Sacred Belonging: Writing,Religion and Community in H.D.'s Second World War Novels

Abstract: This article considers two works from H.D.'s Second World War writing: The Gift and The Sword Went Out to Sea. In these texts, H.D. situates herself in the context of diverse intimate communities: her spiritualist circle, her partnership with Bryher, her family and previous generations of Moravians. These communities ground her personal vision of writing as a spiritual exercise that will bring healing to both the individual psyche and the wider society ravaged by war. The significance of community is such that when she becomes isolated, desolation and breakdown follow. The restoration of communication and community through vision and writing leads to healing and a particular understanding of religious modernism as a unity of spiritual and material, transcendent and ordinary.     

‘A sort of Rathmines version of a Dior design’: Maeve Brennan,Self-Fashioning and the Uses of Style

This article explores the politics of style in the writing of Maeve Brennan. Brennan's concern with style, subjectivity and power is strikingly visible in her short stories and ‘Talk of the Town’ essays for the New Yorker. While in some of her short stories published in the New Yorker in the 1950s, Brennan seems to offer an extended critique of dandyism, elsewhere in her writing self-fashioning takes on an altogether more positive value and is steeped in the political as well as literary commitments of her work. The article argues that Brennan's interest in the politics of style, both personally and in her writing, is informed by the different strategies she deployed as an Irish woman writer establishing her place amongst a New York literary elite in the mid twentieth century.     

The Subversive Stitch: Female craft,culture, and ecriture

By making an embroiderer her central narrative voice and embroidery both the structural and the thematic focus of her most recent novel (Le Passé empiété [The Back Stitch]), Marie Cardinal complements Rozsika Parker's efforts (The Subversive Stitch: Embroidery and the Making of the Feminine) to trace the parallel histories of embroidery and femininity through the novel. For both Parker and Cardinal, embroidery figures the creative tension between conformity and subversion that Cardinal posits as common to all women and that results in Le Passe empiete in a complex reevaluation not only of the female artist herself but of both the traditional and the feminist critical context within which she currently creates. In particular, Cardinal explores the relationship between women's traditional domestic tasks and their artistic production, and she uses the specific qualities of embroidery to rethink common assumptions about literary influence and authority, the writing process, and the mythic tradition.     

Theme: Making us Modern: Australian Writing in Modernity

‘Making us Modern’ brings together articles concerned with the scene of Australian writing and the relevance of ‘modernity/ies’ and ‘modernism/s’ for contemporary writing and reading practices. What is the ‘modern’, who are its subjects, and how has the modern made us—as ‘postmodern’, perhaps? And, who is this ‘us’, anyway? Attempts to theorise modernity and its aesthetics have often taken the white Western male as their subject. Intervening in these theories, however, are the efforts of feminist critics, among others, who seek to install those troubled terms ‘gender’ and ‘race’ at the centre of their considerations of modernity, modernism, and reading and writing subjects. The articles in ‘Making us Modern’ contribute to these debates. Twentieth-century Australian modernities have been seen as holding together a mix of trauma and pleasure, constraint and release, sometimes represented in literary texts in seemingly impossible relation. For Esther Faye, writing on the short stories of Australian-Jewish writer Rosa Safransky, the subjective experiences of post-war Australian modernity are characterised by the traumatic dislocation of human subjects in time and space. In Safransky's stories of family and domesticity is seen the trauma experienced by gendered and racialised subjects in the particular context of the Shoah and its aftermath. Although, as she says, ‘the canonical status of the Shoah as the paradigmatic modernist event is increasingly contested’, through a Lacanian reading of Safransky's texts, Esther Faye shows the ways that the Holocaust's radical disruption of time and its dislocation of the Jewish subject in history echoes in its logic the wider deracination of the subject in modernity. It testifies ‘to the traumatic structure of subjectivity itself’, and it testifies, too, to the particular kind of ‘pleasure’ that is constituted in inextricable relation to trauma. In this way, as Esther Faye argues, being Jewish after Auschwitz is a question for all of us.     

