A picture in black and white: modernism,postmodernism and the scene of ‘race’

‘Writing, in its noblest function’, says He´le`ne Cixous, ‘is the attempt to unerase, to unearth, to find the primitive picture again, ours, the one that frightens us.’ Cixous' hopes for the possibilities of writing are the starting point for a very new and startling piece of Australian writing, Kathleen Mary Fallon's ‘how violence made a real mother-of-a-mother of me’, writing that possibly gets closer to the ‘heart of the matter’ of contemporary Australian black-and-white relations than any other white-signed literary text. What might Fallon's writing attempt to ‘unerase’, to ‘unearth’? What is the primitive picture, according to Fallon, that so frightens us? Here, I want to explore the questions Fallon's writing asks, and to explore more generally what ‘writing’ and ‘reading’ might mean in the contemporary Australian context, and I do this in terms that might seem at first to be surprisingly anachronistic. I read this very contemporary, some would say postmodern, example of Australian writing in terms of a paradigm that is described by the field of critical studies of literary modernism. This is a paradigm that emphasises what feminist critic Marianne DeKoven calls the ‘irreducible ambiguity’ of some texts, their ‘radical undecidability’, their ‘impossible dialectic’. I am seeking to recuperate this paradigm and the critical impulses that it generates for a project whose objectives are far from those of literary modernism with their alleged origins in a white European and, for some, a masculinist aesthetic of the late teens and 1920s. I am interested in revisiting modernism, not only as a kind of writing practice but as a critical practice, and therefore as a reading practice, one that has possibilities for reading ‘black’ and ‘white’ in Australia now: for reading what might be called the ‘impossible dialectic’ of relations between whites and Indigenes. How might we read Australian writing now, in particular its efforts to ‘unerase’, to ‘unearth’, that picture that, I argue, frightens ‘us’, as white Australians: the picture in black and white, the original scene, the scene of invasion and dispossession, the scene in which the words ‘terra nullius’ were first uttered, the scene that continues to structure our perceptions of the Indigenous ‘other’ and of our white selves into the present?     

The Room and the Street: Gwen John’s and Jean Rhys’s Insider/Outsider Modernism

The modernist city is commonly thought of as a city of exteriors; we envision the ‘spaces of modernity’ as sites of industry or leisure, and apply the very notion of the ‘urban’—urban planning, urban studies—to the way we approach public spaces. But by reading together the paintings of Gwen John (1876–1939) and the writings of Jean Rhys (1890–1979), we discern a different modernist story than we are used to hearing—one that collapses divisions between the room and the street, the private and the public. By focusing on tropes of rooms in their works, the author seeks to nuance our understanding of John’s and Rhys’s relationship to community from within the supposed safety or isolation of their interior rooms, and argues more broadly for a women’s modernism of the city that collapses divisions between the room and the street, the private and the public. These two figures, who are usually read as ‘outsiders’ to mainstream modernist culture, produce a distinct ‘insider/outsider’ aesthetic which reveals them to be working not outside, but at the very heart of modernist experimentation.     

‘Infidelity to an Impossible Task’: postmodernism,feminism and Lyn Hejinian's ‘My Life’

This paper locates the work and critical reception of the experimental poet Lyn Hejinian within the emerging debates of ‘third-wave’ feminist critique. It centrally argues that Hejinian's writing at once illuminates and undermines the apparent tensions between a feminist and an anti-foundationalist critical position. It specifically focuses on Hejinian's use of autobiography, as at once gesturing to the limitations of the theoretically naive self-knowing subject, steeped in the discredited assumptions of modernity, and the continuing cultural validity of and desire for narrative, identification, self-expression and referentiality. The paper argues that Hejinian's writing makes sense of this equivocation, not through its use of feminized tropes assumed to subvert the linear assumptions of the genre and render the reader ‘active’, but through an attention to the ironical complexities of her own cultural positioning. Hejinian's writing demonstrates how the representation of the postmodern feminist subject involves an attention to authoriality, to the possibilities of textual experimentation and to the cultural sites that legitimize the production of meaning for these things. Hejinian demonstrates not simply that feminism can reconcile a need for agency with a critique of agency, and that such an act needs to consider its collective implications, but that these kinds of claims actually require an engagement with the varied contexts that continue to make feminist's attention to literature meaningful.     

