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.     

Effeminate Edmund Burke and the masculine voice of Mary Wollstonecraft

ABSTRACT

This article focuses on the gendered and nationalist rhetorical strategies Mary Wollstonecraft used in her work The Vindication of the Rights of Man which was written as an open letter of response to Edmund Burke's Reflections on the Revolution in France . While a number of scholars note Wollstonecraft’s adoption of a masculine voice in her systematic feminizing of Burke, this article also pays attention to the ways in which Wollstonecraft impugns Burke with the taints of being crypto-Catholic, Irish, and quasi-French. We notice how Wollstonecraft’s masculine voice is rational, combative, righteously passionate, middle-class, patriotically English and critically Protestant. We compare the fashioning of Wollstonecraft’s voice with contemporary political caricatures of John Bull and the cartoon depictions of Edmund Burke that appeared as Wollstonecraft was composing her VRM. Wollstonecraft’s VRM gained her considered attention and her critique of Burke’s character, (and what this article claims is her misreading of his aesthetic treatise), have been remarkably influential even to the present day. The characteristics of the distinct voice created in Wollstonecraft’s first Vindication are also evident in her second and more famous Vindication of the Rights of Woman. However, the rhetorical commitments entailed in Wollstonecraft’s public voice created challenges for her arguments in the second Vindication that demand careful attention.     

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.     

‘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.     

‘Quite the opposite of a feminist’: Phyllis McGinley,Betty Friedan and discourses of gender in mid-century American culture

This article examines the relationship between feminist and anti-feminist discourses in the period between World War II and the publication of Betty Friedan's The Feminine Mystique (1963). It takes as its primary focus the work of Pulitzer Prize-winning ‘housewife poet’ and self-proclaimed anti-feminist, Phyllis McGinley. McGinley was a successful poet who has disappeared from the record since the publication in 1964 of Sixpence in her Shoe—her best-selling retort to The Feminine Mystique. Her example is important because it gives voice to the much-maligned suburban housewife and offers a spirited alternative to Friedan's reading of white, middle-class domesticity as always and inevitably oppressive. The article offers a close reading of McGinley's work and situates it in relation to its historical and cultural contexts (specifically the highly charged domain of suburban domesticity) and to its wider readership. It compares her anti-feminism with that of other anti-feminist writers of the period, thereby illuminating the tensions and contradictions in contemporary debates.     

The Archive Function

As Joan Wallach Scott warns in The Fantasy of Feminist History, the danger of depositing one's personal papers in an archive is that one's papers then become open to misinterpretation. In this article, Scott's fears are enacted in relation to another feminist theorist's archival collection, that of prominent Canadian scholar Barbara Godard who died before she could complete the process of donating her papers to the Clara Thomas Archives and Special Collections at York University. Drawing on personal memories and eclectic textual traces, this article attempts to recover Godard's theory of the archive—a theory she never fully articulated in her lifetime, despite dedicating much of her time and energy to collecting and preserving her own words and the words and papers of her students and collaborators.     

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.     

Making It Up with the Motherland: Revision and Reconciliation in Edna O'Brien's The Light of Evening

This article explores the relationship between the Irish woman writer and exile and return in Edna O'Brien's recent novel The Light of Evening (2006). This work, dedicated as it is ‘To my mother and my motherland’, represents a new chapter in O'Brien's configuration of the connection between the Irish woman writer and the image of Ireland as a place from which escape is a necessary step towards creative freedom. The Light of Evening contains a web of subtle allusions that invite a reading of the novel as a statement of O'Brien's allegiances with the English and Irish literary traditions. Ultimately, however, it foregrounds the quotidian world of the main character's home place—one represented fully in her mother's letters—as the key source of inspiration for the Irish woman writer. The article examines how relationships with the literary past are mapped onto familial ties in the novel, as O'Brien seems to move away from the Joycean promise of creative exile towards a more hopeful reading of the relationship between the Irish woman writer and her ‘motherland’.     

The Artist is Present: performing the icon

This article considers the work of performance artist Marina Abramovi?, focusing on the use of reperformance, the practice of hiring others to recreate historical performance works, in her 2010 retrospective at New York's Museum of Modern Art, The Artist is Present. Brawner utilizes Abramovi?'s artistic work with iconography and icon making and draws on her own experience as one of the retrospective's reperformers to highlight both the affective work that went into the creation of the show as well as its function as a religiously inflected meditation of celebrity and art stardom. The artist's work is explored through sources including New York Times art critic Holland Carter's turn of phrase “diva hokum,” a pejorative here reclaimed to mean the process of one's own icon making, a control of image and message that becomes integral to the structure of the work, and a balancing act between the performance and its afterlife.     

