How we cite our quotes: (Part.Chapter.Paragraph)
Quote #1
'There, there.' He patted her on the shoulder. 'You must try to be sensible. Try to be modern. An intelligent woman like you. Leave motherhood to the lower orders, as nature intended. Now, of course,' he smiled, 'according to the rules, that's what you're supposed to do. You've had your recommended ration. No more motherhood for you. Try to stop feeling like a mother.' (1.1.9)
Why do you think it is that motherhood in Beatrice-Joanna's world is left to "the lower orders" (i.e., lower class, working women)?
Quote #2
She was a handsome woman of twenty-nine, handsome in the old way, a way no longer approved in a woman of her class. The straight graceless waistless black dress could not disguise the moving opulence of her haunches, nor could the splendid curve of her bosom be altogether flattened by its constraining bodice. (1.1.11)
Women of Beatrice-Joanna's class are expected to be far more androgynous than Beatrice-Joanna can manage. Not only do her "opulent haunches" and the "splendid curve of her bosom" scream WOMAN, they also draw attention to the fact that, biologically speaking, she is a mammal like any other, and her body is equipped to bear children.
Quote #3
She was in love with Derek, she decided, but she did not think she loved him. [. . .] She loved, she decided, Tristram, but was not in love with him. So, so far hence in time, a woman contrived to think with (as it was in the beginning) her instincts, (is now) her complicated nerves, and (ever shall be) her inner organs (world without end) [. . .] (Amen.)
Turns out ladies of the future think exactly like ladies of the past: with their womanly intuition, their crazy hysterical lady nerves, and their inner lady bits. Honestly folks, it's a wonder they ever get anything done. (That's sarcasm, by the way.)
Quote #4
She had thought, on his entering the flat and taking her in his arms, or urging, in a mad instant, that they run away together, to live for ever on coconuts and love among the banyans. But then her woman's desire for the best of both worlds had supervened. (1.9.8)
What exactly is the novel's narrative voice getting at when it speaks of Beatrice-Joanna's "woman's desire for the best of both worlds"? Is this simply the narrative voice speaking here, or is there any free indirect discourse at work?
Quote #5
Beatrice-Joanna started to snivel, to make herself look very weak, defenceless, small. 'It's been such an awful day,' she said. 'I've been so miserable. I've been so lonely.' (1.9.12)
Beatrice-Joanna is a little bit like Derek: she's good at turning situations to her own advantage through careful performances of "women's weakness" and "women's intuition." What does it say about social views of women and femininity in Beatrice-Joanna's world that men like Derek and Tristram respond so predictably to these kinds of manipulations?
Quote #6
'I've just got a feeling, that's all.' Careful, careful. 'I just have a sort of intuition about it, that's all.' Then, 'Oh,' she cried powerfully. 'I'm sick to death of the whole business. If God made us what we are, why should we have to worry about what the State tells us to do? God's stronger and wiser than the State, isn't He?' (2.4.30)
As in the earlier passage where she "snivels" and makes herself "look very weak, defenceless," and "small," Beatrice-Joanna is able to manipulate stereotypes about "women's intuition" when she needs to. Here's another question in this vein: if Beatrice-Joanna and Tristram live in such a radically different "futuristic" world where many gender roles have changed, why are stereotypes about women's weakness and intuition still so common?
Quote #7
Beatrice-Joanna's pains were starting.
'Poor old girl,' said Shonny. 'Poor, poor old lady.' He and his wife and sister-in-law were standing, this bright snappy forenoon in February, by the sty of Bessie, the ailing sow. (3.6.1-2)
This passage draws an implicit connection between Beatrice-Joanna and Bessie the pig, as Shonny's sympathetic words could apply just as easily to either one of them.
Quote #8
Beatrice-Joanna now wanted to lie down. The amnion had ruptured in a rush, the amniotic waters had escaped. 'On your left side, girl,' ordered Shonny. 'Is it hurting? Poor old lady.' The pains were, in fact, growing much worse; Beatrice-Joanna began to hold her breath and to bear down strenuously. Shonny knotted a long towel to the bed-head, urging, 'Pull on that, girl. Pull hard. God bless you, it won't be long now.' Beatrice-Joanna pulled, groaning. (3.6.16)
Just as Shonny refers to Bessie the pig as a "poor old girl" and "poor old lady," he uses this same language as Beatrice-Joanna gives birth. Does this make Beatrice-Joanna seem more animalistic, or does it make Bessie seem more human?
Quote #9
Often called a flower by Derek (and, previously, by Tristram), had she really been a flower she would have belonged to the class Diandria. She needed two men in her life, her day to be salted by infidelity. (5.1.20)
Flowers are very old and traditional symbols of femininity and female sexuality. The taxonomic class "Diandria" is a significant choice here, because flowers in this class have two stamens (the "male" organ).
Quote #10
'Then what the hell are you complaining about?' snarled Tristram. The best of both worlds, as always; women always got the best of both worlds. (5.10.15)
Here, Tristram echoes a sentiment that the novel's narrative voice has already expressed. In this context specifically, what might he mean when he says that women always get "the best of both worlds"?