Radical Libertarian Feminism

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI
THE IDEAS OF RADICAL LIBERTARIAN FEMINISM AS

REFLECTED IN THE MAIN CHARACTERS OF ANAIS NIN’S
LADDERS TO FIRE
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra
in English Letters
By
VALENTINA WIDYA LESTARI
Student Number: 124214032
ENGLISH LETTERS STUDY PROGRAM

DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY
YOGYAKARTA
2016

REFLECTED IN THE MAIN CHARACTERS OF ANAIS NIN’S
LADDERS TO FIRE
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra
in English Letters
By
Student Number: 124214032
ENGLISH LETTERS STUDY PROGRAM

DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY
YOGYAKARTA
2016
ii
A Sat:Jana Saslra Undergraduate Thesis
THE IDEAS OF RADICAL LmERTARIAN FEMINISM AS

REFLECTED IN THE MAIN CHARACTERS OF ANAIS NIN'S
LADDERS TO FIRE
By
Student~urnber: 124214032
Approved by
Drs. Hirmawan Wijanarka, M. Hwn. Augustl5, 2016

Advisor
AdventitIa Putranti,S.S., M. Hum. August 15,2016

Co-Advisor
111
A Sarjana Sastra Undergraduate Thesis
THE IDEAS OF RADICAL LmERTARIAN FEMINISM AS

LADDERS TO FIRE
By
Shldent Number: 124214032
Defended before the Board of Examiners

On Au!,'Ust 30, 2016
and Declared Acceptable
BOARD OF EXAMINERS
Name
Chairperson : Dr. F.X. Siswadi, M.A.
Secretary : Sri Mulyani, Ph.D.
Member 1 : Sri Mulyani, Ph.D.
Member 2 : Drs. Hitmawan Wijanarka, M. Hum.
Member 3 : Adventina Putranti, M. Htun.
IV
STATEMENT OF ORIGINALITY
I certify that this undergraduate thsis contains no material which has been
previously submitted for the award of any other degree at any university, and that,
to the best of my knowledge, this undergraduate thsis contains no material
previously written by any other person except where due reference is made in the
text of the undergraduate thesis.
Yogyakarta, August 15, 2016
Valentina Wldya Lestari
v
LEMBAR PERNYAT AAN PERSETUJUAN PUBLIKASI KARYA ILMIAI-I

UNTUK KEPENTINGANAKADEMIS
Yang bertanela tangan eli bawah ini, saya mahasiswa Universitas Sanata Dharma
Nama : Valentina Wielya Lestari

Nomor Mahasiswa : 124214032
Demi pengembangan ilmu pengetahuan, saya memberikan kepaela Perpustakaan

Universitas Sanata Dharma karya ilmiah saya yang beIjuelul

LADDERS TO FIRE
beserta perangkat yang eliperlukan (bila aela). Dengan elemikian saya membelikan
kepaela Perpustakaan Universitas SanataDhanna hak untuk menyimpan,
mengalihkan elalam bcntuk meelia lain, mengelolanya elalam bentuk pangkalan
elata, menelistribusikan secara terbatas, elan mempublikasikannya eli intemet atau
meelia lain untuk kepentingan akaelemis tanpa perIu meminta ijin kepaela saya
maupun memberikan royalti kepaela saya selama tetap mencantumkan nama saya
sebagai penulis.
Demikian pemyataan ini saya buat elengan sebenarnya.
Dibuat eli Yogyakarta

Paela tanggal 15 Agustus 2016
Yang menyatakan,
VI
“And the day came when the risk

it took to stay tight inside
the bud was more painful than
the risk it took to blossom.”
-Anaïs Nin, erotica writer-
vii
I dedicate this work

for my parents, Ibu
and Bapak, for their
endless support
viii
ACKNOWLEDGEMENTS
First of all, I would like to express my deepest gratitude to God for His
eternal blessing and strength that I receive abundantly in my life. Second, I would
like to thank my thesis advisor, Drs. Hirmawan Wijanarka M. Hum., for his
guidance and patience during the process of writing this thesis. Besides, I also thank
Adventina Putranti, S.S., M. Hum. who had enlightened and advised me that lead
to the betterment of my thesis during the process of revision. For all the lecturers in
English Letters Department who had kindly shared the knowledge and experiences
with me.
My biggest gratitude goes to my parents for endlessly supporting me
through the prayers and affection in my life. I specifically thank my mother for
always reminding me to believe in myself even when self-doubt haunts my head. I
also thank my brothers Pandu and Mamas. I am really thankful for the jokes and
affection shared through the night video calls which successfully boost my mood
up.
My heart also goes to Claudia, Raymond, Nina, Andira, Pieter, and Ami for
the memories during these years of friendship. I thank my boarding house mates,
Suciana and GG, for the tears and joy shared in the middle of nights. The upcoming
distance definitely cannot stop us. I express my love and gratitude to all of you.
Valentina Widya Lestari
ix
TABLE OF CONTENTS
TITLE PAGE ....................................................................................................ii

APPROVAL PAGE ..........................................................................................iii
ACCEPTANCE PAGE .....................................................................................iv
LEMBAR PERNYATAAN
PERSETUJUAN PUBLIKASI KARYA ILMIAH ............................................v
STATEMENT OF ORIGINALITY ................................................................vi
MOTTO PAGE. ................................................................................................vii
DEDICATION PAGE. ......................................................................................viii
ACKNOWLEDGEMENTS ..............................................................................ix
TABLE OF CONTENTS ..................................................................................x
ABSTRACT .......................................................................................................xii
ABSTRAK ...........................................................................................................xiii
CHAPTER I: INTRODUCTION ....................................................................1

A. Background of the Study ....................................................................1
B. Problem Formulation ..........................................................................4
C. Objectives of the Study ......................................................................5
D. Definition of Terms ............................................................................5
1. Characters. ......................................................................................5
2. Feminism. .......................................................................................5
3. Radical Libertarian Feminism. .......................................................6
4. Masculinity. ....................................................................................6
5. Femininity.. .....................................................................................6
6. Androgyny. .....................................................................................6
CHAPTER II: REVIEW OF LITERATURE ................................................8

A. Review of Related Studies ..................................................................8
B. Review of Related Theories ...............................................................10
1. Theory of Character and Characterization......................................10
2. Theory of Feminism. ......................................................................13
3. Theory of Radical Feminism. .........................................................15
C. Theoretical Framework.......................................................................21
CHAPTER III: METHODOLOGY ................................................................23

A. Object of the Study .............................................................................23
B. Approach of the Study ........................................................................25
C. Method of the Study ...........................................................................26
CHAPTER IV: ANALYSIS .............................................................................28

A. The Description of Lillian and Djuna .................................................28
1. Lillian .............................................................................................28
a. Lillian’s Characteristics as Seen from Her
Relationships with Men. .....................................................................30
x
b. Lillian’s Characteristics as Seen from Her

Relationships with Women. ................................................................33
2. Djuna ..............................................................................................36
a. Djuna’s Characteristics as Seen from Her
Relationships with Men. ................................................................37
b. Djuna’s Characteristics as Seen from Her
Relationship with Women. .................................................................40
B. The Reflection of Radical Libertarian Feminism Ideas

on Lillian and Djuna’s Characteristics ...............................................43
1. Avoiding Maternal Life. .................................................................43
2. Considering Normative Heterosexuality as a Form of
Women’s Oppression. ........................................................................45
3. Being Androgynous. .......................................................................47
CHAPTER V: CONCLUSION ........................................................................51
BIBLIOGRAPHY .............................................................................................55
APPENDIX. .......................................................................................................57
xi
ABSTRACT
LESTARI, VALENTINA WIDYA. The Ideas of Radical Libertarian Feminism

as Reflected in the Main Characters of Anais Nin’s Ladders To Fire.
Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma
University, 2016.
Ladders to Fire is one of Anais Nin’s novels which becomes the

representation of how women fight towards sexism in the society. It reveals the
struggle of two women named Lillian and Djuna to reach their true happiness and
pursue their passions by having freedom in their sexual preference. The author of
this novel, Anais Nin, expressed herself through the women characters. In her life,
Nin was well known as an erotica writer who bravely wrote about sexual life. At
that time, she could liberate herself from society’s limitation through her writings.
Therefore, there are two problem formulations related to the topic. The first
problem analyzes the characteristics of Lillian and Djunaas seen from their
relationships with men and women in the novel. The second problem analyzes the
reflection of radical libertarian feminism ideas on Lillian and Djuna’s
characteristics.
The writer applies library research as the method since the source of the data
is collected from books and web-sources. The research used feminist literary
criticism as the approach to analyze the characteristics of Lillian and Djuna in
Ladders to Fire which reflect the ideas of feminism, specifically radical libertarian
feminism.
The results of the analysis are as follows: The first character, Lillian, is
described having bisexual characteristic for having sexual interests toward men and
women. Therefore, Lillian’s characteristics are observed through her relationships
with men and women. In her relationships with several men named Gerard, Larry,
and Jay, Lillian is presented as a powerful and passionate woman. Besides, Lillian
is also an attractive and generous person from as seen from her relationships with
women. The second character, Djuna, is depicted as a lesbian who lives her own
life independently. She also avoids all kinds of maternal or marriage life and has
androgynous characteristic. Their characteristics reflect the ideas of radical
libertarian feminism which are avoiding maternal life, considering heterosexuality
as a form of women’s oppression, and being androgynous. Through their struggle
and courage, they prove that such limitation and old-assumptions in patriarchal
society cannot limit someone’s freedom, specifically women. They can liberate
themselves from gender streotypes which put them as inferior in a society.
xii
ABSTRAK
LESTARI, VALENTINA WIDYA. The Ideas of Radical Libertarian Feminism
as Reflected in the Main Characters of Anais Nin’s Ladders To Fire.
Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata
Dharma, 2016.
Ladders to Fire adalah salah satu novel Anais Nin yang menjadi gambaran
bagaimana wanita berjuang melawan diskriminasi seks di masyarakat. Novel ini
mengungkapkan perjuangan dari dua wanita bernama Lillian dan Djuna untuk
meraih kebahagiaan dengan memiliki kebebasan dalam kehidupan seksualnya.
Penulis novel, Anais Nin, mengekspresikan dirinya melalui tokoh-tokoh wanita di
dalam novel. Dalam hidupnya, Nin dikenal sebagai penulis erotis yang berani
menuliskan kehidupan seksual. Pada saat itu, ia dapat membebaskan dirinya dari
batasan-batasan social melalui tulisannya.
Oleh karena itu, terdapat dua pokok permasalahan berkaitan dengan topic
yang akan dibahas. Pokok permasalahan yang pertama menganalisa karakteristik
Lillian dan Djuna yang dilihat dari relasinya dengan pria dan wanita di dalam novel.
Pokok permasalahan yang kedua menganalisa gagasan-gagasan feminis radikal
libertarian yang tercermin pada karakteristik Lillian dan Djuna. Studi pustaka
digunakan sebagai metode dalam penulisan skripsi ini karena data-data yang ada
diperoleh dari buku dan web. Skripsi ini menggunakan pendekatan feminisme
dalam mengalisa karakteristik dari tokoh Lillian dan Djuna pada novel Ladders to
Fire yang mencerminkan gagasan-gagasan feminis, khususnya feminis radikal
libertarian.
Hasil penelitian dalam skripsi ini adalah sebagai berikut: Tokoh pertama
bernama Lillian memiliki karakteristik bisexual karena ketertarikan seksualnya
terhadap pria dan wanita. Oleh karena itu, karakteristik Lillian ditinjau melalui
hubungannya dengan pria dan wanita. Dalam hubungannya dengan beberapa pria
bernama Gerard, Larry, dan Jay, Lillian digambarkan sebagai wanita yang penuh
kuasadan memiliki keinginan yang kuat untuk mewujudkan hasratnya. Selain itu,
dalam hubungannya dengan wanita, Lillian juga digambarkan sebagai wanita
menarik yang atraktif dan penuh kasih sayang. Tokoh yang kedua bernama Djuna,
ia digambarkan sebagai wanita lesbian yang sangat mandiri. Djuna menghindari
segala bentuk kehidupan pernikahan beserta maternal karena karakternya sebagai
wanita yang androgini. Karakteristik kedua tokoh ini mencerminkan gagasan-
gagasan radikal libertarian feminis yakni menolak kehidupan maternal,
memandang heteroseksual sebagai bentuk penindasan terhadap wanita, dan
memiliki sisi androgini. Melalui perjuangan dan keberaniannya, mereka
membuktikan bahwa batasan dan asumsi-asumsi kuno dalam masyarakat patriarki
tidak dapat membatasi kebebasan seseorang, khususnya wanita. Kedua tokoh ini
dapat membebaskan diri dari streotip jender yang menganggap mereka sebagai
kaum lemah di masyarakat.
xiii
CHAPTER I
INTRODUCTION
A. Background of the Study
Literary work becomes the reflection of society’s issue. It can be reflected
through novels, dramas, poems, and short stories. Wellek and Waren state that a
novel is a picture of real life manner (1956: 216). One of the issues is women
roles in the society. Women are often positioned as the lower and more
marginalized gender rather than men in patriarchal society. Patriarchy simply
means the universal oppression by men. Adrienne Rich defines patriarchy as:
Patriarchy is the power of fathers; a familial-social, ideological, political

