As Virginia Woolf put it， “Killing the angel in the house was part of the occupation of a woman writer” （Woolf 240）. It is a commonplace for woman in Woolf’s age to allow her angle of vision to be limited by what is expected of her from the public. The widely coveted female figure could be symbolized as the angel in the house. She holds women back from expressing their unique and to some extent shocking insights. The point I am trying to make in this essay is that the authors of Gender Failure and the heroine of Good Night Desdemona have all been through a battle with the “angel in the house”， and they have successfully killed it.
　　The authors of Gender Failure， Spoon and Coyote， and the heroine of Good Night Desdemona， Constance， do not fall in line with their peers or co-workers. They are unique in an unpopular way and are in a sense socially marginalized. Spoon and Coyote don’t conform to the social perception of women； they refer to themselves as gender-neutral. Constance doesn’t live up to the expectation of a successful academic. She is used by her supervisor， whom she is in un-requited love with. Meanwhile， she is despised by her students. People who suffered from depression always concede after the trauma that depression has given them a distinct angle of observing the world. Likewise， I would argue that it is the state of isolation from the main stream that has helped foster their distinguished talents. Spoon and Coyote are accomplished musicians who are known for their distinctive style of performance. Similarly， Constance is the first one who questions the tragic nature of Shakespeare’s two famous plays.
　　Both Spoon and Constance have been at the stage where their identity seems obscure to them. For Spoon’s part it is reflected in their perpetual story-telling experience. For example， “There was always a vetting period where I wasn’t sure if the person I was romantically involved with really believed the story I told about my gender” （Spoon