6 BODY HORROR? Food (and sex and death) in women’s art! ‘You've sere as hall, of yourself ofthe body you ence thovght know (Death Becomes ter, director Robert Zemeckis 192) Fear and loathing of the female body has 8 ong and well founded ts ‘ion witha Europea eure From the early Church aes tthe orror fm, the “tue” nature of women has provoked both desire Aisgst in equal measure But if woman's body aborted, he sep zeit in covering oper een nature provides the nessa {url mectanisa throaph which this hoor can be dsavowed The mi ‘condetpation of woman's vanity provides 2 itancing device thr Which the fears aroused by the female sesual bay ean be dipace, 'A recent Hliwoed recat thi falar theme in novel f Det ecomes Her takes a6 is expbett subject matt the body and Some of he very mat things that happen oi the ‘taping and of essing ape? The bodies of the two cents cha played by Gold Hawn and Mery Steep undergo seis of Formations an mutlatins anzine fom cosmetic urery. hough ma rejuvenation, ta Heal remodeling of bodily py courtesy of ng special effect tm each ease, we ate made sae that femininity 4 constuction, i Mera made wp in every sense of the word, Paradox which the fm exposes that while femininity it revealed fries, tobe a woman inher natural state st hte ges We {ake the Blame for mot bing what they sem Tn Death Becomes Her horor aye into th sllogether di domain of comedy and the women’ picture. But although i ly for laughs, thsi 2 black comedy. Insofar a6 horor tl, ‘we are ore by isthe threat of bly dsntepraton in death, Jitsel feminsed” Death Becomes Her. Feminine ents represen % unfiod end unstabe, an unbounded female dy wich chan Shape and decays before our eyes Asome character rmaths when ole thelr of eteral ie to Steep, Don denk st and continue to 0 eure rot! orale tod veel aha hme not feast esse they reveal wha th once women own daring corporeal bang. MM sale Svc th funy and Seepy curbing, bh women Den Merl ‘noel analysis of cultural coal of the female ea 8 ‘non fs ard that peoducion of the "normal body sone ofthe ‘Sacipinary strategies win our vocety, She suggests that the steal of slender body in Wwentiet-cenary cllure represents 1 'Goite to consin the body’ margin deure’ which is encoded oth moray and scaly Food an det have become the central arenas forthe expression of contradiction between coafting needs in consumer Many of ws may find our ves vciltng between a daytime ily ruled by the performance princi’ whic ur nights and weekends ‘Spite to to unconscious ting (food, sboppng, guar and ‘ther addetve rugs) In this way. the central eontradton of he ‘Sate nsrbes tet on eu Doles. nd bli eeraes a a ha eerie mnern personality constuction. (onto 19:97) “This tension bstweon repression and cease is inseribed especially o the ries of momen tou cating Femininity and the consumption o fod Inc intimately connected adn women. fatnes taken to siily both ies of contol and fre of fomine Keni. The bystrc patent of tery dssple of read poignantly described her aignaton from het i awe rept constant Many, “Woman-Shrne-Fa= ‘Wee Hooked at the shape of my body Twa ashame of being a ‘roman, [wondered what mea realy thought about momen — Twas imilted being a woman and aanoyed to feel anyone Lokiag at tne Being fat seemed to me particularly humiting because the ape ot my bay soemed even more to Bam I realy dat wa Syone to be able fo dstingust the female ulin of my boy ‘eeath my eathes (Renata, 1912, quoted in Staligieass ‘and White 18618) [A tik between fd, fat and isaity in women i frtber seafreed ‘thin popular cltual form ns eling sequence trom nea the Bain Ning of Death Becomes Her "Her, played by Golde Hawn shown, with the aid of hwy protetic, eating her way into am asylum. After Mery ‘Sheep as oleh herman, she is trnformed inthe space of few inten Screen lane trom one negative Merotype an embtered spinster into “hother a woman olf of contol Ar she crams fod ilo her mouth, iLshe repeatedly watches a video clip in which a character played. by Seep strangled over and over aa, Her turderou anata ths entwined wih het ral compulsions. Hawn's ‘are’ Kom obsession it Smale by er emergence lem am arylum without further explanation, ‘Sele and slinky in at dros av the hentelingaethor of lim ing book Inthis it of passage toward sealed feminnty murderous tology linked dct o holy exon. Simi in aater recent Hostywood success, Misery, Kathy Bates as the sais psjebopath Stigushed Doth by hor piysel growers and the tctve pure ‘of ber murderous dstes Inthe Bal sequence of Misery, afer the Kathy Bats characte srs killed, her former viet thinks he see ef again. Signin for my later argument. she appcarswbecing 3 trolley loaded wth erm cakes The message clear fat wom ne hd and mardorss “The pathology associated with cating ad los of boll conto, the fear of bay dsatepration andthe orror proved by the feral eee teny areal themes whieh emerge from these fins. Move interestingly they aso reveal something about women's own fears ofthe dis which sow fat or ofl while sll uly possess of appetites and sre Have ‘oven examples fom fo bsp 10 explore certain obsessions with the body that ako appear in contemporary avant-garde et practes In the 199s the body has become a vehicle forthe expesion of los of ‘exporcal ientiy and boundaries in images of death, dsmembsrment find dstrcion® Wf only la cultural and pote ciate of nce tainty and powerlesses that body plltion and dsitgsation has again come’ powerfal melapor forthe breakdown of oral abd Soca ‘ertainies. But, whesea in popu Hm the fern body Besos fost ‘cata ansty and gut nant works made by women tit deal wih the body's margis and is oral and ero pleasures. we can se a tempt to explore our ambratentfacinatione with and fears fo ow ‘Ginging,comumiog, and desing conponeal boing. ‘THE “MONSTROUS-FEMININE? In revealing the tropes of death andthe dsiteration of the bay x0 dearly, Dem Becomes He can be liked to 4 gene of sence blo horror fim that emrged inthe TOA in which the harman oxy Hl comes the ste of unspeakable and unnameable hore” No lange teatedas am avo or bounded unity the ty in the Hs invaded ‘by the monsous (Alin, constricted in rb form (Robocop), ‘pened up to gyncnlogialivetption (Dead