One Flew Over The Cuckoo's Men Feminist Analysis
Feminism is a Futile Cause Twentieth century literature is not always sympathetic to feministic sentiments. Novels such as One Flew Over the Cuckoo's Nest, The Age of Innocence, and All the King's Men, try to undo the prominent effects the feministic movement of the 20th century. Women's denial of their inferiority is the underlying fear that materializes in these three books to produce reactionary actions and attitudes from their patrimonial society in order to prevent the inversion masculine and feminine role in the western culture. The patrimonial society dominates in all three novels, and its presence is a leviathan of power and intimidation that demolishes any hope for an upheaval of feminine leadership, independence, and liberation
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from the gender restraint. Although Ken Kesey, Edith Wharton, and Robert Warren incorporate strong female characters in their books, these characters ultimately succumb to the morass of egotism, authority, and limitations imposed by their male counterpart. One Flew Over the Cuckoo's Nest, The Age of Innocence, and All the King's Men show how detrimental social interaction with men is to women by exemplify how women's leadership, independence, respect are reduced by methods of alienation or rejection and how the virtues and perceptions of strong women are also altered through such interactions. One Flew Over the Cuckoo's Nest emphasizes the unnaturalness and peculiarity of a woman in authoritative role by a close examination of the forceful Nurse Ratchet's character. Nurse Ratchet embraces the essence of unnaturalness because she performs her job with an aberrant accuracy and a smooth precision of a mechanically man-made robot. All elements of womanhood are lost in her because she [unsexes] herself with the china-doll smile, the porcelain face, and the army trouser that hides her visage of womanhood (45). Critic Irving comments that " the Big Nurse is no longer a woman [ ] All of her gestures, commands, feelings, and possessions are mechanized; there's no compact or lipstick or woman stuff "(81-84). The Nurse is the "ball-cutter" because she psychologically castrates the men in her ward by removing them of the necessary masculinity and confidence required to overcome her (Kesey 89). By the castration, she reduces men to inferior roles while she automatically raises hers. Her feminine authority labels her the antagonist and an outcast that prevents the normality and the tradition of a patrimonial leadership. She possesses the control and power that rightfully belong to male leaders, and this is the reason for her estrangement and alienation from her immediate society. As a female leader, she must "ignore the way nature had tagged her with those outsized badge of femininity and sex" (138). Nature has coerced inferiority upon the Nurse and when she refuses it, it ultimately leads to her inevitable downfall. Similar to Nurse Ratchet, Ellen Olenska also faces a traditional and patrimonial society that tries to force inferiority and submission upon her when her independence and unconventionality threaten its established sphere of domesticity. Ellen Olenska in The Age of Innocence finds herself an outcast among Old New York aristocratic society by displaying profound unconventionality that menaces its established traditions. Olenska attracts alienation to her because her European manners and outfits lack the sartorial splendor that is expected from a member of the esteemed Mingott family. Critic Geoffrey Walton agrees "the inflexible social patterns of Old New York society" severely punish dissenters who disregard "the implication of conventional habits" (138). Olenska further adds to her estrangement by refusing to return to Europe to her abusive husband Count Olenska. By pursuing a divorce, Olenska flagrantly disobeys "indissolubility of marriage", a notion valued among Old New York aristocratic families (Wharton 134). Olenska's desires for assimilation into Old New York society, but this assimilation will not occur due to her inability to give into the demands of traditions and marriage. Although Olenska is separated from her husband by the Atlantic Ocean, Old New York patrimonial and traditional society forces her to obey his order and oppression merely to preserve the hypocritical sanctity and false marital bliss. Old New York tacitly fears and dislikes Olenska because she is a disturbing force that chips at the foundation of class, distinction, wealth, but most significantly, the authority of the male figurehead in the aristocratic family. The women in Old New York society lead mirthful existences in their sheltered and dignified upper-class lifestyles in which they trust their husbands to be intellectual as well as authoritative. Olenska's personal crusade against her husband, which leaves the aftertaste of feminism, warrants her permanent rejection and ultimate departure to Paris where New York's narrow society and her husband's influence can not affect her. Similar to how Ellen Olenska's fate is changed by her disinclination for Old New York's traditions, All the King's Men exemplifies how a woman's fate can be distorted by the flaws and virtues of men.
