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By Thomas T. Y.

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Violence is hinted at throughout, but in small, subtle ways: the death of an insect exposed to Beatrice's toxic breath; the fearful movement of Rappacini through the deadly garden he has created, as "of one walking among malig­ nant influences, such as savage beasts or deadly snakes, or evil spirits, which, should he allow them one moment of license, would wreak upon him some terrible fatality" (166); and Beatrice's gentle touch on Giovanni's wrist, that nonetheless leaves a bruise, "a purple print, like that of four small fingers, and the likeness of a slender thumb upon his wrist" (181).

The gender coding within the story makes them one and the same. But neither the story's gender-coding nor its resultant emotional charge were anywhere to be seen in the original Neat Idea. Hawthorne's journal entry talks only about "persons . . " If there is any gen­ der difference between the venomous "persons" and the defenseless "people," the former would seem to be more likely to be men and the latter women, on the grounds that snakes and power have conventionally mascu­ line associations.

The same is true of all the other stories listed above. E. T. A. Hoffmann builds into his tale of the automaton Olimpia so many threads of sexual anxiety and gender miscoding that Freud made "The Sand-Man" the basis of his theory of the Uncanny, the sudden vision of something familiar rendered strange and unsettling. Hoffmann's story also introduces into SF the idea that the perfect woman might have to be manufactured by men, so that she would be all glittering surface and no troubling inner life.

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