Ringers), Barbara Creed is argued that the trsprenion of boner parila that betwee ‘he human the nonhuman, i cera tthe consraction of the ‘monstrous in sch hn She Toc the experince of hoo i what She calls ihe monstrous feminine” (Creed 1986: 4). Preud inhi 1922 essay, “The Medist Head’, had comected this hoor to disowal. of the ‘taunt ight of the cantrated™ woman and thus to the reogntion of ‘enw diference. Tae tf Bm representations, Creed gests to main ‘odee by exeling that bic {estes to desta Th eminine appears in an alien for unt be Yepressed and controlled i order to scoured roe Ud” (Creed 1986.70). ln her analysis of Alen, Cee ages ‘fo is proected in the form ofthe monstrous primal mother who threatens the tape human subject sith smite cites the hoor fi oie and Ales in particu as cxempit9ing pry source of jection in contemporary Sostantyrestages the theca and rejection of th Images of blood, vomit, pas sit, ete are central to ou eat allboilyeonstructed noone of the hoe. They sity pli {etweon vo orders the mera uty andthe fw ofthe at ‘On ibe one hand these ingen of bodily wares thaten sje that endy sonsituted, lation (othe symbole shoe and proper Consequently they lhe subject with fear and loathing Snite other hand, they ako pot back oa time when a sin etwoca mother snd mata ented: when bey waste wiles Spat from the Body, were wot Scena objets of embarassment ind shame. (Creed 198851) Cred draws on Jin Kristeva exsy Powers of Horo for her di thon of abject, In Krstov's wring the abjet i "the place where hneaning cole’ the Timinal the bordering, that which dines what {thane wc Reve 12) one Cw ‘Snot be ingined at the eden of meaning, which fvetes 0 anne tite the exintonce of the soadl subjed. What Isat the orderings oF Indeterminate poteatially dangers, beease W's bigs es thas nt lack of cleanness o bath tha causes abjcton but ‘nha distr len spt, order. What docs ot respect borders Fst les The tn-etwecn, the ambiguous, the eompost. The Triton, the ler the criminal wih ge! omsieee, the shames ‘atthe Killer who cis he is seviour (risers 19824) | he most significnt Borderie that which separates the inside from inc surge ofthe Bex self om Other Tes for his eeason, Krist ives tht the abject holds powers of sicination aswel 3 1SiSock, subject to a range of eultural and soc taboos States ena atin ae He fo anapresive sy(wor6tt = exeoet o wn) yseenn e-9 LB LE ¥ Pm SERIES Sp 6d‘an, within this sytem of representation and desire, the woman's sex ‘ryan teprescts the horror of having noting to ee (Ucigaray 98S: 26). [At Igaray comments such representation “ts wonsn i the pion ‘ot experincing Jn the He structured arian ‘ts dominant hat sft of «mir invested bythe (mae 10 copy ine Cigay "58:30. Traray’ terms correspond very clsly to Cindy Sherman's scent ofan abjected taf The question which gary pane weer Wovmen's owe dies ean ever e adequately repeeenied. within such Pali systoms of epesetation. I'Sherman’s photographs ender exp the hortoe that lurks thin fim tke Dead Becomes Her, thy do 0 atthe cast of invoking powerfa tation of dss for he Kemal bay Airey impli ~ and sometimes cxpict ~ within popula clue. While hee photographs are early ranspronve of prevailing ages othe nin body sch transgression producive for women? FEMINISM, FEMININITY AND TRANSGRESSION 1X ART Although ‘abject artis play on ‘object a the term dos nak onnote an aft movement so muchas i deserts Body of work ‘hich incorporates sugessabjet materia such dit ha crement, dead animals menus! Blood, nd rotng fod inorder to confoattahoo fue of gender and Sexuality This work also includes abject abject mater = tat which deemed nappa by wconsrvative, dominat caltre. (en Lev at 193: 7) ‘According to the autho of he Whitney Mucor catalogs, Aber Art Fepubion end Desire m Snercan Art aj i ha oto he op tional a frm of the 1980 1 encoder the taditonal sane af the van gure which postions fell outide te masa and sees to Mow aise and sail convention But an alcaiacing denon of aj at desma pct how gener perspective wat Kinds Or tboo iss artis chon fo epost nr ined how tt work nay beeen rea As the set Bests fiona rn tera forartt te end of the went coma sal iraspesion of honda qual "The use of orien’ materia nd inages in a explore sexe themes ean be traced buck trough a range of paces by wlmen arts this century. ment oviusy in Surat, Yor cramps, in Meret Oppenicin’s 1556 Fur Brea or Toney dst ahd srt is tations to de Se tw the work le Salis artsy unerstod To contont sol and sexual aoa hf wre was mote 16 key wo be interpreted by reference oti indvial seal dein n'a wate Gaon of engressive fen the at ofthe 19608 tna 1h Lente Goes ha Scoot how egret by women Ants of the later potiod was uit diferenly recived from tha of tit male colleagues While men sing “feminine” sttepies to challenge Imeem nt were acne ss sbversve, women were more key {Shen ten srexpening th feminy i srcnypicl mye Swe Cas Oldenburg sot sculptures were soon a4 ral exploration of body Tange ntoded to counter minimalist ext Eve Hess ‘Siulry ity exploration of ron sradtons materials and enboanded fovmataed origin, st the purest and mow authentic feling” (Kran Jones 199: 4). oncsconctodcs tht wile the specie Meanings ad intention of thet work continue to be ere, tame friy nr be sn option for wont atts “The same’ concson i drawn by the ess Lynda Nead and net Wil in diccne traneresion in reson fern art pases The a resed for example, Huy Chicago Red ag, 971, and Case ‘Scinecman’s fei Seo 17 and 1977, was that of making the invisible vale" By revealing hidden aspects of women’s bos sich mewtretn, Un en sto clege the lenin cf non ‘Srualy wii ctr: The problem which Wis work aes Is whether Such cetlaton ca, of il, trrsorm the discourses hough ‘wich sromen' ser i concsved a mottos or unclean” Cyada Read has {rqed that feminat performance art inthe 197s verted ater than ‘Sonate the Hrry don though which th female ody ented with bse mnie. She conus tht chet tht se “cou can oly have st vty forfeit poke 0 the Wea ead 190") ‘Sil net Wolt has argued that reinstating covporeatiy isan important bt nessry sgh td contrary eter for momen tte Since women have sways en represen ax Body and naere teint the masculine appropition