system in which men−by force, direct pressure, or through ritual, tradition,
law, and language, customs, etiquette, education, and the division of labor,
determine what part women shall or shall not play, and in which the
female is everywhere subsumed under the male (Eisenstein, 1983: 5).
Patriarchy puts women as the inferior while men act superior. It gives a
stereotype toward women as the second sex and they are controlled under a
system which gives them less opportunities rather than men. No broad space for
women to develop themselves. According to Rosemarie Putnam Tong, patriarchal
ideology exaggerates biological differences between men and women, making
certain that men always have the dominant, or masculine, roles and women
always have the subordinate, or feminine ones (2009: 52). Women, in the
patriarchal society, undergo such discrimination as the effect of gender inequality.
Therefore, there comes feminism movement. Feminism movement is
women emancipation’s movement which comes from the awareness of gender
1
discrimination in the society. Their major aim is gender equality in every social
aspect. According to Jo Freeman, the idea of universal equality is that behind the
differences, men or women are born to have the same right. Women should have
the same rights and duties in life as men have (1975: 439). Most feminists ask for
equality in the sense of living. In USA, feminism appears as a form of rebellion
toward gender inequality. The first wave of feminism took place in the late
nineteenth and early twentieth centuries, emerging out of an environment of urban
industrialism and liberal socialist politics. The goal of this wave was to open up
opportunities for women, with a focus on suffrage (pacific.edu, July 29, 2016).
As women have acknowledged about their rights in society, they voice for
women’s liberation and gender equality through feminism movement. We (re:
women) deserve to be equal with you, for we are in the fact the same. We possess
the same capabilities; but this fact has been hidden, or these abilities have, while
still potentially ours, been socialized, educated, ‘out’ (1995: 13). As time goes by,
feminism movement is divided into several types regarding their concern which
follows the major issue in the society. There are many types of feminism
movements as one of them is radical feminism. Similar to other feminism types,
radical feminists also fight for women’s equality. Yet they claim that women
oppression is basically located on sexism. This kind of oppression is the most
fundamental oppression and causes long-term suffering for its victim, specifically
women. They argue that women should fight toward sexism which traps and limits
them.
The radical feminists insist that men’s control of women’s sexual and
reproductive lives and women’s self-identity, self-respect, and self-esteem
is the most fundamental of all the oppressions human beings visit on each
other (Tong, 2009: 49).
Radical feminist then splits into two parts which are radical libertarian
feminist and radical cultural feminist. These two types have different perspectives
about how women should act towards their sexual life. Radical libertarian
feminism is one type of radical feminism whose goal to remove women’s
oppression by encouraging women to become androgynous. As Tong notes the
radical libertarian feminists’ argument:
Radical libertarian feminists claimed that gender is separable from sex and
that patriarchal society uses rigid gender roles to keep women passive
(“affectionate, obedient, responsive to sympathy and approval, cheerful,
kind and friendly”) and men active (“tenacious, aggressive, curious,
ambitious, planful, responsible, original and competitive”) (2009: 51).
They suggest women to become androgynous, a person whose feminine
and masculine characteristics to achieve gender equality. Unlike radical libertarian
feminism which encourages women to become androgynous, radical cultural
feminism has different perspectives toward sexism. As Mary Daly states that:
She rejected the pluralist model of androgyny, according of women and

men have separate but supposedly equal and complementary traits, and the
assimilation model of androgyny, according to which women and men
exhibit feminine as well as masculine traits. As she saw it, both of these
models of androgyny were deficient because neither of them asked
whether the concepts of masculinity and femininity are worth preserving
(Tong, 2009: 59)
By this quotation, it is clearly stated that the radical cultural feminists do not agree
with the idea of becoming androgynous woman. They argue that femininity is the
best quality of human and should not be mixed with masculinity. Therefore by
using femininity as women’s best armor, women’s right can be achieved equally.
The novel entitled Ladders to Fire by Anais Nin is first published in 1946.
It is the first novel of the series Cities of the Inferior. The other novels of the
series are: The Winter of Artifice, Under a Glass Bell, Children of the Albatross, A
Spy in the House of Love, and Seduction of the Minotaur. Ladders to Fire reveals
the struggle of two women named Lillian and Djuna to reach their true happiness
and pursue their passions by having freedom in their sexual preference. The
author of this novel, Anais Nin, expresses herself through the women characters.
In her life, Nin is well known as an erotica writer who bravely writes about sexual
life. At that time, she can liberate herself from society’s limitation through her
writings. This novel becomes the representation of how women fight towards
sexism in the society. Ladders to Fire isone of Anais Nin’s novels which has
different attitude about women’s sexual life in that era.Thus, the writer wants to
analyze the idea of radical libertarian feminism in Anais Nin’s Ladders to Fire
through Lillian and Djuna characteristics. These two characters have courage to
fight for their rights in patriarchal society. Later on, by discovering the
characteristics of the Lillian and Djuna, the reader will get the message and
understand the idea of radical libertarian feminism as reflected in Ladders to Fire.
B. Problem Formulation
Based on the previous explanation, the writer then formulates two
problems:
1. What are the characteristics of Lillian and Djuna in Ladders to
Fire?
2. How do Lillian and Djuna’s characteristics reflect the ideas of
radical libertarian feminism?
C. Objectives of the Study
Based on the two problems formulated above, the writer aims to answer
the questions. The first goal is to find out the characteristics of Lillian and Djuna
in Ladders to Fire. The second goal is to reveal how the ideas of radical
libertarian feminism are reflected through Lillian and Djuna’s characteristics in
the novel.
D. Definition of Terms
There are several terms need to be explained in analyzing Anais Nin’s
Ladders to Fire to avoid misunderstanding. Those terms are character, feminism,
radical libertarian feminism, masculine, feminine, and androgyny.
1. Character
Abrams explains that characters are the persons presented in a dramatic or
narrative work, who are interpreted by the reader as being endowed with moral,
dispositional, and emotional qualities that are expressed in what they say-the
dialogue-and by what they do-the action (1971: 21).
2. Feminism
Maggie Humm states that feminism is the ideology of women’s liberation
since intrinsic in its all approaches is the belief that women suffer injustice
because of their sex. The definition incorporates both a doctrine of equal rights for
women and an ideology of social transformation aiming to create a world for
women beyond simple social equality (1995: 183).
3. Radical Libertarian Feminism
Radical libertarian feminism is one type of feminism whose goal to achieve
the equality between men and women by rejecting patriarchal society’s
assumption towards sexism and gender. They claim that women’s oppression is
basically located on men’s dominance. Therefore, they demand for freedom in
every aspect of life including sexual preference (Evans, 1995:64).
4. Masculine
Abstract masculinity, according to Nancy Hartsock, is a mode of
conceptualization that emphasizes mutually exclusive dualities. She suggests that
this accounts for hierarchical dualism in social institutions which underpin gender
domination. Evelyn Fox Keller suggests that masculine connotes autonomy,
separation, distance and particularly objectivity (Humm, 1995: 163).
5. Femininity
A term which describes the construction of ‘femaleness’ by society and which
connotes sexual attractiveness to men. The World feminists interpret ‘femininity’
more positively. For example BudhiEmecheta describes how the self-creation of
femininity enables her women characters to become strong and independent
(Humm, 1995: 93-94).
6. Androgyny
Greek word from andro (male) and gyn (female) which means a psychological
and psychic mixture of traditional masculine and feminine virtues. It is to be

distinguished from hermaphroditism, which primarily a physical condition.
Second wave feminism suggests that androgyny could offer a new monogendered
personality. Many feminist philosophers claim that androgynous personalities are
holistic and have a capacity to experience the full range of human emotions
(Humm, 1995: 10).

CHAPTER II
REVIEW OF LITERATURE
A. Review of Related Studies
A literary work may have many perspectives. Anais Nin’s books have been
discussed before to reveal Nin’s motives through her novels. Several researches
have been done towards one of Anais Nin’s entitled Henry and June. One of the
researches is an undergraduate thesis entitled Radical Libertarian Feminism as
Seen in the Main Character of Anais Nin’s Henry and June by Lusi Maria
Widjanarko (2008) from Sanata Dharma University. It concerns on the
characteristics of Anais Nin as the main character and how Nin’s characteristics
reflect the ideas of radical libertarian feminism.According to Widjanarko in her
research, Anais Nin has several characteristics such as unfaithful, bisexual,
adventurous and seductive woman. Widjanarko also states that the radical
libertarian feminism as a part of radical feminism concerns about women’s
freedom in private sphere
From Nin’s characteristics which reflect the ideas of Radical Libertarian