According to critic Steven Ealy, Jack Burden's quest of "self-discovery" helps him to approach his "psychology and moral development" while jeopardizing his intimate relations with the people closest to him (304). His desire to prove his ability to the unscrupulous political tycoon Willie Stark compels him to conduct investigations into Stark's political opposition, Governor Stanton. Anne's respect for her father is destroyed through Burden's struggle to find his identity by being Stark's henchman. Burden's search causes Governor Stanton's malfeasance to surface, which results in the denigration of the Governor's integrity and reputation. Governor Stanton represents utmost model of probity to Annie, and this discovery convinces her to accept that corruptions and deceits are inevitable elements of life. She comes to the unprincipled conclusion that "cleans hands pure heart was no longer with us" (Warren138). Anne's psychological defeat is preceded by her own moral decay which drives her to become Stark's mistress. Burden's internal exploration for insight ironically pushes Anne to undergo her own personal
disillusionment. One Flew Over the Cuckoo's Nest illustrates that women who do not accept inferiority will be coerced into it. Nurse Ratchet's refusal succumb to McMurphy's leadership only encourages him put more effort in permanently removing her authority and intimidation. McMurphy receives almost unanimous support from the throng because he promises to restore the masculinity and patrimonial leadership back to the ward. He gains instant popularity on the ground that the patients in the ward are tired of the endless castration the Nurse imposes upon them. He inspires others to rise against her by instilling confidence in those who never experience such thing. McMurphy is viewed as paragon of courage and manliness because he simply shrugs off Nurse Ratchet's attacks: McMurphy is not an ordinary man subjected "to all fears and all the cowardice and all the timidity that any other man is subjected to" (Kesey136). McMurphy parades his masculinity by shattering the Nurse's window which symbolically represents her power. This is his ultimate attempt to terminate the Nurse's psychological imprisonment and physical terrors. Due to this emerging sense of masculinity from every front, the Nurse has no choice but to surrender her control. Although Nurse Ratchet from One Flew Over the Cuckoos' Nest separates herself from her immediate society with acts of violence and terrors, Ellen Olenska of The Age of Innocence separates herself from Old New York society with act of compassion and leniency. Regina Beaufort follows the Old New York code of standing by her husband, Julius Beaufort, "who is blatantly vulgar and openly disreputable" in his business deals which made him the target of diatribes from his aristocratic clienteles (Hynes). By asking for her family forgiveness, Mrs. Beaufort forces them to relive the unpleasantness of the situation in a society where unhappy details of life are often avoided. the tie between husband and wife, even if breakable in prosperity, should be indissoluble in misfortune [ ] a wife's place was at her husband's side when he was in trouble; but society's place was not at his side, and Mrs. Beaufort's cool assumption that it was seemed to make her his accomplice ( Wharton 274).
