‘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.     

‘This Spider Web of Woman's Life’: Private Space and Community Life in Peter Abelard

This essay explores such complex and ambiguous presentation of convent life in Helen Waddell's novel Peter Abelard (1933), considering Heloise's fear of women's communities as expression of concerns central to women's writing published in Britain during the 1920s and 1930s. Waddell uses Peter Abelard to intervene in these contemporary debates about private and public spaces. The dislike which her Heloise expresses for women's communities may, given the text's feminist ideology, seem surprising, but, as discussed, similar anxieties are voiced in texts by several of Waddell's contemporaries, and the novel is shaped by this tension between private, autonomous individual and shared public space. Peter Abelard is read in relation to selected journalism of Vera Brittain and Winifred Holtby (late 1920s), Virginia Woolf's A Room of One's Own (1928) and Dorothy Sayers' Gaudy Night (1935).     

Primum Mobile: Women and Auto/mobility in the Era of the Great War

Abstract: This article explores the construction of Andrea Dworkin as a public persona, or a ‘feminist icon’, revered by some and demonized by others. It argues that in both her fiction and non-fiction, Dworkin engaged in a process of writing herself as an exceptional woman, a ‘feminist militant’ as she describes herself in the subheading of her 2002 memoir, Heartbreak. The article illustrates Dworkin's autobiographical logic of exceptionalism by comparing the story told in Heartbreak to the story of Dworkin's major novel, Mercy, which features a heroine, Andrea, who shares Dworkin's name and significant biographical details. While Dworkin has insisted that Mercy is not an autobiographical novel, the author undertakes a reading here of Mercy as the story of Dworkin if she had not become the feminist icon of her own and others' construction. In Mercy, Andrea unsuccessfully attempts to escape the silent, victimized status that Dworkin has insistently argued is imposed upon women. In her repeated victimization, Andrea functions for Dworkin as an ‘everywoman’ who both embodies Dworkin's world-view and highlights how Dworkin's own biography exists in tension with some of her central assumptions about women, gender and contemporary society.     

Elizabeth’s Pious Pilgrimage; or the Ghost in the Garden

Abstract

This article is an analysis of the ‘Pious Pilgrimage’ section of Elizabeth and Her German Garden from a psychoanalytical perspective, focusing on the uncanny sense of the spectrality of the living and its connection to gender identity. It also offers an intertextual reading, placing the passage in the context of ‘the ghost in the garden’ as a recurring trope in the English novel. When ‘Elizabeth’ returns to the garden of her childhood, she experiences two spectral encounters: an imagined glimpse of her grandfather’s ghost and an encounter with a doppelgänger in the shape of a real child with her own name, who makes her feel as if, like Shelley’s Magus Zoroaster, she has met her ‘own image walking in the garden’. She is not the only figure in English literature to do so: behind the kitchen garden where Elizabeth has her encounter we can feel the presence of the kitchen garden in Great Expectations, where Pip sees a prophetic vision and encounters a double in the form of a ‘pale young gentleman’. This same encounter with ‘the ghost in the garden which is not a ghost’ resurfaces in a number of later texts, of which the author discusses two instances: Frances Hodgson Burnett’s The Secret Garden and David Profumo’s The Weather in Iceland. These can be taken as positive and negative conceptions of the spectrality of the living: von Arnim’s ‘ghost in the garden’ is balanced between the two in a passage treading the boundaries of comic realism and Gothic horror.     

Hearts and Minds: War Neurosis and the Politics of Madness in Anna Kavan's I Am Lazarus

Abstract

Anna Kavan's fictional portrayals of psychiatric breakdown and its treatment provide a unique perspective on the patient's experience of early to mid twentieth-century psychiatry. This article looks in detail at Kavan's time working with soldiers suffering from effort syndrome during the Second World War, observing how the solider-psychiatric patient becomes a figurehead for her radical politics in her Horizon article ‘The Case of Bill Williams’ (1944), and a prominent protagonist in her stories. Through close reading of her correspondence, her journalism and her wartime stories collected in I Am Lazarus (1945), it examines how the intersection of psychological trauma and physiological symptoms characteristic of effort syndrome surfaces in Kavan's writing of this period and in her own psychic responses to the war. It observes the importance of figurative language to her portrayal of war trauma and psychological breakdown, as her characters embody metaphor in their psychosomatic symptoms, and explores a twisted reconception of mind–body dualism prevalent throughout her writing of this period. It goes on to examine how the peculiar interaction of the physical and the psychological extends to the relationship between Kavan's characters and their external environment in her Blitz stories. Against the backdrop of the war-torn city, mind and body engage in ongoing conflict, affect and emotion bleed into her physical landscapes, and everyday objects become animated and hostile towards her protagonists.     