Feminism, we can see that women who doesn’t bounded by the gender and
sex classification can do what a man usually does. By having an ability to do
what men usually do, a woman can get equal position and freedom (2008:
60).
Widjanarko’s statement above concludes that women should have freedom
and not to be limited by gender and sex role. The research by Widjanarko is well-
applied to support this research because of the similar theory of feminism which is
the radical libertarian feminism. Moreover, since Anais Nin’s characteristics
8
areoften portrayed through the women characters in her books, there is relation
about Nin’s characteristics in Henry and June and the characteristics of women
characters in Ladders to Fire.
Nin’s characteristics are also revealed in an undergraduate thesis entitled
Nin’s Motivation to Establish Relationship with Henry and June in Anais Nin’s
Henry and June written by Ika Dewi Widiastuti (2011) from Sanata Dharma
University. Nin is described as attractive, smart, hypersexual and independent
woman. These characteristics aim to reveal Nin’s motivation to establish
relationship with Henry and June. The result of this research states that Nin’s
motivation is purely to fulfill her needs such as psychological need, sex need,
safety need, love and belonging needs. Based on the analysis, it can be said that
Nin’s motivation to establish relationship with Henry and June is to fulfill her
needs. She fulfills her needs in Maslow’s hierarchy of needs and she also reaches
the top level, the actualized person (2011: 53).
Another research of Nin’s novel comes from Ohio University Press. In the
novels, Nin indicates that neurosis keeps the female characters from becoming
complete human beings. She emphasizes their fragmented nature by using only
their given names. These women include Lillian, whose self-doubt causes her
overbearingness; timid Djuna, who yearns for love but misses much of life
because of her inability to live in the present; guilt-ridden Helen, who cannot
attain the freedom she expected when abandoning her husband and children long
ago; Sabina, whose broken internal compass makes her life chaotic; and Stella,
10
whose distrust of others keeps her from revealing her true self (ohioswallow.com,
2015).
In this research, the writer aims to reveal the women’s characteristics in
Ladders to Fire which reflect the ideas of radical libertarian feminism. Since the
previous researches which have been mentioned focus on Nin’s characteristics as
the author, it will be very useful as the supporting sources for the writer to reveal
the characteristics of the women characters in the Ladders to Fire. Anais Nin has
been described as bisexual, independent, and attractive woman in the previous
researches, therefore the women characters in Ladders to Fire may be the
portrayal of Nin’s characteristics.
B. Review of Related Theories
1. Theory of Character and Characterization
Characters plays important role in the flow of a story. M.H. Abrams explains
that characters are the persons presented in a dramatic or narrative work, whoare
interpreted by the reader as being endowed with moral, dispositional, and
emotional qualities that are expressed in what they say-the dialogue-and by what
they do-the action (1971: 21).
According to Robert Stanton, character is generally used in two ways. The
first character marks out the person who appears in the story. The second
character refers to the traits or the elements in somebody’s personality that makes
up each of a person. A character’s reason of behaving as he does is his motivation
(1965: 17).
11
From the definitions of character in the previous paragraphs, it is clear that
character is one of the important elements in a story that has motivation in his/her
emergence. To analyze the characteristics of characters in a story, the theory of
characterization is needed. Henkle in his book acknowledges that there are two
types of characterization which are major character and secondary character.
Major character usually is the most important character in a story that functioned
to help the reader in drawing the theme, used by the authors in order to
communicate their human qualities. A major character is also the most complex
character. Secondary character or minor character usually is the character, who
has limited function in the story. His character is less complex and neccesary to
become the background of the major character (1977: 87-97).
Moreover, Murphy points out nine ways to see the characterization of
characters in literary works (1972: 162-173). Those are:
a. Personal description
Personal description refers to the description of the character as real person’s
appearance, such as face, skin, eyes, and clothes.
b. Character as seen by another
The author describes a person’s characteristics through the eyes and
opinions of the characters. The reader can get it as the reflection image of
particular character.
c. Speech
The author gives the readers a picture of someone’s characteristics in the
novel through what the person says. The readers can see the description of the
12
character whenever the character speaks, has conversation with others, and
whenever the character says/states his/her opinion.
d. Past life
Past life influences someone’s characteristics. The author gives the readers
clues to some events that have helped to shape someone’s characteristics. It can be
seen through the author’s direct comment and the person’s thought.
e. Conversation of others
Someone’s characteristics can be described through the conversation of
other characters in which they say, their opinions or everything about that person.
f. Reactions
The author gives a clue of someone’s characteristics through the reaction of
the character in the novel toward various events and situations.
g. Direct comments
To understand someone’s charateristics, the author gives a clue by
describing or commenting a person’s characteristics directly.
h. Thoughts
The author gives direct knowledge of what a person is thinking about.
Through this way, the reader can understand the character’s mind and feeeling.
i. Mannerism
Someone’s characteristics can also be seen through his/her mannerism and
habbits given by the author.

13
2. Theory of Feminism
Patriarchal society often positions women as powerless. Men are believed as
superior and women as inferior. As Montagu states in his book, women have been
conditioned to believe that they are inferior to men, and they have assumed that
what everyone believes is a fact of nature. Because men occupy the superior
positions in almost all societies, such superiority is taken to be a natural one
(1953: 23). Men’s superiority has driven women’s role lower in the society. As
Montagu continues in her book about her concern of this superior power of men.
Why is that, in most of the cultures of which we have any knowledge,

women are considered to be a sort of lower being, a creature human enough
, but not quite so human as the male; certainly not as wise, nor as intelligent;
and lacking in most of the capacities and abilities with which the male is so
plentifully endowed? (1953: 27).
Patriarchal society has given a streotype that women are the second sex.
They are controlled under a system which gives them less opportunities rather
than men to develop themselves in the society. Women’s freedom is limited
because of the gender system in patriarchal society.
Instead of being openly coerced into accepting their secondary status,

women were conditioned into embracing it by the process of sex-role
streotyping. From early childhood, women were trained to accept a system
which divided society into male and female spheres, with appropriate roles
for each,a nd which allocated public power exclusively to the male sphere
(Eisenstein, 1983: 6).
There are also mixed concepts between sex and gender which keep women
have lower position than men in social life. Some researchers has demonstrated
that biological sex and social gender are separable concepts. As Eisenstein further
explains the difference between sex and gender:

14
Sex meant the bilogical sex of a child−was it born anatomically a male or a

female member of the human species? Gender was the culturally and
socially shaped cluster of expectations, attributes, and behaviors assigned to
that category of human being by the society into which the child was born
(1983: 7).
Because of this gender streotype, women undergo social injustice that they
do not have equal opportunity in social life. Society holds the false belief that
women are, by nature, less intellectually and physically capable than men, it tends
to discriminate against women.
They make movement called as feminism. This movement splits into three
time periods or called as ‘waves’ and have different aims. The first-wave
feminism starts in the 19th and early 20th century. The goal of this wave is to open
up opportunities for women, with a focus on suffrage. The second-wave starts in
1960s until 1980s. In this phase, sexuality and reproductive rights are dominant
issues, and much of the movement's energy was focused on passing the Equal Rights
Amendment to the Constitution guaranteeing social equality regardless of sex.The
third-wave starts in the 1990s until 2000s and it is informed by post-colonial and
post-modern thinking(pacific.edu, August 9, 2016). Overall, all feminism waves
concerns to change the social structure to make it less oppressive to women. Some
feminists declare that their goal is to understand women’s oppression in term race,
gender, class, sexual preference and how to alter it.
Feminism means that we seek for women the same opportunities and
privileges the society gives to men, or . . . that we assert the distinctive value
of womanhood against patriarchal denigration. While these positions need
not to be mutually exclusive, there is strong tendency . . . to make them so
(Evans, 1995: 2).
15
Therefore, the basic goal of feminism is the liberation of women. As Humm
states in her book that the liberation of women is the chief goal of feminist theory.
Contemporary women’s liberation or feminist action, is consciously
revolutionary. It breaks with reformism; it is internationalist and it simultaneously
attacks the state, cultural ideology and the economy (1995: 151).
3. Theory of Radical Feminism
Radical feminism arises in the second-wave feminism. The second-wave starts
in 1960s until 1980s. In this phase, sexuality and reproductive rights are dominant
issues, and much of the movement's energy was focused on passing the Equal Rights
Amendment to the Constitution guaranteeing social equality regardless of sex
(pacific.edu, August 9, 2016). Unlike other feminists who perceive themselves as
reformers, radical feminists perceive themselves as the revolutionaries rather than
reformers.
Unlike reformist feminists, who joined fundamentally mainstream women’s

rights groups, these revolutionary feminists did not become
interested in women’s issues as a result of working for government agencies,
being appointed to commissions on the status of women, or joining women’s
educational or professional groups. Instead, their desire to improve women’s
condition emerged in the context of their participation in radical social
movements, such as the civil-rights and anti–Vietnam War movements
(Tong, 2009: 48).
In its early movement in 1960s and 1970s, the radical feminists’ goal is to
address oppression towards women in patriarchy society.Radical feminism pays
attention to women's oppression as women in a social order dominated by men.
According to this approach, the distinguishing character of women's oppression is
their oppression as women, not as members of other groups such as their social
16
class. Therefore, the explanation for women's oppression is seen lying in sexual
oppression. Women are oppressed because of their sex.
Early radicalism is gender difference school in that it sees both male and
female character as marred by society: by patriarchy and by capitalism; by
‘the system’, as would probably have been said then. But the sexes had been
harmed in separate ways, and women the more. In contrast to other feminist
analysts, early radicals were, though less than their successor, concerned to
point the finger of blame at men; it may be that the notion of patriarchy
entails this, though it would depend on how its regime was thought to have
begun (Evans, 1995: 64).
It is clearly stated that radical feminists think that the root of oppressions
toward women is men’s dominance. Radical feminists aim to break the rigid
gender roles that society has imposed to free both men and women. As Humm
continues that they sometimes believe that they must rage a war against
patriarchal society and the gender system. Radical feminists focus on the roots of
male domination and claim that all forms of oppression are extensions of male
supremacy (Humm, 1994: 183). In the movement to pursue women equality, there
comes two different perspectives. The radical feminism then splits into two areas.
a. Radical Libertarian Feminism
According to Rosemarie Putnam Tong, radical libertarian feminists think
that people, men or women should explore both feminine and masculine sides of
themselves. Every woman should have a sexual experiment whether with herself,
with other men, or with other women. Moreover, there are four basic ideas of
radical libertarian feminism noted by Tong in Feminist Thought: A More
Comprehensive Introduction Third Edition. The first idea is being androgynous.
The term androgny itself means:

17
Androgyny, an ancient Greek word−from andro (male) and gyn (female)− . .

. seeks to liberate the individual from the confines of the appropriate. . . . [It]
suggests . . . a full range of experience open to individuals who may, as
women, be aggressive, as men, tender; it suggests a spectrum upon which
human beings choose their places without regard to propriety or custom
(Eisenstein, 1995: 60).
Based on the quotation above, being androgyny means having the good
characteristics of male and female. By being androgyny, a wowan has extricated
hersef from rigid gender system. Radical libertarians claim that an exclusively
feminine gender identity is likely to limit women’s development as full human
persons. Thus, they encouraged women to become androgynous persons, that is,
persons who embody both (good) masculine and (good) feminine characteristics
or, more controversially, any potpourri of masculine and feminine characteristics,
good or bad, that strikes their fancy (Tong, 2009: 50).
The second one is allowing lesbianism. Radical libertarian feminists argue
that heterosexuality is a form of women’s oppression where there is a tendecy
women are positioned lower than men. They become the pioneer of lesbian media
of women. Lesbian theorists argued that lesbianism is much more matter than a
matter of sexual preference. As Eisenstein writes based on radicalesbians’
argument:
She is the rage of all women condensed to the point of explosion. She is the
woman who, often beginning at an extremely early age, acts in accordance
with her society . . . cares to allow her . . . . She may not be fully concious of
the political implications of what for her began as personal neccessity, but
on some levels she has not been able to accept the limitations and
oppressions laid on her by the most basic role of her society−the female role
(1983: 51).
Further, according to Eisenstein the term lesbian defines someone who has
withdrawn herself from the conventional definitions of feminity. She has refused
18
to buy into the limitations and restrictions placed upon her by the social
expectations of acting like a “true woman” (1983: 51). Radical libertarians argue
that since a woman does not need a male body to achieve sexual pleasure, she
does not have to engage in sexual relations with a man unless she wants to.
Therefore, they suggest lesbian as another sexual preference for women to express
themselves.
If a woman wants to be a true feminist, she must become a lesbian. She

must do what comes “naturally,” thereby freeing her own consciousness
from the false idea that she is deviant, abnormal, sick, crazy, or bad because
she enjoys sex with women, not with men. (Tong, 2009: 71-72).
The radical feminists think that lesbian is the only way of a woman to find
her whole self in a relationship. They hope by being lesbian they can cultivate the
treasures of their femininity and find self-realization within herself. There are also
two types of lesbian which are the ‘masculine’ and the ‘feminine’ which is often
being called as the ‘butch’ and the ‘femme’. The butch is a woman who adopts
what will be considered masculine characteristics while
the femme is a feminine lesbian.
The third concept is believing that women should substitute artiﬁcial for
natural modes of reproduction. The radical libertarian feminists perceive
reproduction as women's main weakness. They are against biological motherhood
and believe that femininity and reproduction limit women's capacity to contribute
to society as they argue that the root of all female oppression lies in women's
ability to bare children. As we shall see, radical libertarian feminists are
convinced the less women are involved in reproduction, the more time and
energy women will have to engage in society’s productive processes