While the rest of the aristocratic society criticizes Mrs. Beaufort for her audacity to seek forgiveness for Mr. Beaufort's action, Olenska's compassion is evidence by her effort to console Mrs. Regina Beaufort. Olenska's kind heart opens to Mrs. Beaufort because like herself, Regina is a victim of the unscrupulous actions of their male counterparts. Olenska approaches Mrs. Beaufort during a time where no aristocratic entity would jeopardize their reputation and honor to associate with the Beauforts. Olenska ensures her perpetual alienation from Old New York society by making her association with Mrs. Beaufort conspicuous during this unpleasant situation. Olenska's independence from the scandals and biases of the society save her from being engulfed in their narrow-minded lifestyles and ways. If Olenska has given up her virtues to achieve acceptance among the wealthy, she might become another Willie Stark, who trades in his idealistic dream to pursue greed and power. In All the King's Men, Willie Stark's ascent in politics comes at the expense of the deterioration of his marriage and the suffering of his wife. His political fame compels him to conduct a licentious mean of life. The happiness of his wife, Lucy Stark, is at the expense of his numerous affairs with women along his political campaign trail. Critic Harold Watts comments that Stark's political success causes his confinement in the "moral vacuum" that transforms him from a loving, devoted, and trustworthy husband into "unscrupulous rabble-rouser and plunderer of the public till," and "a poor knight on a white horse" to many promiscuous women. (Watts) As Stark gains more political leverage, Lucy Stark soon becomes only a shadow of his past. Lucy continues to fulfill her spousal duties and her dedication to Stark even with the knowledge of his many affairs. In a way, she hopes the sacrifices she makes for him and their family will compel to fulfill duty of fidelity to her. Although Lucy knows that this will not occur, her endless love for Willie gives her a reason to believe that he is innately a good person. Stark's weaknesses and indiscretions result in the psychological desertion of his wife and in her long suffering. Although Willie commits erroneous actions, Lucy is the person who pays for his flaws in her extensive misery and in undying faith. Similar to how Stark's indiscretions bind Lucy in prolonged suffering, May Welland is also bound, not by any individual, but the tradition and customs that she has been brought up in. In The Age of Innocence, May Welland silently accepts the submission and obedience that Old New York society has cast upon with without any knowledge or curiosity to challenge it. Welland follows Old New York's code of tradition and normality to its precision. Old New York has censures from all unpleasantness of reality, confining her in a perpetual innocence. "Her innocence seals the mind against imagination and the heart against experience" (Wharton 145). Welland follows the regulation of her class by complementing her husband's intellectual prowess and occupational probity with her cutting-edge fashion trends. "She [May] is an adult who is the outcome of society's insistence to maintain absolute innocence, purity, and ignorance " (Hynes). She accepts her lack of the intellect, opinions, and wit that Archer is endowed with and compensates them with her endless loyalty and devotion for her husband. "The experience, the versatility, and the freedom of judgment, were all the things that she has been carefully trained not to possess (Wharton 56). Welland differs from Olenska in that she is everything that is safe and secure within Old New York aristocratic society, while Olenska is the contrast who embraces excitement and exoticness. She fulfils the duty of an excellent traditional wife only to request that her husband remain faithful to her and their family. One Flew over the Cuckoo's Nest, The Age of Innocence, and All the King's Men further add to the degradation and the discrimination of women by describing them as subject creatures whose purposes are limited to being trophy wives or providing sexual favors for their male counterparts. In One Flew Over the Cuckoo's Nest, the mental patients admire McMurphy's courage and insanity as much as they admire his lust for the feminine touch. McMurphy's sexual appetite for young prostitutes, in addition to his enjoyment for basketball and boat-fishing, are viewed by the throng as his badges of masculinity. The McMurphy's success in sneaking the two prostitutes into the ward are applauded efforts because it is a direct stab at the totalitarian authority of Nurse Ratchet. This occurrence turns him into a legendary figure, almost too big to be contained by padded walls of the mental institution. May Welland in The Age of Innocence is the poster child of how beauty, youth, and Parisian fashion, have saved her from possessing intellect, curiosity, and wit. Similar to how the prostitutes perform their job with enthusiasm, Welland's concerns herself with having the best dresses and to maintaining her popularity and beauty among her rivals. She is conventional to the aristocratic society in sense that she is the universal desire of what a husband wants: a trophy wife to reassure his community of their marital bliss. Welland is "the subject creature, and versed in the art of enslaved" (Wharton 304). Welland believes that her beauty and her splendor are the safeguards of the happy matrimony: it is the preservation of her marriage and thus her happiness. Women are portrayed as sexually active creatures in All The King's Men who physical companionship The internal moral struggle of Jack Burden and Willie Stark leads them to All the King's Men In his bout in combating The Great Twitch, Jack Burden seeks solely sexual companionship in his empty marriage with Lois Seager. Critic Susan Sanderson expresses that "there [is] no harm in her and no harm in the really extraordinary pleasure she could provide." Seager only provides a pleasurable pit stop for Burden to use and discard as he prefers. She is incorporated into novel as a sex-addict who lacks to offer Burden any emotional support. Sadie Burke's character also cements the perception that a woman's position is not a leader, but rather in his bed. Anne Stanton, who is displayed at the beginning of the novel as a person with probity, ultimately succumbs to the male environment and becomes another Stark's mistress. It seems that women who escape the fate of becoming sexual ponds are subjected physical and psychological alienation and rejection. Female characters in twentieth century literature are either combating the oppression and the authority of their patrimonial society, or defending their virtues and independence against masculine progression. Characters such as Nurse Ratchet, Ellen Ollenska, May Welland, Annie Stanton, Lois Seager, and Sandie Burke all secure their grasps upon the male society by either directly challenging or succumbing to it. In all three of these novels: One Flew Over the Cuckoo's Nest, The Age of Innocence, and All The King's Men, the conquered are always the women challenges the normality and tradition of a masculine leadership. Sexism is a losing battle for feminism in either literature or reality. It is futile to not ignore the permanent alterations that feminism suffers when it clashes with masculinity either in literature or in reality.