Expected to live: Women shoah survivors' testimonials of silence

Despite the apparent recent flood of Shoah writing, silence is still a key component in survivors' survival strategies. Women Shoah survivors have found it particularly difficult to speak, or write, about their experiences, because of the implications of survival in relation to their possible sexual exploitation during the Shoah. Until relatively recently, writing about the Shoah tended to remain gender-neutral. This article is situated within the increasingly prominent feminist scholarship about the Shoah. Based on the accounts of women Shoah survivors, in testimony, poetry, and fiction, the article examines the gendered implications of the tensions between the self-imposed silences and the silences imposed on survivors by society on the one hand, and the gaps between the experiences of the Shoah and the discourses available to tell them on the other.     

‘Great Expectations’: Rehabilitating the Recalcitrant War Poets

Formulating a definition of ‘good’ poetry is, and should be, impossible. Yet women's poetry of the First World War seems generally to have been condemned as ‘bad’. It inspires an ambiguous response from readers who recognize the value of its historical, social and psychological content, but shudder at the limitations of its form. However, I believe that a much more fruitful reading of these ‘recalcitrant’ texts is possible. It is not my intention to deny either their problematic nature, or the diversity and complexity of male responses to the war, but rather to emphasize that women's experience of the First World War was radically different from that of men, and we should not therefore be constrained by the traditional parameters of 1914-18 criticism when we explore these works. This article examines a selection of this poetry in the light of the psychological processes of grief and bereavement, and in so doing indicates other areas in which constructive readings of these texts might be made.Why do we expect the articulation of a radically new and uniformly consistent poetic voice from what was a large and diverse group of women? The expectations of modernism ironically have created a literary ‘mainstream’ out of a selection of experimental, and largely male, writing. I hope to show that the ‘failure’ of these women to conform to our textual ‘great expectations’ is irrelevant. The single most characteristic feature of these women's experience of war was isolation. Their position had neither the homogeneity of the trenches, nor the intense intellectualism of experimental circles. Predominantly middle class, alienated by absence and bereavement, they attempted to articulate the unprecedented nature of their experience. That their experiments were not wholly successful is perhaps indicative of the near impossibility of the task they undertook.     

gendered Islam and modernity in the nation-space: women's modernism in the Jamaat-e-Islami of Pakistan

Feminist scholarship on women in religious and right-wing social and political movements has moved from a reductive focus on causal or motivational factors to more sophisticated analyses explicating processes of agency and subject formation. With the aim of expanding and deepening this conceptual space, I will discuss some of my interactions with a group of women in the Jamaat-e-Islami in Pakistan, as we attempted to explore the complex meanings of ‘the modern’ that informed the self-understanding of my interviewees. My work corroborates some of the contemporary scholarship on what is referred to as Political Islam in arguing that Islamist movements in Muslim societies are also the catalysts of modernization, rather than simply its interlocutors. This article argues that these processes of social and political organizing entail particular interrogations and the reconstituting of identities in ways that blur the line between ‘the religious’ and ‘the secular’. On the one hand, we need to understand Jamaat women's self-construction as religious or pious women; on the other hand, we must grasp the specificity of their claims to act as modern subjects situated in the time of political and cultural modernity.     

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.     

‘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.     

Religion for the Modern Girl: Maude Royden in Australia, 1928

When the feminist preacher Maude Royden (1876–1956) toured Australia in 1928, she promoted modern religion for modern women. This article examines the Australian press coverage of Royden’s visit to shed light on the complex relationships between religion, modernity and the female body as they were constituted in Australia in the 1920s. In doing so, this article contributes to growing historiographic debate concerning the intersections of modernity and religion and serves to disrupt further those narratives which have presumed processes of modernisation and secularisation to be running in parallel. Australian newspapers eagerly spread the news of Royden assuming the previously masculine space of the pulpit and they promoted her new form of Christianity as scientifically credible and suited to modern Australia women’s lives. In advancing my analysis, I also compare Royden’s press reception in Australia to that of her contemporary, Aimee Semple McPherson (1890–1944). McPherson likewise also offered a religious response to modernity and a new religious femininity, but the Australian media showed comparatively little interest in her visit. I argue that although religious femininities were being recrafted for modernity in the pages of Australian newspapers, only certain expressions of religiosity and modern femininity were considered compatible.     