of mind nd spt, recanig the Iateriity ofthe body any aighorward my impossible. While ‘Seog that ne peng fon dy which ety hase, cet wes ices adams hs ben ssematily ened and soppresed within European bougcoh utr, Wolf wares aint a too Hrd ‘hte to rec Soch Wansgression by women, she soe, all too en pane." However, Wel eves op the ust of wheter the protemus er he mious fen contendere (ect dy 2 etc of emgreson snd cinerea’ (Wal 15 1). Bespte wamings frm feminist cit tery an ae in whichmany women ans are curently interested ~ th concept of ody ans ‘Freton has become 8 potent ope ‘While preoccupations with boy metaphors of introrty and exter city remain, it the pow of the boy ta sve rationality and (0 take herder which tm stake in resent work, or Jey Chicago ia the 19% the intemal space ofthe femal body cod be repented by the unfolding petals of ower, but for ate working i the 13308 body landscapes are mote Helo be aught wi both ear ane fas ston, Sines the cmnyght of AIDS, the sexual oy has Bee explored rough vr and wuceral metaphors wich deplay both dase and fee: Work ofthe TOHe alo marke tht away frm the firation ‘the female Boy as an integral whole i ete eins at — whet photographed, painted, drawn or performed ~ towards breaking open 4s boundaries to voke the disturbing Tatasy of the *ooy apes rom Cindy Shean to Cathy de Monchaus to Oran, such synboc statgiesitelude fragmentation and evisceraten, sado-mosacis, nd fren dismemberment, olen wing, olen imagery that bt sion “motional and pel responce But, however shocking dhe work ma ‘Sem, forthe ate conceed th ee sigiant han the exploration ‘ofthe body at problematic site which dup normtie assumptions | ‘of gendered diference. The exenit which saci ear fem ‘is body aft has boom replace by alempts to represea expecnes of ‘he feminine body that ate psyhically and eulsaly determined. “To insist on a gendered desniton of abject in art is to ld on 10 the important femins posto re vauating at which excaded oF ‘Seined ts inferior within tale cre, At the sane tie I sugges 8 sprite ivestnent which women he in changing the meanings of the ody that cant be reed merely toa deste for aaseson. AS We have sce, within feminist cultural analysis the concept of abjetion Fas eon mobile 1o explain te misogyny af the cre and is deep helt 10 the fomale and maternal by. For this reson, the "monstrous fem 2 eeplyamvalnt proces Toner to sgget one may in which sbjeton might be rsontuted {oom women point of ew, 1 wont to trate pales) back to Kad 3 fone ofthe primary sources of cultural taboo, Draning os the work a ‘Mary Doupes 1 argo that theres nee! o separate ceri aspects of ‘he abject, partly elation co ray and opel thesia for women im contemporary etre. In tt pratie that dsl wih ood fndsex~ and toa certain extent ls wih change aod decay ~ ne fe an investigation of specs ofthe ajeel wc have been speticaly Seated wh the female body an its appetites Thess ole a meats a exploring the complex role of corporeal in the consition of the emalc) speaking subject bw “THE MOUTH I$ INTERESTING BECAUSE IT 18 ONE OF THOSE PLACES WHERE THE DRY OUTSIDE MOVES TOWARD THE SLIPPERY INSIDE (Genny Hole, The Living Seri, 1981-2) ‘The focus on foo a8 a prinary source of abjection san ancient one and fellows precsely from it sgnicance a2 a oval object. Food ents ‘he body from oatsde,crosing the dividing boundary Between the self and tht wich eMernal to it Mary Douglas's Ke insight Pury tnd Danger it resogis thay inthis the human body stands se-2 ‘metaphor for social srucures. ist a socio are threatened sed recto tthe maging oho marine oo are ovested With special ery: “The body fs « model which can stand for any bounded system. Is boundary cia represen any Doundatics Which are threatened fr precarious Toe body a complex structure, The fonctions fH Seren prt nd thei retin ford soures of nol for othe Sonpexsiractarex We cannot possibly itepect ital concerning Sere, breast ml salva and the rest unless we ae prepared 0 {Se inthe body 4 symbol of socio and to see the powers and Sanger credited tothe meal truce reprodsced i sal oa the himan boy (Bougas 1991: 115) For that reason, Douglas anges many cultures and rcions operate ppoerul taboos ot une food, plsing the boundaries between what fay or may ne be letintly consumed. Food taboos along with taboos ‘on cena sori pratces and bodly ates ate the most common Symbolic cateprir trough which suis purty ate msinained Dog's sim, Based om hor atiopslopcal search, yas that all ‘cies and cuits lacing oor own, maintain sytem of cae tion which deine the sacred from the protane and the pore fom the impure, Wht is dene! a uncean i not access diy o loatome ince ut that which Nurs categories of illerence within a pen SSmbolic sytem it hecoms "mater out of place” (Douglas 1991. 35) Sve igletie om the head appears sa shining ie of 28 in Ths light, the same bar swallowed in t mowtbel of foc makes 838 wih disgust Deflement occurs when the body's bowderlins are transpresid or wen the ease of fod, diferent alegries or ass of ting are mised Together” But, Douglas ists no ll ey margins and wastes ae ‘sully danger nor re polatansilerpeeted in the same way. Sine ‘ch sity contracts isn stems of arpa the dangers which ‘re ait ocean foo aspeets of the bod are stony andPe 30 Helo Chadwick, Ea Me, 1991, acho tampuence s Simi ie ppt hepa Stom hem coe man ree 1S) ia ir og a) i he a fs ‘ofesymbe measing bee oft spery Sic win the weal er anes ‘Opera perhaps the prototype fo in hi pec noe with stittngcoaocton sry ad ery Foes aecrding oe tnwn of Levi st eter fea aor fay ther ave or yet ed, teh origi, they eve shiver i pare andor ne measure I her photographic series, Food and Sex, Hannah Coli uses images fod photographed ia ase upto sugges is ambivalent mean inp Ses 091 opened oper shall reveal thei aw and vulnerable Contents which ae’ during suggestive of wet and gleaming vulvas Coles employs the erotic connotations of oye Yeputd as an apho- ‘Gsiac to pit othe stbiguow rlaton between what we eat and what tre are Hoke Chadwick make the sensory perience of sedetion even ‘nore exp and entirely enjoyable in Br Me 191 (Pate), An opened ‘Chater meses i iy sll tthe centre of» wreath of ib yellow