‘Not Simple,Not Pure’: Revisioning of Mythical Wicked Women in the Stories of Sara Maitland

The British novelist, feminist and religious thinker Sara Maitland (b.1950) is renowned for her short stories, many of which involve the rewriting of fairy tale and classical and biblical myth. This article situates Maitland's retellings within the contemporary feminist tradition of literary revisioning, but emphasises that her retelling of old tales is distinguished by a deep—and often discomforting—engagement with questions of morality. This is rooted in Maitland's political commitment and Christian faith, and is particularly evident in her treatment of mythical female evil. Her short stories take a morally ambiguous approach, paying attention to the moral and psychological complexities of the wicked stepmothers in fairy tale, gorgons and child-killers of classical myth, and temptresses of the Hebrew Bible. Maitland's feminist revisioning of mythical wicked women does not flinch from their darkness, or impose simple ethical lessons, but at the same time she is (sometimes horribly) aware of their moral significance. This article examines the portrayal of feminist theology's concept of the ‘female sin’ of passivity in Maitland's revisioning of Delilah (in Daughter of Jerusalem, 1978) and ‘Helen of Troy's Aerobics Class’ (in On Becoming A Fairy Godmother, 2003); how the crimes of mythical wicked women are retold as being motivated by revenge against men in ‘Deborah and Jael’ (Daughter of Jerusalem), ‘Siren Song’ and ‘The Swallow and the Nightingale’ (Far North and Other Dark Tales, 2008). The latter of these raises issues of women's conflicting loyalties, which is also considered in ‘The Swans’ (2008). The taboos of incest and child abuse are explored powerfully and sensitively in ‘Jocasta’ (2003) and ‘The Wicked Stepmother's Lament’ (A Book of Spells, 1987), and resistance to simplistic moralising is encapsulated in the story of a menopausal Eve, in ‘Choosing Paradise’ (2003).     

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.     

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.     

Pomeroy v. Pomeroy: beauty,modernity, and the female entrepreneur in fin-de-siècle London

As a fictional personality trading as ‘Mrs Pomeroy’, Jeannette Scalé dominated London's elite beauty market through the late nineteenth century. By 1906, her control over the expansive commercial empire had collapsed, as new company owners publicly accused her of pecuniary ambitions unbefitting her sex. This article charts Scalé's extraordinary transformation into London's leading complexion specialist, exploring the gender conventions regulating both the beauty business and middle-class female enterprise at the fin de siècle. An investigation of the ‘Mrs Pomeroy’ character reveals businesswomen's changing opportunities in England's ‘modernizing’ retail market, opportunities engendered through new systems of advertising, growing anonymity in the expanding urban scene, and novel forms of self-representation that did not necessarily impinge upon businesswomen's respectability.     

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.     

Technocrats and Tortured Bodies: Simone de Beauvoir's Les Belles Images

Through an analysis of Simone de Beauvoir's final novel Les Belles Images (1966), this article examines how a 1960s French technocratic class dealt with individual and collective traumas, particularly how they placed their faith in an undying hope in the future while simultaneously ignoring the horrors of wartime violence. The article contends that Beauvoir's novel is a story of not remembering—or, more specifically, attempting to forget—Algeria and all the conflict signified to the average French citizen, including decolonization, torture, racial difference and political tumult. Analysis rests on the novel's representation of its protagonist Laurence, who had been shaken to the core after reading a newspaper article about a (likely Algerian) woman tortured to death, ultimately causing a nervous breakdown that forever altered her interactions with her family and fellow technocrats. Gender and nationality also figure centrally in this examination of the broader role that images—not only belles images—played in the construction of French national identity at this historical moment.     

Vitalism's after-burn: The sense of Ana Mendieta

This article considers the influential work of Ana Mendieta. Focusing on her siluetas series, Muñoz describes Mendieta's art as performing a modality of brownness that leaves resonant indentions on the world, what he calls vital materialist after-burns. Mendieta's after-burns are read alongside the poet's of Négritude and their investment in a critical élan vital that speaks to the historical precariousness of dispossessed people. The artist's work is explained as a meditation on a critical brownness that is theorized as the sharing out of the unshareable, the invaluable and the incalculable.?Mendieta's intervention is ultimately described as the work of offering a brown sense of the world in which singularities flow into a politically enabling common.     

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 footnote in history? Mary Gawthorpe,Sylvia Pankhurst,the suffragette movement and the writing of suffragette history[1]

In 1931, the Suffragette Fellowship invited several ex-suffragettes to contribute biographical statements and material to their archive to create a ‘Book of Suffragette Prisoners’ which would introduce the women who had been to prison in pursuit of the vote. In response, the suffragette Mary Gawthorpe, a member of the Women's Social and Political Union (WSPU) committee between 1906 and 1911, deposited a series of testimonies describing her political activity beyond the WSPU. Gawthorpe's actions were partly prompted by her recent representation in Sylvia Pankhurst's text The Suffragette Movement which dismissed her as having ‘emigrated to America, [taken] up journalism and married’. This article draws on material from Mary Gawthorpe's papers, recently deposited in the Tamiment Library, New York, to investigate Gawthorpe's response to Pankhurst's text. From this perspective, it considers some of the circumstances which provoke autobiographical responses to history.     

The Modern(?) Korean Woman in Prime-Time: Analyzing the Representation of Sun on the Television Series Lost

This article investigates the representation of Sun, the most prominent non-white female character on ABC's Lost. Given the importance of Sun's character in terms of visibility for Korean women specifically (and Asian women generally) coupled with the fact that Lost under-represents women in general, her role provides a substantial case-study of gender within the science fiction genre. Through a narrative analysis of the first season, we demonstrate the simultaneously flawed and empowered dimensions of Sun, who challenges some of the stereotypes viewers have come to expect from prime-time drama. Elements of colonialism, interpersonal relationships, and the castaway narrative in Lost are also explored.