The Cross-Dresser,the Thief,His Daughter and Her Lover: Queer Desire and Romance in Georgette Heyer’s These Old Shades

When romance fiction consolidated as a genre in the 1920s and 1930s, a series of generic conventions concerning the heterosexual imperatives came about. This article considers how these heterosexual imperatives function as a mask for queer desire in Georgette Heyer’s These Old Shades (1926). Drawing on the work of Eve Kosofsky Sedgwick, the article identifies in the novel a detailed account of male–male desire through arguing that while the romantic narrative is concerned with the Duc of Avon and Léonie, his former cross-dressing page, the substantial sexual tension in the novel occurs in the meetings and exchanges between Avon and Léonie’s biological father, Henri Saint-Vire. While These Old Shades ends with the presentation of Léonie by Avon as his duchess, it is male–male desire which has (queerly) driven this romance plot to its ‘natural’ conclusion of marriage. The article thinks through what happens when the rivalry, explicitly about desiring a woman, is an implicit homosocial bond and how this functions within the heterosexual imperatives of the romance novel. The article questions how desire functions in the romance novel and, more crucially, how romance fiction can be read as resisting, at least in part, that which has been traditionally understood as their raison d’être—the heterosexual imperative.     

Digging for England in Elizabeth’s German Garden: Imperial Romance and National Femininities in the Early Works of Elizabeth von Arnim

Abstract

The author treats von Arnim’s Elizabeth and Her German Garden and The Solitary Summer as types of imperial romance, showing the ways in which von Arnim quite literally domesticates the genre by adapting discourses of eugenics and racial contest to fit an Englishwoman’s experiences of home-making and gardening in late nineteenth-century Pomerania. Racial fitness is replaced by aesthetic fitness as von Arnim sets up a contest between English and German femininities within the home and garden.     

Marianne Moore and the Arcadian Pleasures of Shopping

When R. P. Blackmur declared in 1935 of Marianne Moore that 'no poet has ever been so chaste',he was deploying a gendered critical language describing Moore's work as ideologically pure, untainted by the commercialism of capital; at the same time, he was carefully demarcating the boundaries between high culture and mass culture (Blackmur 1935:206). However, while Moore's status as an exemplary modernist has secured her a place in the modernist canon, this has inevitably led to readings that marginalize aspects of the poet's work that declare an interest and textual investment in mass culture. Moreover, interpreted within these narrow critical parameters, Moore's verse has been effectively transformed into what Randall Jarrell called one of the 'nicer animals': it has been declawed and tamed, divested of its more radical properties in order to reinforce a self-sufficient and autonomous modernist aesthetic. While it is undoubtedly important to recognize the ways in which modernist women writers have contributed to forms of avant-garde culture, those forms should be identified, in Rita Felski's words, as 'only one of a continuum of cultural practices' rather than as the dominant model for critical investigation (Felski 1994:191-208). Tracing the relation between Moore's poetry and the discourses of fashion, advertising and consumerism is an attempt to resist reproducing what Andreas Huyssens has referred to as 'the great divide' reinforcing modernism's cultural hegemony. The philosophical frames of modernity, particularly as it has been theorized by Walter Benjamin, provide the discursive context for making visible and valuable Moore's preoccupation with aspects of her own contemporary popular culture. Furthermore, by gendering this modernity, by recognizing the ways in which the formations of capital produce and consume 'woman' as discursive subject, Moore's poetic shopping sprees reveal the difference gender makes to our understanding of modernity and its relation to modernism. Moore's work, as illustrated by archival material based at the Rosenbach Museum and Library as well as her poems and her critical essays, is as much constructed out of the arcadian pleasures of modernity as it is the expression of the poetics of high art. With its investment in the aesthetics of display, the discourses of advertising and the pleasures of consumption, Moore's poetry offers a model for reading a gendered modernism in the context of modernity. The poem, 'When I Buy Pictures' (1921) will provide the focus for this discussion as it suggests not only how the aesthetic is related to consumer culture but it also reveals the textual traces of a debate taking place in the visual arts in the United States concerning the nature, value and function of 'pictures' as cultural signs. However, before looking more closely at the poem, it might be worth reconceptualizing Moore's writing in relation to some of the recurrent 'motifs' of modernity.     

