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.     

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.     

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.     

the ambivalence of colonial desire in Marguerite Duras's <Emphasis Type="Italic">The Lover</Emphasis>

This paper analyses the notions of desire and metissage that circulate in The Lover, Marguerite Duras's autobiographical novel about an illicit and scandalous sexual relationship between an adolescent French girl and a wealthy Chinese man set in 1920s French colonial Siagon. Rather than celebrate The Lover as a tale of a young French girl's resistance to colonial sexual mores and regulations, this paper seeks to excavate how that resistance both affirms and challenges the racializing and racist dynamics of colonial society. In particular, I explore the intertwining discourses of colonial sexuality, gender, race, and Orientalism that both produced and constrained the specific forms of desire and subjectivities available to and taken up by European women in French Indochina, and that circumscribe the story that Duras is able to tell about the French girl's love affair in The Lover. I suggest that Duras's portrayal of the French girl as a sexually autonomous female subject – one whose erotic relations are not bound by the dictates of colonial patriarchy – is made possible only by the ambivalent structure of the girl's desire, by her simultaneous attraction to and repulsion of the racialized others of the French colonies.     

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.     

‘you like to mix things up on purpose …? hoy,what are you trying to prove?’: representations of recent (hi)stories in Jessica Hagedorn's <Emphasis Type="Italic">The Gangster of Love</Emphasis>

This paper examines how The Gangster of Love (1996), the second novel by Filipino American artist and writer Jessica Hagedorn, dismantles ready-made assumptions about the construction of minority and mainstream cultures. Spanning the period from the 1970s to the early 1990s, Gangster depicts the life of Rocky Rivera, a Filipina American young artist. As it portrays Rocky's family and friends, the novel examines the drastic re-articulation of the US’s self-image brought about by Filipino Americans and other groups marginalized as minorities by virtue of their ethnic, socio-cultural, and/or sexual identities. The narrative challenges dominant notions of who and what makes history, juxtaposing historical references with fictionalizations of real episodes and completely fictional incidents, and making a constant use of parody, irony, jokes and clichés. This paper studies Rocky's reworks of her multiple ethnic and socio-cultural allegiances in connection with her passion for music and popular culture, placing these reworks in the context of the Philippines’ colonial and neo-colonial background and multi-cultural US history. It also considers succinctly how Gangster's postcolonial dimensions intersect with a feminist and postmodern consciousness in a gendered strategy of socio-cultural resistance and critique.     

‘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.     

performing African Canadian identity: diasporic reinvention in <Emphasis Type="Italic">Afrika Solo</Emphasis>

This article examines Djanet Sears' Afrika Solo (1990), the first published play by an African Canadian woman, as an example of African diasporic writing in Canada. Now one of Canada's most celebrated playwrights, and a leading figure in the recent popularity and success of African Canadian theatre in the last decade, Sears began her dramatic exploration of African Canadian identity in her semi-autobiographical play Afrika Solo, first produced in 1987. As I intend to argue, the play's musical score and its use of stage space problematizes the notion of static cultural origins often associated with the Canadian multicultural discourse of hyphenated identities by pointing to the many cross-cultural and transnational sites that shape constructions of African Canadian identity. In so doing, the play develops an innovative diasporic aesthetic that can be placed within a larger cultural tradition of African diasporic representation theorized by Rinaldo Walcott, Paul Gilroy, and Dionne Brand.     

Nancy Cunard's English Journey

This essay analyses Nancy Cunard's contribution to the struggle for racial justice in England and her work with the black communities in Liverpool and London (whose histories and experiences differ radically from their counterparts in the United States) in the 1940s. It chronicles for the first time her campaign to safeguard the African collections in the Liverpool Museum and her specific contribution to the archive of black British history. This includes not only the monumental the Negro Anthology (1934) but also the tract, The White Man's Duty (1943) arguing for an end to British imperialism and for race relations legislation. Cunard is situated within a history of the Communist left in Britain and the United States. Her insistence on the primacy of race differentiates her from other white left activists in her day for whom issues of gender and race were or secondary importance compared to those of class (Cunard, 1944). Using unpublished archive material from the Harry Ransom Center in Austin, Texas I show that Cunard's work constitutes one segment in the rich and varied mosaic of black cultural activity in the 1930s and 1940s and discuss how Cunard knew and worked alongside some of the key figures in the black British politics of her day including Una Marson, Learie Constantine, John Carter, Harold Moody, Rudolph Dunbar and Paul Robeson. A prolific writer, publisher and political activist, Cunard presented a white readership with documentation which prompted them to question their own prejudice and rendered problematic the imaging of black people as fixed embodiments of a Eurocentric sense of reality. Cunard's work in the 1930s and 1940s predates the sailing of the Empire Windrush and the accelerated immigration to Britain from the Commonwealth after the Nationality Act of 1948. It adds to our knowledge of earlier black history, narratives, settlements, and anti-racist struggles.     

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.     

