Lady Elinor Davies: The prophet as publisher

Lady Elinor Davies, who published between 1625 and 1652 more works than any other Englishwoman before her, believed herself to be the prophet of the apocalypse, divinely chosen to reveal that the apocalypses of Daniel and St John find their fulfillment in the events of the seventeenth century and thereby to proclaim the coming of the judgement and the end of time. Empowered by confidence in her gift and compelled by the urgency of her mission, Lady Elinor defied patriarchal authority when in 1633 she published prophecies attacking church and king, an act that brought her to trial and to prison and her prophecies to the bonfire. Lady Elinor then mythologized this trial: She, the woman-prophet-publisher, becomes the apocalyptic Woman in Travail, who triumphs over the monstrous embodiments of patriarchal power that persecute her and seek to destroy her work.     

Standing Pat: The First Lady in Oliver Stone's Nixon

Why, love forswore me in my mother's womb And, for I should not deal in her soft laws, She did corrupt frail nature with some bribe … … … … … … … … To disproportion me in every part, Like to a chaos, or an unlicked bear whelp That carries no impression like the dam. Shakespeare's III Henry VI, 5.2.153-162 America cannot stand pat. Richard M. Nixon     

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’.     

The Between

Thinking with this special issue's group of feminist thinkers – some artists and others scholars – this introduction makes a strong case for co-authorship and a more collaborative humanities, while also insisting that the couple form – that stalwart object of queer and feminist theory – is neither a known quantity nor an exhausted entity, but rather, a field ripe for analysis. Situated squarely within performance studies, this introduction pivots away from questions of ontology and toward method and performativity, in order to ask: what modes of intellectual practice, erotic exchange, political work, and aesthetic experimentation happen uniquely within couple forms, in their most capacious and non-self-same iterations? What queer and feminist work can they do? What, in other words, is possible in the infinity, if indeed it is an infinity, between one and two?     

The Themes

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