Abstract
In Gloria Naylor’s allusive novel Linden Hills, the basement with a morgue is a dominant image as “the space of representation†to discipline the wives of the Nedeeds. As a representative, Willa, the last wife, manages to go upstairs and out of the basement to burn the house. Based on Lefebvre’s theory of “spatial triadâ€, this paper aims at the discussion of Willa’s “spatial practiceâ€, with a special focus on Willa’s three steps to challenge and transcend the sexual “representation of spaceâ€.
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