Simone Téry (1897–1967): writing the history of the present in inter-war France

Simone Téry (1897–1967), French journalist and novelist, joined the French Communist Party in the mid-1930s after visiting the Soviet Union. She worked as a correspondent for L'Humanité, Vendredi and Regards; the latter post took her to Spain during the Civil War. The resulting texts, Front de la liberté: Espagne 1937–1938 (1938) and Où l'aube se lève (1945), form the basis of my analysis of Téry's desire to write the history of the present in inter-war France. These texts, a work of reportage and a novel respectively, illustrate the relationship between the poetic, or imaginative, and the historical, or factual, in historical fiction. This relationship is particularly relevant to the literary history of 1930s France, given the highly politicized nature of literary production in the period and the resulting debates over the nature and future of the realist novel. Téry's rejection of modernism in favour of socialist realism suggests a conversion, common in left-wing writers of the period, to the notion that the modernist text is incapable of ‘containing’ history. The essay raises the question of French women writers’ relationship to committed literature in the 1930s, and demonstrates that women were active in this domain.     

What a Difference a Decade Makes: <Emphasis Type="Italic">Coming to Power</Emphasis> and <Emphasis Type="Italic">The Second Coming</Emphasis>

A critical look at two books, Coming to Power – Writings and Graphics on Lesbian S/M, published in 1981, and its ‘long awaited sequel’, The Second Coming – A Leatherdyke Reader, published in 1996, yields many differences and similarities. Both books have been judged negatively or positively on the basis of their sadomasochistic content and in line with knee-jerk positions around the lesbian ‘sex wars’ of the 1980s. The feminist politics represented in each book and the connections to more general lesbian feminist concerns and developments of either the late 1970s (Coming to Power) or the late 1980s and early 1990s (The Second Coming) are often overlooked or dismissed. Comparing the kind of sex acts and personas fetishized in each book as well as the claims made for lesbian sm by its adherents often reveals more than the writers may have intended. A more nuanced reading of both books also reveals connections between lesbian feminism, particularly lesbian radical feminism and the sm dykes. Rather than being the ‘illegitimate children’ of lesbian feminism, as Coming to Power maintained in 1981, it is clear now that sm dykes and lesbian feminists are strange sisters who needed each other to define their particular politicized identities.     

‘Settled in mobility’: engendering post-wall migration in Europe

The end of the bi-polar world and the collapse of communist regimes triggered an unprecedented mobility of people and heralded a new phase in European migrations. Eastern Europeans were now not only ‘free to leave’ to the West but more exactly ‘free to leave and to come back’. In this text I will focus on gendered transnational, cross-border practices and capabilities of Central and Eastern Europeans on the move, who use their spatial mobility to adapt to the new context of post-communist transition. We are dealing here with practices that are very different from those which the literature on ‘immigrant transnationalism’ is mostly about. Rather than relying on transnational networking for improving their condition in the country of their settlement, they tend to ‘settle within mobility,’ staying mobile ‘as long as they can’ in order to improve or maintain the quality of life at home. Their experience of migration thus becomes their lifestyle, their leaving home and going away, paradoxically, a strategy of staying at home, and, thus, an alternative to what migration is usually considered to be – emigration/immigration. Access to and management of mobility is gendered and dependent on institutional context. Mobility as a strategy can be empowering, a resource, a tool for social innovation and agency and an important dimension of social capital – if under the migrants' own control. However, mobility may reflect increased dependencies, proliferation of precarious jobs and, as in the case of trafficking in women, lack of mobility and freedom.     

‘The <Emphasis Type="Italic">Purdahnashin</Emphasis> in Her Setting’: Colonial Modernity and the <Emphasis Type="Italic">Zenana</Emphasis> in Cornelia Sorabji's Memoirs

This article focuses on two memoirs written by Cornelia Sorabji in the 1930s – India Calling (1934), and a subsequent book, India Recalled (1936) – in order to explore how discourses of space and place shaped the representations of femininity which structure these texts. Specifically, I will examine Sorabji's apprehensions of femininity in relation to the Muslim and Hindu women she viewed as her legal ‘clients.’ I am equally interested in these texts as evidence of how memory works as a practice of history – how events as they were recalled and recorded in the volatile 1930s and, especially in the wake of the Katherine Mayo controversy, how they helped shape the versions of the respectable feminine produced in her public writing of the period.     

