“The dilemma that women writers encounter in their project of telling the other side of the story clearly has affinities with the debate over sexual difference currently preoccupying feminist theorists on both sides of the Atlantic. [fn 11] On one hand, the woman writer is often working explicitly from the recognition that received notions of plot, character, sequence, and even the grammatical structures in which these notions are received presume a dichotomy of same/other that institutes and preserves sexual difference within a binary schema of dominant and muted values. On the other hand, her attempts to overthrow or evade the terms of her inherited tradition are liable to be co-opted by these same terms, so that resistance is reinscribed as the failure inherent in the very concept of feminine literary endeavor.
[fn11: The issue is probably the most fundamental and certainly the most controversial in feminist theory over the past ten years. On one hand, any privileging of the differences between subjects gendered masculine and subjects gendered feminine threatens to turn into wholesale acceptance of the cultural stereotypes that institute and maintain sexism. On the other hand, insisting on a lack of difference between masculine and feminine subjects threatens to assimilate everyone to a masculine system of values— to what Luce Irigaray perceptively calls the economy of the Same]” (7)"
— Molly Hite, The Other Side of the Story: Structures and Strategies of Contemporary Feminist Narrative. Ithaca: Cornell UP, 1989.