19
(Tong, 2009: 74). Another view comes from Evan’s book quoting Firestone about
women’s maternal life. Therefore women must rebel; women must control
fertility. Women must own their own bodies and new technology. And women
must control childbearing and rearing (Evans, 1995: 68).
Maternal life, as we can see, can limit women roles in the society. They are
bounded with the obligation to raise children in which spend most of her life.
The claims of reproduction, too, have kept women from the productive
sphere, and so from the road to freedom. It is not childbearing as such that
necessitates this, but the whole structure built on and resting upon it, of
reproduction, sexuality, and the socialization of children (Evans, 1995: 73).
The fourth idea is supporting pornography. Pornography is defined sexual
material depicting and encouraging violent and coercive sexual degradation
(Humm, 19995: 212). Therefore pornography is socially regarded as an act
againsts society’s norm and moral. According to Tong in her book, the radical
libertarian feminists urged women to use pornography to overcome their fears
about sex,to arouse sexual desires, and to generate sexual fantasies. These
feminists claimed that women should feel free to view and enjoy all sorts of
pornography, including violent pornography (2009: 68). They views
pornogography as women’s freedom to pursue sexual pleasure without any
limitation. Women should be free to enjoy all kinds of pornography whether
involving themselves or not. Maggie Humm also states that pornograpphy
expresses and reproduces the hierarchical difference between masculine and
feminine which is part of culture (1995: 212). By this means, some feminists
agree that pornography should not considered as women’s sexual objectification
instead women’s freedom to experience any sexual actvitiy. These feminists argue
20
that a true feminist should not limit herself to a certain sexual encounters. Further,
she notes that feminists theory takes the view that pornography does not, in fact,
violate the norms of heterosexuality but operates to sustain them (1995: 212).
b. Radical Cultural Feminism
Radical cultural feminists believe that women are better than men. They
differ from radical libertarians who raise the idea of being androgynous, these
radical-cultural feminists express the view that it is better to be female/feminine
than it is to be male/masculine. Thus, women should not try to be like men instead
they should try to be more like women by emphasizing women values.Radical
cultural feminists argue that femininity is better than masculinity. Women should
pursue gender equality with feminity and sexual relation must relate with
emotions not just pleasure.
She rejected the pluralist model of androgyny, according of women and men
have separate but supposedly equal and complementary traits, and the
assimilation model of androgyny, according to which women and men
exhibit feminine as well as maculine traits. As she saw it, both of these
models of androgyny were deficient because neither of them asked whether
the concepts of masculinity and feminity are worth preserving (2009: 59).
Besides, they view pornography as women’s sexual abuse where women are
put as the object of men’s sexual pleasure. Pornography basicly leads to sexual
harassment which ables men to opress women. Radical cultural feminists reject all
forms of pornography and prostitution because it is only connected with pleasure
and makes women as men’s sexual fulfillment (Tong, 1998: 97-104).
The difference of radical cultural feminism with radical libertarian feminism
is also located on reproduction system. While radical libertarian feminists think of

21
reproduction control towards women and supporting abortion, the radical cultural
feminists states that women's oppression is not caused by female biology and
reproductive possibilities but rather by men's jealousy of women's reproductive
abilities. That is why the radical cultural feminists reject reproduction control
towards women because it is linked as men’s control through woman’s natural
ability.
C. Theoretical Framework
There are three theories which are used to analyze Ladders to Fire. Those
are theory of character and characterization, theory of feminism, and theory of
radical feminism. Firstly, by using the theory of character and characterization,
the writer analyzes the women’s characteristics in the novel which are revealed
through the dialogue and author’s descriptions. There are many women characters
in Nin’s Ladders to Fire, yet the writer’s concern is only on the three women
characters who are Lillian and Djuna since they are the main characters in the
novel. Their actions, dialogues, thought, and experiences are examined in order to
get deeper understanding of the characters, which is related to the concept of
radical libertarian feminism.
Secondly, the theory of feminism is used to answer the second
questionabout how Lillian and Djuna’s characteristics reflect the ideas of radical
libertarian feminism. Since the theory of feminism is various, the writer’s focus is
on radical libertarian feminism to make it specific.

22
The radical libertarians encourage women to explore both feminine side and
masculine side of themselves. They also concern women’s freedom in all life
aspects including sexual preference in social life. The ideas of radical libertarian
feminism can be seen in Ladders to Fire through how the women characters break
the old custom of patriarchal society and let women have such freedom to fulfil
their passion and sexual preferences. The relation between women’s
characteristics and their struggle shows that they reflect the idea of feminism,
particularly radical libertarian feminism.

CHAPTER III
METHODOLOGY
A. Object of the Study
Ladders to Fire is a novel by Anais Nin, an American author, which consists
of 190 pages. She was born on February 21 1903 to Cuban parents in France. Nin
spent her time in Spain and Cuba but lived most of her life in the United States
where she became an author. As an author, Nin wrote many journals and books.
She was better known as a person who recorded everything in her diaries and
regarded as one of finest erotic literature writers. For Anais Nin, her writing and
her life were not separable, they were both part of the same experience. She
claimed that “it is the fiction writer who edited the diary” (ohioswallow.com, June
28, 2016). Ladders to Fire was published in 1946 by Swallow Press in New York.
This is the first volume of the series Cities of the Interior, the other four novels of
the series are Children of the Albatross (1947), The Four-Chambered Heart
(1950), A Spy in the House of Love (1954), and Seduction of the Minotaur (1961).
Ladders to Fire reveals the struggle of two women named Lillian and Djuna to
reach their true happiness and pursue their passions by having freedom in their
sexual preference. The author of this novel, Anais Nin, expressed herself through
the women characters. In her life, Nin was well known as an erotica writer who
bravely wrote about sexual life. At that time, she could liberate herself from
society’s limitation through her writings.
23
24
Nin’s works generally tell a story about how women fight toward sexism in
that era. The explosion of the feminist movement in 1960s gave feminist
perspectives on Nin’s works. She had a special appeal to feminists yet Nin
disassociated herself from the political movement at the moment. Noel Riley
Fitch, the author of Nin’s biography book, noted that Nin’s works has changed
many women in the world and gives different perspectives about women’s roles in
the society. “She would talk in very Lawrencian language about following your
own desires and needs, living freely,” Fitch said. “Women still adore her. They
say she changed their lives.” (news.usc.edu,August 9, 2016). Moreover, Fitch also
quoted a statement toward Nin’s works from Kate Millet, the author of Sexual
Politics, “the first real portrait of the artists as a woman.”
Ladders to Fire is one of Anais Nin’s novels which has different attitude
about women’s sexual life in that era. This novel becomes the representation of
how women fight toward sexism in the society. In this first volume of the series of
Cities of the Interior, Nin introduces all the characters who are Lilian, Djuna,
Helen, Sabina and Jay, the male character. As Gunther Stuhlmann also states in
the foreword of Ladders to Fire that all characters are presented fully in the first
volume, Ladders to Fire. They are developed later in the succeeding volumes. As
each book came out, however, it was received as if it were an independent novel
(Nin, 1946: ix).
Ladders to Fire is divided into two parts, the first part is This Hunger and
continued with Bread and the Wafer. There are two main characters who are
Lillian and Djuna who struggle to pursue their passion and natural desire. They
25
fight over old custom where bisexualism and lesbianism are still considered taboo.
Lillian is a woman who is very adventurous in her love life. She has several
relationship with men and once builds a marriage but it does not work. Lillian’s
sexual interest is not only towards men, but also women. They are Djuna, Helen,
and Sabina whom Lillian is attracted to. As they also have interest with woman,
they share affection and passion with Lillian. These four women then try to reach
their own happiness by pursuing their natural desire and freedom. With their
effort, they make that it is not impossible to have sexual attraction both in male
and female. They show that human, specifically woman, should be free to
experiment their sexual interests without being limited by society’s assumption.
B. Approach of the Study
In conducting the analysis towardLadders to Fire, the writer uses Feminist
Literary Criticism approach since this research focuses on the struggle of the
women characters to break patriarchy’s gender stereotype. Maggie Humm states
that feminist literary criticism rejects traditional standards of criticism and of
literary history. Feminists use literary criticism to help them deconstruct the
politics of patriarchy as it is represented in language (1995: 153). According to the
previous statements, it can be concluded that feminist literary criticism concerns
on how women struggle to pursue and criticize gender issue through literature.
Moreover, Humm also states that the first and major achievement of feminist
criticism was thus to highlight gender streotyping as an important feature of
literary form (1995: 8). By this statement, the basic goal of feminist literary
26
criticism is to reform gender streotyping which put women lower and more
marginalized in patriarchal society.
The writer chooses this approach to analyze the ideas of radical libertarian
feminism as reflected in Ladders to Fire. There are two main characters in the
novel named Lillian and Djuna who have similar sexual preference and use it as
the freedom to pursue their passion. Their struggle becomes the reflection of
feminism, specifically radical libertarian feminism, which fight over patriarchy’s
gender streotyping.
C. Method of the Study
In this study, the writer used library research as the method to gather the
data and theories. Library research is defined as the systematic study and
investigation of some aspect of library and information science where conclusion
are based on the analysis of data collected in accordance with pre-established
research designs and methodologies (hlwiki.slais.ubc.ca, August 9, 2016). This is
the most relevant method to conduct this study since it concerns on the document
sources. The primary source is the novel entitled Ladders to Fire with foreword
by Gunther Stuhlmann by Anais Nin. Secondary sources are used to support this
study which are collected through jurnals, books and dictionaries. There are also
web-based sources to gather all the supporting information in this study.
To study the primary source, there were some steps applied. The novel was
read firstly to get whole understanding about the contents and other aspects within
the novel. After deciding to analyze feminism as reflected through the women
27
characters in the novel, the writer focused on the major characters only who are
Lillian and Djuna. Their characteristics in the novel were analyzed using the
theory of character and characterization. After studying their characteristics, the
writer then related their characteristics with feminism theory, specifically radical
libertarian feminism. Finally, the conclusion of this study was drawn after passing
through all the steps.