butler ‘ipsa feast forthe eyes isan ies the Touch ofthe tongus. We are {invited to Took, but siullancouty held ata distance by the It photo- raphe panel which casts glow around the image, suggesting almost a {uuliy ot reverence. Fora female ower, the eet pathy celebratory “ind py erotic the te invites an imagined cuslings By exploring ihe metaphoric and metonymnie saints between foods and the female sw ths mor retrace the process by which the precios fo0- ties ot ihe oy are maintained. fy coring 1 represent ood which User eccupics the borderline Blween the ele andthe polling and thus ares an ambivalent rsonanes ofthe “usean it dthrb accepted ‘ierencs between wht is propery “side” and ‘ouside body. WA number of atte ine daw om wseeral OF coeporeal Imagery to eaplore the inerateteral borderline of the body eyond an lmedite effect of esti shock and revulsion, ‘ara ae Sich a Halon Chadwits Enflehigs, na Stebak' Vans lsh Dress for tr Albino Amore or Kiki Sts Blood Pool ean provoke rfeton tn the close contiguity between dingo and dst. ye Parker's poetic ‘lak and white ine juatapose fer own saked bouy wih images of ‘acer, lod, cls or cpters but thei shock effec mediated Dy the Tox benty of comporion and vial restraint of monochrome. fn {9 the asta appears to expel ons string of wiser fom her mouth tech she then ets with Hora nto ess which hang down in Front of her naked ody (Pate 31). But rater than supgesting a violent {Tecmoweling he fm fers meditation om the teri the Bay “id the ational for t engenders ‘The sqst and orror we might ice at inna resale i converted ito a recognition of beauty. even ‘St domestiiy ese slowly weaves her boys wiseral covering In Cold nce 1983, Parker wee sequences ofcaing and opening oysters walt tang ver epsterbeds and her naked body onthe seashore led by ‘ivesand tbls ttre! with mages of the saxophonist, Kathy Stobart Sis playing provides the soundtrack, The fn draws on vswal and “hema connections which ivoke the permeable boundaries and material Sttaces ofthe bly. Lig aod sl. beath and water, HK hythns ingesting aa exon, pos ehvough the musi, the sea and the tancePie 3 he Pash, Sel om: 19, Se i,k a hi By contrast, Chadwick's Loop My Loop, 19 in which a gleaming Pig intestine Intcrwines with plden Barbie doll hair ia abraded Embrace, seems more deliberately pererse in is plesurs (Pate 32). ‘erin i represen hee both surface ond depth The fetishes ign of fesininty i ineparhle frm 3 cra ad forbidden Stare the theme of trations Vani painting exposes surace alle as 4 mack for iolerioe corrption, Chadwie’s work refuss such simple Structure of eisvowal The goiden sir hs a dul uncon as ftsh ‘objet, both ere and, in a form of memeno mori, marking lack ~ the air which was braided! into Vietoran Jewellery to commemorate 2 dead Toved one! Typically, Chadwick sugges a sipage between opie, living sn dead, human and animal, sce and depth, 0 suggest an indiviy of vote atracton and repulsion whic ae held apart within the conventional binary division of seal sifeence. Like a Temmephrodie who combines the two sures in one boy. Loop My Loop Sets pote xual of desires n which ell and ether cannot te fuly sara. In plce ofthe “propery” nied, gendered sae, Chadwick reveals mlpctyof seat meat trough the Bs, 10 do sol tie pain atom om ee (sonewhether it be of seduction or revlon or Both. tn thi fod standin Tor and replaces words and verbal description, Fay a2 Maud Ellman ts through the tof eating thatthe eg eae its own domain, stinging is sie rom outside Bat ao in hs et tha the rots of subjectiity are most precarious Food ike anges, is viginaly vested in th oer and Wace of thal otheres seman in every mouthful that one speaks ~ or chews (tina 1958 3) Wile the wulerabiity of the bordetine f= threat to the integrity of| the “own and clean sl” (Kristeva 1982: 53), team a oer minal space where cf and ose may Inerminge FEEL LIKE VOMITING THE MOTHER’ (risen 1982.47) Ina dizzying passage characteristic ofthe lan pening description af Powers of Horan, a Kratera evokes the panic sensation oa ion and ts vielen convulsions experienced inthe bay ‘When the eye ses or the fips ouch that skin on te surface ofthe rile harms thin a a shet of egrets paper, pul as 9 ea fatog ~ T expevience a gapping sensation andl farther down, Sasms inthe stomach, the bel and all he organs sre! wp the tds, provoke ters and i, crstehertea, ease free nd and ands to perspire Along wih ssh-touing dines, nausea ket ‘me bal that mk ees separates ra the mo sed athe tubo poffer i." want one ofthat clement, sign oftheir desi “Y'do not want to Ten Jo ot asta expe it Bat since food othe’ for me’, who ar ony in thet doit, | expel mya. 1p myself out abjet myself win these motion ough which "am to etablah mye (rte 1980 3) 4 asking textual si, se alo point the source of jection in the eontadctory proces f separating oo infant selves from Opies Central to Kristev's anal of abjecton tha team he fea in the period of intense dependeney on tbe mother dri which the ant experiences ise ne with the maternal bo jection isthe psec ‘xpesion of fears asciated wit that achat dependence andthe fxs involved in Becomins a independent sity. For Krys foo the Sal objet (the abject) that Ses up aca eaionshis between the hhman tein and iter, ite mtr who wilde a power ssl Bs 's fore” (Krteva 1882: 75-6). Kristeva’ archaic moter figure ejected ftom the boy. only to sete psjhialy in the form ofan hallsinaton ‘then theaters to anise the self rom outside ut the border between sll and thor i tll permeable in the vom atthe fet is soarahed through the placenta and afer Bh. as ‘hina sustained by alk from te mer breasts i thi relation ‘hip Krstve suggest we are dab to separate wha ious’ om ‘hot ‘whih outside, food no yet the “ther. Bu, i the proses fot taming to accept the ptf mul which is poffered ts, we MUS a0 learn that we are the separate objects of desire, The respons to the fefusal 10 separate fs confit expresed a6 physical nate. Food ths becomes a powerful metaphor forthe concied elatioship of sameness Sd diference between our mother and our sees Krintvas account of the experence of jection abo stands os a powerful description ofthe eating orders anorexia and bulimia, which ‘ave bee silly inked to a city in oaviating te elt Writers fn eating disorders have argod that thew oper io varius ways a8 ‘mcchanians to resolve phic confies which ecu durns the compl ed passage ive adult womanhood. la the mast wel rehearsed emia argument which connects cating disorders with the cultoal def nono femininity tas been sented tht anorexia nervosa represen 23g rom femininity a form of protest against the imposition of Un tsinable seal and feminine ideals” In refusing to ingest the feminine ole, the anorexic ody may indeed literally deny er own sexual ‘he loses body weigh and cotes to mendruate But, as Suse Orbach fnd Kim Chernin sages the anorexic esa ood a pies some "hing about separation and dependence og her mater, wth Whom the laking and the making of food are identified. Relationships between Chvghters and mothers are often exposed throuph conics ener food, iso auncions wich att both sighs ofthe mothe’ desire for contol and ofthe bis estance to Eat all up just one more ‘mouthful o move sweets, dont put that your mouth’ Foe andthe tmouth (ihe oral) an intense nd cotinging. fous of contol ‘Special for pr emins anagem of cone io Which food sd Wo) fa never be entirely separated ‘Yet another way of understanding the anorexic’ eal to eat can explored vin Mary Dowpass account of tary probiidons ln such | Symbuli systems, wholeness is togueatly equated with holiness, spe lyin relation tothe integrity ofthe human By “To be oly tbe ‘woe, to be one: holies 6 uni imei, perfection ofthe individ Sd othe kid Dietary rules merely develop the metaphor of holmes fn the sme Hes (Doulas 1991 58) ating rpresnts proses of transformation in which one form of ‘npc ater (ih, te, i, vegetables) enters the boy andmd fear pure) ‘qsoon reap eh Sod o Sum sent 9, “OREN pg vefreedom to transform out bodes 3 given in nature and onthe other ‘hat sch emotion insets eltural Meal. But whe the sculpting ot eppes symbolically re-enact the carving of flesh, ina reves ofthe onmete surgeon's cpl that seks to deny the ageing press Comand ‘opens up the Mesh” to oom and to dey in the traion of fir tales, women are punishod for thei ess, the apple teal «more spent king of sn tnd female sexuality, that Df Eve and the Fal fom Paradise Eve athe oil temples vied Sin into the Garden of Eden through the act of eating. an inlgence af her appetite which brogght with i both awareness of sexu ference, nd of ageing Eve's punishment was not jas to Be case withthe conse {usiecs of paiaful chibi, but to grow old ~ sexual Knowledge and the passage Ome are inked In erly Chistian watings it wa he sexta "photoeranh one part of seven tm» e) ‘dy of women which was specially reviled, wheres the pure, sealed ‘bay ofthe virgin was exempt fom physi gus. Eve asthe orginal tempiress wn the protoype fal women whose ist brought about the ‘esrton of male rationality, and this came fo be sen as emblematic fof the esta side of human ature?" The figure who reversed Eve's sinful Tepay was of cours the Virgin Mary for whom the denial of sexuality ‘woe reper by maternity and eternal eI ectig food, the anorexic {holy ign not only dens ber sexuality, bat als her changing and ‘ging. body By allowing the sh of the apples to wiler and Sa aman conronts her own anorectic fear of body which changes so {rows old bosoming ke tof her mother Hee work ean be st fo ress the impossible imperative for women to pass tm innocence (0 matey without indulgence of thee (eau) appetites a racing connection between the process ivivation and ray, sieve offers am ineresting means, whieh se herself does not persue, ‘of reinerpreting women's specie relationship to abjection via fod and Eating. But can the abject he reconigued it way which i ot depen- feat repention ofthe mother? Krscv's own text offers ce 10 this proces when she suggests that when, rarely, a worn dese et sie and her sexta ie to thal abjecton its trough the expedient ‘of writing tht she gets there” (Keseva 1982 S4).® Art wovks that del ‘vith themes f fod and the boy contrat the comple elation of dal ters to mothers and begin to afer a way of constituting women’ oh dies wathouteepeesson ofthe mutta relation. ‘A WOMAN HAVING AN EXCESSIVE RELATIONSHIP WITHA CREAM CARE IS SEEN AS DEFICIENT IN, [WER FEMININITY (Gamman and Maken 1994: 167) na nw reading of eshism rom female perspective, Loraine Garman tnd Mort Makinen have developed an Seco af women’ fetshism inked specially to food, Feiss, they argc, i ultorally gendered ani, for women, focuses primary on food aus object. Tir work ‘ers an important svisin ofthe model of (fasive) female sexily ‘vichie enthodox psyoaalyte accounts and recostiues women a ive agents of their own desiee Gamman and Makinen ae cael {o-dray analytic distinctions between ilferent types of ft which re froqertly else together While each shares the same stuctre ‘t metomymi sbstution of signs according to Freud, the tue sexu ‘nly becomes pathological when the longing forthe ftsh passes ‘yond the pont af being merely 4 ncemary conn tached Lothe serval bject and ctally takes de place af the arma sim nd, frthes, when the Tesh Becomes detached from a parteular Inuividual and becomes the sole seal objet vend 1972 6-1) argue that women's celaonshi food paral es of donowal, ut based 8 cal Tose of derstanding thi 5 a that diferent depres of fod oping mechani to disavow a, they Tocte the sre of {mate fess wihin the ral sage infaey. ror thai, to the ‘Gusipa phase wich cra to Pres acco of fetishism in met ‘Scpuration from the mether wbih produces the ntrse pele Sehr freee af fetch Mower cots 1 Kites, Cmman hd Matnen develop an anaysa of thi proces which. pei fidrewer gender ference: = “ “The sexual ttt choose ethe hoe the fond fetish chooses Chocolate cream cakes and the shoe and the ake are caltoral Shjets with definite catioshi co cultural norms of masculinity nd femininity both instances, the objects are ound “wanting by ‘enor wtih frm part of Hist cute (Ganynan apd Mabinen 199: 167) Although inte passage previously cited, Kristeva speaks in the fe ota ee rpc pase foal cheer Powers of Heror rege nt seca lee ny geie poston for women 3 SSC oor te ar deepen mht be const rey ‘reer orien, Following Feud a Laan, she oe