Works Consulted
Ealy, Steven D. "On the Creation of the Self in the Thought of Robert Penn." Modern Age, Vol. 43, No. 3. Summer 2001: 202-210.
Hynes, Jennifer A. "The Age of Innocence: Overview." Reference Guide to American Literature, Third Edition, 1994.
Kesey, Ken. One Flew Over the Cuckoo's Nest. Penguin Group, 1962.
Malin, Irving. "One Flew Over the Cuckoo's Nest." Studies in Modern Fiction, Vol. 5, No. 2. Fall 1962: 81-84.
Rubin, Larry. "Aspects of Naturalism in Four Novels by Edith Wharton." Twentieth Century Literature, Vol. 2, No. 4. January 1957: 182-192.
Sanderson, Susan. "Critical Essay on "All the King's Men." Novels for Students, Vol. 13, 2002.
Sasson, R. L. "A review of One Flew Over the Cuckoo's Nest." Northwest Review, Vol. 6, No. 2. Spring 1963: 116-20
Walton, Geoffrey. "A Critical Interpretation." Novels for Students, Vol. 11, 1970: 137-146.
Warren, Robert Penn. All The King's Men. Harcourt Brace Jovanovich, 1974.
Watts, Harold. "All The King's Men: Overview." Reference Guide to American Literature, 3rd Edition, 1994.
Wharton, Edith. The Age of Innocence. Macmillan Publishing Company, 1968.
from the gender restraint. Although Ken Kesey, Edith Wharton, and Robert Warren incorporate strong female characters in their books, these characters ultimately succumb to the morass of egotism, authority, and limitations imposed by their male counterpart. One Flew Over the Cuckoo's Nest, The Age of Innocence, and All the King's Men show how detrimental social interaction with men is to women by exemplify how women's leadership, independence, respect are reduced by methods of alienation or rejection and how the virtues and perceptions of strong women are also altered through such interactions. One Flew Over the Cuckoo's Nest emphasizes the unnaturalness and peculiarity of a woman in authoritative role by a close examination of the forceful Nurse Ratchet's character. Nurse Ratchet embraces the essence of unnaturalness because she performs her job with an aberrant accuracy and a smooth precision of a mechanically man-made robot. All elements of womanhood are lost in her because she [unsexes] herself with the china-doll smile, the porcelain face, and the army trouser that hides her visage of womanhood (45). Critic Irving comments that " the Big Nurse is no longer a woman [ ] All of her gestures, commands, feelings, and possessions are mechanized; there's no compact or lipstick or woman stuff "(81-84). The Nurse is the "ball-cutter" because she psychologically castrates the men in her ward by removing them of the necessary masculinity and confidence required to overcome her (Kesey 89). By the castration, she reduces men to inferior roles while she automatically raises hers. Her feminine authority labels her the antagonist and an outcast that prevents the normality and the tradition of a patrimonial leadership. She possesses the control and power that rightfully belong to male leaders, and this is the reason for her estrangement and alienation from her immediate society. As a female leader, she must "ignore the way nature had tagged her with those outsized badge of femininity and sex" (138). Nature has coerced inferiority upon the Nurse and when she refuses it, it ultimately leads to her inevitable downfall. Similar to Nurse Ratchet, Ellen Olenska also faces a traditional and patrimonial society that tries to force inferiority and submission upon her when her independence and unconventionality threaten its established sphere of domesticity. Ellen Olenska in The Age of Innocence finds herself an outcast among Old New York aristocratic society by displaying profound unconventionality that menaces its established traditions. Olenska attracts alienation to her because her European manners and outfits lack the sartorial splendor that is expected from a member of the esteemed Mingott family. Critic Geoffrey Walton agrees "the inflexible social patterns of Old New York society" severely punish dissenters who disregard "the implication of conventional habits" (138). Olenska further adds to her estrangement by refusing to return to Europe to her abusive husband Count Olenska. By pursuing a divorce, Olenska flagrantly disobeys "indissolubility of marriage", a notion valued among Old New York aristocratic families (Wharton 134). Olenska's desires for assimilation into Old New York society, but this assimilation will not occur due to her inability to give into the demands of traditions and