That’s One Heck of an “Unruly Horse” Riding Roughshod overr Autonomy in Wrongful Conception

The case of Rees v. Darlington Memorial Hospital N.H.S. Trustarises from a lower court backlash against the a prior decision of the British House of Lords in McFarlane v. Tayside Health Board. McFarlane holding that healthy children brought about by negligence in family planning procedures are blessings, and parents should therefore be denied the costs of child maintenance. But, would the House agree with the Court of Appeal in Reesthat the factual variation in that case of a disabled parent with a healthy child should form an exception? In tracing the appeal of Reesto the House of Lords, this note explores their Lordships’ refusal in principle to depart from McFarlane, as well as the invocation of an autonomy-based approach to address the harm of unsolicited parenthood. In reflecting on the extent to which the wrongful conception action can be said to reinforce the value of reproductive autonomy, this note argues, nevertheless, that Reesillustrates in another way a significant departure from McFarlane, but that this is still a turn in the wrong direction. Far from resonating with women’s diverse experiences of reproduction, the law of negligence continues to illustrate little respect for reproductive choice. Therefore, this note calls for a deeper understanding of autonomy, one that recognises and embraces the diversity of individuals’ reproductive lives.     

interview with Sarah Waters (CWWN conference,University of Wales,Bangor, 22nd April 2006)

Sarah Waters was born in Pembrokeshire in South Wales in 1966. She is the author of four novels, Tipping the Velvet (1998), Affinity (1999), Fingersmith (2003) and The Night Watch (2006). Among her many awards and nominations one can include the Sunday Times Young Writer of the Year (2000), Author of the Year at the British Book Awards (2003), and the South Bank Award for Literature (2003). Most recently, The Night Watch has been short-listed for the Orange Prize. It was my great pleasure to have the opportunity to interview her at the inaugural conference of the Contemporary Women's Writing Network (CWWN), ‘For Love or Money? Contemporary Women's Writing in the Marketplace’, which was held at the University of Wales, Bangor, in April 2006.     

remembering home: nation and identity in the recent writing of Doris Lessing

In the UK, the writing of Doris Lessing has frequently been associated with left-wing politics and the second-wave feminist movement. Critics have concentrated primarily on issues of class and gender and have focused their attention on novels published in the 1950s and 1960s. This essay suggests that Lessing's work is over-ripe for reassessment in relation to ideas from post-colonial theory. Her writing repeatedly addresses questions about national identity and its imbrications with ‘race’. These ideas intersect in complex ways with her more familiar analysis of gender and class. This essay discusses Lessing's recent novel The Sweetest Dream (2001), which was widely read as an attack on the political idealism of the 1960s. It relates the novel to her collection of essays, African Laughter (1992), her recent essay on the situation in Zimbabwe, ‘The Jewel of Africa’ (2003) and the second volume of her autobiography, Walking in the Shade (1997). Zimbabwe (previously Southern Rhodesia) is of crucial importance in these works. The article explores how Lessing makes use of notions of city, home and memory that can be instructively compared with some of Toni Morrison's ideas in her novel Beloved (1987) and the essays ‘Home’ (1998) and ‘The Site of Memory’ (1990). Lessing revises the notion of ‘home’ so that it becomes capable of both recognizing racial and national differences and moving outside them. She also interprets memory as productive for the individual and the nation only when it becomes, as Morrison would say, ‘rememory’: when it can acknowledge the importance of imagination in dealing with trauma and thus suggest the fluctuating, mobile status of identity. The article demonstrates that similar ideas about home and memory are present in her fiction, essay and autobiography, indicating that her intention is to explore generic classification and blur the boundaries between different methods of writing personal and political history. Lessing's work strongly suggests the possibility that apparently ‘fictional’ writings may be more fruitful than ostensibly factual ones in allowing individuals and nations to make sense of their immediate pasts.     