the pp ‘rah acenunt of ehldhoed developmen founded on repression of he seca catch folowing te Octal compen, While the ae Tien coote signed wth te feminine in Recs arg, hit ‘ecto scd any seca staf women Indeed, her cunt Sftomens can wile abjet creme conrad. none {Ecipente rene he aso womens expricn, Krys sugges {iach comet fo tr mata oon rater tant hel Fe {oti wh ther owe moter” Trower in devon the cometon btwn abjeton and ray snc de a Fd he cet tng etn ym oy, Rr gp tht hs pha a Secure cual fated to langage and fad pon the ‘cynic tom fet mothes. Arte child tae more pb ther he apd ‘Deweringtngsge’ pants othe tmpornce of. ‘Mla as he ach ke te cr fhe pa fo ela et mother: Through the mouth hat 1 with words instead of my tates ro octets now on mre that eer, 1 caborte that wat, and wom cay that acempars iy by sing” (Keen 1982: 40) {he acess age sbjet involves sot onl separation but, cecal ¢ Catton escalation seated y eating (i fom he breast) shi rt eg, Language te condition of Becoming a Inpen- ‘Pate ick and got tanguage aways masks or substutes for the tenes of the mother ur not language our ultimate and inseparable fish? And tae ete based on fetish del CT know tha, ane eign ot the ting but st he same’ te) ad a a saresene au speaking beings. Because of founding sce cham ef language” probly the enly one AL 1 nana = (ster 1982: 7) eres vo Krintevalangunge& the fetish whch ltinteysubstues Po reheat the embolic ode, fr Garman and Makioen fo ene chafers women a mec of deavowang that os ad of Boner wits ww ofthe gendered | mcm a eoton ofthe (utr) bo, tii, 08 a ane dos dol mechanism though WAC the res the other ands ove erated ty bingeing wil, at the same ne ae ot ae ne Gorden of fish can be denied, The ftahinic hae sien th ua stereo tnging and vomiting: he rt crater of te pres of onal The fst “doing and emi ety and of is pao bowndaris bing dy Sha ey tins ned deeb ee ess ee nee fond sociated wih nds 24 they derive om choclate oF Tank food. (Even the seman, of ct asroled sa tectnigu, can offer sensual saaction ram ee expelng wats from the body) But a te sme an ets Jepson nd erlothing which accompany tbe ing, ei eld soppet tot i represents a ates 0 dal bali ayes of repression and desres found bs female ee so he Zorn te Blimie digss her aii Hs Bem troy, Uni anes sure both of ame andstegth As GaMNaD See ee alma represents oto confit a with anorexia Fee nani» ccalie coping mechanism’ (Garman and Maknen 12) pect ih ists hws srs fr yume tii ceo mang way from the domestic Dome wen & rane agin noniaton between gl at avin er maths, daughter meme" a'not ein able 10 be fly separate from ber”Plae 35 Laura Garey nace, Aor Bl, 198, We can se the cretion of such fetish objects in the series exhibited by Laura Godley nas in 183. Repeated ates ake a connection tween ori food and relation fo maternal space that wat lo evoked by the exhibition se, The Alin und the Domestic Alen Bly ae thncedimensona, sh ealoured bumps projecting several centile From the surface ofthe wall which dsturtrgy resemble ele nipples (Pte 3) As in Nicoletta Comand’ instalation, familar obj eta ‘orp dato Something strange and other “Tee tion Blob ae Misting, even disgusting, and yet appeal evoking conic of tact Sensations They are oth oral ~ the "nipple" sues sucking st well a food and yet, sing made of dri resin, the “lose tral repellent tothe touch. More accurately, paps they rel not the intimacy of he other’ tens, but the mM ad gins quay of ‘wells baby's dummy in tn the process of individuation, that which was ingeparable 0m us ‘comes alien The c's atonomy involves septratig il rom the ‘mothe’ body bt his separation i founded on felings ot iain the unclean andthe unflerentated, Because is fom te ober that ‘he eld Teens the Unis of is ody and how to separate clean rom unclean, “proper tom improper” areas, she becomes etied with the ambivalent feling the ci ha towards ts own Hou, The Bo and 8 ‘wate 8 source of pleasure aod ply become replaced bY embassy Iment, shame snd dspust rom then on, i 8 argued, Ne Matera Felaonship becom these of intense and coaficting die. The series ‘of Padded Paintings evoke 9 sina mit of oral Plesures and. pus {(Pite 6), They rewemble glutinous Chinese Dim Samo SUEKY Bans ‘butting with supar and -aumbers Kid of comfort ond to be rained Jago the mouth and subsequently fee sickened by. According to the ants, they “suggested and fl ike cushions or furniture padding wich ‘were soiled oF dscarde... These we domestics ope would oral ‘rant to expel fom the domestic sphere (Godley tangs 19% pags ate) The dal image of ol which ingested ity cushions wh tue expelled evokes poss that confit Retween comfort ad ejection, ‘ependence and independence, which chateterzes separation from the other If the problem for daphters in separating fen tee mothers represented in terms of proces of dsavowal (amy ut We he, Bu all the same), then this work functions in asin way ge etish which oth las to and denies tht los "The Alen aed the Domestic nak silt avay from Gos Late’ carer sere, Slime, 1992, which deat expliily with the. Boxy abd is ‘estes in elation fo dit and deflement. towards reconsitting the Siyes for women trough transtional objets ood and cushions om Alomestic space Some commentators have read [ths Move ‘Way {tom certain welhetalised feminist naratives ofthe body (Khana 1994: npaginated). While certainly fest vis in iy geflrenes 10 thefeminine, Godtreysaacs cument work re-eamines our relation to ‘the bods, and more paticuarly tothe maternal body. I the Alen Blobs Sind Paded Paininge are indeed ranstional objects in Winnica’s ‘Seo, then Coney aac 19 intlain, Monson tes 10 he ‘ace-ody" descited by Julia Kesteva before faed Doundaies ate ‘Sedned in angie ‘Monstrous about please in fo, bodies, and exces (Pate 37. Lite "mounlaneus paudings or fang, these sculptures appear to ‘ott and dsl, sping out over tbe Hor in gigantic mounds that “eaten to engl us. Made of rapidly expanding isolation foams nd coloured exstar.etlow, simon pink oF ple meshroom-rown, they Spread and drip in congealed frm which sil retin 8 quay of iid ‘Sulton. "The physi! materia that were one cost win the exible lis of paintings or objeas have erupted outwards They are plyscaly