo_was constructed as