Melancholia in Vita Sackville-West’s Hogarth Press Novels

Author Vita Sackville-West (1892–1962) has been understood as an author who celebrates in both prose and verse the institution of the English country estate, in part because of her personal attachment to her family’s Kentish house, Knole. The four popular novels that Vita Sackville-West published with the Hogarth Press during the early 1930s—The Edwardians (1930), All Passion Spent (1931), Family History (1932), and The Dark Island (1934)—are no exception, save for their particular focus on the agnatic inheritance of both aristocratic title and estate along with the female subject’s exclusion from that system. While the first pair of novels entertain the possibility of mediated success in obtaining the loved object, either the estate itself or an effective substitute, the latter works become melancholically resigned to the restrictions that effectively disinherit the aristocratic eldest daughter. This escalating melancholia, often Freudian in its narrative presentation, directs the novels’ successive focus less toward the act of mourning the loss of the country house, of some version of Knole either real or imagined, and more to the vexing inability to both acknowledge the disinheritance and mourn the loss. In fact, the melancholic dynamic threatens to erase each of Sackville-West’s protagonists, and as her novels detail the advancing impact of this disinheritance, the female characters face literal extinction. Thus, the celebratory stance so often attributed to Sackville-West is, in these works, a far more critical and essentially abject perspective that demands compensation.     

Law’s Vulnerability,and Vulnerability in Law

Vulnerability acts as a touchstone in this issue as we find our contributors reflecting on its intersection with gender and sexuality in different ways. Saeidzadeh draws out the significance of misrecognition in her consideration of responses to transsexuality in Iran, while Doonan highlights the potential pitfalls of relying on situational vulnerability in her critique of anti-trafficking legal discourse in the US. Lindsey considers the legal potential of situational vulnerability as a tool to address the ‘persistent failure to take action against abuse’ in the UK. Durojaye and Oluduro contribute to the recent revitalisation in asking ‘the woman question’ by drawing on African law and literature to flesh out the development of a gender-sensitive, substantive equality approach from the jurisprudence of the African Commission on Human and Peoples’ Rights as it addresses vulnerability to violence. The reviewers continue this international conversation as they address recent contributions on sexuality, family formation and social security.     

‘Blackberrying in the Sun’? Modernism and the Ageing Woman in Rhys’s Good Morning,Midnight, Woolf’s Mrs Dalloway and Sackville-West’s All Passion Spent

Jean Rhys, Virginia Woolf and Vita Sackville-West break with tradition in re-envisioning the aging woman. No longer content with representing the forlorn dowager or the redundant females of Gaskell’s Cranford, these writers challenge earlier representations while also confronting modernism itself. Instead of focusing on youth, they ‘make it [modernism] new’ by carefully detailing the various ways ageism and sexism make us ‘the other’, as they speak out against the interlocking oppressions of ageism and sexism. Whereas Rhys underscores what it means to be an impoverished, aging woman, Woolf and Sackville-West shift their concerns to the ways in which their characters come to terms with aging. For Woolf, there is both a sense of mourning and a sense of celebration as Clarissa attempts to unite her world through her ‘offering’ of parties that ‘defy’ the Gods. In contrast, Sackville-West’s dutiful Lady Slane claims her independence for the first time in her life, as she refuses the ways in which her children infantilize her.     

red girls’ revolutionary tales: antifascist women’s autobiographies in Italy

This essay focuses on recent autobiographies written by Italian women born in the 1920s who engaged in revolutionary politics during and after the Second World War: Luciana Castellina (La scoperta del mondo, 2011), Bianca Guidetti Serra (Bianca la rossa, 2009), Marisa Ombra (La bella politica, 2010), Marisa Rodano (Del mutare dei tempi, 2008) and Rossana Rossanda (La ragazza del secolo scorso, 2005). In these autobiographies, personal narratives of passionate engagement are entangled with the urgency of antifascist resistance, and with the social and political conflicts that traversed Cold War Italy. Women’s multiple forms of political engagement within the Italian Communist Party are analysed, as well as the contradictory, ambivalent connection between Western European communist activists and Eastern European socialist regimes. The intersections between antifascist, communist and women’s rights politics are also explored, since some of the authors were leaders of the nation-wide left-wing Union of Italian Women. The autobiographies tell the story of an antifascist, left-wing ‘middle wave’ that fought pioneering battles for women’s political and social rights, and narrate its complex, conflictual encounter with second-wave feminism in the 1970s. These writings, therefore, allow us to reflect on changes in gendered subjectivities and revolutionary politics across time and generations.     