Testimonies in Light: Nan Goldin: Devil's Playground

Nan Goldin: Devil's Playground, recently shown at the Whitechapel Art Gallery in London, represents the first retrospective in the United Kingdom for this American photographer who has lived, and photographed, internationally. Renowned for her photographs of the intimate lives of her friends-herself and the queer and drugs/bohemian communities-Goldin has taken a startling aesthetic/pictorial turn in her new photography. Prosser evaluates Goldin's career and the changes in it, and considers where her photography leaves the documentary tradition from which she arose. Charting in particular a trajectory towards light in her oeuvre, and working with the notion of testimony rather than documentary, Prosser suggests that Goldin has moved from an empathetic but critical representation of gender roles to a spiritual, accepting and visionary perspective on life and loss. His readings of photographs are focused on those from the exhibition and the curating of the exhibition is considered.     

Portraying history and heroism in Rebecca West's The sentinel

Rebecca West's early interest in the suffragette movement gives us a strong sense of her development as a writer and feminist thinker, as her feminist perspective shifts from impassioned and enthusiastic supporter of the suffragettes in her incomplete novel, The Sentinel, to the more measured assessments in her early journalism. This article discusses some of the ways in which the imagery, iconography and militant discourse of suffragette writing and public speaking shaped the imagination of the young Rebecca West. It also shows how her celebration of female heroism in The Sentinel, often conveyed through detailed depictions of the women she admired, creates a vivid and informed version of feminist history.     

Choctaw Tales: An Interview with LeAnne Howe

LeAnne Howe, a citizen of the Choctaw Nation of Oklahoma and the Eidson Distinguished Professor of American Literature in the Franklin College of Arts and Sciences at the University of Georgia, writes poetry, fiction, screenplays, plays, creative non-fiction and critical essays. Her work is primarily concerned with the experiences and the perspectives of American Indian people and communities. Howe’s latest book, Choctalking on Other Realities (2013), which she describes as ‘three parts memoir, one part tragedy, one part absurdist fiction, and one part “marvellous realism”’, received the inaugural Modern Language Association Prize for Studies in Native American Literatures, Cultures and Languages in 2014. Along with being the recipient of a United States Artists Ford Fellowship and a Lifetime Achievement Award from the Native Writers’ Circle of the Americas, Howe also received the 2015 Western Literature Association Distinguished Achievement Award. Howe’s writing could easily be described as enlivening, eclectic and often hectic, and, more often than not, she brings together a plethora of stories concerning the historical and contemporary experiences of the Choctaw Nation. Various geographical, spiritual, familial and narratological spaces are revealed or plotted during the course of Howe’s narratives, and, as a consequence, images that relate to the act of mapping, the basis of storytelling, and the subject of community and place become recurring motifs throughout her writing. Concerned with the ways in which Choctaw lifeways have been mapped out across time, Howe appears to be especially interested in the representation of travel, exchange, contact and consumption not only in the pre-contact and post-contact United States, but also within the global village.     

Elizabeth and Her Mountain Garden

Abstract

In this essay the author suggests that Elizabeth von Arnim’s anonymous novel In the Mountains (1920) can be regarded as a modernist work, and is best understood in this context. The author indicates why von Arnim was intellectually and spiritually ready to develop her writing along these lines in the post-First World War era. This novel, like von Arnim’s early works—Elizabeth and Her German Garden (1898) and The Solitary Summer (1899 Arnim, Elizabeth von (1899), The Solitary Summer, London: Macmillan. [Google Scholar])—is written in the form of a journal; the title, also like those of her early works, points to a symbolic setting derived from nature. However, the narrator of In the Mountains no longer appears as ‘Elizabeth’, but remains mysteriously and completely anonymous. This device, together with von Arnim’s stylistically innovative use of structures and motifs derived from nature and music, as well as her manipulation of time, perception and memory, demonstrates her unique approach to modern writing in this novel, inviting comparison with contemporary works by Virginia Woolf and Katherine Mansfield.     

