![]() Her Marilyn doesn’t emerge from the thunderous sea she drowns on arrival. ![]() But Oates clearly correlates the naming of Marilyn Monroe-a moment that the pop-cultural zeitgeist often regards as a platinum Venus rising from the deep-with sexual torture and debasement. ” One could argue that Oates is conveying the savage realities of Hollywood, with its iron maidens of casting couches. This agonizing scene is followed by her Hollywood christening, when a studio representative and her agent give her the name that will usher her into stardom: “the start of my NEW LIFE … I am twenty-one years old & I am MARILYN MONROE. Z pushes her down on a white fox fur rug and rapes her. ” Her observation that to be female is to be perpetually annihilated is borne out mere pages later, as Mr. Clad in a white sharkskin suit that simultaneously amplifies her curves while giving her the ethereal pathos of a sacrificial virgin, she surveys a flight cage filled “not living birds, as I had expected, but … dead stuffed birds.” While she takes in these beautiful dead creatures in their glass case, she hears “a voice like Mother’s All dead birds are female, there is something female about being dead. In the early pages of Blonde, Joyce Carol Oates’s best-selling fictionalized biography of Marilyn Monroe that was published in 2000, our iconic protagonist-still Norma Jeane, though already sporting the titular hair color-walks into the aviary of powerful film producer, Mr.
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