Capricious Intentions in Stevie Smith’s Poems and Drawings

Abstract

There is a contradiction in how Stevie Smith saw the relationship between her poems and drawings. On the one hand, she looked at her doodles as vital to her poetry and backed with a great deal of intentionality. She painstakingly cut and pasted them into her drafts and left detailed notes to her publishers when those placements were not to her exact specifications. On the other hand, though, she talked about her doodles as if they were ephemeral and backed only by caprice. This essay argues that Smith’s doodles play at the intersection of intentionality and caprice; in doing so, they become deliberately detachable objects that signify both placed with and when displaced from her poetry. Decisions, whether by Smith or by her editors, to move or remove an image have both subtle and dramatic changes for readers’ experiencing of her poems. This paper relies on archival and published sources to provide readings of several of Smith’s poems including ‘Do Take Muriel Out,’ ‘The Rehearsal,’ ‘The After-Thought,’ and ‘Not Waving but Drowning.’ In their continual ability to be removed and reattached to her poetry, Smith’s doodles destabilize the texts that they supposedly compliment, while at the same time also revitalizing them by allowing them to remain open to new interpretations.     

Women’s perspectives on the value of a father’s initiative in shifting gendered practices within families

This paper explores the qualitative perspectives of women about a community embedded fathers’ initiative in Northern England. Projects to improve the well-being of men and their children are less common within the landscape of parent and child support, with mothers more often being the target recipients. Asking women about their perceptions of an initiative for fathers then offers original insights from women who are positioned as ‘related outsiders’, in that they were ‘outside’ the project but ‘inside’ the family and community. Findings suggest that women are able to see the positive impact of such a project, identifying that it offers a shared space for men and children, time for mothers without their children and can help with shifting roles and attitudes around childcare and emotional labour in the home. The initiative was also seen by the women as offering men more healthy means of coping, including men moving away from traditional hegemonic practices, which in turn shifted some women’s long held gendered beliefs about men as fathers. This research then offers a relational gendered backstory to a father’s initiative, demonstrating how such initiatives can potentially ‘undo’ gender and the positive implications this could have for families.     

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.     

Norway as an Example in the UK Women’s Suffrage Campaign

This article analyses the character and meanings of references to Norwegian experiences in the UK women’s suffrage campaign. It argues that the references to Norway served two main purposes. Firstly, they served as evidence of all the good things that would happen as a result of women gaining the vote, such as wage equality and social reform. Secondly, they played a significant part in establishing a counter-narrative to the anti-suffragist warnings of all the terrible things that would follow women’s suffrage. The study also discusses the limitations of political exchange and shows how different political contexts came into play in the debates on the validity of the Norwegian example.     

Ellie’s first time: constructing self-cutting in a teen drama

Self-cutting attracted a growing interest in society during the 1990s and the early 2000s, and this was reflected in a similar increase in media during this period. In this article, the example of Ellie Nash’s self-cutting in the teen drama Degrassi: The Next Generation is used to investigate articulations of the phenomenon during this period. The starting point is that self-cutting, a behaviour that previously had mostly been connected to masculinity, had to be rearticulated to fit into already established constitutions of femininity. If this was not possible, self-cutting could only be understood as a radical and aggressive behaviour easily connected to movements such as Riot Grrrls that emerged during the same period. With the help of formal and narrative methods, and discourse theory, the scene that includes Ellie’s first cut is analysed. The results of the analysis show that themes such as success, control, family and alternative culture framed self-cutting as being executed by girls who are fragile and vulnerable but also sensible. Even if the things that led up to Ellie’s self-cutting were presented as structural problems, the solution for her was individual conversational therapy, which fitted with the hegemonic neoliberal values that dominated this period.     

Young men’s friendships: inclusive masculinities in a post-university setting

When Eric Anderson published inclusive masculinity theory (IMT), it was largely situated in relationships he observed with first-year undergraduate students. Here, he noticed a striking difference in behaviours and attitudes between the adolescent heterosexual men in the United States, compared to those in the UK. Since IMT’s inception, there has been a great deal of further enquiry into the social lives of young heterosexual men in both of these nations. What is undertheorized, however, is whether the intense emotional and physical tactility of homosocial relationships described in this literature will occur with current and future generations. Nor do we know if men described as exhibiting inclusive masculinities at university continue to do so – and to what degree – as they enter the workplace and develop family ties. This research utilizes 10 semi-structured interviews with the same participants from Anderson’s initial studies, showing that they continue to strive for the same emotional intimacy with male friends that they achieved during their time at university. Half also carried this behaviour into the friendships developed with other men since graduating from university. Thus, this research contributes to IMT as it offers preliminary analysis into the friendships of inclusive men, after their time at university.     