Women in the world of work: Past,present, and future

Women have not been usually credited with much Utopian writing, but in fact a number of women writers have projected societies which seek to improve the condition of their sex. This paper examines three eighteenth century English women writers's ideas of feminist utopias: Mary Astell's A Serious Proposal, Sarah Robinson Scott's Millenium Hall, and Clara Reeve's Plans of Education. It discusses their ideas on the rationale and organization of communities of women and how these communities could extend their benefits to society as a whole. It will also discuss the limitations of the thinking of these women for the reform of society especially in regard to woman's place.     

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.     

Act Natural: Dubious Proposals in The Mill on the Floss,The Pastor’s Wife,Vera and Rebecca

Abstract

Following George Eliot, Elizabeth von Arnim showcases a male rhetoric of naturalness. Her men cultivate and punish their women when they resist naturalizing. Without denigrating the intelligence of women, von Arnim shows their unwitting complicity in their subjection. In The Pastor’s Wife (1914) and in Vera (1921), the highly literate women have read the wrong books or missed the unfriendly truths about relationships in those they have read. The husbands and lovers make shallow use of philosophical and scientific reasoning to justify their control and enforce female uniformity deemed ‘natural’. Darwin is misappropriated by the tyrannical Wemyss: evolutionary theories support his imperious dismissal of Lucy’s aunt and friends. Wemyss’s most monstrous actions suggest an atavistic patriarchal dominance like the hereditary reversion theorized by Samuel Butler as unconscious memory. Wemyss brings up the issue of England’s inheritance, and a disturbing vision dawns as the philistine and self-appointed natural man subdues Lucy. Daphne du Maurier’s Rebecca (1938) follows Vera’s plot, but it does not interrogate naturalness in the same way. Entrapped in her husband’s vision of a natural woman, the narrator registers Rebecca’s wild transgressiveness as more powerful and universal than her own tamed naturalness.     

Tracing two generations in twentieth century Indian women's education through analysis of literary sources: selected writings by Padmini Sengupta

ABSTRACT

This article uses literary sources written by Padmini Sengupta, 1906–1988 (daughter of Kamala Satthinadhan, 1880–1950, educator, writer, and editor of the Indian Ladies’ Magazine) to map two generations of women in India from reformist backgrounds and their education and writing. Padmini's biography of her mother, The Portrait of an Indian Woman, 1956, is analyzed at length. Here, Sengupta offers at once a memoir of her own growing years and a biographical portrait of her mother Kamala Satthianadhan. Supplementing this analysis is an examination of how women's education is represented in Sengupta's novel Red Hibiscus, 1962. Padmini wrote many works of a non-fictional and biographical nature. In analyzing her writing, we also understand better how Indian women writers representing their own educational trajectories in the print and public sphere shortly after Indian independence lay the groundwork for the later development of women's history and Women's Studies in India.     

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’.     

blowing the love-breath: healing men in Caribbean women's writing

Caribbean women writers (such as Erna Brodber and Opal Palmer Adisa, who are discussed in this article) often include men in women's liberatory quests as participants: helpers, healers or caregivers. The close connection between sexuality and emotions in this body of writing can be read through a new model of affective feminist reader theory, which embraces and redefines from a feminist perspective the affective fallacy (over-interpreting a text based on one's feelings) so dreaded by the New Critics. This article interrogates how to read through affects across multiple intersecting differences between the text and the reader (such as race, class, culture and gender). A self-reflective negotiation between an outsider reader and a text's healing communities reveals the limits of the reader's ability to participate. The affective fallacy in this context becomes a useful tool for reading, but here it seeks a very different goal from that for which it was previously used. The transcultural feminism of difference relies on affectivity and emotions as a political force and a method for meaning; however, knowing the boundaries of one's affects prevents one from intrusively taking on the other's suffering through sympathetic reading. Women's sexual healing processes in the novels discussed in this article are not self-evidently or solely gynocentric in the Caribbean context: men are often active participants in these processes, and thus also in gender reconfigurations. Participation in these affective moments between the novels’ women and healing men is made possible by the reader's parallel process of embracing and curtailing her affective responses to the suffering of the other.     

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.     

