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Desert of the Heart Paperback – July 1, 2005
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Soon Ann refuses to let the controlled but vulnerable Evelyn ignore the powerful emotions that begin to unleash inside her...
Immortalized for a whole new generation by the film Desert Hearts, Jane Rule's classic DESERT OF THE HEART is arguably her finest novel. Joyce Carol Oates called it an intelligent and utterly believable novel. Told with all the wit and skill of this fine novelist, the book stands as a classic of lesbian literature.
- Print length216 pages
- LanguageEnglish
- PublisherBella Books
- Publication dateJuly 1, 2005
- Dimensions5.5 x 0.5 x 8.25 inches
- ISBN-10159493035X
- ISBN-13978-1594930355
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-- "Globe & Mail"
"An intelligent and utterly believable novel."
-- "Joyce Carol Oates"
"An intelligent and utterly believable novel."
About the Author
Jane Rule was born in New Jersey in 1931 and came to Canada in 1956, where she later taught at the University of B.C. Her first novel, "Desert of the Heart" (1991), was made into a movie in the 1980s. Rule emerged as one of the most respected writers in Canada with her many novels, essays and collections of short stories including "Theme for Diverse Instruments" (1975). Rule passed away in 2007.
Product details
- Publisher : Bella Books; Reprint edition (July 1, 2005)
- Language : English
- Paperback : 216 pages
- ISBN-10 : 159493035X
- ISBN-13 : 978-1594930355
- Item Weight : 8.2 ounces
- Dimensions : 5.5 x 0.5 x 8.25 inches
- Best Sellers Rank: #454,769 in Books (See Top 100 in Books)
- #1,592 in LGBTQ+ Genre Fiction (Books)
- #13,908 in LGBTQ+ Romance (Books)
- #19,860 in Social Sciences (Books)
- Customer Reviews:
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About the authors

Jane Rule was born in New Jersey in 1931 and came to Canada in 1956, where she later taught at the University of B.C. Her first novel, Desert of the Heart (1991), was made into a movie in the 1980s. Rule emerged as one of the most respected writers in Canada with her many novels, essays and collections of short stories including Theme for Diverse Instruments (1975). Rule passed away in 2007.