In-Between: Genre and Gender Hybridity,and Pirkko Saisio's Novel Punainen erokirja

This article discusses intersections of genres and genders and their theorization in the contemporary literary scene and suggests a queer reading of a short-listed contemporary Finnish novel, written by the well-known author and theatre figure Pirkko Saisio. The aim of the article is to present feminist genre theories, influenced by Bakhtinian conception of genres, Foucauldian and Butlerian theorizations of genders and sexualities, and the critical discussions in queer studies. The article reads Saisio's novel as a demonstration through an adaptation of a theoretical concept, namely genre hybridity, combined with another concept adaptation, gender hybridity. The article concludes by suggesting that although the novel can be seen as a representative of an entirely new literary genre, that is queer literature, it works in its historical context better as a hybrid genre that refuses monolithic genre locations, and this way comes closer to the theoretical concept of the constantly hybrid, transgressing and boundary-breaking queer.     

Shopping for Men: The Single Woman Narrative

Philips adresses a relatively new genre of fiction for women readers- including works by Jane Green, Freya North, Jane Gordon, Marian Keyes and the journalist Kathryn Flett- namely, that of the working woman romance narrative. These are novels that are addressed to a generation of young women who have independent incomes, are in work and are skilled consumers. The title, 'Shopping for Men', refers both to the consumption of men as objects of romance, and to the deployment of consumer skills in order to create a man worthy of the heroine's desire. In these novels, romance and sexual desire are contingent upon the reader and heroine appreciating and valuing consumer items. Using Bourdieu's argument that distinctions of taste are integrally related to class relations, the paper suggests that 'Mr Right' in these novels is required to display an awareness of consumer labels, and an ability to purchase them that surpasses that of the heroine. Philips will suggest that, while the heroines of these narratives assume all the gains of feminism, the romantic expectations are those of traditional gender relations, and that, while the female protagonist is assumed to be a working woman with a successful career, the romantic denouement depends on a hero whose work and social status are superior to hers.     

Challenging the Biological: The Fantasy of Male Birth as a Nineteenth-Century Narrative of Ethical Failure

In Jane Eyre, Charlotte Brontë portrays a fully realized heroine who challenges society's and fiction's conventional roles for women. In order to broaden her heroine's role, Brontë had to go beyond the genres open to her — the novel of manners, the Gothic, and the governess novel — to establish a new genre: the feminist fairytale. In establishing this genre, Brontë pinpoints Jane's specifically female dilemma: how to achieve intimacy and still maintain independence.

At once beautiful and terrible, sustaining and destructive, fire is the perfect element to convey a sense of Jane's often conflicting desires. Brontë carefully establishes hearth fires as an index to how included and “at home” Jane feels. Similarly, Brontë uses metaphors of self‐sacrifice and immolation to indicate times when Jane feels her independence is being threatened.

The hearth fires and the metaphorical fires are overshadowed by the “big” fires in the novel, but their consistent, unobtrusive use allows Brontë to reinforce her theme in the simple details of the story and to maintain an attention to craft that is too often undervalued or ignored.     

‘Good-bye Pompey,komm bald zurück’: Stevie Smith's Vision of Germany in Novel on Yellow Paper

Abstract

In Stevie Smith's debut novel Novel on Yellow Paper, set in 1936, the narrator Pompey Casmilus recalls several trips to Germany she made in the years shortly before the rise of the Hitler regime. The memories of these German travels are linked to Pompey's love affair with a Swiss-German student named Karl with whom she has spent time in both England and Germany. The essay explores the significance of the German theme in the novel. This theme emerges in Pompey's memories of Germany and Karl, which at first glance appear to be random moments of recollection. However, the German theme also asserts itself in what I call Pompey's German voice, a distinct narrative voice that uses a specific German vocabulary and mimics German speech patterns, which appears at different points throughout the novel and is not exclusively linked to Pompey's memories of Germany. The essay argues that this narrative voice, the Karl-Pompey romance plot and the narrator's obsessive concern with Jewishness combine into an exploration of the Anglo-German relationship in the inter-war years and the attraction which Germany held for some British visitors during the 1920s and early 1930s, an attraction which is linked to previous literary explorations of the country by British writers such as D. H. Lawrence and which by 1936 has taken on an ominous significance as Pompey observes from afar the atrocities being committed within Germany in the name of the Hitler regime.     