'The fact that possesses my imagination': Rachel Carson,Science and Writing

Rachel Carson is a famous but unknown writer. She is remembered as a pioneering heroine of the ecological movement, but even her Silent Spring is hardly read and the great books about the sea that made her name are unknown to the public. Recent biographical accounts have focused on the problems Carson faced as a woman entering the male-dominated scientific community, and the sexist reception of her books. But her real life was plainly in her writing. Although the accounts of geology in The Sea around Us and of genetics in Silent Spring are outdated, her books remain classics, not only for their lucidity and beauty, but for a vision of the impersonal processes of evolution and geological time comparable to Darwin's. This is especially true of her trilogy of books on the sea: The Sea around Us , describing the biochemistry, history and geography of the oceans and their tides, Under the SeaWind, focusing on the interdependent lives of sea-creatures, while The Edge of the Sea deals with the lives, great and microscopically small, of the intertidal world. The corresponding theme of Silent Spring is the death of nature through man's folly.     

‘A Little Tragedy of Two Races and Two Traditions’: gender and nationality in the historical fiction of Hilda Vaughan

This article discusses the representation of gender and nationality in the historical fiction of Hilda Vaughan, a Welsh woman writing in English during the early twentieth century. It offers a detailed discussion of her second novel, Here are Lovers (1926), but also makes reference to other texts. These texts are located within the historical context of the interwar period when nationality was a key issue for both feminist campaigners and emerging Welsh nationalist politics. The article draws upon the theoretical work of Williams and Foucault and argues that Vaughan's fiction offers a particularly sustained exploration of the gendering and classing of national identity.     

working-class whiteness from within and without: an auto-ethnographic response to Avtar Brah's ‘the scent of memory’

Inspired by and responding to Avtar Brah's ‘The Scent of Memory’, this piece attempts to reinscribe race into an auto-ethnographic narrative where previously whiteness was unmarked. It explores the dynamics of gender, race and class through the author's personal history as a white English woman and class migrant, and through discussion of the broader political and historical context of that trajectory. The discussion includes analysis of the impact of British Conservative politician Enoch Powell's infamous ‘rivers of blood’ speech in 1968 on the author's white English working-class culture of origin in Wolverhampton, where Powell was a Member of Parliament. The article considers the speech's continuing ramifications in the twenty-first century and in more middle-class contexts, as evidenced by the recent evocation of the speech by historian David Starkey in discussion of the ‘riots’ of August 2011 in British cities. The personal history is reconstructed through a series of memory scenes that trace and retrace the author's experience and understanding of race and its intersections with class and gender; this is attempted in full cognisance of the constructed nature of memory, and of the performance of identity that autobiography entails. The piece draws on the work of the class migrant white French writer Annie Ernaux, with whom the author has been in dialogue since 1997.     

‘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.     

Left Activism,Succour and Selfhood: the epistolary friendship of two revolutionary mothers in 1970s Britain

At the height of mass activity on the Left, the ascendancy of the women's liberation movement (WLM), and the beginnings of real social and personal change for men and women, the 1970s are increasingly seen as the decade when sixties permissiveness began to be truly felt in Britain. This article draws upon a personal archive of correspondence from this turbulent decade, between two revolutionary women, Di Parkin and Annie Howells. It argues that the women's letters form an important contribution to new understandings about the construction of the post-war gendered self. The letters represent an interchange of motherhood, domesticity, far-left politics, and close female friendship. The article will show how the women's epistolary friendship offers intimate insight into female self-fashioning at a breakthrough social and political moment in 1970s Britain. As they reflected on some of the key political and social themes of the decade—class, labour, race and gender relations, as well as international politics—Di and Annie sought to negotiate themselves in relation to shifting discourses and social patterns. Writing as relational female subjects and individuals, the women's letters became simultaneously a private and shared space in which to compose themselves as women, revolutionaries and feminists, and autonomous sexual subjects. As a result, this article will show, the epistolary lives of these two radical women inform valuable understanding about some of the complex ways in which post-war individuals used available cultural and political resources to find meaning in their lives.     