Weird Lullaby Jane Campion's <Emphasis Type="Italic">The Piano</Emphasis>

This article examines the construction of woman's voice, gaze and desire in Jane Campion's Oscar-winning film The Piano, 1993, with particular reference to the film's central character, Ada, and to the traditional female figures which her character suggests - siren, mermaid, Little Red Riding Hood, Bluebeard's wife. It investigates the ways in which The Piano interrogates and disturbs traditional patriarchal narratives, ways of speaking and seeing, and patriarchal constructions of bodily pleasure and desire; revealing these as partial, hard of hearing, short sighted and incapable of pleasure. It argues that while the film succeeds in this interrogation, it goes further in its attempt to envisage forms of speech, sight and pleasure which do not conform to traditional models based on the notion of rigid oppositions between self and other, masculine and feminine, active and passive. Instead, by focusing on mutual pleasure, sensuality, communication and the ability to be moved, it sets in motion ‘other’ ways of experiencing and understanding women's voices, looks, desires.It concludes that The Piano articulates a demand for an encounter with men, in which women are neither marginalized as ‘the feminine’ nor re-incorporated into a patriarchal order; and imagines the possibility of both autonomy and connection, power and pleasure.     

exorcizing the past: the slave narrative as historical fantasy

Octavia Butler's 1979 novel Kindred is a hybrid text: part historical novel, part science fiction/fantasy and part slave narrative. The story transports a contemporary black heroine into 19th-century Maryland in order to explore, recreate and connect with African American narratives of identity. Providing two narrative strands, one in 19th-century Maryland and the other in 20th-century California, the text is able to juxtapose the realities of slavery with its legacy. Conflating these time-periods, Kindred aims to interrogate the marginalization of African American history, but specifically the role black women played in that history, in America's bicentennial year. While Butler adapts what has been regarded as the quintessential African American literary mode of the slave narrative, her fiction consciously draws upon a literary heritage that foregrounds narratives written by black women. Consequently, Kindred highlights the issues and concerns that directly affect the construction of black femininity and its role in the community of slaves as well as examining the historical pressure brought to bear on the configuration of contemporary African American womanhood. In doing so, Butler's fiction articulates the right of black women to intervene in their own construction and to inscribe the existence of black women in stories of originary identity. What this article seeks to explore is how Butler's fiction develops and extends the traditional slave narrative, how this is utilized in order to interrogate the ‘realities’ of both slavery and contemporary US society, and how effective the text is in challenging stereotypical representation of white and black femininity.     

All Het up! Rescuing Heterosexuality on the <Emphasis Type="Italic">Oprah Winfrey Show</Emphasis>

The Oprah Winfrey Show provides an interesting set of contradictions. On the one hand, it appears to challenge common-sense assumptions about relationships, specifically heterosexual relationships (for example, by consistently raising issues of sexual violence within a heterosexual context). Yet, at the same time, Oprah's presentation often works to reinforce precisely the norms she seeks to challenge. Through a close analysis of a selection of programme clips from one particular programme among many about relationships, sexuality and families, this article will consider the ways in which the Oprah Winfrey Show both problematizes and yet normalizes the boundaries of heterosexuality. Here we shall discuss both the resolute exposure and exploration of what could be termed the casualities of normative (and compulsory) heterosexuality and, paradoxically, its recuperation as a ‘rational’ ideal. In exploring the ways in which this recuperation takes place, we shall begin with a brief consideration of two of the key discourses which shape the show: the discourse of therapy and that of kinship. Our analysis of the sexual politics of the Oprah Winfrey Show in these terms will focus on the programme, ‘How to Make Love Last’ (18 January 1993). Like so many other programmes, ‘How to Make Love Last’ intends to highlight and deal with problems within heterosexual relationships as distressing but solvable (through the medium of therapeutic self-help). At another level, however, the programme also (unwittingly) reveals a different order of problems which, ironically, can only be reinforced by the mode of rescue proposed and staged.     