marriage. Although Olenska is separated from her husband by the Atlantic Ocean, Old New York patrimonial and traditional society forces her to obey his order and oppression merely to preserve the hypocritical sanctity and false marital bliss. Old New York tacitly fears and dislikes Olenska because she is a disturbing force that chips at the foundation of class, distinction, wealth, but most significantly, the authority of the male figurehead in the aristocratic family. The women in Old New York society lead mirthful existences in their sheltered and dignified upper-class lifestyles in which they trust their husbands to be intellectual as well as authoritative. Olenska's personal crusade against her husband, which leaves the aftertaste of feminism, warrants her permanent rejection and ultimate departure to Paris where New York's narrow society and her husband's influence can not affect her. Similar to how Ellen Olenska's fate is changed by her disinclination for Old New York's traditions, All the King's Men exemplifies how a woman's fate can be distorted by the flaws and virtues of men.
According to critic Steven Ealy, Jack Burden's quest of "self-discovery" helps him to approach his "psychology and moral development" while jeopardizing his intimate relations with the people closest to him (304). His desire to prove his ability to the unscrupulous political tycoon Willie Stark compels him to conduct investigations into Stark's political opposition, Governor Stanton. Anne's respect for her father is destroyed through Burden's struggle to find his identity by being Stark's henchman. Burden's search causes Governor Stanton's malfeasance to surface, which results in the denigration of the Governor's integrity and reputation. Governor Stanton represents utmost model of probity to Annie, and this discovery convinces her to accept that corruptions and deceits are inevitable elements of life. She comes to the unprincipled conclusion that "cleans hands pure heart was no longer with us" (Warren138). Anne's psychological defeat is preceded by her own moral decay which drives her to become Stark's mistress. Burden's internal exploration for insight ironically pushes Anne to undergo her own personal
disillusionment. One Flew Over the Cuckoo's Nest illustrates that women who do not accept inferiority will be coerced into it. Nurse Ratchet's refusal succumb to McMurphy's leadership only encourages him put more effort in permanently removing her authority and intimidation. McMurphy receives almost unanimous support from the throng because he promises to restore the masculinity and patrimonial leadership back to the ward. He gains instant popularity on the ground that the patients in the ward are tired of the endless castration the Nurse imposes upon them. He inspires others to rise against her by instilling confidence in those who never experience such thing. McMurphy is viewed as paragon of courage and manliness because he simply shrugs off Nurse Ratchet's attacks: McMurphy is not an ordinary man subjected "to all fears and all the cowardice and all the timidity that any other man is subjected to" (Kesey136). McMurphy parades his masculinity by shattering the Nurse's window which symbolically represents her power. This is his ultimate attempt to terminate the Nurse's psychological imprisonment and physical terrors. Due to this emerging sense of masculinity from every front, the Nurse has no choice but to surrender her control. Although Nurse Ratchet from One Flew Over the Cuckoos' Nest separates herself from her immediate society with acts of violence and terrors, Ellen Olenska of The Age of Innocence separates herself from Old New York society with act of compassion and leniency. Regina Beaufort follows the Old New York code of standing by her husband, Julius Beaufort, "who is blatantly vulgar and openly disreputable" in his business deals which made him the target of diatribes from his aristocratic clienteles (Hynes). By asking for her family forgiveness, Mrs. Beaufort forces them to relive the unpleasantness of the situation in a society where unhappy details of life are often avoided. the tie between husband and wife, even if breakable in prosperity, should be indissoluble in misfortune [ ] a wife's place was at her husband's side when he was in trouble; but society's place was not at his side, and Mrs. Beaufort's cool assumption that it was seemed to make her his accomplice ( Wharton 274).
