 a lesbian icon and again it has very little to do with what Greta Garbo actually did or did not do – it has a lot to do with how she is perceived by lesbians – that's the kind of lesbian space that I think I am most interested in and most convinced by. I am pleased to hear you talk about the reader's space being also a contested space. I wrote a paper which deconstructed one of my own short pieces of fiction in relation to an argument put forward by Lynne Pearce,8 who talks about the feminist writer constructing the reader as ally; so that the feminist reader is allied to the author, the narrator, and the protagonist. I contested that feminist 'necessity' and argued that in "Kiss,"9 I had created a deliberate challenge to an assumed allied reader response. So for me when you are talking about a reader's space, it is still a contested space, it is still one where a lot of negotiation takes place and it is not necessarily one of alliance with the author as narrator and/or protagonist. Not necessarily, in fact my article "Perverse Reading" is really about how lesbians enter texts where perhaps the writer has created some tiny little flaw, from the writer's point of view, in the 7 Terry Castle, The Apparitional Lesbian: Female Homosexuality and Modern Culture (New York: Columbia University Press, 1993). 8 Lynne Pearce, "Dialogic Theory and Women's Writing," Working Out: New Directions for Women's Studies Hilary Hinds, Ann Phoenix and J. Stacey eds., (London: Falmer Press, 1992). 9 Susan Sayer, "Kiss," in Me and Marilyn Monroe Cathie Dunsford ed., (Wellington: Daphne Brasell Associates, 1993). fabric and that flaw tears open a space for the lesbian reader. I feel like we do that all the time. I think that writers use spatial metaphors all the time in different ways that correlate to their particular social positions. Clearly, Bachelard 10 has analyzed the poetics of space and from a totally male point of view. In teaching women in literature I constantly talk about the ways in which space is represented and becomes a force within the text itself and for women that has the mixed sense of the domestic space that entraps women and the private space that empowers her. But I think lesbian writers use space in ways that are different from heterosexual women – creating spaces where they have not been perceived to
a lesbian icon and again it has very little to do with what Greta Garbo actually did or did not cause – it have a lot to do with how she is perceived by lesbian – that's the kind of lesbian space that I think I am about interested in and most convinced by. I am pleased to hear you speak about the reader's space being besides a contested space. I wrote a paper which deconstructed one of my own light pieces of fiction in relation to an argument put forth by Lynne Pearce,8 who talks about the feminist writer constructing the reader as ally; so that the feminist lector is allied to the author, the narrator, and the protagonist. I contested that feminist' necessity' and argue that in " Kiss,"9 I had created a deliberate challenge to an assumed allied reader response. therefore for me when you are talking about a reader's space, it is still a contested space, it is still one where a lot of negotiation takes place and it is not necessarily one of alliance with the author as narrator and/or protagonist. Not necessarily, in fact my article " Perverse Reading " is really about how lesbians enroll texts where perhaps the writer has create some bantam little flaw, from the writer's point of view, in the 7 Terry Castle, The Apparitional Lesbian: Female Homosexuality and Modern Culture (New York: Columbia University Press, 1993). 8 Lynne Pearce, " Dialogic Theory and Women's Writing, " Working Out: New Directions for Women's Studies Hilary Hinds, Ann Phoenix and J. Stacey eds. , (London: Falmer Press, 1992). 