CHAPTER IV
ANALYSIS
A. The Descriptions of Lillian and Djuna
Based on the two problem formulations discussed in the chapter one, this
part of the study aims to answer those formulated questions. The analysis is
divided into two subchapters. The first subchapter aims to answer the descriptions
of Lillian and Djuna as the main characters. It consists of the general description
of Lillian and Djuna, specifically their relationship with other men and women.
The second part contains the reflection of radical libertarian feminism ideas on
Lillian and Djuna’s characteristics.
1. Lillian
In Ladders to Fire, Lillian is one of the major characters besides Djuna. She
is presented as a powerful woman. Her powerful characteristic is mostly shown
through her relationships with several men named Gerard and Jay. Lillian is the
woman who plays men’s roles on her relationships by being more responsible
and initiative. She works outside to supply her lovers’ daily needs and makes
decision firstly. She also becomes the one handling her relationships with no
men’s interference.
Having passive men counterparts makes Lillian passionate about her desire
to have an equal life companion. Hence, she becomes adventurous in her love life
by building relationship with several men and women. She has no fear to pursue
her passion and desire. Lillian once builds marriage with a man named Larry and
28
29
has two children. Yet she is not happy and feels lost in her own family and house.
Thus she leaves her family and continues her adventurous love story.
Besides having relationships with men, Lillian also builds relationships with
women. She is depicted as a bisexual woman who is very adventurous with her
love life. There are several women becoming Lillian’s affairs named Djuna,
Helen, and Sabina. Djuna is firstly presented as Lillian’s besfriend who is
developed later becoming one of Lillian’s lovers. They build a relationship
because of the equal power in between. Lillian and Djuna share equal affection
and support each other with no one side dominancy.
As a woman, Lillian is very attractive. She owns the charm which can make
her surroundings admires her beauty and personality. One of the women who is
attracted with Lillian’s personality is Helen. In Ladders to Fire, Helen is firstly
presented as one of Jay’s affairs who later also becoming Lillian’s affair. She is
married and has two children, yet Helen decides to leave her family because she
wants to pursue her passion of living in freedom. Both Lillian and Helen admire
each other for being very passionate of their dreams. The mutual attraction of
being courage and passionate between them can successfully build a relationship.
Another woman who is attracted with Lillian’s charm named Sabina. As
well as Helen who is firsly presented as one of Jay’s lovers, so does Sabina. When
Lillian finds out that Jay has an affair with Sabina, she feels attracted with Sabina
instead. In the novel, Sabina is characterized as an artist who is attractive and has
mysterious personal life. Hence, Lillian is curios to know what lies behind
Sabina’s mysterious characteristic. Both of them turn out having mutual

30
attraction. Sabina is also attracted with Lillian’s personality and power. Lillian
and Sabina admit hating and regard men as an obstacle in women’s freedom.
a. Lillian’s Characteristics as Seen from Her Relationship with Men
Lillian’s powerful characteristic is obviously shown in her relationships
with men. The word powerful is defined as the ability to control or influence
people or things. Lillian is often positioned both as a husband and a mother by
her lovers. In her relationship with a man named Gerard, Lillian is the one who
takes initiative and makes decision. Gerard is presented as a passive man who
always hands over his will to Lillian.
She fell in love with an extinct volcano. Her strength and fire were aroused.
Her strength flowed around his stillness, encircled his silence, encompassed
his quiteness (1995:7).
The moment she sat near him he recaptured his quality of a mirage:
paleness, otherworldliness, obliqueness. He appropriated woman’s armor
and defences, and she took the man’s. (1995: 8).
Lillian realizes that Gerard always becomes dependent and can not fulfill her
need of an equal life companion. Thus she ends her relationship. To preserve this
fatal secret: you, Lillian, are too strong; you, Gerard, are not strong enough
(which would destroy them), Gerard (like a woman) wove false pretexts. The false
pretext did not deceive Lillian (1995: 12).
It significantly shows the fact that Lillian is the superior of her relationship.
Besides, Lillian also has a relationship with a man named Jay, a bohemian artist.
As an artist, Jay does not want any obligation in their relationship such as working
to supply their daily needs. Jay admits that he will not work because he can not
bear repetition and the atmosphere in the office or the regular hours. Therefore
31
Lillian works outside and takes care of everything in her house because Jay is a
powerless companion. As a woman, Lillian fulfills every man’s desire. It is
reflected in the quotation below:
His helpness made him the ‘homme fatal’for such a woman. His hunger for
anything metamorphosed her into an Aladdin’s lamp: even his dreams must
be fulfilled (1995: 65-66).
Jay is very helpness and has no contribution in their relationship. He is like a
beggar begging for a mercy from Lillian and Lillian fulfills it. Jay gives Lillian
the savor of the present, and let her take care for the morrow as shown in the
following descriptions:
Nothing could prevent her from feeling that she was not Juliet waiting on the
balcony, but Romeo who had to leap across space to join her. She had
leaped, she had acted Romeo, and when woman leaped she leaped into a
void (1995: 55).
She was his confessor and his companion, his collaborator and his guardian
angel. At this moment he treated her as if she were a man (or the mother)
(1995: 69).
Once again she had worn the warrior armor to protect a core of love. Once
again she had worn the man’s costume. Jay had not made her a woman, but
the husband and mother of his weakness (1995: 87).
From the descriptions above, Lillian obviously shows her powerful
characteristic. Through her actions of taking men roles in her relationships, it
shows that Lillian can not passively wait for her lovers to handle the relationships.
She has no fear to show her power and becomes the one whose more
responsibility rather than men.
Besides being characterized as a powerful woman, Lillian is also passionate
about her dreams and desire. She craves for a life companion whose equal power
with her. When her desire can not be fulfilled, she will continue her adventurous
32
life to pursue it. Once, Lillian is married with a man named Larry and has two
children. They live in a beautiful house which is filled with Lillian’s decorations
yet the house does not seem to belong to Lillian. The house is built for peace and
harmony, like other houses, yet it does not suit Lillian’s personality and passion.
She always feels like a stranger in it because she has not been able to show her
own character which is adventurous. In her marriage, Lillian is obligated to take
care of her family and play role as a good mother and wife. She feels trapped and
anxious about her life and nature as a woman. Lillian knows that marriage and
maternal life do not seem suit her personality. Hence, Lillian decides to leave her
family to pursue her desire.
The care Lillian spent in the house, on her husband and children came from
some part of her being that was not the deepest Lillian. Who had made the
marriage? Who had desired the children? Lillian had made all this and lived
in it, but it had not been made out of the deeper elements of her nature, and
she was a stranger in it (1995: 24).
Lillian’s adventurous life is also supported by her attractive personality.
She owns the charm which can attract her surroundings. In her relationships
Lillian always becomes the one who both builds and ends it. She attracts her
lovers by using her charms, femininity, and power. Djuna, one of Lillian’s affairs,
once says that Lillian is a femme fatale woman who can easily move from one
circumstance to another and attract men by an aura of charm. Lillian’s
attractiveness is also shown from Jay’s impression toward her. At the first time
they meet, Jay knows that Lillian is a powerful woman who is very passionate
about her dreams and freedom, he is not only impressed but also attracted to
Lillian’s personality:
33
From the very first Jay hated her, hated her as Don Juan hated Dona Juana,
as the free man hates the free woman, as man hates in woman this freedom
in passion which he grants solely to himself. Hated her because he knew
instinctively that she regarded him as he regarded woman: as a possible or
impossible lover (1995: 128).
By the quotation above, it is clearly stated that Lillian owns attractive
personality which can impress Jay. Besides, Lillian’s description about her
attractive characteristic is also noted when she cooks and enters kitchen. Lillian is
described as someone who always becomes the central of her surroundings. When
she starts to cook, the entire kitchen is mesmerized as if she puts a spell in it.
Lillian’s charm and power are reflected even in her cooking as mentioned in the
quotation below:
When she cooked, the entire kitchen was galvanized by the strength she put
into it, the dishes, pans, knives, everything bore the burnt of her strength,
everything was violently mashalled, challenged, forced to bloom, to cook, to
boil. The vegetables were peeled as if the skins were torn from their
resisting flesh, as if they were the fur of animals being peeled by the hunters
(1995: 4).
b. Lillian’s Characteristics as Seen from Her Relatioship with Women
Lillian is described as a bisexual woman who has sexual interests towards
men and women. Hemings states that bisexuality as a sexual preference in which
women should explore within themselves.
Those of us who consider ourselves feminist are excited about the

possibilities of a bisexuality informed by the understanding that sex and
gender are classifications by which women are oppressed and restricted. We
see bisexuality calling into question many of the fundamental assumptions
of our culture: the duality of gender; the necessity of bipolar relationships [. .
. and] the demand for either/or sexualities (2002: 17).
34
Based on the quotation above, having sexual interests toward men and women has
become one of women’s freedom. Women who have courage to consider
themselves as bisexual are no longer submissive towards old customs.
In Ladders to Fire, Lillian builds relationship with several men who are
Gerard, Larry, and Jay yet it can not satisfy her hunger for such love and
affection. She falls in love with them yet she will feel empty in her relationships,
therefore she also adventures her sexual life with women named Djuna, Helen,
and Sabina. In her courtship with Djuna, Lillian feels a complete affection from
Djuna. Djuna plays important role in Lillian’s life because Lillian’s desire and
needs are fulfilled through Djuna’s affection.
But it was Lillian who was drowning, and it was Djuna who was able always
at the last moment to save her, and in her moment of danger, Lillian knew
only one thing: that she must possess Djuna. It was as if someone had
proclaimed: I need oxygen, and therefore I will lock some oxygen in my
room and live on it. So Lillian began her courtship (1995: 41-42).
The quotation above concludes that Lillian wants Djuna to be her lover.
Lillian feels equal power in her relationship with Djuna because they encourage
each other. It is shown in the following quotation: They exchanged jewels,
clothes, books, they protected each other, they expressed concern, jealously,
possessiveness. They talked. The relationship was the central, essential personage
of this dream without pain (1995: 21).
Later, when Lillian finds out that Jay has an affair with a woman named
Helen, she is also attracted with Helen. Lillian’s attraction toward Hellen is not an
attraction of friendship or sisterhood, but a sexual attraction.

35
She gave Hellen such faith as lovers give. She gave to the friendship an
atmosphere of courtship which accomplished the same miracle as love. On a
magnificent day of sun and warmth Lillian said to her: “If I were a man, I
would make love to you.” (1995: 83-84).
Lillian then ends her relationship with Helen since she starts to feel like a
hostage and it traps her. She meets and falls in love again with a woman named
Sabina, one of Jay’s affairs. Lillian admires Sabina’s body and feels her passion
and her soul in Sabina’s. It is shown in the quotations below:
Lillian wanted to reach out to her, into these violet shadows. She saw that
Sabina wanted to be she as much as she wanted to be Sabina. They both
wanted to exchange bodies, exchange faces. There was in both of them the
dark strain of wanting to become the other, to deny what they were, to
trascend their actual selves. Sabina desiring Lillian’s newness, and Lillian
desiring Sabina’s deeply marked body (1995: 145).
Lillian saw her for the first time the woman she had always wanted to know.
She saw Sabina’s eyes burning, heard her voice so rusty, and immediately
felt drowned in her beauty. She wanted to say: I recognize you. I have often
imagined a woman like you (1995: 125)
Furthermore, Lillian is also presented as an attractive woman. Attractive
characteritsic as defined by Huffman is having the physical properties – size,
shape, facial characteristics, and manner of dress – will attract other people’s
preference toward someone (2000: 594). Lillian owns those criterias which make
her attractive and can impress not only men but also women. Djuna, as a woman,
is also attracted to Lillian for her beauty and sensual appearance. Djuna feels
amazed by Lillian’s beauty and admires it. She always compliments the way
Lillian behaves. As one of Djuna’s admiration toward Lillian is noted in the
following description: she looked like a white negrees, a body made for rolling in
natural undulations of pleasure and desire. Her vivid face, her avid mouth, her
provocative, teasing glances proclaimed sensuality (1995: 44).