While the rest of the aristocratic society criticizes Mrs. Beaufort for her audacity to seek forgiveness for Mr. Beaufort's action, Olenska's compassion is evidence by her effort to console Mrs. Regina Beaufort. Olenska's kind heart opens to Mrs. Beaufort because like herself, Regina is a victim of the unscrupulous actions of their male counterparts. Olenska approaches Mrs. Beaufort during a time where no aristocratic entity would jeopardize their reputation and honor to associate with the Beauforts. Olenska ensures her perpetual alienation from Old New York society by making her association with Mrs. Beaufort conspicuous during this unpleasant situation. Olenska's independence from the scandals and biases of the society save her from being engulfed in their narrow-minded lifestyles and ways. If Olenska has given up her virtues to achieve acceptance among the wealthy, she might become another Willie Stark, who trades in his idealistic dream to pursue greed and power. In All the King's Men, Willie Stark's ascent in politics comes at the expense of the deterioration of his marriage and the suffering of his wife. His political fame compels him to conduct a licentious mean of life. The happiness of his wife, Lucy Stark, is at the expense of his numerous affairs with women along his political campaign trail. Critic Harold Watts comments that Stark's political success causes his confinement in the "moral vacuum" that transforms him from a loving, devoted, and trustworthy husband into "unscrupulous rabble-rouser and plunderer of the public till," and "a poor knight on a white horse" to many promiscuous women. (Watts) As Stark gains more political leverage, Lucy Stark soon becomes only a shadow of his past. Lucy continues to fulfill her spousal duties and her dedication to Stark even with the knowledge of his many affairs. In a way, she hopes the sacrifices she makes for him and their family will compel to fulfill duty of fidelity to her. Although Lucy knows that this will not occur, her endless love for Willie gives her a reason to believe that he is innately a good person. Stark's weaknesses and indiscretions result in the psychological desertion of his wife and in her long suffering. Although Willie commits erroneous actions, Lucy is the person who pays for his flaws in her extensive misery and in undying faith. Similar to how Stark's indiscretions bind Lucy in prolonged suffering, May Welland is also bound, not by any individual, but the tradition and customs that she has been brought up in. In The Age of Innocence, May Welland silently accepts the submission and obedience that Old New York society has cast upon with without any knowledge or curiosity to challenge it. Welland follows Old New York's code of tradition and normality to its precision. Old New York has censures from all unpleasantness of reality, confining her in a perpetual innocence. "Her innocence seals the mind against imagination and the heart against experience" (Wharton 145). Welland follows the regulation of her class by complementing her husband's intellectual prowess and occupational probity with her cutting-edge fashion trends. "She [May] is an adult who is the outcome of society's insistence to maintain absolute innocence, purity, and ignorance " (Hynes). She accepts her lack of the intellect, opinions, and wit that Archer is endowed with and compensates them with her endless loyalty and devotion for her husband. "The experience, the versatility, and the freedom of judgment, were all the things that she has been carefully trained not to possess (Wharton 56). Welland differs from Olenska in that she is everything that is safe and secure within Old New York aristocratic society, while Olenska is the contrast who embraces excitement and exoticness. She fulfils the duty of an excellent traditional wife only to request that her husband remain faithful to her and their family. One Flew over the Cuckoo's Nest, The Age of Innocence, and All the King's Men further add to the degradation and the discrimination of women by describing them as subject creatures whose purposes are limited to being trophy wives or providing sexual favors for their male counterparts. In One Flew Over the Cuckoo's Nest, the mental patients admire McMurphy's courage and insanity as