Jane Rule (1931–2007) was the author of several novels and essay collections, including the groundbreaking lesbian love story Desert of the Heart (1964), which was made into the feature film Desert Hearts. She was inducted into the Order of Canada in 2007. Born in New Jersey, Rule moved to Canada in 1956, and lived on Galiano Island, British Columbia, until her death at the age of seventy-six.
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Evelyn Hall travels to Reno for a divorce from her husband. When questioned by her lawyer for a reason, she is at a loss, knowing only that they have never truly been husband and wife because she could never be who she was expected to be. Evelyn stays at a boarding house where she meets Ann Childs, a young woman who looks remarkably like herself and who works in the local casino even though she is smarter and more talented than her work. The two have an immediate smoldering attraction and interest in each other. Ann, much more outspoken, attempts to court Evelyn who is unsure of what accepting these advances will make her confess about herself. Together they embark on a relationship that is filled with learning and pitfalls, trying to decide if there is a place in the world where they could ever be together.
Rule's novel is unsentimental and compassionate at the same time. She does not shy away from sensitive issues and offers some extremely heartfelt observations about life, love, sin, and morality. The desert world of Reno, Nevada serves as a microcosm for the world and its precepts as Rule examines how conventions are not one size fits all. "Desert of the Heart" is an insightful journey through the minds of two very different women as they search for their true identities. It is a story that asks questions that are still in need of asking today.
The way the characters speak is unrealistic. I can buy some poetic talk from an English professor, but half the conversations between her and a casino employee being in metaphors? It became annoying to the point at which I literally threw the book across the room in disgust (but I eventually finished it). I suspected that the author was trying too hard. I'm the sort of reader who prefers concrete prose to symbolic blathering, though, and I'm not much of a fan of drama.
Both of the protagonists had tiresome hang-ups to which I could not relate; one of them was rather promiscuous, and not even in a passionate way, just a kind of jaded "sex, whatever," way. The characters were dull and I didn't like them. The novel itself was dull; not much happened. The limited sex scenes were boring, the courtship was boring.
Overall, the premise of the story held more promise than was delivered. The plot seemed like little more than a vehicle for the author's pretentious writing style.
[A bit thin, huh? Well, let me add that this is an example where the movie is better than the book. There is a major dramatic moment at least in the book that is not in the movie & the characters are somewhat different in various ways. I admit to not recalling exactly how -- been awhile -- but I do know that I enjoyed the movie as enjoyment much better. This is especially so because after around half-way thru, the book as noted really starts to be a trudge, being more academic sounding, less real really, and tiresome. The movie was a much better story (if with something of a weak ending) from beginning to end.]
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“Conventions, like cliches, have a way of surviving their own usefulness. They are then excused or defended as the idioms of living. For everyone, foreign by birth or by nature, convention is a mark of fluency. That is why, for any woman, marriage is the idiom of life.”
It is at the boarding house of matronly Frances Packer and her impish and high-spirited son, Walter, that Evelyn meets the striking Ann Childs, a quick-witted, perceptive and confident woman fifteen-years her junior. It is their uncanny resemblance to each other that breaks the ice, and this can perhaps be interpreted as a subtle reference to their future shared persuasions. In a ten-gallon hat and rodeo trousers, the first fleeting meeting of the pair sees Ann on route to her night- shift employment, working as a ‘change apron’ in thriving casino, Frank’s Club. Intrigued by Ann’s place within this house it takes time for Evelyn to discover her circumstances, with Frances enlightening her on the death of Ann’s lawyer father, leaving her alone in the world and with Frances acting as a watchful guardian. Ann’s bedroom, lined with bookshelves, offers a home from home to Evelyn, and as she waits for Ann to return from her work, she immerses herself in Ann’s private thoughts. It is on one of these nights that Ann first shows her drawings and cartoons to Evelyn, before opening her heart and sharing her private sketchbook, ‘Eve’s Apple’. The connection between the two in instant and the fascination mutual, despite their very different paths in life, however the often philosophical discussions about their circumstances show that Ann is every bit as intelligent as Evelyn.
Rule makes much of the casino workplace of Ann, with the occasionally crude burlesque beauty, Silver, her closet ally. It is Silver who first broaches the idea of lesbianism openly and her tongue-in-cheek advice to Ann to “just relax and enjoy her” when she is assigned a trainee to supervise and her veiled references to Evelyn as a “mother figure of the moment” are the most unequivocal references. Boss at the casino, Bill, is awkward in the company of Ann, a woman whom he loved but who felt unable to make or share a life with him and her rejection has left him smarting. Having engaged with both Bill and Silver on occasions, is it Ann that is more comfortable with her own sexuality to the significantly older Evelyn. However, Desert of the Heart does not speak explicitly of lesbianism. Despite Evelyn’s description of a close friendship with her wartime neighbour, Carol, she appears to have never actively considered the idea of her sexuality, if anything she is more inclined to refer to the concept of “latent homosexuality”. Evelyn’s idea of womanhood is tied to the idea of reproduction and there is some implication that Evelyn subscribes to the theory that every woman longs for her own child. Initially awkward and reluctant to confront their feelings, Rule paints the first overtures as the rather less than wholesome Evelyn’s longing for a child, finding a ready made replacement in Ann, and Ann’s desire for a mother figure. I suspect these aspects were required to dilute the idea that lesbian love could ever be an accepted choice as opposed to a situation that has been enforced by problems specific to an individuals psyche, but these aspects do belittle the power of the story.
Evelyn’s first visit to lawyer, Arthur Williams, is surprisingly short and with only one further meeting necessary before the court date she is shocked by the simplicity of gaining a divorce. Evelyn is truthful and states her and George’s incompatibility but Mr Williams bombards her with questions pertaining to mental cruelty, medical ailments or George having embarrassed her in public but Evelyn acknowledges that, if anything, it is George that has suffered the most in a union that has left him feeling inadequate and undermined. As the end of Evelyn’s six weeks draws closer, both Evelyn and Ann find themselves forced to contemplating everything from fidelity and the vows of marriage. Things come to a head when Ann’s jilted ex, Bill, threatens to intervene and cause disruption to both women’s lives.
Rule poses the question of whether Ann would ever leave her desert home and the importance of Evelyn’s academic career to her sense of self. It is the mostly unspoken and evolving attraction between the two woman that is the focus of Desert of the Heart, but Rule also takes time to ruminate of the isolation of the desert and the strange mix of people that populate and pass through Reno. Reading the novel in 2017 highlights how dated and irrelevant many of the preoccupations are, but it also highlights the necessary discretion between same sex couples that was a requirement of the 1950s era.




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