Abstract
This article argues that Sarah Waters's Fingersmith (2002) revisits feminist debates arising from the “sex wars” of the 1980s and 1990s in which feminism was divided over its approach to female sexual representation. I argue that the novel rehearses varied debates on gender and pornography, and I suggest that Waters uses such perspectives to provide her own deconstruction of heteropatriarchal representations of lesbianism in pornography.
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