Bioethics in Feminist Literature: Plath, Woolf, and Brontë

In the span of only a few days, the field of bioethics has seen an impressive surge in popularity at school. Naturally, I decided to venture into this area of study by writing an article on one of its most evident elements: feminist literature. There are a plethora of books within the realm of feminist literature which raise bioethical questions; thus, selecting only a few was a very difficult task. I ultimately managed to narrow it down to three novels: The Bell Jar by Sylvia Plath, Orlando by Virginia Woolf (I would never write an article on literature without including her), and Wuthering Heights by Emily Brontë. I considered Frankenstein by Mary Shelley, as it is a personal favorite of mine, but it just didn’t have enough content on bioethics for it to be a relevant addition to this article. Now, without further ado, let’s get right into it! 

1. The Bell Jar by Sylvia Plath 

   
   

   

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The novel traces Esther Greenwood’s journey as she struggles with anxiety and depression. She begins the story dating a man named Buddy, who is in medical school and appears to be rather insensitive. He tends to disregard his patients’ pain, has persuaded mourners into donating the corpses of their loved ones to science, and, in short, is solely focused on ameliorating medicinal practices without considering potentially harmful effects. As Buddy is represented as a dislikeable character, so is his work, and thus, Plath brings to the fore the unethical elements in technological and scientific advancements. The time Esther spends in the psychiatric hospital furthers this idea. She undergoes all sorts of treatments, notably electric shock therapy, which traumatize her. However, she soon meets Dr. Nolan, with whom she becomes genuinely comfortable around. Dr. Nolan portrays the significance of open communication in forming a healthy relationship and the value of caring for patients in order for them to be able to improve, which all contrast with Buddy’s behavior earlier in the novel. Mental health is intrinsic to The Bell Jar, and Sylvia Plath most certainly chose to take an approach focused on bioethics in the development of the story, seeing as she is clearly a renowned expert in this emerging field.

2. Orlando by Virginia Woolf 

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This is, in summary, a novel spanning the life of a heartbroken and naif nobleman in the Elizabethen period who becomes a diplomat, turns into a woman, has to return to England to settle the affairs that ensued from having changed sex, and, before death, in the 1920s, publishes a poem that was the work of centuries. It is indisputable that Virginia Woolf was considering bioethics when writing this. In fact, bioethics were likely the base from which the entire book was created. Weaving stream of consciousness, humor, and self-reflection, Woolf leads us into the psyche of a protagonist who portrays the fluidity of both gender and time. From a nobleman to a woman, things don’t come as easily as they once did. From the Elizabethen period to the 20th century, Orlando has to learn to adapt to a continually changing world. Yet, throughout the novel, the idea that you should remain true to what you know to be your identity prevails, as the external changes in the protagonist’s life only reflect the multifacetedness of his/her identity with which he/she is always comfortable with, thereby maintaining that experimentation on living beings is not only unnecessary, but unethical. Upon undertaking any pursuit in the sciences, Orlando serves as the foundation for bioethical thought, as it reminds us of how futile it can be to attempt to force change upon the course of life, especially when the most beautiful things are the most authentic. 

3. Wuthering Heights by Emily Brontë

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Brontë’s Wuthering Heights is the tale of intertwined families in the desolate Yorkshire moors, where everything began with the obsessive and destructive love between Heathcliff and Catherine. Although more famously known as a gothic novel, its bioethical nature should not be ignored. Heathcliff embodies the perspective Brontë purposely chose to take in order to contribute to the current literature on bioethics. Indeed, Heathcliff is depicted as the most malicious character in the book, especially because he never gains any redemption for his actions, on the contrary to Mr. Rochester in Charlotte Brontë’s Jane Eyre. Both men fulfill the role of the Byronic hero, except Mr. Rochester is forced to lose absolutely everything in order to repent and be absolved of his wrongs, whereas Heathcliff dies without remorse. By the way, this is why Wuthering Heights is a commentary on bioethics, and Jane Eyre isn’t. At any rate, the novel truly explores Heathcliff’s evolution, as we see the effect the environment can have on a person’s upbringing. He is consistently mistreated, if not dehumanized, by his family, to an abhorrent extent, ultimately shaping his vengeful outlook. The most intense emotions he witnesses are doused in hate. While we can argue that choice precedes the rest, that our experiences should not dictate our behavior, and, therefore, that just because he was abused does not mean he should be abusive, it was nonetheless Brontë’s intention to depict a truly villainous character who is the result of all of the villainous acts done to him in order to convey the idea that by treating somebody like a monster, you risk creating a monster. In other words, the novel tells us that treating a life without concern for its well-being is immoral, thus revealing its own stance in the field of bioethics. 

As the world begins to turn toward bioethics as the answer to everything, it becomes evident that feminist literature has always been deeply rooted in bioethics (or maybe it’s the other way around). Next time you pick up a book, I encourage you to examine it from the lens of bioethical literary criticism. I can guarantee you that this is the way anything was meant to be read in the first place.