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Lover (The Cutting Edge: Lesbian Life and Literature Series), by Bertha Harris
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A landmark work of lesbian literature, Lover was first published in 1972 by the now-defunct feminist press, Daughters, to tremendous critical acclaim. Emerging out of the women's and gay liberation movement alongside the early work of such writers as Rita Mae Brown and Jill Johnston, the novel features fictional and historical characters who run the gamut from saint to poor white trash, and who are by turn vulnerable and strong. One of the finest examples of early post-Stonewall lesbian fiction, Lover is poised to entice a new generation of readers.
In this new edition, Harris reintroduces her work, providing engaging background on the cultural and personal milieu in which it was produced and painting a scathing and witty picture of the book's original publisher. Revealing the real-life personalities behind some of the novel's characters, the introduction is an amusing retrospective sure to entertain those who remember the heady post-Stonewall days, and to enlighten younger readers.
- Sales Rank: #2051156 in Books
- Brand: Brand: NYU Press
- Published on: 1993-10-01
- Released on: 1993-10-01
- Original language: English
- Number of items: 1
- Dimensions: 8.25" h x .67" w x 5.50" l, .75 pounds
- Binding: Paperback
- 294 pages
- Used Book in Good Condition
Review
"Harris, an American equivalent of Monique Wittig,...is ingenious, sardonic, parodic. [She] explores the various roles women have played: grandmother, mother, daughter, sister, wife and second wife, businesswoman in man's clothing, prostitute, factory worker, movie star, muse and tutelary spirit, warrior, artist, fake saint, martyr."
-Catharine R. Stimpson"A wonder...I was seduced by its tantalizing elusiveness, its audacity, its sheer brio...a spellbinding, verbal sleight of hand as satisfying as it is serpentine."
-The Washington Post Book World"The introduction [is] by turns funny, sad, moving, and outrageous...[Harris] illuminates the New York women's art and literary scene of the late sixties and seventies; the introduction alone is worth the price of the book. Altogether, Lover is everything a seduction should be—smart, unpredictable, witty, provocative—:and sexy."
-Carolyn Allen,University of Washington”Bertha Harris has created a woman's world as relaxed and sisterly and funny as [Joan] Didion's is tense and controlled. [She] presents a utopian vision of a world where women are in charge of themselves, and where, it is nice to note, they are very good company indeed."
-The New York Review of Books"Violent, funny, beautiful, intelligent."
-Jane Rule About the Author
Bertha Harris is also the author of Confessions of Cherubino and Catching Saradove. She lives in Tennyson, Massachusetts, and continues to write compelling, eccentric and faintly indecent fiction.
Most helpful customer reviews
11 of 12 people found the following review helpful.
"What was that funny, terrific book?"
By A Customer
Recently at a Gay and Lesbian coffeehouse, I read a brief excerpt from _Lover_ to a group of predominantly Lesbian friends. Afterward, several of them approached me, grinning from ear to ear and asking, "What was that funny, terrific book you read?"
Good question. To call Bertha Harris's _Lover_ a "novel" doesn't quite do it justice. The nonlinear narrative, fluid identities, and general postmodern sensibility guarantee that plot and character, those two mainstays of novelistic form, will quickly fall by the wayside.
So what is _Lover_? Bertha Harris calls this book a "tap-dance," a "pleasure dome," and an act of seduction. I would add, more trivially, that it's a Lesbian-centered family history, focusing on the relations of a matrix of women characters. That doesn't do justice to the book either, but it comes closer.
Ultimately, _Lover_ can best be described as a dazzling literary performance, designed to give pleasure to the reader. Some of the pleasure is embedded deep within the text, in the connections between seemingly unrelated vignettes; Harris provides a helpful guide to these connections in the "family tree" (actually more like tangled vines) that opens the novel.
But there's a great deal of surface pleasure, too, and it's no less intense or profound. _Lover_ can be enjoyed in the moment for its droll wit, its crystalline prose, and most of all, its (largely) unabashed expression of sexual desire. It's no accident that Bertha Harris co-authored _The Joy of Lesbian Sex_.
So why isn't _Lover_ better known? There are several reasons, most of them connected to the strange politics of the publishing (and reviewing) world. _Lover_ was originally published in paperback, at a time when paperback fiction was deemed inherently unworthy of a mainstream book review; and it was an explicitly Lesbian novel, at a time when Lesbian fiction was even more marginalized from the literary mainstream than it is now.
Only a few people, mostly Lesbian separatists, gave _Lover_ much notice when it was first published (and the publicity campaign, or relative lack thereof, probably didn't help). And when Daughters Inc., the novel's original publishers, went bankrupt, _Lover_ disappeared completely from view--until NYU press revived the work in 1993, complete with a new (and, for me, indispensable) preface by Harris herself.
Harris's controversial story of the rise and fall of Daughters Inc.--and of her own career as a Lesbian writer--provides an "overture" to the book, stating specific themes of the work and giving a specific personal, political and psychological context for the action to come. With this new preface, _Lover_ stands out as a masterpiece of 20th-century literature.
In all likelihood, your public library doesn't have a copy of _Lover_. That's all the more reason to buy a copy of your own.
1 of 1 people found the following review helpful.
A Postmodern Masterpiece
By Gentle Reader
I completely agree with the other reviewers here. Lover is, in its own way, as hard as James Joyce, Gertrude Stein, or William Faulkner, and the style is highly original rather than an imitation of any of them. It takes two or three reads to even begin to get what the novel is doing, but the payoff is so high. When I teach difficult novels, I often tell my students that the only thing I require of them is readers is that they not give up and refuse to finish the book. This one, I must say, even challenged graduate students to stay with it, but they were so happy they did. The novel should be up there with the best of not only lesbian fiction, but modernist/postmodernist narrative, and taught in a variety of university literature courses. And any non-academic who loves the English language will have a ball with it.
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