36
Another admiration toward Lillian comes from Sabina. Sabina admires
Lillian’s soul and beauty. Lillian’s attraction drew Sabina’s attention for Lillian
has nice and pleasant appearance. Hence, when both Lillian and Sabina finally
build the relationship in between, Sabina feels deeper admiration towards Lillian.
Sabina looked at the whiteness of Lillian’s body as into a mirror and saw herself
as a girl, standing at the beginning of her life unblurred, unmarked. “How soft you
are, how soft you are,” said Sabina (1995: 146).
2. Djuna
Another main character in Ladders to Fire is Djuna. Djuna is described as
an androgynous woman. Androgynous has been defined as a blance personality of
having feminine and masculine chracteristics. Many feminist philosophers claim
that androgynous personalities are holistic and have a capacity to experience the
full range of human emotions (Humm, 1995: 10). In the novel, Djuna is delineated
having masculine and feminine characteristics within herself.
Her masculinity is shown through her independence and self-governed
characteristics. She is also courageous to pursue her own nature and desire with
no obstacle from her surroundings. Her bad childhood memories of being
abandoned by her father and being put into an orphan assylum have created
independent characteristic to depend on no one but herself. She does not want to
be limited to pursue her desire, therefore she avoids maternal and marriage life.
On the other side, Djuna owns the quality of feminine characteristic which is
shown through her generousity toward her surroundings, as ones of them are
37
Lillian and Jay who always feel comfortable to talk and share their problem with
Djuna. Djuna can always shelter people in any condition.
Besides, the author presents Djuna as a lesbian. Djuna has no interest to
establish a relationship with man. She chooses being lesbian as her sexual
preference because she argues that men will not give women any opportunity to
prove their strength. Therefore when Djuna meets Lillian whose equal power with
her, Djuna is attracted to Lillian. Djuna and Lillian’s relationship is a relationship
between two women whom both enjoy presenting devotion and affection. Her
lesbian side is also shown through her action of denying Jay’s love. Djuna’s
hunger of love can only be fulfilled by the love of women.
a. Djuna’s Characteristics as Seen from Her Relationship with Men
Djuna has the quality of independent woman. Independence means a
freedom from outside control and someone who is considered as independent has
his/her own self-governing. In her life, Djuna dreams of a society being free from
male domination. She hasan irresponsible father who abandons her into an orphan
assylum. Having irresponsible father has built independent characteristic within
herself as described in the following description: Whatever was missing she
became: she became mother, father, cousin, brother, friend, confidant, guide,
companion to all. This power of absorption, this sponge of receptivity which
might have fed itself forever to fill the early want (1995: 40). Influenced by her
independent characteristic, Djuna has never been attached to someone in a
courtship as she grows up. She does not believe in what being called as natural
38
relationship which involves man and woman, specifically in relationship with
man.
Djuna wants to freely pursue her desire with no obstacle from her
surroundings. Therefore, she avoids maternal and marriage life because she thinks
that both of those things will limit her freedom. This proves that Djuna is self-
governed woman. In patriarchal society, it can be said that women are demanded
to provide society with children and it can be done legally through marriage.
Marriage is considered as women’s function to satisfy a male’s sexual needs and
to take care of his household. These duties placed upon woman by society are
regarded as a service rendered to her spouse (Beauvoir, 1989: 427).
After marriage, women are obligated to raise children. This is then being
said as natural calling for women. Yet some feminists argue that women should
have freedom to choose their own life without being limited by society
assumption. Beauvoir in her book states that there is nothing natural in such
obligation; nature can never dictate a moral choce; this implies an engagement, a
promise to be carried out. To have a child is to undertake as solemn obligation
(1989: 522).
Djuna’s decision to avoid maternal life also comes from her bad childhood
memory of being abandoned by her father. She has to take care over her siblings.
All the obligation in her family has set her unfree. She can not have the same
rights as the other children because she is put into an orphan assylum. In the
orphan, she has to look after her siblings. Djuna becomes mother, father, brother,
guide and companion for her siblings. Therefore, when she is grown up, she
39
obviously avoids maternal life such as raising or taking care of children
becauseshe thinks that it will make her imprisoned with all the solemn obligation.
It is shown in her dialogue with Lillian:
If they talked about her children and Djuna said: I never liked real children,
only the child in the grown-up, Lillian aswered: you should have had
children.
“But I lack the maternal feeling for children, Lillian, though I haven’t lacked
the maternal experience. There are plenty of children, abandoned children
right in the so-called grown-ups. While you, well you are a real mother, you
have a real maternal capacity. You are the mother type. I am not. I only like
being a mistress. I don’t even like being a wife.” (1995: 46).
Despite her independent characteristic, Djuna owns feminine characteristic
which is shown through her generousity and empathy. These feminine
characteristics comfort her surroundings as one of them is Jay. One day, Jay
comes to Djuna and tells the problem in his relationship with Lillian. Djuna can
calm and listen to Jay when he needs a place to shelter on. It is shown in Jay’s
statement toward Djuna:
“As if you expected a miracle every day. I can’t let you go now. I want to go
places with you, obscure little places, just to be able to say: here I came
Djuna. I’m insatiable, you know. I’ll ask you for the impossible. What it is, I
don’t know. You’ll tell me probably,. You’re quicker than I am. And you’re
the first woman with whom I feel I can be absolutely sincere. You make
happy because I can talk with you. I felt at ease with you. This is a little
drunken but you know what I mean. You always seem to know what I
mean” (1995: 75).
Jay’s statement above shows that Djuna’s feminine characteristics which are
soft and empathetic can comfort him. Jay can not find such the sincere feelings
with Lillian because he argues that Lillian is just too powerful. Another feminine
side of Djuna is shown from her appearance which can impress Jay.
“Your dress is green like a princess,” he said, “ I could swear it is a green I

have never seen before and will never see again. I could swear the garden is
40
made of cardboard, that the trembling of the light behind you comes from
the footlights, that the sounds are music. You are almost transparent there,
like the mist of perfume you are throwing yourself. Throw more perfume on
yourself, like a fixative on a water color. Let me have the atomizer. Let me
put perfume all over you so that you won’t disappear and fade like a water
color.” (1995: 77).
Yet, Djuna does not interested with Jay or any other relationship with men. She
refuses Jay and continues her relationship with Lillian.
b. Djuna’s Characteristics as Seen from Her Relationship with Women
In Ladders to Fire, Djuna is described as a lesbian woman. The term lesbian
according to Eisenstein defines someone who has withdrawn herself from the
conventinal definitions of feminity. She has refused to buy into the limitations and
restrictions placed upon her by the social expectation of acting like a “true
woman” (1983: 51). Djuna is never been attached in a relationship with men. She
argues that men will not give women chance to prove their strength therefore
women have to give in their strength. Djuna bravely admits that she does not need
men’s contribution in her life. She even does not believe in what society classified
as women’s natural roles such as marry with men and raise children.
Djuna is only attracted with women. She admires beautiful and passionate
women. One day, Djuna watches a dancing opera. She is attracted to the dancers
and compliments them as if she were a man.
At such a moment Djuna forgot that she was a woman and looked at the
women dancing with the eyes of an artistand the eyes of man. She admired
them, revelled in their beauty, in their seductions, in the interplay of black
garters and black stockings and the snow-white frills of petticoats (1995:
45).
At the first, Djuna only builds a friendship with Lillian. Yet as their needs of
each other grow larger, they fell in love. Djuna is attracted to Lillian’s personality
41
and feels the equal power in between. Djuna’s attraction toward Lillian is not an
attraction as a friend or sister, but as a lover who wants to embody herself in her
lover.
Djuna responded instantly to the quick rhythm, to the intensity. It was a

meeting of equal speed, equal fervor, equal strength. It was as if they had
been two champion skiers making simultaneous jumps and landing together
at the same spot. It was like a meeting of two chemicals exactly balanced,
fusing and foaming with the pleasure of achieved proportions (1995: 16).
Djuna empathizes Lillian’s sufferings in the relationship with men, therefore
Djuna comforts and showers Lillian with such affection. Djuna wants to guide
Lillian and becomes a good companion for her. It is described in the novel: But
each time she saw it in Lillian, flaring, uncontrolled, wild, blind, destroying itself
and others, her compassion and love were aroused. “That will be my gift to her,”
she thought with warmth, with pity, “I will guide her.” (1995: 23). Djuna and
Lillian build a strong relationship between them. It is a relationship between two
women whom both enjoy presenting devotion and affection. Both Djuna and
Lillian feels an equal power with no one side domination.
And then Djuna was there, to remove the arrows implanted in Lillian, to
cleanse them of their poison, to open the prison door, to open the trap door,
to protect, to give transfusion of blood, and peace to the wounded (1995:
41).
Besides, Djuna also has feminine characteristic which attracts Lillian.
Lillian sees Djuna’s feminine quality as something hidden and a pure treasure. As
stated in the novel: Outwardly Djuna was the essence of femininity . . . a curled
frilled flower which might have been a starched undulating petticoat or a ruffled
ballet skirt molded into a sea shell (1955: 22). Djuna’s femininity has also
fascinated Lillian’s powerful characteristic. In their relationship, they complete

42
each other by pursuing their own nature as shown in the following quotation: As
Djuna enjoyed Lillian’s violence, Lillian enjoyed Djuna’s feminine capitulations
(1995: 51). While Lillian falls in love with Djuna’s femininity, Djuna is amazed
by Lillian’s beauty and admires it. As one of Djuna’s admiration of Lillian is
described in the following quotation: She looked like a white negrees, a body
made for rolling in natural undulations of pleasure and desire. Her vivid face, her
avid mouth, her provocative, teasing glances proclaimed sensuality (1995: 44).
Although Djuna builds relationship with Lillian, she still does not want to be
bounded in a relationship. This shows that Djuna is a self-governed woman. In
her relationship with Lillian, Djuna feels happy yet afraid. She feels trapped as a
lover to give her whole self. Lillian often buys Djuna many gifts to gladden her,
yet Djuna precisely feels unhappy. She recognizes that every gift is bounded with
Lillian’s demand toward Djuna and it will destroy her freedom.
Djuna is showered with gifts as in a fairy tale, but she could not find in them
the fairytale pleasure. She felt that to each gift was tied a little invisible cord
or demand, of exactingness, of debt, of domination. She felt she could not
wear all these things and walk away, freely. She felt that with the gifts, a
golden spider wove a golden web of possession (1995: 42).
Since Lillian’s need toward Djuna grows larger, Djuna decides to leave
Lillian. Djuna is trapped in her relationship because she is obligated to give her
whole self whenever Lillian needs it. Therefore, she leaves Lillian and continues
her life freely. Djuna gave herself in the most unexpected ways. She lived in the
cities of inferior. She had no permanent abode. She was always arriving and
leaving undetected, as through a series of trap doors (1995: 162-163). Djuna’s
action of letting herself kept doing what she wants to do as a woman proves that
43
she is a self-governed woman. She argues that those who can make their own
lives are not only men but also women.
B. The Reflection of Radical Libertarian Feminism Ideas on Lillian and
Djuna’s Characteristics
After analyzing the characterization of Lillian and Djuna in Ladders to Fire,
this part aims to answer the second formulated question which is how their
characteristics portray the ideas of radical libertarian feminism. Here, the writer
mostly uses Tong’s radical libertarian feminism theories.
1. Avoiding Maternal Life
In patriarchal society, women are demanded to provide society with children
and it can be done legally through marriage. After marriage, women are obligated
to raise children and it is being regarded as natural calling for women. Yet the
radical-libertarian feminists argue that women should have freedom to choose
their own life without being limited by society demands and assumption. They
believe that women should subsitute artificial for natural modes of reproduction
because they perceive reproduction as women’s main weakness. As Tong states in
her book, the radical libertarian feminists believe that femininity and reproduction
limit women’s capacity to contribute to society. The radical libertarian feminists
are convinced the less women are involved in reproduction, the more time and
energy women will have to engage in society’s productive processes. They also
believe that the root of oppression lies in women’s ability to bare children
44
therefore they promote abortion, contraceptives and other forms of birth control
(2009: 74).
Djuna’s action of avoiding maternal life reflects one of the basic ideas of
radical libertarian feminism. In the novel, Djuna is described as a self-governed
woman who wants to pursue her dreams and desire freely with no obstacle from
her surroundings. She avoids maternal and marriage life because she thinks that
those things do not suit her personality. Djuna argues that the obligations in
maternal and marriage life will limit her freedom. This characteristic is also
shaped by her childhood memories when she has to take care of her siblings
because of poverty in her family. In her childhood, Djuna is limited to do
activities like a normal child because of this responsibility and it makes a trauma
of being attached into something. Therefore as she grows up, she does not want to
be bounded with solemn obligation of raising children which can limit her
freedom. It is stated in her conversation with Lillian: I never liked real children,
only the child in the grown-up, Lillian aswered: you should have had
children.“But I lack the maternal feeling for children, Lillian, though I haven’t
lacked the maternal experience.” (1995: 46). Djuna’s action of avoiding maternal
life proves the fact that she was against the old-fashioned society’s assumption.
She liberated herself from any obligation of maternal life.
This idea is also supported through Lillian’s action of leaving her family to
pursue her desire. Lillian is described as a passionate woman whose courage to
pursue her passion. Once, she is married with a man named Larry and has two
children. It is a harmonic marriage filled with joy and serenity. Yet that kind of
45
life does not suit Lillian’s personality. She feels like a stranger in her own house
instead, for her unfulfilled desire. Lillian has not been able to show her own
characters which are adventurous and passionate. In her marriage, Lillian is
obligated to take care of her family and play role as a good mother and wife. She
feels trapped and anxious about her life and nature as a woman. Lillian knows that
marriage and maternal life do not seem suit her personality. Hence, she rebels by
leaving her family and continues her adventurous life to pursue her nature and
desire by living a life where there is no obligation of taking care children through
maternal life.
2. Considering Normative Heteresexuality as a Form of Women’s
Oppression
Heterosexuality is still regarded by society as an obligatory for human and
there is no other option besides being heterosexual. Any other kind of sexual
interest will be considered as digression or even sin. Yet the radical libertarian
feminists argue that normative heterosexuality is a form of women’s oppression
where there is a tendency women are positioned lower than men. They suggest
lesbian as another sexual preference. Since a woman does not need a male body to
achieve sexual pleasure, she does not have to engage with in sexual relations with
a man.(Tong, 2009: 71-72). Moreover, they also recognize bisexuality as a sexual
preference in which women should explore within themselves. As one of feminist,
Clare Hemmings, states that those of us who consider ourselves feminist are
excited about the possibilities of a bisexuality informed by the understanding that
sex and gender are classifications by which women are oppressed and restricted
46
(2002: 17). Therefore, having sexual interests toward men and women has
become one of women’s freedom. Women who have courage to consider
themselves as bisexual are no longer submissive toward old customs.
Lillian’s courage to become bisexual reflects the idea of radical feminism.
She does not only express her sexual attraction towards men but also women
because she can not fulfill her desire only with men. Lillian falls in love with her
whole self integrity when doing bisexual relationship. In her life, Lillian builds
relationship with several men named Gerard, Larry, and Jay and several women
named Djuna, Sabina, and Helen. One of of her attraction with a man named Jay
is shown in the following description:
He sheltered himself, she carried his head on her breast, she carried his body
become limp, his hands nestling in her pocket. The waves of passion
inspired by his abandon intoxicated her (1995: 62).
Lillian loves to warm and shelter men. She also loves men’s affection
toward her yet it can not satisfy her hunger of love and affection. Therefore, she
experiences her sexual life with women, one of them named Djuna. In her
courtship with Djuna, Lillian can feel the equal power and devotion toward each
other. She recognizes that the love from women strenghens her. Loving in men
and women not their strength but their softness, not their fullness but their hunger,
not their plenitude but their needs (1995: 40). Lillian’s bisexual characteristic
shows that she is a woman whose courage to follow her desire. In society,
bisexual is still regarded as a taboo thing and sexual digression yet Lillian does
not want to be limited by this assumptions. She fights against the old patriarchal
custom and pursues her sexual interest freely.