9 Susan Sayer, " Kiss, " in Me and Marilyn Monroe Cathie Dunsford ed. , (Wellington: Daphne Brasell Associates, 1993). fabric and that flaw tears unfold a space for the lesbian reader. I feel like we do that all the time. I think that writer use spatial metaphors all the time in different way that correlate to their especial social positions. Clearly, Bachelard 10 has analyzed the poetics of space and from a totally male distributor point of view. In teaching women in literature I constantly spill the beans about the ways in which space is represented and becomes a effect within the text itself and for woman that has the mixed common sense of the domestic space that entraps women and the private outer space that empowers her. But I intend lesbian writers use space in ways that are different from heterosexual womanhood – creating spaces where they have not been perceived to
 a pesbian icon and again iu has very little to do xith whzt Greta Garbo actually did or did nlt do – ut has a lot to do witf how she is percwivev by lesbians – tizt's the kind kn lesyien space that I think I ak most interesdea nn and most convinced by. I am pleaseq to hesr you talk abouj the weadsg's space being also a contested space. P wrote a paper wnich deconstructed one of ly oan short pieces of fiction in relwrion to an afgument puu yorward by Mynne Pearce,8 who talks about thd femnnist writet dojvtructing tie reaqer as ally; so that dhe femonist reader ix anliwd to the author, the iarrator, and the projagonist. I ckntested that femunust 'ngcesshty' xbd xrghev tgat in "Kias,"9 I had cdeated a deoiberate challenge uo wb assumed alljed rewdqr response. So for me when you are talkpng zbout a reader's space, ir is still a contestef space, ie is still one where a lot of negotiation takes pnace ena iu lf boh necessarily one of alliance with the author zs nsrrator and/or irotagonist. Not nevedsstily, in fact mi article "Lerverse Reading" id realli abour how lesfianx enter texts where perhaps the writer kas created some tiny little flac, from the eriter's point of view, iu the 7 Terry Castpe, The Aplxritional Lesbiav: Fvmala Homosexuality and Modern Culture (Iew Yprk: Coljmbis Univqrsity Preds, 1993). 8 Lynne Pearce, "Dialoglc Thgory atd Women's Ariting," Working Out: New Directions for Women's Sdudpes Hilarv Hindx, Ann Phoenix and J. Stacey gds., (Londou: Falmdr Press, 1992). 9 Susan Vayer, "Kiss," yn Me and Marhpyn Monroe Cethie Dunffore ed., (Wellinegon: Daphne Braxell Assobictes, 1993). fabeic and that flaw bears kpen a space fox uhw lesbian readrr. K fqep kiha we do that all thd time. I think thct wriyers use spatial metdphods all the time in dlfferent qays thae correlate tp their particular sociel posmtions. Clgarly, Bachelard 10 has analyzed tge poeticd on space and fwom q totally make point of view. In teaching women in lmterature I constantly ralk about the ways ln which spare is wepresentad and becomes a forxe within the texu itself and for women fhat hds thf mixed sense of the domestic space that entraps women and the private spqce thet empowers hsr. Bit I nhiuk kesbiag wrmtxrs use space in eays that are different from heverosexual wjmen – creating spaces where yhdy have not bgen perceived to
a lesbian icon and again it has to with what Garbo actually did it a lot to with how she perceived by lesbians – that's the of lesbian space that I think I am most interested in and most by. I am pleased to hear you talk about the reader's space being a space. wrote paper which deconstructed one of my own short pieces of fiction in relation to an argument forward by Lynne Pearce,8 who talks about the writer constructing the reader ally; so that the feminist is to the the and protagonist. I contested feminist 'necessity' and argued that in "Kiss,"9 I had created a deliberate challenge to an assumed allied response. So when you talking a space, it is contested space, it is still one of negotiation takes place and it is not one of with the author as narrator and/or Not necessarily, in fact my article "Perverse Reading" really about how lesbians enter texts where perhaps the writer has created some tiny little the writer's point of in the 7 Castle, Apparitional Female and Modern (New York: Columbia University Press, 1993). 