Masquerade in Fingersmith

In the last decades, intertextuality has been used to question issues of gender identity and desire, and, in a lively dialogue with theoretical debates within feminist thought, has come to define women’s writing. An early example of such intertextuality is the rewriting of the female subject in Angela Carter’s spectacular novel Nights at the Circus (1984). Fevvers, the self-proclaimed bird woman found at the door of a brothel, hatched from an egg, raised by prostitutes, and trained by the witch-like anarchist Lizzie, wanders around the world, traversing alternative communities, ideologies, and the world of fiction, while exploring the feminine experience in relation to her indeterminate female body symbolized by her alleged wings and searching for a place and language for the new woman. The figure of the woman writer in confrontation with the literary heritage is ubiquitous in contemporary women’s writing; a recent example is Kate Atkinson’s Emotionally Weird (2000), a postmodern novel that produces its new woman by rewriting and questioning the realist novel. Unlike most of their fictive predecessors in the realist novel, who begin as single women and end up in socially appropriate, acceptable heterosexual marriages, the female protagonists of postmodern fiction strive to break free of both their biological roots and the marriage institution and stage female experience in the discursive field. While exposing the inadequacy of traditional literary forms and their implicit gender norms, this figure of the woman writer in search of a language offers a viable, desirable form of female existence instead.1 Sarah Waters’s 2002 Fingersmith is another example of a novel whose playful discursive production of the woman writer illustrates the