47
.Another woman character whose freedom to choose her sexual preference is
Djuna. In the novel, Djuna’s attraction is not into men but women. She has never
been attached in a relationship with men. Influenced by her independent and
androgynous characteristics, Djuna frees herself from society’s assumption about
heterosexuality and men’s role in her life. She decides to become a lesbian which
reflects one of the major ideas of radical libertarian feminism. She argues that
men will not give women chance to prove their strength therefore women have to
give in their strength. Her lesbian characteristic is shown in her relation with
Lillian in which she feels the equal power. There is no one side dominancy in
their relationship. Since both of them share equal affection and devotion, Djuna’s
hunger for love is satisfied.
Djuna and Lillian’s freedom of choosing their sexual interests shows that
they break the society’s assumption about heterosexuality as the only sexual
preference for human. They prove that someone’s natural desire can not be
defined and regulated by such old assumptions. Human, especially woman, is free
to experience any sexual desire regardless society’s limitation.
3. Being Androgynous
Society has not encouraged the development of both masculine and feminine
characteristics within the same individual because it contrasts with the social
norms. Therefore, the action of being androgynous takes courage because it
challenges the gender stereotypes. It makes people thinking differently about
stereotypical male and female roles. As Humm states, many feminist philosophers
claim that androgynous personalities are holistic and have a capacity to

48
experience the full range of human emotions (1995: 10). This means that having
androgynous characteristic is the complete version of human emotions for
experiencing feminine and masculine characteristics within a soul.
Tong also states that the radical libertarian feminists support women to
become androgynous as a form to avoid patriarhcy’s gender streotype. The radical
libertarian feminists claimed that an exclusively feminine gender identity is likely
to limit women’s development as full human persons. Thus, they encouraged
women to become androgynous persons, that is, persons who embody both (good)
masculine and (good) feminine characteristics or, more controversially, any
potpourri of masculine and feminine characteristics, good or bad, that strikes their
fancy (Tong, 2009: 50).
Ladders to Fire presents Djuna as an androgynous woman. She has the
combination of masculine and feminine good characteristics. Her independent
and self-governed characteristics portray the masculine side within herself. She
has no doubt to pursue her dreams and desire regardless any obstacle from her
surroundings. Djuna’s masculinity side is also shown when she is attracted into
female dancers in a dancing opera. She is seduced by their beauty and sees them
as if she was a man. At one point, she also can also exposes her feminine side
through her generousity and emphaty toward her surroundings. As ones of them
being fascinated of Djuna’s tenderness are Lillian and Jay. Lillian can feel
Djuna’s sincerity toward her through affection and devotion which shelter her.
Another proof comes from Jay, Lillian’s male partner, who is also enchanted with
Djuna’s feminine appearance as depicted in the following statement:

49
“Your dress is green like a princess,” he said, “ I could swear it is a green I

have never seen before and will never see again. I could swear the garden is
made of cardboard, that the trembling of the light behind you comes from
the footlights, that the sounds are music. You are almost transparent there,
like the mist of perfume you are throwing yourself.” (1995: 77).
The androgynous characteristic is also reflected on Lillian’s powerful
characteristic. Nin’s Ladders to Fire describe Lillian as a woman whose courage
to pursue her desire and nature regardless patriarchal society. In her relationship
with Gerard and Jay, Lillian reverses the men’s roles and becomes the one who is
more powerful. As a woman, Lillian shows a different image from the society’s
expectations toward women. She makes decision and takes initiative firstly rathen
than her male partners. She is not a woman who only waits passively, she plays as
Romeo in her relationships who bravely takes action. It can be seen from her
personal description:
Nothing could prevent her from feeling that she was not Juliet waiting on the
balcony, but Romeo who had to leap across space to join her. She had
leaped, she had acted Romeo, and when woman leaped she leaped into a
void (1995: 55).
Lillian also becomes the one who works outside and fulfills the house needs.
In the relationship with Jay, Lillian is the woman who transforms into Aladdin’s
lamp to fulfill her partner’s needs. She works late hours while Jay only passively
waits at home. His refusal toward male’s natural obligation has made Lillian
becomes powerful and breaks the society’s belief which put women as the
inferior. As shown in the description: His helpness made him the “homme fatal”
for such a woman. His hunger for anything metamorphosed her into an Aladdin’s
lamp: even his dreams must be fulfilled (1953: 66).

50
Despite her powerful characteristic, Lillin owns the feminine side of woman
in herself. Lillian owns the criteria of attractive characteristic shown through her
appearance which can impress not only men but also women . She attracts her
lovers by using her charms, femininity, and passionate desire within herself.
Djuna and Lillian’s action of becoming androgyny reflect the idea of radical
libertarian feminism. Both of them can reach the equality by becoming
androgynous women. They show that women should not act passive and depend
on men. Lillian and Djuna also develop their characteristics and combine the
masculine and feminine side within themselves by breaking the old-fashioned
society’s assumption.
CHAPTER V
CONCLUSION
After analyzing the novel in the previous chapter, the writer can take
conclusions of the analysis. The first conclusion reviews the description of the
Lillian and Djuna in Ladders to Fire. The first character, Lillian, is generally
described having bisexual characteristic for having sexual interests toward men
and women. Therefore, Lillian’s characteristics are observed through her
relationships with men and women. In her relationships with several men named
Gerard, Larry, and Jay, Lillian is presented as a powerful and passionate. Besides,
the writer also concludes that Lillian is also an attractive and generous person
from her relationships with women.
Djuna in Ladders to Fire is depicted as a lesbian who lives her own life
independently. Djuna has never been attached in a relationship with men because
she has no interest and regard men as obstacle to pursue her desire and dream.
Djuna’s independence is mainly shaped from her bad childhood memory of being
abandoned by her father. Hence, when she grows up, she becomes independent
toward her own life and avoids all kinds of maternal or marriage life.Through her
relationship with Lillian, the writer concludes that Djuna has the characteristic of
androgynous person for having masculine and feminine sides within herself.
Djuna’s masculinity is firstly shown from her action of denying any bounded
relationship which shows that Djuna is a self-governed person. Moreover, Djuna’s
attraction toward sensual and beautiful women prove that she has no interest with
51
52
men. Despite her masculine side, Djuna also owns feminine side which is
portayed through her generousity and tenderness.
The second conclusion draws the answer about the ideas of radical
libertarian feminism as reflected on Lillian and Djuna’s characteristics. The first
idea of radical libertarian feminism as reflected in the novel is avoiding maternal
life. The radical libertarian feminists believe that femininity and reproduction
limit women’s capacity to contribute in society. They are convinced that the less
women are involved in reproduction, the more time and energy women will have
to engage in society’s productive processes. In Ladders to Fire, the character who
obviously shows her denial attitude towards reproduction and maternal life is
Djuna. She is described as a woman who avoids both maternal and marriage life
because she thinks that those two things do not suit her independent personality.
She thinks that the obligations of maternal life can limit her freedom. Another
character who supports this idea is Lillian. By courageously leaving her family to
pursue her passion, Lillian shows that a woman can freely decide what she wants
in life. She suffers and feels lost in her own family and house because of her
unfulfilled desire. Therefore, she takes the risk and leaves her family to fulfill her
desire. Djuna and Lillian’s action of avoiding maternal life proves the fact that
they are against the old-fashioned society’s assumption where women are
obligated to provide society with children. Both Lillian and Djuna liberate
themselves of any obligation and obstacle in maternal life.
The second idea of radical libertarian feminism as reflected on Lillian and
Djuna’s characteristics is the consideration of normative heterosexuality as a form

53
of women’s oppression. The radical libertarian feminists argue that there is a
tendency women are positioned lower than men in heterosexual relationship.
Women should be free to explore their sexual interests. Since a woman does not
need a male body to achieve sexual pleasure, she does not have to engage with a
man in sexual relations. Therefore they suggest women to become lesbian or
bisexual as a way to pursue their freedom without being submissive towards the
patriarchal system (Tong, 2009: 71-72). The main characters in Ladders to
Fire¸Lillian and Djuna, reflect this idea within themselves. Lillian’s courage to
become bisexual express her freedom to have sexual attraction toward both men
and women. She liberates herself from society’s assumption of regarding
bisexuality as a taboo thing.Djuna’s sexual preference of becoming lesbian also
support the idea of radical libertarian feminism. She independently lives her life
with no man interference. Both Lillian and Djuna prove that someone’s natural
desire can not be defined and regulated by such old assumptions in patriarchal
society.
The third idea is being androgynous. The radical libertarian feminists state
that an exclusively feminine gender identity aims to limit women’s development
as full human persons. Thus, they encourage women to become androgynous
person. Djuna’s androgynous characteristic reflects this idea of radical libertarian
feminism. She owns the quality of masculine and feminine good characteristics.
Her masculinity shown through her independent and self-governed characteristics
while her feminine side can be seen from her generousity and tenderness. On the
other side, Lillian also has the characteristic of androgynous person. In her
54
relationships with men, Lillian has become powerful and responsible because of
her passive male partners. Besides, Lillian also has charms and feminine side
within herself which can attract her surooundings. Both Lillian and Djuna develop
their characteristics and combine the masculine and feminine side by breaking the
patriarchal society’s assumption.
From the review above, it can be concluded that the women characters in
Ladders to Fire reflect the ideas of radical libertarian feminism. Through their
characteristics and courage, it can be concluded that such limitation and old-
assumptions in patriarchal society can not limit someone’s freedom, specifically
women. The two women characters, Lillian and Djuna, can liberate themselves
from gender streotypes which put women as inferior.