8 Lynne Pearce, "Dialogic Theory Women's Writing," Working Out: New Directions for Women's Studies Hilary Phoenix J. Stacey eds., Falmer Press, 1992). 9 Sayer, in Me and Marilyn Dunsford (Wellington: 1993). and flaw tears open a for the lesbian reader. I like we do that that writers use spatial metaphors all the time different ways that correlate to their particular positions. Clearly, Bachelard 10 has analyzed the poetics of space and from totally male view. In teaching women in literature I constantly about the ways in space is represented and becomes a force within the itself for women has the mixed of the domestic that entraps women private space empowers But writers use space in ways that different heterosexual women – creating spaces they been perceived to
 a lesbian icon and again it has Very little To do wIth WhaT GReta garbO actually did or DId noT do – it has a lot to do with hoW she iS pERceiVEd By lesBians – thAT's THE kiNd Of LesBiAN sPace tHat i think I Am most inteResTeD in and most coNViNced by. I am pLeaSed to hear you TalK about ThE reADer's sPacE beinG also a COntestEd space. I wRoTE a papeR Which deCONsTrucTed one of my own shorT PiECes of fiction in RelatiOn TO aN ARguMenT put forwarD bY LynnE pearce,8 wHO tALKS abOUt the feminist Writer constRUctIng the ReAdeR As ally; So thaT tHE feMinist readeR is aLlied to thE authoR, The narrATor, and tHe protAgoNisT. I coNTeStEd tHaT FemINiSt 'nECesSity' and aRgUeD that In "KiSS,"9 i HAd crEatEd a dElibeRate challenge To aN assUMed AllieD readEr reSpOnse. SO for me When yOu Are talking about A reaDer's space, It iS sTilL a ConteSTed spaCe, iT is Still onE where a LOt oF nEGOTiAtion takes place and It IS NoT necessaRily onE Of AlLIance witH tHe aUthoR AS narrAtor ANd/Or protagOnist. NOT nEcEssarilY, iN fact mY aRtiCle "perveRSe ReAding" iS really aBout hOW lesbians enter TExts where perhAPs THE wRIter Has Created some Tiny LIttlE flaW, FrOm tHE writEr's poInT Of VIew, in the 7 Terry Castle, thE ApparItionAl Lesbian: FemaLe HomosexuALITy and ModErn CULtURe (New York: ColumBia UnIversity PrESs, 1993). 8 Lynne PEarce, "dialogic theory and wOMen's WritIng," worKinG OuT: nEw directions for wOMen's stUdies HiLarY Hinds, ANn PHoeNix And j. STacey eds., (LOndon: FalMeR PReSs, 1992). 9 susAn SayER, "Kiss," in ME aNd MArIlyN MonrOE CathiE DunsFord Ed., (weLLinGton: DapHNe bRAselL ASsOciaTes, 1993). FaBric aNd thAT flAw tears Open a spacE foR The lEsBiAn readeR. I feel like we dO tHat all the tImE. I tHink thAT Writers uSe spatial metaphors all thE Time in dIffErent Ways That correLatE to theIr pARticulAr sociAl posItIonS. cLearlY, bAcHelArD 10 has analyzED The PoetiCs Of spAce and fRom a totally male poiNT of View. In teachinG woMen iN LItEraTUrE i coNsTAntLY Talk about the wayS in which spAcE Is RepresenteD And BeComes a fOrce witHin thE Text itsElf and for Women that HaS the MIXed Sense of the Domestic Space that ENtrapS WoMen anD thE privaTe SpaCe thaT empowERs hEr. But i think LeSbian wRiterS uSe space iN ways that are different frOm heteRosexUal Women – creaTinG SpaCes where tHey hAve not been PerCeiVed to
 a lesbian icon and againit has ver y lit tle  to  d o wi th w hat Greta Garb o  act ually did or did not d o – i th as a lo t todo with ho w she  i sper ce i ve d byles bians –  that's th e k in d of lesbian sp ace that I  th ink I am mos t i nteres te d i n  andmos t con vinced by. Iam please dt o hear you tal k ab outthe reader's spac e  b e ing also a con tested  s p ac e .  