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The Untold Story: An Interview with Carol Gilligan
Carol Gilligan on recapturing the lost voice of pleasure
Psychotherapy Networker - Washington
Author: Mary Sykes Wylie
Date: Nov/Dec 2002
Abstract (Document Summary)
In the early 1980s, soon after the publication of psychologist Carol Gilligan's In a Different Voice, Lauren Slater, later to become the author of such daringly autobiographical works as Prozac Diary and Lying, was an unfocused psychology graduate student at Harvard, struggling (and failing) to write fiction. She decided to take Gilligan's lecture course in developmental psychology, a decision that changed her life. "Even in this large lecture hall, she created this sense of connection and intimate discovery," recalls Slater. "Listening to her, I could suddenly see that my difficulty wasn't that I had writer's block or no talent or a lack of motivation, but that I was disconnected from myself and my own particular voice. Fiction, for me, was all about artifice, wearing masks, putting words into made-up characters' mouths, and making up 'pretend' voices. I had spent much of my life talking in a 'pretend' voice, and I needed to say things straight, in a voice that was my very own."

This dawning revelation of a long-suppressed private self simmering below the surface is exactly what legions of women felt while reading In a Different Voice by Gilligan, which today remains among the most influential feminist works ever written, as Zeitgiest-altering in its way as Betty Friedan's The Feminine Mystique. Gilligan's In a Different Voice has sold more than 750,000 copies (an astonishing feat for an academic book), and has been translated into 17 languages. After 20 years, it's still a staple of virtually every gender-studies reading list in America.

Now, Gilligan, after coauthoring and coediting five books with her students, has written The Birth of Pleasure, which is, she says, the "culmination of a trajectory" begun with In a Different Voice. Where Gilligan previously called for a different voice, now she's writing in a different voice. She draws on her research with adolescent girls and also her work with young boys and adult couples in therapy to highlight a path of resistance to the losses of voice and relationship that she documented in her previous work. With the Psyche and Cupid myth, which she uses to frame her discussion, and a range of plays and novels, poems and diaries, she places evidence drawn from contemporary research in a broad cultural and historical context to explore the psychology of love and the relationship of tragic love stories to patriarchal cultures. Again, she's working in the tradition of clinical analysis and narrative research, rather than statistical analysis of numerical data. In joining research evidence and literary examples, The Birth of Pleasure is cut from the same cloth as In a Different Voice, even if the weave is more intricate, the structure more complex, the design more sweeping.

So, why is it that critics seem either to love or hate this book? There's been virtually no neutral response. University of Cambridge psychologist Terri Apter in the Times Literary Supplement describes the book as a "thrilling new paradigm." Robert Coles chose to run a long excerpt from the book in Doubletake under the title "A Radical Geography of Love." In the Boston Globe, columnist Ellen Goodman calls it a "bold and boundary-breaking book." Eve Ensler, author of The Vagina Monologues, says that "Gilligan's book does no less than reconfigure what it might mean to love and be loved, a revolutionary act in itself."

And yet, other reviewers seem to be taking part in a public stoning, attacking her book with the ferocious glee of the Taliban cornering a heretic. "The Birth of Pleasure fails on nearly every level . . . a sticky paste of unproven assertion, anecdote-as-data and swaths of memoir," writes journalist Emily Nussbaum in The New York Times. Reviewer Judith Warner of The Washington Post found the book "horribly dated. . . . It rambles . . . it meanders. . . . It is solipsistic . . . . I couldn't make heads or tails of it." "Smudgy thinking . . . poetic obscurantism . . . psychology gives way to mystagogy," writes Margaret Talbot in The New Republic.

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