Isaac states that:
I'm not sure i totally understand the idea that a desire for closure is (a) gendered and (b) specifically masculine. I get that the traditional narrative structure makes a rather nice metaphor for the male experience of sexual pleasure (and vice versa) but I'm not sure I really get it beyond that, particularly since I don't see much evidence that female artists or audiences are more willing to go for non-closure narratives (I'm not including Soap Operas here simply because I think there's a difference between Finite Narratives that end without closure and Endless Narratives like Soaps-- which traditionally appeal to a female audience-- or mainstream comix franchises-- which traditionally appeal to a male one) . If anything, I see a lot of art that frustrates the desire for closure as being full of masculine posturing, i.e. "Are you MAN enough to deal with my lack of wrapping things up for you, or are you a wuss?!"I recall reading on an anti-racist blog about someone describing a friend of theirs having a tough time of acclimating to university life, and that friend had talked about feeling as though as people were speaking in a secret code that allows them access to resources and opportunities. At the time, the narrator said that they didn't feel that was the case. The friend countered with the idea that perhaps the narrator spoke that code without realizing it.
It may be hard for you to fully understanding the distinction because, well, you're a cisgender man*, and your own style of communicating - at least in writing - is firmly within that masculine paradigm. In addition, from what I've seen, you engage most fully with a manner of communicating that also fits that style - even if you disagree with the content of what you're responding to. Not to mention, a lot of these ideas are very nuanced and can only be fully grasped through experience. As a result, it's not surprising that what you talk about as closure in general is actually a very specific type of closure**, one rooted in a paradigm dominated by men.
As I hinted at in "The Visibility of Whiteness," part of how dominance works - at least in cultural terms - is that it takes a subjective perspective and renders it neutral. It takes the visible and makes it invisible. So what you get is a very particular way of looking at things and making it simply "the way things are."
Is it really any wonder that you don't have the tools to recognize or analyze narratives that don't fit that model?
Of course, this naturally leads to a question I find incredibly interesting, if only for the fact that it increases possibilities instead of reduces them. That question being . . .
You might want to start with Helene Cixous (in the original French if you want to grasp the full richness of her ideas - which I cannot do yet). After getting a grounding in Cixous, I would suggest examining narratives that have traditionally been handed down by women. Namely, fairy tales. Try to focus on collections from the Italian, Germanic, and French traditions because those are closest to the original oral sources (aka women). I would avoid the ones created by Charles Perrault and Hans Christian Anderson. If you can get your hands on it, Angela Carter's The Bloody Chamber is a must-read.
Outside of fairy tales, literature by Black women is a good place to go because that non-linear narrative is presented so clearly. Toni Morrison, naturally. Gayl Jones' Corregidora also. Octavia Butler's Kindred. Ntozake Shange's For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuff. Toni Cade Bambara.
Manga is a very interesting place to look as well. The entire shoujo-ai genre (not the same as yuri!) is heavily female-centric. Revolutionary Girl Utena (the series) is a great example of feminine narrative. You might also want to check out Strawberry Panic and Maria-sama ga Miteru. The Inuyasha manga is also a good source to explore.
Why do I focus on literature as opposed to other media? In collaborative arts like film and theatre, it's hard to get a sense of who's driving the process. I also majored in English at an HBCU, which meant that most of my teachers (and most of the works I studied) were by and about Black women. As a result, I can list things off the top of my head that most people have to dig around to find. Ditto my thing for anime.
* You sort of brushed this off as tangential when you probably should make it central. When you say, "I don't see much evidence that female artists or audiences are more willing to go for non-closure narratives," why do you think you don't see it? ** A circle has closure, but that shape carries clearly feminine connotations. So what do people really mean when they say "closure"?
** A circle has closure, but that shape carries clearly feminine connotations. So what do people really mean when they say "closure"?