Haunted by the Lady Novelist: Metafictional Anxieties about Women's Writing from Northanger Abbey to The Carrie Diaries

This paper argues that the development of the identity of the professional woman writer as a ‘lady novelist’ in the mid-eighteenth century has had a lasting and detrimental impact on the status of women's writing that lingers through to the present, particularly in the critical discourse surrounding chick lit. The first part of this paper discusses the figure of the lady novelist and traces her centrality to criticisms of women's writing from the eighteenth century through to the twenty-first. The second part of this paper then examines the haunting presence of the lady novelist in the metafictional works of seven representative women writers: Jane Austen's Northanger Abbey (1818), Elizabeth Barrett Browning's Aurora Leigh (1856), Louisa May Alcott's Little Women (1868), L. M. Montgomery's Anne of Green Gables (1908), Betty Smith's A Tree Grows in Brooklyn (1943), Fay Weldon's The Life and Loves of a She-Devil (1983), and Candace Bushnell's The Carrie Diaries (2010). By drawing a through-line that connects these texts, I argue for a renewed understanding of the ways in which Western women writers from the eighteenth century to the present are unified by a pervasive anxiety about being a ‘lady novelist’.     

Writing the Self: the journal of Sarah Stoddart Hazlitt, 1774–1843

This paper is concerned with Sarah Stoddart Hazlitt and her text, Journal of My Trip to Scotland, written in 1822 and first published by Le Gallienne in 1893. The journal was written during a three-month trip to Scotland and Ireland as Sarah awaited the progress of divorce proceedings from her husband, the essayist, William Hazlitt. The article looks at the journal in its context as travel writing of the Romantic period and examines Sarah's identities performed in the text.     

Speaking volumes: Amélie nothomb's hygiène de l'assassin

This article discusses the first novel of the Belgian writer, Amélie Nothomb, whose irreverent mixing of classical and contemporary models of writing has delighted literary critics in 1990s France. The main argument of this article will be that Hygiène de l'assassin playfully appropriates aspects of both Plato's Socratic dialogues and the classic detective story to question the ways we approach texts and the reading strategies we adopt. Central to Nothomb's concerns is the subversive effect of the woman reader as a figure who contests (male) authorial intentionality. Bakhtin's formulation of the “novelistic” also operates as an important critical reference point for my discussion. It offers a model for understanding the literary experimentation of Nothomb's text as a means of creating “speaking volumes,” dialogised encounters, which unsettle our expectations of genre, literature and culture.     

When the Earth is Female and the Nation is Mother: Gender,the Armed Forces and Nationalism in Indonesia

Takamure Itsue has many faces following different phases of her life: poet, activist-writer, anarchist, ethnologist and historian. Throughout these transformations, Takamure maintained her feminist position. This article concentrates on her politics of love, sex and marriage, formulated and presented in the pre-war period during the time of Japanese colonial empire. A specific focus is placed on her positionality in the act of writing within the discursive field of women whose nation was colonizing others, notably Koreans. The combination of positivistic craving for ‘scientific’ history to substantiate the uxorilocal tradition of Japanese matrimony and uncritical acceptance of ‘motherhood’ as a superior virtue led her to consequently embrace Japan's colonialism.     

The Sudanese Woman

The nature of the relationship between (proto-)feminism and (anti-)imperialism is highly contested. A case in point is the work of Olive Schreiner, and the articulation of gender politics with (anti-)imperialism which has been subjected to repeated scrutiny in the last twenty years. One strand of criticism, exemplified by critics like Laura Chrisman, Anne McClintock and Carolyn Burdett, argues that Schreiner generally successfully integrates a (proto-)feminist politics with criticism of imperialism in her writing produced after The Story of an African Farm . However, her first novel is viewed as more problematic in this regard. While acknowledging it as a major early text of the women's movement, such critics see the novel as in large measure endorsing prevailing Victorian ideologies of racial hierarchy. Drawing on the methodology of Sub-altern Studies, Moore-Gilbert proposes a rather different interpretation of The Story of an African Farm . Following the lead of Ranajit Guha and his colleagues, he seeks to trace the impact of (the resistance of) the colonized subaltern on the colonizer's unconscious and how this is reflected in the colonizer's regimes of representation and self-image. He proposes that Waldo can be read 'catachrestically' as a figure of the (partially resistant) colonized who at the manifest level occupy only a marginal role in Schreiner's text. The aim is not to overturn readings of Waldo that see him as an exemplary 'modern', embodying many of the characteristics of western civilization at the time. Rather, the argument is that such a 'catchrestic' reading can co-exist simultaneously with these received interpretations of his role, thus corroborating the perception of the Subaltern Studies historians on the existence of conflicts and contradictions in the colonizer's unconscious that mark the (oppositional) presence of the (historically effaced) subaltern. Against their emphasis, however, Moore-Gilbert suggests that the colonizer's unconscious can also be the seat of 'progressive' drives. And the presence of such drives on Schreiner's novel suggests that its racial politics are more consonant with those of her later work than is commonly assumed.     