disorienting ia their sae ~ some ate teen feet ia iameter ther lack of fixed boundais and ambiguity between saiity ‘cae ae bods’ which ae no yet mapped according to boundaries Into erotogenousaones that are categorized as either pure or Impure, “nocent cr guilty Ths spatial semiotic Belong othe feminine maternal 1 plce bo belore the spec logic of difference ensue (Kristeva 1982 4a} While maternal shorty is concerned with mapping othe Body ia terme of spe paternal aw imposes the loge of tine “Through (steatons and probibions, his authority shapes the ody loa ertory having areas aces. points apd ies efter ar hallows, where the archaic power of masery and ogee. of the ferentiation of the properslean and improper ‘Gry, poste and inpouibte i impresed and exered. Muteoal fautbriy isthe twstee of that mapping of the ses clean and (ropes uy. 0 stingished from pelereal la within which, ‘nth the phale phase and aquisition of language, the esiny of ‘man wl ake shape (Kristeva 980-72) ‘What is sggetve shout Kritevas ate of spatial metaphor a concept fs boy entity which diferent from Lacan miro in wich we ‘ee oursahes reed a dell integrated Selves Anterior to language ies mapping ofthe boundaries between subject snd object through food, whith semicialy rather than lingual defined. Monaro ‘tary shits ws from a pocy il (voyeur) experience tom tce (Ceti) ome Teas monarous oul enti cut space and pend teyond the eye, king atthe cnaes of Yon. Vion replaced by och, out primary sensation a infants ‘an Goicy Isaacs work rela tal seme ofthe ches plesare 1M Plt 37 Laura Codey acs, Mowat, 15, eaten fam, ‘aesin the frtiden, plying with food, diet and excrement before we are made aware of shame or mbarrasmeat tasks what Would happen ifthe monstroer mere not expelled, sid not return in a alienated form, bot was ever present with us as maifest in more fame sites of| tisgst— spit fond or the ain on cantar, Jost a5 rio Levt wrote It “pis of mpi, which gives rise to changes sn other words, to ie (Lest 198538, so to Godtey Teac nce willingness accep physical ‘Scorers spreading ery se fod, and Tet these spl ver the “clean fant proper si. MY BEST EVER CHOCOLATE CAKE Forme, this imply the best chocolate cake there i The wonderful favour of bveinuts and dark chocolate with Bin of ernge combined with delice mn textore make ita perfect pay Slower may be exeavagant, but fora special aasion its worth trey penny ~ and your pets wl be estate a tei appreciation Sere the cake with eam if you tke (Dimbby 1985: 44) ‘Swosts for my sweet, sugar for my bone. Fim neer er pa It omg 7 (The Drifters 1961) From 1 fascinating nie sey conducted at pert of their reser {Garman aed Matincn Ire that women appeed to prefer (aking Shou food to ox Chocolate was cd mon igh ily ple Suc wr near theaters of hese surveyed aang 4 maar {Surceosifacon The authors conlodd That, when it came to plese ‘Sting homed wa cary more spent” tet or women, though one often surrounded by ui” (Gamman nd Makinen 193-129). IWispestap or tacoma forts tet hat choo {ne now onthe incest» form of safe sex™ “teen ta hole maybe petro ex comes no sup. Ser and se hn ng oo mire si iar songs and in averiscments ~ ike he otovioslniatons Flinger Dart and Milk Flake to orp over iecreams and choca this whe cookery boks ote ws seduction by recipe nthe ange ‘lover’ appt women and pare ote cet, pa or honey pies captors of consraiiy which pom oan sqsatence Between the kote bendy and sweet foods arparet Atwood The Ele Men srr hg cir he i a st wa ake and aly. ea hor Eating eh mar the en thetaecnc erie sed mma ie econ 9 erp feminine sexual: "You Took dion” she 10 he. "Nery appeng 1s ‘And shat's what will happen to you: thats what you get for being foa(atwood 197 270) "ha delightful esay on the cultural and sca ignition of conte tionery, Allson James poins out that aepiguoue satis Toot Imalkes it ripe for suck symbolic elboration A she gests, “onl Tionery i coeepualy Bod food and non-fand,n aniguows substance and, seh epe with ual sigicance’ James 19M 673). Drawing On the work of Mary Douglas James argues that conctionry ~ Tike ‘ofsers "isa limial food nite one dng north ater, it eres he traction and dangers of a Dordetine. Chocolat, in particu, has ken ‘ona symbole eatera role with its connotations of richness and excl Sivityand of wickedness ad excess which pve tt moral a: well as an ‘ile dimension. Sweets and choclate have become ines) used {S metaphos in art by women in he 19S Anya Calla painted the ‘alls ofa London gallery with melted Cadburys Hourile choclate in 954, Nicola Pet's exquisite Suger Chandeliers, 19%, are made fom totes, raed rit and bse (sponsored by Trebor set) st Janine Antonis Lick and Lather. 1993, conists of fourteen sepa bass made o chocolate an sap which she eked" and athered ia an ‘eosin ofher own image Fassnaion withthe symbolic meu of hoc Tate canbe partly explained by is rcly ambivalent sexual and sale Snicance. ean Past Sartre oles another explanation for issn lence in a discourse about stickiness, paraphrased by Mary Dough Party and Danger “The viscous is a state halfway between slid digi: es ke @ rssection in process of change 1 unstable bt it does not Tow. I SM, yelling and compresses There sno gliding 0 ts surface It stickiness ta tap toh like a eocy tata the boundary between myself and i. Loa columns ling of ny ages soggest my own sutance flowing int the pool of sickness ‘Dogs 1 38) Sante’ description ofthe atraetive and rope quale of treacle bears strong resemblance to my ove experience of Helen Chadwicks instation, Coca. shown i he Serpentine Galery ih 1994. As eb wherein her work, Chadwick plays onthe interchangeably of orl nd Sexual gratification, but Caca> gos fuer in is impli exchange of sures of eating for thane of ex Here, Helen Chicka fest ‘tray sistttes cbocolate for ex (Plate 38) The work cont of ‘ireaat bath of slowly ung chocolate witha ental fountain wich rs continually down fram a fod ino the poo! below The sal Aimensions of the rod sid the ipery ality ofthe choclate precy imply plesuze inthe pons rather than the pally 2 combination of ‘olin and hares, moothnes and stcknc,ofte familar and hethe female sexual bay, Food fers a way of exploring the pleasures