Fanny: 18th Century Parody

Fanny, being the True History of the Adventures of Fanny Hackabout-Jones, by Erica Jong. Published by the New American Library, Inc., 1980.

By Judy Rainbrook

This book is meant, I believe, to be a feminist parody on such eighteenth century novels as Fanny Hill, Tom Jones and Moll Flanders, though the author makes no claim to this purpose. It captures :he literary style of this period, as well as the everylay realities of the times. The author makes loose with some historical facts in the interest of a more ex-

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citing story, but it fits together so well that only the most hardnosed purist would not forgive her.

What I found most delightful was the description of Fanny's sexual involvements from the female point of view. The men in Fanny's life, with a few important exceptions, leave much to be desired. In fact, with many of the erotic situations, desire is totally out of the question. To wit:

Thus was I reflecting when once again came a Knock upon the Door of my Bedchamber, and without waiting to be invited, who should appear, but my Step-Brother, Daniel himself,

POINT An Open Letter to Cleveland Women

By Deb Adler

When I began performing in Cleveland about three years ago, I had just discovered "women's music". I performed under my given name, Deb Adler, and as my own perspective broadened, my music began to reflect lesbian/gay experiences and women-identified issues. I knew then that there were risks involved, but I felt it was important to me as an individual and as a performer to find a way to make a positive statement about my own lifestyle-not just to others like myself, but to those women and men who might not otherwise have that exposure.

For the most part, I've been very fortunate. I've received a great deal of encouragement and support from people here in Cleveland as well as in other midwest cities.where I've performed, and from some of the performers of the "women's circuit". Recently I had the privilege of appearing as the opening act for Holly Near and Adrienne Torf at Kent State University, which was both a high point and the catalyst for a final resolution of some recent very painful experiences.

Over this past summer I began a campaign to convert to the use of a stage name, "D.J. Linn" (from my grandmother's maiden name). No, I wasn't suffering an identity crisis, nor was I "star-tripping". It was in response to pressure I had received at my job regarding my activities as a performer. It was a desperate and perhaps not-too-well-thought-out at-

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tempt at a diversionary tactic. It cost me dearly in advertising dollars, confusion to the audience I had begun to build, and my own peace of mind. But at the same time it seemed the only way of hanging on to my job and my music. -

The whos, the whys, the wherefores are inconse-

quential. Suffice it to say that I encountered attitudes at work which I take issue with as a businesswoman, and which I think are not necessarily "the norm❞ out there-times are changing, and so is the business climate. In an age of "cost-effectiveness," who you are is no longer as important in many quarters as what you can do and how efficiently you do it.

Unfortunately, there are still those who act out of their own fears and prejudices; who talk in terms of one's sexual, political or cultural orientation as being detrimental to the integrity of a business or an individual's effectiveness. They speak of conflict of interest, as though they had a right to control what one does outside the 9 to 5 regime. I was not about to allow someone to dictate to me when, where, and to whom I would perform. The whole point of what I'm seeking to do as an artist is to affirm that whatever our individual orientation or lifestyle, we are okay people.

I have made a personal commitment to the women's cultural movement. In May of this year I founded Ariana Productions as a reaffirmation of that commitment, and to provide a working organization for the production of a full-length stereo cassette tape of original music. I refuse to live in fear-of myself, or others. I cannot expect others to accept me if I don't accept myself. I have returned to performing as Deb "D.J." Adler, and that's the way it's going to stay.

I believe in the positive role of the business community and the potential power it offers to talented women who are able to mold the conventional structures to make use of their own unique capabilities in organization, supervision, problem-solving, and communication. We do not have to "become men" in order to succeed within those structures. In fact, we do a disservice to ourselves and others when we do that. I enjoyed good standing in the business community and was able to move on to another, better position. Recently, prolonged illness forced a termination of that job.. Now, as I am beginning to regain my health, I am turning my full attention to promoting myself as a performer and working on production plans for the tape. Whatever the outcome, I feel a strong conviction in my goals, and a stronger sense of self.

1 chose to share this in the hope that it may be of help to someone else. The decisions I had to make were anything but easy. There was a lot of pain and trepidation, but also much growth. Thankfully, I did not have to go through it alone. The choices I made meant taking risks, but they've paid off. Leading a double life was taking its toll. For me, the price was too high.

REVIEWS

drunk with Port and slobbering into his Shirt Front like an elderly Spaniel.

The language of the book is captivating and you will find yourself using early English phrases e'en though you be not aware of doing so. Nor can one review this book with justice and not mention the incredible plethora of euphemisms for the human sexual anatomy. Why, one character alone proceeds for a page and a half with words and plarases descriptive of the female "Bow'r o' Bliss".

But it is the juxtaposition of amicable sexuality with the most brutally detailed sadism and murder that leaves me in a quandary. For what purpose? This book evokes similar feelings as those created by the movie Bonnie and Clyde. One is set up for a lighthearted romance and then confronted with the most vicious reality. "Wrong!" you cry out. "Wrong. wrong, wrong!"

Surely this book is not meant as a study in realisan, for Fanny experiences, in the space of less than two years, the total breadth of possible female experiences from seduction as an innocent, to life in a brothel, to homosexual, heterosexual, group, platonic and sadomasochistic sex, poverty, crime, the torture, rape and murder of her friends, kidnap, childbirth and incest. And all this without any sign of anything but a resolute spirit and spots of mild depression.

Therefore one concludes it must be a farce, a story to entertain and titillate, which it does very successfully until one is confronted with an intricately detailed description of a rape, mutilation and

murder, or the rotting of a corpse or the disembowcling of a seaman. "What purpose?” I find myself anking and I can find no logical reason..

However, there is so much of humor, wonderful philosophizing on the wrongs done the female of the species, fascinating descriptions of the realities of life in eighteenth century England, exuberant rhetoric on the Rights of Women and eroticism of such challience as to require reading this book at home your vibrator handy, that I feel compelled to recom mend it even so, I would love to hear other readers' reactions and comments. Who knows, perhaps it inspire language buffs out there to develop a new bevy of euphemisms for those delights of Amazom Queens, that Art for which Practice is a Pleasure, that... well, you get the idea.

T&T AKHEZATZINEW SHERINI/O SAGI December, 1981/What She