Iwro te a paper  w hichd econstr u ct e d one of my own sho rt pieces o f  fi ctionin  re l ationto an  a r gum ent put for ward  by Lynne  Pearc e ,8 whot alks ab out th e f emi nist wr it erco n str u ct ing the  readeras  a lly;so t h a t thefem inis t rea der is allied  to  the aut hor,the n arra to r, an d theprota go nist. I contest ed t hat femin ist  ' nec es sity' and ar gue d t hat in"Kiss," 9  Iha d c re ated a deliberatech a l le nge to a n assu m ed  a l lied rea de r r espo n s e. So  for me  when yo u aret al ki ng abou ta read er 'sspa ce, i t  isstilla contes ted s p ace, it is sti l l one where a lo t of nego tia tion takesplac e  and  iti snot neces saril yo ne of alliance with th eauthor  as n arrator and/o r protagon i s t . Not ne cess a ri l y, in fact myartic le "Perver s e Readin g" is  reallyabout how l esbiansent ertex tsw h er e perhaps the w rite rhas cre ate d sometin y l itt lefl aw, fromthe writ er 's  p oi ntof vi e w, in th e7 T er ryCastl e , TheAppar itio na lL esb ian: Fe m al e Homo se xu alit y a nd  Mode rn C u ltu re (New  York: Co lum b ia U ni ve rsity P ress, 1993).8Lynne Pear ce , " Dialog i c  Theoryand Women's Writing," W o rking O ut:  NewDire ctions fo r W omen's  St u dies H ilaryHinds ,Ann P hoeni x an d J .Stacey eds . ,  (L ondon :Falm er Pres s, 1992). 9 SusanS aye r, "Kiss," in  Me  and M ar ily n  M o nro eC ath i e  Dunsford ed.,(Wellingto n: Da phne Brase l l A ss ociates , 1993) . fab r ic andthat flaw  tears op en  a s p a cefor the le sbian re ader. I f e el li k ewe do  th at all  t hetime.  I thi n k t hat w riters  u se spa tialme taphorsall the time in differe nt way s tha t c orrelatetot hei r particu larsocial pos iti ons . Cle arl y , Bac hela r d10h as an alyz e d the poe t ic s o f sp ace and fro m a  to tally  ma l e poin t of  view. In teachin g  women in lite ratu r e  Icon s tant ly  talk about th e w ay s in which  s pace is rep resented  a n d bec omes a  force  within t he text i tsel f a nd for wo men  t h at hasth em ixed s ense  o f thedomest i c sp a c e that entraps w omena n d the pri vatesp ace tha t  emp owers her.  But I thin k lesb ianwrite rs usesp ace in  wa ys  that ared ifferentfromheteros ex ualwom en – c reat i n g spa ceswh ere  they hav e no t  b ee n  pe rcei ved t o
 a_lesbian icon_and again it has_very little_to_do with_what_Greta Garbo actually_did or did_not do – it_has a lot_to_do with how she is perceived by lesbians – that's the kind of lesbian_space_that I_think_I_am most interested in and_most convinced by. I am_pleased to_hear you talk about the reader's space being_also_a contested space._I wrote a paper which deconstructed one of my_own short pieces of fiction in_relation to an_argument_put_forward by Lynne Pearce,8_who talks about the feminist writer_constructing the reader as ally; so_that the feminist reader is allied to_the author, the narrator, and the_protagonist. I contested that feminist_'necessity' and_argued that in "Kiss,"9 I_had created a_deliberate challenge_to an assumed_allied reader response. So for me_when you are_talking about a reader's space, it_is_still a contested_space,_it_is still_one where a_lot_of negotiation_takes_place and it is not necessarily_one_of alliance with the author as narrator_and/or protagonist. Not necessarily,_in_fact my article "Perverse_Reading" is really about how_lesbians enter texts where perhaps the_writer has_created some_tiny little flaw, from the writer's point of view, in the_7 Terry Castle, The Apparitional Lesbian:_Female Homosexuality and Modern_Culture (New_York:_Columbia University Press,_1993)._8 Lynne_Pearce, "Dialogic Theory and Women's Writing," Working_Out: New_Directions for Women's Studies Hilary Hinds,_Ann Phoenix and J._Stacey_eds., (London: Falmer Press, 1992). 9_Susan Sayer, "Kiss," in Me and_Marilyn Monroe Cathie Dunsford ed.,_(Wellington:_Daphne_Brasell Associates, 1993). fabric and_that flaw tears open a space_for the lesbian_reader. I feel like we do that_all_the time. I think that writers_use_spatial metaphors all the time in_different_ways_that correlate to their particular_social positions. Clearly, Bachelard 10 has_analyzed the poetics of space and from a totally_male point of_view. In teaching women in_literature_I_constantly talk about the ways in which space is represented_and becomes_a force within_the text itself and for women that has the mixed_sense of the domestic space that entraps_women and the private space that empowers her. But I think_lesbian writers use space in ways that are_different from heterosexual women – creating spaces_where they have not_been_perceived to