much as they admire his lust for the feminine touch. McMurphy's sexual appetite for young prostitutes, in addition to his enjoyment for basketball and boat-fishing, are viewed by the throng as his badges of masculinity. The McMurphy's success in sneaking the two prostitutes into the ward are applauded efforts because it is a direct stab at the totalitarian authority of Nurse Ratchet. This occurrence turns him into a legendary figure, almost too big to be contained by padded walls of the mental institution. May Welland in The Age of Innocence is the poster child of how beauty, youth, and Parisian fashion, have saved her from possessing intellect, curiosity, and wit. Similar to how the prostitutes perform their job with enthusiasm, Welland's concerns herself with having the best dresses and to maintaining her popularity and beauty among her rivals. She is conventional to the aristocratic society in sense that she is the universal desire of what a husband wants: a trophy wife to reassure his community of their marital bliss. Welland is "the subject creature, and versed in the art of enslaved" (Wharton 304). Welland believes that her beauty and her splendor are the safeguards of the happy matrimony: it is the preservation of her marriage and thus her happiness. Women are portrayed as sexually active creatures in All The King's Men who physical companionship The internal moral struggle of Jack Burden and Willie Stark leads them to All the King's Men In his bout in combating The Great Twitch, Jack Burden seeks solely sexual companionship in his empty marriage with Lois Seager. Critic Susan Sanderson expresses that "there [is] no harm in her and no harm in the really extraordinary pleasure she could provide." Seager only provides a pleasurable pit stop for Burden to use and discard as he prefers. She is incorporated into novel as a sex-addict who lacks to offer Burden any emotional support. Sadie Burke's character also cements the perception that a woman's position is not a leader, but rather in his bed. Anne Stanton, who is displayed at the beginning of the novel as a person with probity, ultimately succumbs to the male environment and becomes another Stark's mistress. It seems that women who escape the fate of becoming sexual ponds are subjected physical and psychological alienation and rejection. Female characters in twentieth century literature are either combating the oppression and the authority of their patrimonial society, or defending their virtues and independence against masculine progression. Characters such as Nurse Ratchet, Ellen Ollenska, May Welland, Annie Stanton, Lois Seager, and Sandie Burke all secure their grasps upon the male society by either directly challenging or succumbing to it. In all three of these novels: One Flew Over the Cuckoo's Nest, The Age of Innocence, and All The King's Men, the conquered are always the women challenges the normality and tradition of a masculine leadership. Sexism is a losing battle for feminism in either literature or reality. It is futile to not ignore the permanent alterations that feminism suffers when it clashes with masculinity either in literature or in reality.
Works Consulted
Ealy, Steven D. "On the Creation of the Self in the Thought of Robert Penn." Modern Age, Vol. 43, No. 3. Summer 2001: 202-210.
Hynes, Jennifer A. "The Age of Innocence: Overview." Reference Guide to American Literature, Third Edition, 1994.
Kesey, Ken. One Flew Over the Cuckoo's Nest. Penguin Group, 1962.
Malin, Irving. "One Flew Over the Cuckoo's Nest." Studies in Modern Fiction, Vol. 5, No. 2. Fall 1962: 81-84.
Rubin, Larry. "Aspects of Naturalism in Four Novels by Edith Wharton." Twentieth Century Literature, Vol. 2, No. 4. January 1957: 182-192.
Sanderson, Susan. "Critical Essay on "All the King's Men." Novels for Students, Vol. 13, 2002.
Sasson, R. L. "A review of One Flew Over the Cuckoo's Nest." Northwest Review, Vol. 6, No. 2. Spring 1963: 116-20
Walton, Geoffrey. "A Critical Interpretation." Novels for Students, Vol. 11, 1970: 137-146.
Warren, Robert Penn. All The King's Men. Harcourt Brace Jovanovich, 1974.
Watts, Harold. "All The King's Men: Overview." Reference Guide to American Literature, 3rd Edition, 1994.
Wharton, Edith. The Age of Innocence. Macmillan Publishing Company, 1968.