The 1970s in the United States were a crucial time in politics and social change. Second wave feminism was characterized by women's sexual liberation. As women began to familiarize themselves with their sexual identity, the desire to define the rest of their identity also arose. The hope of creating a unique female voice has been transferred to the political sphere. After major changes began in Washington, women stepped up to fight for workplace rights and other opportunities on par with their male counterparts. However, this fight to create equality began long before this new group of feminists arrived on the scene. The same attack on inequalities of opportunity and the push for legislation to protect them can be seen as early as the 1920s; where courageous women strengthened their newly granted right to vote and sought to gain more ground. Second wave feminists maintained those old goals while redefining the platform they stood on by focusing on yet another aspect of oppression; the social paradox women face regarding sexuality. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The Virgin Suicides by Jeffrey Eugenides is set in this critical era for feminism and follows the tragic lives of the five sisters of Lisbon. Before committing suicide, the sisters faced pressure from both their mother and the boys who narrated the novel. This contrast between the overt sexualization of Lisbon girls and the oppression to force innocence creates an inevitable struggle. The struggle they face reflects the increased pressures society placed on women during that time. Each of the sisters rebelled in her own way, but Lux Lisbon was the most rebellious of them, openly defying her mother's harsh measures and objectification by the boys. Lux's rebellious actions through sexual liberation, a constant struggle against boundaries, and ultimately her suicide parallel the main theme of second wave feminism. Lisbon had oppressed Lux ​​since early adolescence; harshly punishing and banishing everything that could distance her from the innocence and purity that her mother so desired. This constant culling of Lux's burgeoning sexuality through the concealment of her body, the removal of any makeup, and the biblical reminders that she would be further punished ultimately drove her to rebel in an extreme way. Her first act of sexual rebellion was having sex with local heartthrob, Trip Fontaine. Not only did she stand up to her mother's oppression to keep her chaste, Lux also chose the social definition of a bad boy, further increasing her rebellion. When she and Trip had sex after the homecoming dance, it was Lux's entry into a new world. She was able to explore what she had been so closed off from, “a creature with a hundred mouths began to suck the marrow from her bones. He said nothing as he advanced like a hungry animal” (Eugenides 82). His desperation to experience what had been so strictly forbidden embodies his rebellious spirit. After being completely isolated from the world, Lux increased her sexual rebellion by continuously having sex with strangers on the roof of her house. Over and over the narrators saw men with her on the roof. She was so driven to rebel, to take control of her sexuality, that she braved the freezing winter to do so. “It was crazy to make love on the roof at any time, but dolove on the roof in winter suggested imbalance, desperation, self-destructiveness far superior to any pleasure snatched under the dripping trees" (Eugenides 143). This shows that Lux's desire to have sex was not for the pleasure of it, but to attempt to control her life and sexuality. This reflects the goals of second wave feminists who flaunted their sexuality to gain control of their lives. sexual identities and establish their control over the situation, rather than simply being sexual objects. . Lux also wanted control of the situation, seen in her encounter with Trip where she was energetic and voracious. She is also depicted as controlling the anonymous men on the roof, "positioning the boys, undoing zippers and buckles." being objectified by boys, but wanted to prove that she was in control of herself. As an act of open rebellion, Lux painted the name "Kevin" on all of her bras and underwear. She was flaunting her sexual identity for her mother and reversing the typical role of men and women in boasting of conquests, as second-wave feminists did in an attempt to diminish fear of female sexuality. Once again, Ms. Lisbon stripped her of this by bleaching them all until the name disappeared. This repeated attack on sexuality by Ms. Lisbon reflects the broader opinion about it in society. She pushed so hard for girls to stay pure because this was highly valued and sexuality was seen as a dangerous thing. However, sexuality did not prove dangerous, but Lux's mother's fear and struggle against it proved deadly. In addition to rebelling against sexual boundaries, Lux also rebelled against the physical boundaries imposed by her mother. Lux and her sisters have been confined to school and church by Mrs. Lisbon since the beginning of the novel, but after Lux breaks curfew by returning from her escapade with Trip they are all pulled out of school. They were completely stranded, trapped in the decrepit house. Despite this, Lux is determined to escape the oppression by communicating with the boys and sneaking out. He left notes for the kids and signaled them with flashlights. Sometimes he even risked calling them. Second wave feminists also fought against the control of the greatest power in society, men. They worked tirelessly to extricate themselves from the segregated class into which they were born; constantly propose and promote legislation that puts them on an equal footing with men in the workplace and in society. Likewise, Lux longed to move away from the isolation forced by her oppressor: “A few weeks after Mrs. Lisbon had locked the house in high-security isolation, sightings began of Lux making love on the roof” (Eugenides 136 ). He rebelled against his mother's control and the constant threat of punishment by fleeing to the freedom of the outdoors. Lux Lisbon's final act of rebellion came in the form of her suicide. She died silently and alone, a commentary on the death of the spiritual experience of so many women who were rejected by society. “They found her in the front seat, gray-faced and serene, holding a lighter that had burned its coils into the palm of her hand” (Eugenides 281). She died of carbon monoxide poisoning in the car that was supposed to take her home. escape with the storytellers. His rebellion is expressed so strongly here; she would rather be dead than be controlled and continue to face the constant social paradox she lived in. Taking his own life in his getaway car reflects his decision to take his own life as.