In Love with <Emphasis Type="Italic">Inspector Morse</Emphasis>: Feminist Subculture and Quality Television

This article consists of textual analysis of a highly successful television series, Inspector Morse, combined with qualitative audience study. The study of Morse and the fan culture surrounding it is presented in the context of a discussion of recent feminist work on the texts and audiences of popular culture. The textual analysis focuses on those elements of the programmes which contribute to its success as ‘quality’ television, and particularly on Morse as an example of the role played by nostalgic representations of Englishness in ‘quality’ media texts of the 1980s. The article goes on to discuss whether the presence of such representations in these programmes leads inevitably to a convergence of ‘quality’ and conservative ideology. The discussion of the ideological subtexts of the programmes then focuses on the area of gender representation, and on the extent to which feminist influences are discernible in this example of quality popular culture, particularly in its representations of masculinity. The second part of the article presents an analysis of a discussion group involving fans of the series, which was organized as part of a larger qualitative study of the fan culture surrounding the programmes. There is a detailed discussion of the impact of the social dynamics of the group on their readings of Morse. The analysis also focuses on the ways in which the discourses identified in the textual analysis, such as gender representation, quality and Englishness, are mobilized in talk about the programmes. Finally, the nature of the group made it possible to discuss the construction of a feminist subcultural identity in talk about a mainstream media text, and to identify irony and critical distance as key components of that identity, particularly in the discussion of the pleasures offered by the romance narratives of the programmes.     

voicing the non-place: precarious theatre in a women's prison

Based on the personal experience of the author, who is involved in theatre projects with women convicts, the article moves across issues of detention, migration, and precarity. Foucault's concept of governmentality is instrumental in describing the arbitrary exercise of power on incarcerated people and their precarious living conditions. Life in jail is especially uncertain for clandestine migrants. In the article, recollections from the rehearsals of the show I racconti del corpo (Tales of the body) alternate with images and quotes from the play, poems by women convicts, and reflections on detention as the ultimate condition of precarity for migrant women.     

Alice Notley's disobedient cities

The American poet Alice Notley has described one of her goals as being to take up ‘as much literary space as any male poet’ (Notley, 2005: 6), a phrase that questions the nature of ‘literary space’, and its relationship to material and political spaces. In Disobedience (2001), as in her earlier book The Descent of Alette (1992), the city is imagined in relation to what lies beneath it. Both of these extended poem sequences set up urban underground geographies, Alette – a mythical underground of caves and ghostly trains, and Disobedience – a largely subterranean Paris that shifts between the ‘real’ metro and a series of filmic dreamscapes. In challenging the scope and scale of canonical epics with feminist reconfigurations of form, her work engages with the public space of the city. This article will explore the connection between the extended poetic forms she uses in these two books, and ways in which her work conceptualizes the gendering of city space through relationships between the body and language. Through reference to readings of Michel de Certeau by Meaghan Morris and Doreen Massey, I will show how Notley's approach to problems of language and form, and their potential solutions, are not only enmeshed in certain spatial concepts but also able to offer a critique of them.     

Beyond Liberalism: Marxist Feminism,Migrant Sex Work,and Labour Unfreedom

In this article, I use a Marxist feminist methodology to map the organisation of migrant sex workers’ socially reproductive paid and unpaid labour in one city and country of arrival, London, UK. I argue that unfree and ‘free’ (sexual) labour exists on a continuum of capitalist relations of (re)production, which are gendered, racialised, and legal. It is within these relations that various actors implement, and migrant sex workers contest, unfree labour practices not limited to the most extreme forms. My analysis reveals that many migrant sex workers have very limited ‘freedom’. This is in stark contrast to the classical liberal claim of sex worker rights activists and academics that the vast majority of migrant sex workers are free, and therefore not coerced, exploited or trafficked. I then consider whether the emerging labour approach to trafficking could help achieve ‘freedom’ for migrant sex workers. Advocates argue that anti-trafficking efforts must, and can, be refocused on extending minimum labour and social protections to all vulnerable workers. I argue that this approach is disconnected from material interests and history. Rather, migrant sex workers, sex worker rights activists, and all migrant and citizen workers and activists globally must collectively organise against ‘labour unfreedom’ and hence for meaningful control over their labour and lives.     

