By Robert Coover
Ros is useless. a nasty actress yet a massive lover, while she used to be alive her thighs pillowed forged individuals, staff, acquaintances and associates. Now Gerald's get together keeps round her murdered corpse (it is, in the end, simply the 1st of the night), because the site visitors delight in consuming, flirting and jealousies, and the police make their brutal investigations. a night of cocktails, intercourse and violence, Robert Coover's novel is a homicide secret as rousing and disorienting because the top drunken social gathering, a vaudevillian masterpiece.
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Additional info for Gerald's Party (Penguin Modern Classics)
Poetry 161) Putting aside the logical incongruity of 'women, and the ignorant of both sexes', what emerges is the idea that women could not understand, should not have to understand, or did not want to understand the meanings behind rules of grammar or the levels of education granted to men. Educated on scattered facts and fixed meanings with few hints of the 'principles from which the rules are derived', women not surprisingly come to be associated with a correspondingly unenlightened, automatic way of looking; they are thus fit to inhabit the landscape of details, but would only waste their time on the eminence, with no talent for the activity such a comprehensive position requires and encourages.
It is true that in a way such a point of view can only be described relationally, that as the masculine provides the dominant point of view politically, socially and religiously, the feminine can only be correspondent, defined by the niche allowed it by a dominant culture. That is one reason the feminine seems so contentedly to occupy the landscape, as, for instance, Dorothy Wordsworth does so well in her Journals. As the prospect is in many ways denied to the feminine eye (and this is complicated by cultural assumptions and legal mores), it makes sense that the eye would, in a sense, pull its own self-validated point of view into existence, one that results from masculine expectations regarding female intelligence, social habits, and the like, but one that is also rather foreign to the prospect dweller, perhaps even unnervingly so.
Uninvolved, solely appreciative - stance over land that has cost a fortune to obtain, or that will soon bring one a fortune or go to pay off debts. The landscape becomes uneasily public - potentially open to anyone with the money to buy it - and private, both representative and particular. Yet the ideal remains of the truly disinterested gentleman prospect viewer whose cleareyed point of view was necessary to keep order; preserving the fiction meant that the ideal metamorphosed to include the public and the private under one rhetorical strategy, the 'philosophical 14 Romantic Visualities aesthetic ...