In Fredrika Bremer's Footsteps: Early Women Authors and the Rise of the Novel Genre in Finland

For some years scholars have been searching actively for new ways to look at literature, to replace the earlier nationalistic view in which literature played an important role in transmitting the idea of an authentic and unspoilt nation. This article deals with the earliest Finnish women authors and their role in developing the novel genre in Finland. I focus in particular on the importance of Fredrika Bremer (1801–1865), a Swedish author born in Finland, and her “sketches of everyday life”, for early Finnish women authors and the novel genre. While I am not the first to take note of Bremer's influence on literature in Finland, the topic has not received close attention. By focusing on literary criticism as well as on thematic and structural parallels in the novels, I draw attention to the intercultural bonds between Finnish and Swedish literary institutions in the mid‐nineteenth century and show the vital importance of these bonds not only for the rise of the novel in Finland, but also in giving Finnish women authors the possibility of having their novels published and gaining a legitimate place in the literary institution.     

troubling romance tourism: sex,gender and class inside the Argentinean tango clubs

This article aims to explore and make theoretical sense of a stream of tourism that blurs the boundaries between sex, romance and intimacy, and diffuses the line between affectionate and economic relations. The empirical scope is the expanding international tourism of tango dancing—meaning the increasing number of people from all over the world travelling to Buenos Aires to dance tango and engage with the local tango culture. In contrast to women's sex tourism on the beaches of Jamaica and Ghana, the relationships evolving in the Argentinean dance halls only occasionally lead to sexual affairs and temporary romances, but they are still part of a sensual geography made up of a transnational skin-to-skin intimacy. In addition, the relations between local dancers and tourists rarely result in economic transactions of sex for money; however, they engage with a growing market of intimate dance services and are part of the economic injustices and exotified projections of our post-colonial time. Hence, this article seeks to shed critical light over a broader area of transnational romance. The case of tango evokes new sets of critical queries regarding the trade of bodily intimacy and affection; the consequences of economic inequality in the area of heterosexual romance; and the production of class morals and racialised gender regimes. Through an exploration of these intimate practices, discourses and sets of emotions produced in this particular context, a complex landscape of market forces and close-embrace dancing unfolds.     

'Neither man nor woman'? Female Transvestism,Object Relations and Mourning in George Moore's 'Albert Nobbs'

Heilmann offers a psychoanalytic reading of Moore's narrative of cross-gender impersonation 'Albert Nobbs'. First published in A Story-Teller's Holiday (1918) and later transferred to Celibate Lives (1927), the story features a woman who passes herself off as a man, until a chance meeting with another male impersonator happily equipped with a wife galvanizes her desire for a companion. Her inability to reveal the secret of her body to her prospective bride, however, coupled with the marked absence of any expression of sexual passion, leads to the break-up of the relationship, and Albert dies, a loner hoarding money in order to sublimate her thwarted longing for love. In this text the no (wo)man's land of cross-gender masquerade operates as a psychological marker of Albert's social (hence internal) lack of identity. An illegitimate child brought up by a nurse, she never knew her parents, whose absent presence was embodied by an allowance discontinued after their death. Drawing on Kleinian object-relations theory, Heilmann argues that Albert's (mis)performance of 'manhood' constitutes a subliminal quest for her missing parents, a desire always frustrated and ultimately displaced into the hard currency of material commodities. If Moore's story represents the female tranvestite as a castrated, sexless and depressed 'perhapser', an 'outcast from both sexes', fatherless and yet forever locked into a male-authored, patronymic text, Simone Benmussa, who in 1977 adapted the story for the stage ( The Singular Life of Albert Nobbs ), offers a more subversive reading of the female cross-dresser as a 'figure that disrupts' (Marjorie Garber) cultural categories and binary oppositions. The article ends with a consideration of Benmussa's revisionary strategies.     

An androgynous observer in the eighteenth century press: la spectatrice1728-29

Abstract

The interest of the English Spectator and its followers in women's education and in the formulation and propagation of the Western ideology of femininity is widely acknowledged. Nevertheless, the genre also engendered experiments with alternative views about women.La Spectatriceis an example of a periodical which resisted the very ideals codified by the genre it followed. This article attempts to fill a gap in the study of the spectatorial press, by analysing the tone and the content of this putative female spectator, and by stressing the innovative contributions of this French periodical to the spectator genre.     