and tanger ofthe ody’ lint in ways which are partially avant to ‘women oth because food clturlly gendered feminine and because Itprovides means of discovering the contradictory, ambivalent apd often Soresved feclins relating 0 feminine entity and mater loss. Bt {ts work represents the potent for an acive female dose, does So in expected ways. Body horror is converted ito pleasure, but the ‘mate hoeor (fr en a lest) may be the dsovery tat the wource fof that pleasure bes notin men’s bodes ~ but in ebocoate a IDENTITIES, MEMORIES, DESIRES. ‘The body in history Bodies too ae Hike time ses through the fabric of sociales: Danis tl contested polieal history. (araay 1987: 73) For women, authorship and subjetviy are poll ses. The problem lies in how the sof as subject and as arts 10 be represented. Fs, "Re Romi nce he tt he el or of ty a ing o longer hos, How may The relationship between the art Mork ind the sl nh paces be understood? Move spectelyn what ‘ways can this question be adresse in practices which engage explicitly ‘vith the question of womens subjectivity as ass ~ where "woman st Saar” and "woran 3 subjed™ are prten a snertlaed condions (Klinger 19912). “These questions have become the foes of feminist debate sbout authorship and te crique within contemporay isl theory. On one Side there are thse veo Believe thal women ave a Yestd intrest in the’ deconstrotion ofthe powerful uthora gue defined wits Eighteen aesihtc, s adiuon of masery within» predominant ‘white, male, Eurocentric marae. On the other are those who arte that women ave too recenlly acceded to arta ety and sbjecty| tole it go If authorship as 2 postion of mastery has come under stack, 0 too fas the deetied sbjet of possitucturalt theo. AS Rost [Braid pats it neatly Ia order to announce the death of the subject fone must fist have gine the right to speak ove (Hekman 199 8 "While the erique of man? asa subject constituted ia Wester thought coal has rosomance with feminist tempts (0 reconigore sibjestinty “rom the pot of view of women as speaking subject, the se of autor ship remains conten Indeed has resulaed within contemporary ‘rial dncosion of postcolonial art practices. Arte ike Supa Bawa Sonya Hoyer, Chl Hurin, Labs Hii ad Maud Slr have intr foated authorship a posion caught up within network of dominant ‘nation practices and adilone As oan Borsa sages tis impos vot‘hs fas hve bee phe y Rong Coa ho aged sat three har epoca Pi wh a sett es {chr ofa rane montr mae pe end bay part (R Cow ad {Cig paper pen one Fee Rte’ BLOCK snr Lone “ua Cade 9, In'ne of mpc the genti mther maybe a fleet poron om the Sith eb tf sal air ol fue wre the ate pent perma gee med outs and eri {ate the womb the trate other ad held then bot op) {GC woman api Ua ree eel tea ‘Soh formal apn poet i eel ef cst. ilps tae deo o aber sea ie teens te 19h Aa See Sma Thee io Coe he Datintion Deby Nate Ly andthe Protea” (87) on te revo ea wats | {athe in elton 0 repre techie ere he At For etm Sndy sen has wo adopted chen Wen they nc thei {ater crib tht tao women eos po to eset fm he pie ‘Ths phrase was wed by the ats, Deborah Lam in conversation wih me ‘Rectang he Mado: Arora Mors was tee ofa exhition fvsher a he er Galery Lincoln 1988 an bcc ae Umeha Wome Ain er te en ‘pomonslcxptonce. and nl tie as lle He explored the sabes of {he enlbion and sconpaying clue fr (¥ VITRO: de es mode ison timate roe, rc, 2. ere reed by KETC {Gaon and Cotte, Roser Tshelgs. Unvalh At itertana ‘Spon wich scsinpst the coh Hal nade en Ties ier Er Petr of te fg ll Che oe est ry er nO more nh he BLOCK soe {RDS sete an ection Somers atom te heme ert to'be carte oy Deborah Law and Suna Peay’ plated for 1935 In the Syentne Gay Lanna 1984 hve smite gay of ee ‘ing cology 1 reat now eo om wc expo he ba Agiy aed suceay forampl The Poach lath 198d Fear tcreing dnnse of te elation Yoon att and repr ‘ton ace Oran, The Pe of epson 13 1103) 1 En veri of ths caper ere gies a8 6 nopy HORROR? FOOD (AND SEX AND DEATH) IN WOMEN'S ART. ‘Cte sommar src athe aya Cape” Artin 353 and MA, ‘Sem’ Stes comar nt Loupborough Caivery a 198. yaa te Py Spr and Cob Kiting fr Bg mete opponent oe Marina’ Warner a deswnsrated how, in erly Chitin writing. female tyra Seon wat ora merely are cote? for he cvs wa ia ees gue a apni te ial ateriy 2 te mle eT beauty af nomen ony sa ee encod oy ace wat ‘en the ned pect ow he aac wh eyes he Bast | Ty thy weal te nue took at women oral the fom ‘rr hing ut plan, eo, amour, gu (Abi Oo hy It cet goed in Wome 19S 31) tse om, 9s tehogyy ct ete it Te ede fd Tor example nathan Scala Te tay Dhue ene ‘une miceSet uu ap a mus ayo Bi was etree ‘Stay ion he rl th hhc a ‘ona Booms Her dete ober Zeck 1952 he fl was marttod ‘rs seal es whaler showing 4 anata sequence of Mey ‘Stes Mint hay renserbicd fuck edt In UK seo sre Dew $ecomes Her sid scaly ah ha ror ‘een een ai ty eee 9 omen “Tns noe Bad Ci Landon 193, Ry of Page tn for he of tn 8, ea re rl ‘con i's dey ir dace tnt parent conten har sh ‘ihn houn team the cu af eevee prc in Beta mB The Suns wa me nh ce pon wo Fs to fy bor sneha the (8 ceed Chet The Noto Fomine ie Fanaa Prceansay (3) EA Keio Merc and Representa The ete Popa Ce tnd Menon 8, Ka fo) A Zone Cua They and Con ‘Sporary Sense Peto ners (50) and Showa, Seta! hay Cet an Ce a fn de Se 3. ‘thc emotes ach Linde anos fave arged tht the monster ilo mar cd yy es Sing at rio pred (Banda 2), whe some ray hoe Wes fei samsr representa pe male yowee Soe Kova, of itn hs od ta al of resuret age fh es he ee ere the awe tom Rane mach SloL’Nead The emule Ne A Oma Seay (89). Convency, {Ss reprsestatn othe cen: boy porphyrinweer pr on er DER eet ome ven cst Sip acre ra te Sores ero et Srininenie em ee oe Svced eq ane readings For cramp. whe Lc Iga seotice, cies coe cor cee ope Si ay ate Raa ee goers BR ee he ss Beli dg nts a Ser earaeae nce aees meee ee Sct oes irae gen eae cae Soe Sei cea ae os aes SRR a ae 1th) Ck cent ie ape th fendeny Berl, ve Seco dejan tecaane te cricears Segue ce tte ms eo ‘women or expe Hin Wiles 80 (Sanaa Soreet reas acetates oes eee aad teri eae writ eda Sa ear aarentiras eaten ae ieee eects ee ae ae ry cna ‘Sighs and Abe White. 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