Adventures of Feminism: Simone de Beauvoir's Autobiographies,Women's Liberation,and Self-Fashioning

While The Second Sex is usually taken as Simone de Beauvoir's major theoretical contribution to feminism, in the 1960s and 1970s it was very often through her autobiographies – especially Memoirs of a Dutiful Daughter, The Prime of Life, and Force of Circumstance, along with novels such as She Came to Stay and The Mandarins – that her feminist ideas were most thoroughly absorbed. The autobiographies became nothing less than a guide for the fashioning of a new kind of feminine self. Where The Second Sex had intimated that a significant aspect of human liberation lay in women not losing their identity or their sense of self in those of men, it was the autobiographies which suggested and demonstrated in great detail how this might be done. In them, the rejection of conventional marriage and children was no mere slogan, but the foundation of what seemed to young female readers to be a fascinating and challenging life. In this paper, I reflect on de Beauvoir and her historical and contemporary relevance: first through reminiscence and re-reading of the autobiographies themselves; then with an historical examination of how they were read, taking Sydney, Australia, as my example; and finally by offering some reflections on subsequent feminist critique.     

re-reading horror stories: maternity,disability and narrative in Doris Lessing's <Emphasis Type="Italic">The Fifth Child</Emphasis>

The central issues raised in much of feminist literary theory's early scholarship remain prescient: how does narrative engage with the social‐historical? In what ways does it codify existing structures? How does it resist them? Whose stories are not being told, or read? In this article I use Doris Lessing's novel The Fifth Child (1988) as a text with which to begin to address the above questions by reading with attention to the mother story but also the ‘other’ stories operating both within and outside of the novel; in particular I am concerned with the convergence of maternity, disability and narrative. The novel's co-implication of sexual difference and corporeal difference reveals the ways in which the mother's story is both made possible and authorized by the disabled body of her child, and by his inability to tell his own story. Yet, if The Fifth Child is a horror story that uses the disabled child's body as its ground, it is also about the horror of maternity, in its conception and attendant choices. In this fictional story as well as in the social‐historical narrative circulating at the time of its publication in the late 1980s, both child and mother are indicted in their otherness and it is ultimately impossible to separate one from the other.     

Public and Private Citizenship: From Gender Invisibility to Feminist Inclusiveness

Conceptions of citizenship which rest on an abstract and universal notion of the individual founder on their inability to recognize the political relevance of gender. Such conceptions, because their ‘gender-neutrality’ has the effect of excluding women, are not helpful to the project of promoting the full citizenship of women.The question of citizenship is often reduced to either political citizenship, in terms of an instrumental notion of political participation, or social citizenship, in terms of an instrumental notion of economic (in)dependence. The paper argues for the recognition of citizenship as gendered, and as an ethical, that is non-instrumental, social status which is distinct from both political participation and economic (in)dependence. What unites us as citizens, in our equal membership of the political community, need not rely on a conception of us as ‘neutral’ (abstract, universalized, genderless) individuals undertaking one specific activity located in the public realm, but can take account of the diverse ways in which we engage in ethically-grounded activities on the basis of our different genders, ethnic and cultural backgrounds and other differences, in both the public and private realms.A convincing feminist conception of citizenship necessarily involves a radical redefinition of the public/private distinction to accommodate the recognition of citizenship practices in the private realm. The paper builds on the observation that the concept of ‘citizenship’ is broader than the concept of ‘the political’ (or ‘the social/economic’), and contends that feminism provides us with the emancipatory potential of gendered subjectivity, which applies to both men and women. The recognition of gendered subjectivity opens the way to the recognition of the diversity of citizenship practices.It is not that women need to be liberated from the private realm, in order to take part in the public realm as equal citizens, but that women – and men – already undertake responsibilities of citizenship in both the public and the private realms.     