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.     

fractured identity and agency and the plays of Adrienne Kennedy

This paper examines the plays of African-American playwright Adrienne Kennedy, Funnyhouse of a Negro (1962) and The Owl Answers (1963), which remain important for their engagement with notions of African-American identity, resistance and agency through their attention to mixed race female characters or mulattas who experience bodily and psychological traumas that demonstrate the abuse of the colonized on a deeply visceral level. Kennedy's plays have remained controversial because of their failure to comply with the nationalistic orientation of the Black Arts Movement (BAM) of 1960s America. I aim to examine these plays through a framework of postcolonial-feminist performance analysis that finds its way back to histories of colonization and slavery, enabling through such returns, a compelling critique of the manoeuvrings of racial hierarchies and power imbalances. As well, I argue that Kennedy's protagonists are de-essentialized fractured beings who fail to embody either White superiority or Black nationalist pride, as they oscillate between two polarities. Such failure (on the part of Kennedy's mulattas) allows for a strategic de-essentialization of identity that interrogates fixed categorization. As well, through a form that is fluid, fragmented and blurs the distinctions among history, memory, space and time, her works impart political agency to the characters and enable an empowered sense of the ‘self-in-process.’     

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.     

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.     

Popular Sexual Knowledges and Women's Agency in 1920s England: Marie Stopes's Married Love and E.M. Hull's The Sheik

This article examines popular discourses of women's sexuality in 1920s England and argues that sex manuals like Marie Stopes's Married Life and sex novels like E.M. Hull's The Sheik, despite their adherence to status quo values, were liberating for women through their affirmation of women's sexual subjectivity. Stopes's enormously popular book contributed strongly to a new understanding of women's sexual drives as natural and autonomous. The changing attitudes were reflected in the numbers of postwar women who actively participated in the creation and consumption of popular sex-novels and films, exercising both economic and sexual freedoms at once. This article focusses on the film version of The Sheik, which experienced great success as part of this growing leisure market catering specifically to women's desire, and in particular on the figure of Rudolph Valentino as a “woman-made” man. The film's “crossed” representations of sexuality (the emancipated “flapper” and the effeminate yet virile “sheik”) challenged traditional notions of femininity and masculinity, and in doing so, were liberating for women consumers at the same time that they threatened the sexual identities of men.     

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.     

neither here nor there: the reproductive sphere in transnational feminist cinema

This article examines representations of motherhood in three transnational feminist films: Anayansi Prado's Maid in America (2004), Sabiha Sumar's Silent Waters (2002) and Marjane Satrapi's Persepolis (2007). While these films differ at the levels of genre and style as well as in terms of their production contexts, they each feature several scenes that engage the tension between distance and proximity, separation and unity – an always unresolved tension integral to the reproductive sphere. Each film also provides at least one close-up shot of a mother's hands preparing food for her charge. Tracing Mary Ann Doane's explication of the close-up shot's engagement with the capitalist logic of the microcosm and macrocosm, I will show how the aforementioned films resignify what Doane identifies as the close-up's compensation for the loss of unity in modernity. The recurring image of a mother's labouring hands interrogates the false unity of the capitalist macrocosm, while also complicating the purportedly separate microcosm in which modern subject can touch and hold a given commodity. These films show that transnational mothers are simultaneously held within the immobile space of reproduction – owned and exploited by the larger structures that depend on their labour – while also actively recreating the cultures that render them invisible.     

From Goddess Spirituality to Irigaray's Angel: The Politics of the Divine

This article argues that the act of conceptualizing a female divine, whether by socalled low-brow Goddess Spiritualists or high-brow French philosophers, rather than being a mere spiritual exercise, has enormous political significance for feminisms. In particular, I demonstrate that Irigaray's concept of the sensible transcendental, by refiguring a god which is both male and female, transcendent and immanent, theorizes a potential dissolution of the binary logic which forms the basis of western philosophy. The second half of the article looks at the complex role of the angel in Irigaray's theory of the divine in order to demonstrate that, as a result of having misinterpreted the angel's position, critics have failed to recognize the significance and relevance of Irigaray's sensible transcendental for feminist politics.     

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.     

<Emphasis Type="Italic">Zina</Emphasis> and the moral regulation of Pakistani women

From 1998 to 1999, I interviewed women who had been incarcerated under the Zina Ordinance (zina means illicit sex) in Pakistan. This led me to an examination of women's moral regulation by their families, a process in which I maintain the state is complicit. I argue against relativist explanations of this process, which view Pakistani culture or notions of timeless Islam as the reason for women's incarceration. Instead, I examine the interconnection of morality with the legal/judicial structures, the relationship between the state and patriarchy within families, and the plight of impoverished women in Pakistan within an era of globalization. In my analysis, I link economic development and human rights to globalization and the continuing costs of militarization. Such connections allow feminists to target the structural conditions that sustain the laws in Pakistan and help create an environment that will bring about the repeal of the laws while contributing to trans-national feminist solidarity.