Robbins Amy Moorman
Department of English, Hunter College, CUNY, New York, NY 10065, USA.
J Lesbian Stud. 2013;17(1):25-39. doi: 10.1080/10894160.2012.684021.
Against previous critics' readings of Stein's Blood on the Dining-Room Floor as a failed attempt at the hard-boiled genre, this article argues for the many ways in which the novel re-writes the gothic/domestic detective story in a brilliant tour de force that frames all that is un-natural about heteronormative Victorian family life while offering a lesbian alternative. In Stein's subversive and serious play with the forms and conventions of popular fiction, her positive invocations of Lizzie Borden as textual witness, her wide-reaching references to lesbian relationships in other of her works, and, finally, her virtuosic use of silence, Stein writes a profound critique of the patriarchal family through a radical unmaking of a thoroughly domestic literary form.
与先前批评家将斯坦因的《餐厅地板上的血》解读为对硬汉派体裁的一次失败尝试不同，本文认为这部小说以一种精彩绝伦的技艺重写了哥特式/家庭侦探故事，揭示了异性恋规范的维多利亚时代家庭生活中所有不自然的方面，同时提供了一种女同性恋的选择。在斯坦因对通俗小说的形式和惯例进行的颠覆性且严肃的创作中，她积极援引莉齐·博登作为文本见证，广泛提及她其他作品中的女同性恋关系，最后，她对沉默的精湛运用，斯坦因通过对一种完全家庭化文学形式的彻底解构，对父权制家庭进行了深刻批判。