Construct Validity of Adolescent Antisocial Personality Disorder

This study examined the construct validity of antisocial personality disorder (ASPD) diagnosed in adolescence. Boys and girls were grouped by history of DSM-III-R conduct disorder (CD) and ASPD: Controls (n=340) had neither diagnosis; CD Only (n=77) had CD by age 17 but no ASPD through age 20; Adolescent ASPD (n = 64) had ASPD by age 17. The Adolescent ASPD group was then compared to 20 young adult men who met criteria for ASPD (ASPD group). As expected, the Adolescent ASPD group had significantly more depression and substance use disorders, a greater performance>verbal IQ discrepancy, more deviant peers, and poorer academic functioning than the CD Only group and Controls. The Adolescent ASPD and ASPD groups did not differ on most variables. Results support the construct validity of Adolescent ASPD and suggest that such a diagnosis could help identify adolescents at risk for persistent antisocial behavior. Jeanette Taylor is an Assistant Professor at Florida State University. She received her Ph.D. in 1999 from the University of Minnesota. Her research examines biological, cognitive, and environmental influences on personality disorders and substance use disorders. Irene J. Elkins is a Co-investigator at the Minnesota Center for Twin and Family Research. She received her Ph.D. in 1993 from the University of Kansas and is a member of the Society for Research on Psychopathology. Her major research interests include the relationship of personality, ADHD, and antisocial behavior to substance abuse, as well as gene-environment interrelationships. Lisa Legrand is a Research Associate with the Minnesota Center for Twin and Family Research at the University of Minnesota. She received her Ph.D. in 2003 from the University of Minnesota. Her major research interests include gene-environment interplay in the development of externalizing psychopathology. Dawn Peuschold is a Senior Clinical Forensic Psychologist at the Hennepin Country District Court and an instructor at the University of Minnesota. She completed a post-doctoral fellowship in forensic psychology at the University of Massachusetts Medical School after receiving her Ph.D. in clinical psychology from the University of Minnesota. She is interested in risk factors for reoffense in juveniles. William G. Iacono is a Distinguished McKnight University Professor at the University of Minnesota, the institution from which he received his Ph.D. in psychology. He conducts longitudinal studies of adolescent twins and adoptees aimed at understanding the development of adult adjustment and mental health.     

Love Scenes and Garden Plots: Form and Femininity in Elizabeth von Arnim’s Elizabeth and Her German Garden

Abstract

This essay reads Elizabeth von Arnim’s Elizabeth and Her German Garden (1898) in relation to Alfred Austin’s garden book, The Garden That I Love (1894). The Garden That I Love presents the garden as a retreat modelled on the Horatian ideal, in which a man retires from public life to enjoy a peaceful rural existence. Von Arnim shows how the garden, or rather the good of retreat that the garden represents, is well-nigh inaccessible to a female subject. At the same time, she wants to claim the garden’s seclusion for the female subject. Ultimately, von Arnim takes the idea of feminine retreat to an unexpected extreme, generating, in certain passages of her text, a perverse garden fantasia that celebrates feminine autoeroticism and sexual self-sufficiency. Notably, it is specific aspects of the form of the garden book that allow von Arnim to develop her ambivalently feminist, unabashedly utopian vision of feminine withdrawal and retreat.     

Late Victorian Poets

Who's a Pervert?

Jonathan Dollimore, Sexual Dissidence: Augustine to Wilde, Freud to Foucault, Oxford University Press, £35.00 &; £9.95. Louise J. Kaplan, Female Perversions, Pandora, £17.00.

Border Zone Travellers

John B. Allcock and Antonia Young (eds), Black Lambs and Grey Falcons: Women Travellers in the Balkans, Bradford University Press, £11.00.

Canonising H.D.

Claire Buck, H.D. and Freud: Bisexuality and a Feminine Discourse, Harvester, £35.

Susan Stanford Friedman, Penelope's Web: Gender, Modernity, H.D.’s Fiction, Cambridge University Press, £37.50.

Susan Stanford Friedman and Rachel Blau DuPlessis (eds), Signets: Reading H.D., University of Wisconsin Press, £14.00

Lawrence Among the Women

Carol Siegel, Lawrence Among the Women: Wavering Boundaries in Women's Literary Traditions, University Press of Virginia, £19.95 or $29.95.     

The making of Catherine Cookson's autobiography

Catherine Cookson's Our Kate, is undoubtedly one of the most widely read English language autobiographies ever written. It is loved by her fans and has also been drawn on quite frequently by historians seeking details of early-twentieth-century life amongst the very poor, and especially by those concerned with the fate of illegitimate children. The production of this work was complicated and lengthy, however. It took Cookson twelve years to write Our Kate, and she discarded many drafts before settling on the final version of her story and of her depiction of herself. This article explores the process Cookson went through in writing her autobiography and the ways in which she managed ultimately both to create a very distinctive persona and to use it to develop and expound her social, religious and moral values and beliefs in their most authoritative form.