Not all the time … But Mostly…

Not all the time … but mostly … is the outcome of collaboration across the genres of ethnographic research, and visual and performing arts. In exploring renewed methodologies for social research Maggie sought to develop a methodological model (ethno-mimesis) rooted in feminist thought and practice, that represented in visual artistic forms the multiple standpoints of women working in prostitution. Ethno-mimesis is a combination of ethnographic research and the representation of this work in visual/artistic form. Introduced by a mutual friend in 1997 our collaborative work began with Sara reading and interpreting the ethnographic work with a view to developing a performance text, as an exemplar of ethno-mimesis. In the collaborative work presented here the hybrid texts that emerge are an outcome of the inter-relationship between ethnographic research and the re-presentation of women's life stories through live art forms – video, and two movement based performances. Through this work we hope to reach a wider audience, beyond academic communities, facilitating understanding, interpretation and maybe even action/praxis in relation to prostitution as a social issue. In representing ethnographic data in artistic form it is hoped that we can access a richer understanding of the complexities of women's lived experiences that can throw light on broader social structures and processes. Such hybrid work may also help audiences to see that women working in prostitution are ordinary women; and that ‘prostitutes’ are indices for all women.     

is there really a second shift,and if so,who does it? a time-diary investigation

This paper draws on data from the most recent Australian Bureau of Statistics (ABS) Time Use Survey (TUS) (over 4,000 randomly selected households) to tease out the dimensions of the ‘second shift’. Predictions that as women entered the paid workforce men would contribute more to household labour have largely failed to eventuate. This underpins the view that women are working a second shift because they are shouldering a dual burden of paid and unpaid work. However, time use research seems to show that when both paid and unpaid work is counted, male and female workloads are in total very similar. This has led to suggestions that a literal second shift is a myth; that it exists in the sense that women do more domestic work than men, but not in the sense that they work longer hours in total. Using a more accurate and telling measure of workload than previous research (paid and unpaid labour including multitasked activities), this paper explores the second shift and how it relates to family configuration, ethnicity and indicators of class and socioeconomic standing. It finds a clear disparity between the total workloads of mothers and fathers, much of which consists of simultaneous (secondary) activity, and some demographic differences in female (but not male) total workloads. It concludes that the view that the second shift is a myth is only sustainable by averaging social groups very broadly and by excluding multitasking from the measurement of total work activity.     

‘Precari su Marte’: an experiment in activism against <Emphasis Type="Italic">precarity</Emphasis>

Published to coincide with the quincentennial celebrations of Columbus's ‘discovery’ of the New World, the Native American writer Leslie Marmon Silko's apocalyptic 1991 novel, Almanac of the Dead, is a harsh indictment of five hundred years of colonialism, racism and genocide in the New World. Silko clearly links this inhuman(e) history to the contemporary social policies of a range of nation states within the Americas, to present a variety of political issues that are of crucial significance to contemporary tribal communities and other multi-national disenfranchised groups. Among others, this includes the significance of gender to constructions of American settlement and Federal-Indian relations, and to Silko's own status, and choice of literary topics, as a female (and Native) writer. This essay analyses Silko's disruption of authorized and sanitized state narratives, and of accepted (and acceptable) narratives of settlement; and considers Silko's use of the almanac form – the codex – of the pre-contact Aztec and Mayan libraries as a means to assert indigenous literacy, and to challenge the Euro-American claims to ‘civilization’ that are the basis for New World settlement. Most significantly, as its title suggests, Almanac of the Dead emphasizes the presence of the dead, both indigenous peoples and African slaves, to expose the real costs of settlement, and to actively un-settle the Euro-American reader. Consequently, Almanac of the Dead presents the powerful alternative histories of a range of dispossessed social and ethnic groups throughout the Americas, while relocating and reconsidering the US within the context of the Americas as a continental and historical whole, and emphasizing the positive potential of political activism.