Kyle Halaby

December 11th, 2018

English 102 MW 9:40-11:05

Breaking The Mold

Predetermined by societal norms, gender is a persistent ideal of everyday life. Gender

dictates actions due to the initial socialization process which subconsciously influence even the

most mundane actions. Although gender can have positive influences such as providing a sense

of belonging, society deems starting from gender binaries as deviant causing strife and more

anguish on individuals who are non-binary or intersex. In Ursula K Le Guin’s The Left Hand of

Darkness, and David Henry Hwang’s M. Butterfly the concept of gender expression and sex is

redefined as a spectrum of representation. Both literary works treat the topic of gender and

sexuality as non binary concepts that demolish gender norms, oppose heteronormative thinking

and embracing queer culture.

Psychologists have acknowledged that humans tend to categorize people and items to

better understand the phenomenon. This technique is known as the self categorization theory.

According to the “Handbook of Theories of Social Psychology” self categorization theory “is a

theory of the nature of the self that recognizes that perceivers are both individuals and group

member, explains how and when people will define themselves as individual and group entities

and its implications, and examines the impact of this variability in self-perception ('I' to 'we') for

understandings of mind and behavior”. This thought process is vital component as to why we as

humans enjoy labels and how we process groups as well as individuals. This type of labeling

coincides with the umbrella term that is Queer theory. According to Teresa de Lauretis’ “Queer

Theory: Lesbian and Gay Sexualities” Queer theory is organized as three ideals that are
interrelated: “refusing heterosexuality as the benchmark for sexual formations, a challenge to the

belief that lesbian and gay studies is one single entity, and a strong focus on the multiple ways

that race shapes sexual bias”. Queer theory analyzes those who differ from heteronormative

ideals not as deviant but as individualists. These theories intersect by placing association of

gender with heteronormative ideals causing society to create gender norms that condition us to

think that sex and gender are related. Le Guin’s book “The Left Hand of Darkness” removes

traditional thinking by creating fictional characters who embody no gender or sex and are treated

as equals throughout their world of Gethen. The creation of a genderless and sexless species

provokes the thought of how society would function if we partook in this practice of demolishing

gender and the norms that come with it. Le Guin’s character Estraven is especially dualistic in

both aspects of masculinity and femininity by having in both a feminine look/manner and a

heroic more “masculine” aspect of the story. There is a frailty about him. “He becomes

unprotected, exposed, vulnerable, even to his sexual organ, which he must carry always outside

himself; but he is strong, unbelievably strong”. These type of actions are usually portrayed by a

quintessential male character who aid a damsel in distress, however; we see that gender is not a

factor here and creates the idea that anyone can be a hero regardless of how they identify

themselves. The demolishing of heteronormative gender norms is also evident in David Henry

Hwang’s M. Butterfly through the character of Song Liling. The character of Song is portrayed

by a man, but outwardly expresses herself as a woman. This portrayal is a perfect example as to

how gender is fluid expression. Although song is a man he chooses to express himself in a more

feminine light. Song’s choice of choosing a gender identity that differs from her sex proves that

gender is a socially constructed concept and can be expressed however one sees fit.
 Le Guin and Hwang’s creation of gender obscurity and gender non conforming characters

oppose hierarchical thinking. Hierarchical thinking and ideals in the lens of queer theory tends to

lean more towards a binary more traditional cisgender outlook. It has been evident that society

has deemed being cisgender or having one’s gender expression and sex align as normal and how

people should express themselves. Hwang’s play M. Butterfly shows characters who play into

the traditional hierarchical thinking such as the character Marc who acts like the stereotypical

male figure. “Before you know it, every last one of them-they’re stripped and splashing around

my pool”. This type of hetero normative behavior is deemed acceptable by society due to his

actions being traditionally masculine. Contrary to popular belief heteronormative thinking

diminishes creativity by causing people to confirm and adjust their ideals towards more narrow

thoughts. The heteronormative agenda was also opposed in Le Guin’s “The Left Hand of