The Quest for the Lost Story: feminist reading of Julia Margaret Cameron's ‘Mountain Nymph Sweet Liberty’

This article suggests a feminist reading of the photograph ‘Mountain Nymph Sweet Liberty’ created by the early Victorian photographer, Julia Margaret Cameron. Examining this photograph in its historical context, it analyzes the unique encounter between Cameron, an upper-middle-class Anglo-Indian photographer, and her female model-subject, who came from the English lower classes. Whereas Cameron's biography is well researched and her artistic endeavors are fully acknowledged, the information on the photographed model, Annie Keene, is scarce. This article aims to reconstruct the model's life story. To fill the holes in the archival record, fiction is used to tell a detailed story of the unique professional meeting between Cameron and her sitter. The following is a feminist project intended to recover female subjectivities, whose relationships have been erased by art and history.     

Gender,body, and feminine performance: Edna St.Vincent Millay's impact on Anne Sexton

This paper will discuss Edna Millay's influence on Anne Sexton, with particular reference to issues such as gender politics, femininity, performativity, and the female body. Through close comparative readings of some of the two women's most representative poems, I analyze, firstly, how Millay's outspokenness and daring self-presentation as a woman writer facilitated Sexton's handling of material that was previously considered unacceptable for poetry and, secondly, how Sexton expanded the scope of women's writing in a manner that paid tribute to the earlier poet's innovation. My paper maintains that Millay's repeated attempts to explore gender and interrogate the concept of ‘authentic’ femininity anticipated Sexton's overtly feminist works. Ultimately, I am arguing that, despite the literary climate of the 1960s (which urged the rejection of poets like Millay) and despite her own ambiguous feelings for the earlier poet, Sexton eventually recovered Millay as an important literary predecessor for her generation, consistently imitated her artistic posturing, performance strategies, and self-presentation, and finally acknowledged her unique contribution to women's writing.     

‘An Adamless Eden’: counterpublics and women writers' sociability at the fin de siècle through the experiences of Flora Annie Steel

This article focuses on the ‘outsider’ status of late-nineteenth-century women writers by exploring the experiences of Anglo-Indian novelist Flora Annie Steel and her responses to authorial sociability in fin-de-siècle London. Androcentric literary societies are viewed as influential sites which marginalised women writers, containing their incursion into masculine clubland and denying them access to some of the symbolic and practical benefits of professional authorship. Through the lens of Steel's experience, the discussion considers how women writers attempted to transcend exclusion through the establishment of female, literary counterpublics. Such counterpublics fostered a gendered literary consciousness that empowered women and matured in Steel's case into a political prospectus in the service of women's suffrage.     

Give Me One Good Reason to Marry a Japanese Man: Japanese Women Debating Ideal Lifestyles

This article explores how contemporary Japanese women, as they confront issues of marriage and employment, play with images of the liberated West, traditional Japan, and spoiled Japanese men. For this purpose, I investigate the works of popular non-fiction writer Matsubara Junko and recent online debates. I argue that Matsubara's writing is supported by women not because of her sometimes blatant idolization of the West, but because she exposes her own vulnerability. Like the online respondents, Matsubara struggles to come to terms with the realization that when a Japanese woman seeks a lifestyle beyond the role of homebound wife/mother, she inevitably enmeshes herself within the larger identity politics of modernity.