The New Miss India: Popular Fiction in Contemporary India

Miss New India is the title of a 2011 novel by Indian-born (now American-based) Bharati Mukherjee, which tells the story of a young woman who leaves her small-town home and family to find work in a call centre in the information technology city of Bangalore. The call centre is emblematic of a ‘new India’, in which educated young people seize the possibilities of a global labour market. This is a generation for whom colonialism is ancient history, a generation who have grown up in the aftermath of economic liberalization in India. Chetan Bhagat refers to this generation as ‘Young India’ and has written a series of best-selling novels that feature ambitious young men in the ‘new India’. There is, however, an emerging genre of similar narratives written by women and addressed to a female readership. This article discusses a range of contemporary Indian women’s popular novels and argues that, while Bhagat and his male heroes may embrace globalization and the market, the narratives written by women are more nuanced in their celebration of economic liberalization. The novels dramatize the tensions between tradition and modernity, family and independence, and suggest that these are particularly fraught for young Indian women. These texts pick up on the discourses of contemporary journalism about ‘Young India’, within the generic form of the romance, but their resolutions are repeatedly uneasy and suggest that the ‘new India’ is not an entirely comfortable space for the new Miss India.     

‘Throbb[ing] with a consciousness of a knowledge that appalled her’: Embodiment and Female Subjectivity in the Desert Romance

This article examines the relationship between the desert and embodiment in E. M. Hull’s international best-seller The Sheik (1919). This novel, a desert romance, has been the focus of feminist scholarship for decades because of its controversial rape narrative. Drawing on theories of embodiment, in particular the work of Elizabeth Grosz, the author interrogates how the desert is paradoxically presented as a space of liberation and oppression within which female sexuality could be explored despite the gendered violence of pre-existing patriarchal frameworks. Ultimately, the author provides a reading of Diana in terms of her transition from an androgynous ‘girl’ to a sexually desiring, seemingly feminized ‘woman’, and examines the connotations associated with this. The author establishes a connection between the transient nature of the desert and the liberation offered to women within this liminal space. Through an in-depth examination of the protagonist Diana’s corporeal subjectivity over the course of the novel, the author positions The Sheik as offering a voice to female sexuality and erotic fantasy, demonstrating Hull’s depiction of the desert as an appropriation of that space through which to explore female desires. This opens up new understandings of what constituted innovative literature in interwar Britain and marks Hull’s book, with its overtly erotic content and specific focus on female desire, as a political and social departure.     

Women and War

Susan Hill's novel The Woman in Black (1983) is a radical example of women's Gothic horror. It is a popular ghost story that has been successfully adapted for the London stage. In addition, it offers a social critique of motherhood and contemporary rhetoric surrounding the family. Scullion interprets the novel from several critical perspectives: feminist, psychological, biographical, generic and intertextual. Principally, however, she offers a reading of the novel that engages with its immediate historical context. The contention is that Hill's novel mediates women's anxieties about motherhood and autonomy during the early 1980s when the institution of the family in Britain was an ideological battleground. Set primarily during the 1860s, The Woman in Black exposes Victorian hypocrisy towards the unmarried mother, and indirectly probes the quasi-Victorian values promulgated in the 1980s, during the first term of a Conservative right-wing government. The protagonist of the novel, the eponymous woman in black, resists the lot of the so-called fallen woman. In her physical form, she refuses to submit to Victorian patriarchal values by attempting to reclaim her illegitimate child. In spectral form, she repeatedly inflicts suffering on families by causing the death of their children. Her excessive revenge knows no compassion, and recognizes no boundaries of place and time. Her ghost is never laid to rest. Neither is order restored by the closing pages. Thus the novel, as well as being a popular ghost story, challenges assumptions about women's 'natural' acquiescence and their unconditionally generous responses to husbands, partners and children. Shaped by the social climate in which it was written, The Woman in Black suggests that mothers under extreme pressure have the potential, like any other members of the family, for cruelty to children. Through its forceful rejection of either idealized or derogatory stereotypes of women, this novel belongs to the genre of radical Gothic horror.     