Darkness” due to the gender expressions of the Gethenians in combination with their lack of

sexual organs. Le Guin goes into detail about how Gethenians enter Kemmer a mating ritual that

lasts a month in order to reproduce. “The sexual cycle averages 26 to 28 days (they tend to speak

of it as 26 days, approximating the lunar cycle”. This process demolishes the heteronormative

ideals that society contains because they are able to reproduce with whomever they please

regardless of sex and gender. The titles that society places in order to categorize people creates

more harm and less room for acceptance. The works of Le Guin and Hwang demonstrate what

life would be like if we would abandon heteronormative ideals and adapt more of an accepting

outlook towards people who differ from tradition.

While demolishing the heteronormative agenda Le Guin and Hwang also embrace queer

culture. Throughout history people have deemed queer as a derogatory term. In the article “A

Queer Revolution: Reconceptualizing the Debate Over Linguistic Reclamation,” the author,
Robin Brontsema explores the reclamation of the word “queer” and other related “hateful speech

intended to disable its target” from three different perspectives that are based on three

identifiable goals: “neutralization” of the word, its “value reversal,” and “stigma exploitation”

(46, 52). Within the LGBT community it has been proven that this method works. Queer culture

has embraced the term queer and rebranded it to represent the LGBT community. The effects of

reclaiming the word queer has allowed for more mainstream representation within media.

Hwang’s M. Butterfly is a perfect example as to how queer culture is embraced. This is evident

in the main character’s Gallimard and Song. Although their relationship they shared was founded

on a lie, it allowed audiences to be exposed to same sex couples allowing people to broaden their

horizons. In addition, the character Gallimard could be understood as bi sexual due to his

relationship with both men and women. Despite the play having mostly a comedic tone to it,

representation of the LGBT community allows for more people to be familiarized and

understanding of gay culture as well as embrace it.

In Addition to M. Butterfly Le Guin’s Left hand of darkness also contains and represents

queer culture. The overall theme of a genderless and sexless species can be symbolic for those

who do not fall in the heteronormative scope of straight or gay. Within the LGBTQIA umbrella

Gender fluidity does not get equally as represented within mass media. The term gender fluid

more formally known as non binary is defined as someone whose gender expression is no set and

essentially moves between both masculine and feminine attributes. The concept of gender

fluidity is one that can be mirrored through the fictional characters of the Gethenians. The

Gethenians ability to change their sex organs as well as being able to emulate both female and

male characteristics, allows for equal representation. The importance of being able to have a

character or a symbol that adequately represents your culture allows for LGBTQIA people to feel
a place of belonging. The importance of embracing queer culture provides safe places for the

LGBT community while familiarizing people on different aspects of queer culture.

With mainstream media, we are often exposed to heteronormative concepts at a young

age. These concepts develop our thought processes and create societal norms. Within newer aged

media we see a shift from these norms to a more accepting light. By redefining sexuality as non

binary concept Ursula K Le Guin’s The Left Hand of Darkness, and David Henry Hwang’s M.

Butterfly demolish gender norms, oppose hierarchal thinking and embrace queer culture. By

embracing queer culture society as a whole would become more empathetic towards

marginalized groups. In conclusion by allowing queer culture an outlet within mass media, we

can create safe spaces while allowing equal representation for those who are marked as different

causing people to become empathetic and more familiarized with the LGBTQIA community.
 Work Cited

Bloom, Harold. Ursula K. LeGuin's The Left Hand of Darkness. Chelsea House Publ., 1987.

Brontsema, Robin. “A Queer Revolution: .” The Fight Magazine, thefightmag.com/.

“Dictionary.” Merriam-Webster, Merriam-Webster, www.merriam-

webster.com/dictionary/dictionary.

Hwang, David Henry, and Giacomo Puccini. M. Butterfly. Plume Books, 2017.

Lange, Paul A. M. Van, et al. Handbook of Theories of Social Psychology. Sage, 2012.

Lauretis, Teresa de. Queer Theory: Lesbian and Gay Sexuality. Indiana University Press, 1991.