ABSTRACT
Marian Eide argues that Winterson's constant use of religious language is paramount in the metaphor of how language completes meaning and avoids falling into pornography. The end of Eides paper argues that Wintersons early novels draw attention to many Churches unequal treatment of homosexuals set against Christs demand to show compassion for the outcast. This chapter shows that although Winterson's language changes in The PowerBook and Lighthousekeeping, and is no longer so redolent of her Elim Pentecostal heritage as are Oranges are Not the Only Fruit or The Passion or Sexing the Cherry, it still entertains a vivid and lively interest in theological concerns. Andrea Harris explains the process in the same novel through the metaphor of merging with the other in sexual congress as central to Winterson's use of language. Once again starting with the metaphor of the computer, The PowerBook posits the existence of many interior lives that lie behind the outward self-expression of our everyday selves.