Dis-Assembly Lines: gestures,situations, and surveillances

In “Americanism and Fordism,” Antonio Gramsci offers a brief meditation on the gestural performances of assembly-line workers who, rather than become subordinate to the disciplinary flow of the machine, cultivate perfectly timed gestures that allow workers to hide in plain sight: or, in other words, to inhabit the scene of management otherwise. Rather than extend Gramsci's investment in virtuosic, masterful performances of gesture, this article considers the potentiality of gesture through Lucille Ball's and Tehching Hsieh's performances of bad timing. As different as these performances are in terms of genre and historical situation, each uses gesture as a technique to performatively divide the labor process, producing fleeting temporalities of waste within rhythms marshaled toward production and accumulation. While it tracks the effects of these itinerant gestures, this article reconsiders the oppositions between productive and reproductive work, rationality and emotionality, and work and home that sustain Gramsci's theory, as well as how the collapse of such oppositions introduces alternative historical and artistic trajectories into theories of precariousness.     

Desublimating monstrous desire: the horror of gender in new extremist cinema

Known for graphic gore and formal experimentation, films of European new extremism stand out for the way in which they combine sex with violence, stressing the body in extreme modes of being and rendering its materiality emphatic, uncanny and profoundly disturbing. While this emphasis on sex and violence has been widely recognized in scholarly literature on new extremism, its connections to gendered conventions of genre cinema have not. In this article, we contend that films such as Philippe Grandrieux's Sombre (1998), Lars von Trier's Antichrist (2009) and Claire Denis's Trouble Every Day (2001) directly reference gendered tropes and conventions of horror cinema in their explorations of desire, sexual difference and violence. Far from being inconsequential or secondary concerns, we argue that emphatically gendered characteristics of cinematic horror are crucial to the disturbing impact of these films. By appropriating tropes from the horror film, but refusing them the closure and recuperation customary to narrative conventions of the genre, new extremist films critique these gendered implications, calling attention to the paradoxes and contradictions inherent in the gender politics of horror.     

Did Mrs Danvers warm Rebecca's pearls? significant exchanges and the extension of lesbian space and time in literature

This article is concerned with the ways in which literary spaces can become sexualized by the transfer of objects between women, as well as by the ways in which bodies themselves touch. It discusses how lesbian desire changes both spatial and temporal structures, via a consideration of the use of pearl imagery. In particular, it analyses the link between sexual, class and bodily construction in two texts: Daphne du Maurier's novel Rebecca (1938) and Carol Ann Duffy's poem ‘Warming Her Pearls’ (1987). These texts encode contrasting ideas about the lesbian body, ideas that are discursively textured by the periods in which they were written and by the relative ideological resistance of their writers. While du Maurier's novel establishes a concept of spatial and temporal enclosure, Duffy's poem creates an unconfined and unstable lesbian body-text. Within this, the pearl can be seen as a subversive device, destructuring and stretching the parameters of lesbian desire.     

Results of a misspent youth: Joan Jett's performance of female masculinity

The article maps Joan Jett's performances from her days with the Runaways in the mid-1970s through her successful solo career in the 1980s to her recent affiliations with the riot grrrls in the 1990s. Unlike some critics, who, while acknowledging Jett's influence on generations of female rock performers, dismiss Jett as an inferior copy of male rock musicians, the author argues that Jett's various performances of female masculinity challenged conventional understandings of masculinity and femininity. The article explores how Jett's interest in punk enabled her to carve a space for herself in a male-dominated genre. It is further contended that as more spaces opened for women in the early 1990s, Jett's performances took a more aggressive stance on traditionally feminist issues and enabled her to use her sexuality as an offensive weapon.     

feminism and futurity: revisiting Marge Piercy’s <Emphasis Type="Italic">Woman on the Edge of Time</Emphasis>

This article considers the question of feminist futurity through Marge Piercy’s Woman on the Edge of Time (1976). While dominant readings of this novel have focused on its relationship to the feminist utopian genre and feminist theory from the 1970s, this essay aims to critically reframe the novel through contemporary feminist theorising on time and futurity. Drawing on recent feminist and queer theory that suggests that the future might most productively be figured through more nuanced and renewed engagements with the past, I argue that readings of Piercy’s novel that frame it only through its contemporary moment obscure the novel’s critique of singular, linear models of time. The novel represents the future through the themes of loss, mourning and haunting, which I argue resist a model of time that moves linearly from past to future and instead bring the past and future into complex relation with each other. In this regard, Piercy’s novel is read as representing a form of feminist futurity that engages with progress in time as necessarily uneven, discontinuous and fractured, speaking to contemporary demands for a feminist futurity that might require more nuanced accounts of the past.