Presence, process, product: the significance of the womb in writing woman

In this paper, I propose a way to interpret Trinh T. Minh-ha\u27s theory of writing woman. Minh-ha claims that writing woman must come through the body; therefore, I argue that this movement is situated within the womb. To navigate my argument, I investigate three texts as they represent the womb in different stages. First, I use two short stories from Chinelo Okparanta\u27s collection Happiness, Like Water to articulate the presence of the womb. Then, I explore the television miniseries Top of the Lake to demonstrate the process of the womb. Finally, I employ Karen Russell\u27s short story Reeling for the Empire to evince the product of the womb. These texts present the womb in atypical ways, which allows me to conclude that writing woman is a comprehensive endeavor that works to recognize the embodied experiences of women