Elizabeth von Arnim’s The Pastor’s Wife: A Reassessment

Abstract

The Pastor’s Wife (1914) may seem at first reading simply another depiction of a woman struggling for liberation in the decades following the work of Thomas Hardy and Henrik Ibsen, being the story of how Ingeborg Bullivant escapes from an English patriarchal home, only to find herself trapped in another one in Germany. The novel, however, marks a turning point in Elizabeth von Arnim’s career; it is a novel that looks back to previous themes while anticipating those to come. It demonstrates, with comedy and bitterness, themes of alienation and exile; satirizes German codes and class; and provides a lyrical Romantic vision of the natural world. It also presents the married woman as a prisoner in a way that anticipates Vera (1921). The novel can also stand alone as an underrated classic that plays an important part in the history of English literature. Published at the beginning of high modernism, it shows, unlike the work of some canonized writers of the time, a fusion of realism and modernism. This essay argues that the novel is a proto-feminist work that is radical in its portrayal of women’s experience and influenced by literary naturalism in its childbirth scenes, but pessimistic about possibilities for change. The essay shows how the novel is modernist in its depiction of the alienated experience of the city; uses nineteenth-century realism in its narrative structure and comedy; and yet is forward-looking in its use of endings. A book that begins as a comedy but ends as a tragedy, The Pastor’s Wife deserves equal recognition with the work of H. G. Wells and E. M. Forster, writers with whom von Arnim was connected and by whom she was influenced.     

Ma Rainey’s phonograph

This essay engages a series of performance routines by the blues artist Gertrude “Ma” Rainey, as a way of critiquing the epistemological tenets of sound reproduction technology. Between 1923 and 1925 Gertrude “Ma” Rainey carried out an elaborate quasi-burlesque performance routine in which she sang while hidden inside a giant phonograph; this routine precisely references and troubles the legacy of black sounds and bodies and their conflicted forms of capture andembodiment through sonic technologies. I think about how black sounds and bodies have been rendered as documentary objects within sonic and visual performance contexts and how this history is both referenced and complicated in Ma Rainey’s performances. I argue further that Rainey’s performance illustrates how sonic technologies always require, what I term black documentary embodiment, through the sonic and the visual. To this end I illustrate how reducing black art to an evidentiary object was central to the phonograph’s material and epistemological construction. In addition to analyzing Rainey’s performance I briefly engage the contemporaneous visual culture of the blues as a means to trace the legacy of black documentary embodiment within a longer visual-sonic tradition.     

Regendering modernism: the woman artist in Irish women’s fiction

The period between 1922 and 1960 is often characterized as one of social and cultural stagnation in Ireland. Irish fiction was dominated by an avant-garde writing in exile and the local dominance of the short story. Attention to the non-canonical fiction of women during the period, however, reveals a literature that exceeds this paradigm. Meaney focuses on two novels, The Troubled House by Rosamond Jacob and As Music and Splendour by Kate O’Brien, which both feature women as artists. This figure provides in both cases a mode of combining a commitment to narrative realism with a self-reflexive exploration of the role of art, thus evading the fictional polarities of the period. The woman artist as fictional character also offers an opportunity to explore the relationship between gender, sexuality, politics and art. The linkage between sexual dissidence and aesthetic freedom is a persistent trope of modernism in the Irish context, even if it is often critically submerged under the figure of exile. Both The Troubled House and As Music and Splendour might be considered to be supplements to Irish modernism in the Derridean sense, ‘an originary necessity and an essential accident’. Through the figure of the woman artist, both of these marginal novels transgress the configurations of gender at the heart of that modernism’s aesthetic project. Both link transgressive sexuality with artistic production. In doing so they posit a very different relationship between sexuality, aesthetics and politics.     

Power and Rights in the Community: Paralegals as Leaders in Women’s Legal Empowerment in Tanzania

What can an analysis of power in local communities contribute to debates on women’s legal empowerment and the role of paralegals in Africa? Drawing upon theories of power and rights, and research on legal empowerment in African plural legal systems, this article explores the challenges for paralegals in facilitating women’s access to justice in Tanzania, which gave statutory recognition to paralegals in the Legal Aid Act 2017. Land conflicts represent the single-biggest source of local legal disputes in Tanzania and are often embedded in gendered land tenure relations. This article argues that paralegals can be effective actors in women’s legal empowerment where they are able to work as leaders, negotiating power relations and resisting the forms of violence that women encounter as obstacles to justice. Paralegals’ authority will be realised when their role is situated within community leadership structures, confirming their authority while preserving their independence.