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It is well known by many that, when it comes to literature appearing out of the South, female heroes traditionally usually do not receive as much interest or fine detail as their man counterparts. Harry Crews will not, as you might say, “stray definately not the road” of male dominated prose. However, this is simply not to say there are only few women within his writing, actually quite the contrary. Females are not only within Crews’s function, they are vividly entwined with the encounters and fiery outcomes of his male protagonist’s journeys; and A Feast of Snakes is definitely no different. In “Having trouble of it: Ladies in the Novels of Harry Crews,” an essay compiled by Elise S. Lake, Lake examines that despite the fact that some may interpret Crews as using females strictly in disrespectful or obscene methods for the advancement of his male character types, that “sheer range disputes the idea that Crews stereotypes females narrowly” (84). We visit a large number of angles and personalities in A Feast of Snakes by itself, including: Lottie Mae and Beeder performing as an empathy launch valve; the abused wife, Elfie; the best cheerleader/ catalyst, Berenice; and lastly the vicious sexual icons Hard Candy and Susan Gender. The two utmost probably, one dimensional people in A Feast of Snakes are Hard Candy Susan and Nice Gender. These two can be found in the story solely to be looked at as sexual icons. In the essay “Crews’s Women,” by Patricia V. Beatty, Beatty examines that “they are vacuous and empty, like Barbie dolls operate wild. The guys in A Feast of Snakes usually do not actually perceive them as threats, but only as practical sexual objects” (119). Their means of making love are intense and, in Hard Candy’s case, is when compared to roughness of playing soccer. Even within.