BIBLIOGRAPHY
Abrams, M.H. A Glossary of Literary Terms. New York: Holt, Reinhart & Winston
Inc, 1993.
Beauvoir, Simone de. The Second Sex. New York: Vintage, 1989.
Eisenstein, Hester. Contemporary Feminist Thought. Boston: G. K. Hall & Co.,

1983.
Evans, Judith. Feminist Theory Today: An Introduction to Second-Wave Feminism.

London: Sage Publications, 1995.
Freeman, Jo. Women: A Feminist Perspective. 3rd ed. Michigan: Mayfield

Publishing Company, 1975.
Henkle, Roger B. Reading the Novel: An Introduction to the Techniques of

Interpreting Novel. Michigan: Harper & Row, 1995.
Huffman, Karen, mark Vernoy, and Judith Vernoy. Psychology in Action. New
York: John Willey and sons Inc., 2000.
Humm, Maggie. A Reader’s Guide to Contemporary Literary Criticism. New York:

Harvester Wheatsheaf, 1994.
Humm, Maggie. The Dictionary of Feminist Theory Second Edition.New York:

Ohio State University Press, Inc., 1995.
Montagu, Ashley. The Natural Superiority of Women. New York: The Macmillan
Company, 1953.
Murphy, M.J. Understanding Unseens. London: George Allen and Unwin Limited,
1986.
Nin, Anais. Ladders to Fire wih foreword by Gunther Stuhlmann. Athens: Ohio
University Press, 1995.
Stanton, Robert. An Introduction to Fiction. New York: Holt, Rinehart, and

Winston Inc., 1965
Tong, Rosemarie Putnam. Feminist Thought: A More Comprehensive

IntroductionThird Edition. Colorado: WestView Press, 2009.
55
56
Wellek, Rene and Austin Warren. Theory of Literature (3rd Ed). New York: A
Harvest Book Harcout, Brace and World, Inc., 1956.
Widjanarko, Lusi Maria. “Radical Libertarian Feminism as Seen in the Main

Characters of Anais Nin’s Henry and June.” Undergraduate Thesis.
Yogyakarta: Universitas Sanata Dharma, 2008.
Widiastuti, Ika Dewi. “Nin’s Motivation to Establish Relationship with Henry and
June in Anais Nin’s Henry and June.”Undergraduate Thesis. Yogyakarta:
Universitas Sanata Dharma, 2011.
Internet Sources:
Franklin V, Benjamin. Introduction: Ladders to Fire.Swallow Press, Ohio

University Press. n.d.
(http://www.ohioswallow.com/extras/9780804011556_introduction.pdf).
September 14, 2015
Rampton, Martha. Four Waves of Feminism. Pacific University Oregon. October

25, 2015. (http://www.pacificu.edu/about-us/news-events/four-waves-
feminism). July 29, 2016.
Tucker, Carol. The Truth about Anais Nin. USC News, University of Southern
California. October 25, 1993. (http://news.usc.edu/9040/THE-TRUTH-
ABOUT-ANAIS-NIN/). August 9, 2016.
“Research Methods”. HLWIKI International. December 2, 2014.

(http://hlwiki.slais.ubc.ca/index.php/Research_methods). August 9, 2016.
APPENDIX
Ladders to Fire tells a story of how women struggle to pursue their passion
and desire. There are two women characters named Lillian and Djuna who become
the main characters. This novel is divided into two parts, This Hunger and Bread
and Water.
The story begins with Lillian’s habit of coming home, feeling emotional and
lost because of her unfulfilled desire in social relations. She is a very passionate
woman who is being trapped in patriarchal society’s rules. The anxietyof pursuing
her passionand desire against society’s objection haunts her life mostly.Lillian
dreams of an equal life companion in her life whose great power. One day, she
meets a man who once appears in her dream named Gerard. They build the
relationship for the mutual attraction in between. Yet, Lillian finds out that Gerard
is not her equal partner since Gerard is passive and it bores her. Her desire for an
active life companion cannot be truly fulfilled in Gerard’s characteristic therefore
she decides to end it.
Later, Lillian meets a woman whom she is attracted to, named Djuna. She
feels the equal power in Djuna’s personality. They build the relationship in between
and complete each other’s soul. It is a relationship between two women who share
equal power, speed, and fervor. Lillian tells her whole life including the anxiety
which haunts her mostly and Djuna shelters Lillian warmly.
Lillian then marries a man named Larry and has two children. Her marriage
goes stable with no great obstacle. Yet Lillian feels trapped in her family because
she cannot pursue her desire and be herself. She feels lost in her won house and
57
58
family. Lillian knows that such harmony and peaceful life do not suit her
adventurous personality. Her rolesof taking care the children and the house are
replaced with Nanny, a maid in the family. Later, Lillian’s urge of living in freedom
encourages her to leave her family and ask for divorce.
After divorced with Larry, Lillian lives in a small apartment by herself. Her
relationship with Djuna grows stronger than before. They admire each other’s
personality. As Lillian’s story life goes on, she meets a painter named Jay whom
she is attracted to. They build the relationship and live in Lillian’s apartment. Jay
enters Lillian’s life like a beggar who begs for a mercy from her and Lillian fulfills
it. Jay is powerless and becomes a homme fatale for Lillian’s powerful
characteristic. Lillian works outside and earns money to fulfill their needs while Jay
only waits quietly at the house.
Jay then has an affair with several women as one of them named Helen. Lillian
knows it and finds out who Helen is. At the first meeting with Helen, Lillian is
attracted to Helen. She no longer feels the anger within herself instead falls in love
with Helen. They share their story life and Helen’s decision of leaving her family
to pursue her desire successfully amazes Lillian. As the relationship goes on,
Helen’s need of Lillian grows immense and it traps Lillian. Therefore, she decides
to end the relationship.
The second part of this novel is Bread and Water. This part contains Lillian
and Jay’s relationship which grows complex for Jay’s attraction towards Djuna.
One day, Jay comes to Djuna and tells his marriage which becomes Lillian’s
control. Djuna comforts Jay with her feminine side and listens to his story. Both Jay
59
and Lillian admire Djuna’s personality and consoling soul. Yet.Djuna is only
attracted with woman therefore only Lillian completes her life. Jay continues his
affair with another woman named Sabina, a well-known mysterious woman among
the society. Again, Lillian finds out Jay’s affair by herself. She meets Sabina in a
coffee shop and is attracted with Sabina’s attractive characteristic. Lillian can feel
Jay’s attraction towards Sabina. After having long conversation about Jay, Lillian
and Sabina are attracted to each other. They build the relationship and share
affection in between. Again, Lillian feels an equal power in a homogenous
relationship. No one side dominancy because they complete each other. Yet, the
relationship does not work since Sabina’s mysterious characteristic transforms into
manipulative.
Lillian knows then that only Djuna who can fulfill her desire completely. She
also knows, however, that she needs Jay in her life. Both Jay and Lillian fix the
relationship and make it lasts.

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PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

THE IDEAS OF RADICAL LIBERTARIAN FEMINISM AS

Presented as Partial Fulfillment of the Requirements

ENGLISH LETTERS STUDY PROGRAM

THE IDEAS OF RADICAL LIBERTARIAN FEMINISM AS

Presented as Partial Fulfillment of the Requirements

ENGLISH LETTERS STUDY PROGRAM

A Sat:Jana Saslra Undergraduate Thesis

THE IDEAS OF RADICAL LmERTARIAN FEMINISM AS

Drs. Hirmawan Wijanarka, M. Hwn. Augustl5, 2016

AdventitIa Putranti,S.S., M. Hum. August 15,2016

A Sarjana Sastra Undergraduate Thesis

THE IDEAS OF RADICAL LmERTARIAN FEMINISM AS

Defended before the Board of Examiners

to the best of my knowledge, this undergraduate thsis contains no material

text of the undergraduate thesis.

Yogyakarta, August 15, 2016

Valentina Wldya Lestari

LEMBAR PERNYAT AAN PERSETUJUAN PUBLIKASI KARYA ILMIAI-I

Nama : Valentina Wielya Lestari

Demi pengembangan ilmu pengetahuan, saya memberikan kepaela Perpustakaan

THE IDEAS OF RADICAL LIBERTARIAN FEMINISM AS

Demikian pemyataan ini saya buat elengan sebenarnya.

Dibuat eli Yogyakarta

“And the day came when the risk

I dedicate this work

My biggest gratitude goes to my parents for endlessly supporting me

always reminding me to believe in myself even when self-doubt haunts my head. I

Valentina Widya Lestari

TITLE PAGE ....................................................................................................ii

CHAPTER I: INTRODUCTION ....................................................................1

CHAPTER II: REVIEW OF LITERATURE ................................................8

CHAPTER III: METHODOLOGY ................................................................23

CHAPTER IV: ANALYSIS .............................................................................28

b. Lillian’s Characteristics as Seen from Her

B. The Reflection of Radical Libertarian Feminism Ideas

CHAPTER V: CONCLUSION ........................................................................51

LESTARI, VALENTINA WIDYA. The Ideas of Radical Libertarian Feminism

Ladders to Fire is one of Anais Nin’s novels which becomes the

A. Background of the Study

Literary work becomes the reflection of society’s issue. It can be reflected

marginalized gender rather than men in patriarchal society. Patriarchy simply

Patriarchy is the power of fathers; a familial-social, ideological, political

women to develop themselves. According to Rosemarie Putnam Tong, patriarchal

ideology exaggerates biological differences between men and women, making

patriarchal society, undergo such discrimination as the effect of gender inequality.

Therefore, there comes feminism movement. Feminism movement is

women emancipation’s movement which comes from the awareness of gender

equality in the sense of living. In USA, feminism appears as a form of rebellion

nineteenth and early twentieth centuries, emerging out of an environment of urban

women’s liberation and gender equality through feminism movement. We (re:

movements as one of them is radical feminism. Similar to other feminism types,

oppression is basically located on sexism. This kind of oppression is the most

feminism is one type of radical feminism whose goal to remove women’s

oppression by encouraging women to become androgynous. As Tong notes the

radical libertarian feminists’ argument:

They suggest women to become androgynous, a person whose feminine

and masculine characteristics to achieve gender equality. Unlike radical libertarian

feminism which encourages women to become androgynous, radical cultural

She rejected the pluralist model of androgyny, according of women and

understand the idea of radical libertarian feminism as reflected in Ladders to Fire.

Based on the previous explanation, the writer then formulates two

1. What are the characteristics of Lillian and Djuna in Ladders to

2. How do Lillian and Djuna’s characteristics reflect the ideas of