The Curse of the Smile: Ambivalence and the ‘Asian’ Woman in Australian Multiculturalism

This article critiques Australia's official discourse of multiculturalism, with its rhetoric of ‘celebrating cultural diversity’ and tolerance, by looking at the way in which this discourse suppresses the ambivalent positioning of ‘Asians’ in Australian social space. The discourse of multiculturalism and the official, economically motivated desire for Australia to become ‘part of Asia’ has resulted in a relatively positive valuation of ‘Asia’ and ‘Asians’, an inversion from the racist exclusionism of the past. Against the self-congratulatory stance of this discourse, this article signals the operation of ambivalence at two levels: at the structural level, insofar as it points to the inherent contradictions in the idea of the ‘multicultural nation’ and its fantasy of a harmonious ‘unity-in-diversity’, and at the subjective level, in the sense that the ethos of multiculturalism doesn't erase the ambivalent relations of acceptance/rejection between majority and minority subjects. Several instances of such ambivalence pertaining to the positioning and representation of the ‘Asian’ woman are given.     

Black geographies of struggle and pleasure in Nona Faustine’s White Shoes

In Nona Faustine’s photo series of self-portraits, White Shoes, the artist’s body becomes the agent in exposing the instability of racialized historical geography. Faustine revisits New York City’s landmarks to address what is missing or made invisible: a slave ship, a fugitive woman’s rebirth, or African burial grounds. Making herself visible where she is supposed to remain invisible, she highlights the unacknowledged connection between national wealth, nationalism, geography, and black labor. She discloses the topography of her travels as a changeable terrain, where one slips from the national iconic to ambiguous and finally, to the sacred. I suggest that Faustine doesn’t seek to democratize the extant historical maps, but to shift the terms of reading the city’s geography. She lifts the boundaries between the polarized pathways of knowing – the secularized and the sacred, the living and the dead, the verifiable and the missing. This shift is also made possible by the medium of photography and a feminist turn towards pleasures in one’s body. As Faustine comes to terms with the psychic and cultural inheritance of the diaspora, she moves from the collective body of pain towards black women’s pleasure in their own bodies without purging the history of sexual trauma.     

The Feminist Art of Self-Education

Abstract

Sociologist Elizabeth Long has charted the emergence of women’s reading groups in nineteenth-century America. ‘The women who founded literary clubs’, Long (2004, 337) tells us, ‘were aflame with the then revolutionary desire for education and self-development, which they called “self-culture”.’ Comparable aspirations continued to fuel a drive amongst women to organize together within reading and publishing groups, usually outside of official institutions, well into the twentieth century. This ‘revolutionary desire’ for self-education has also been evident in the UK women’s art and art history movement, although it has not been addressed in thorough detail. This article therefore seeks to situate an overlooked history of artistic reading and publishing communities in relation to an established body of theory in literary and cultural studies. These theoretical materials will illuminate the importance that reading and self-education (either in person or as part of a periodical network) had in establishing solidarity, and generating debate, within a flourishing art and art history movement. The second half of this article focuses on a specific case study. FAN: Feminist Art News (1980–1993) was an independent, grassroots publication that grew out of the Women Artists’ Newsletter in London. Temporary editorial collectives published themed issues on a quarterly basis. This article contends that it is no coincidence the subject of art education formed the focus of the periodical’s first issue, as well as a subsequent issue four years later. This indicates the significance of a reflexive auto-didacticism to second-wave feminism, as well as gesturing towards the long history of ‘education and self-improvement’ that has fuelled women’s reading and study groups since the nineteenth century.     

The figure of woman and the fantasy of the modern Australian nation: travelling to the ‘Empty Centre’

How does a political entity such as nation so seduce and beguile that it appears to its subjects to constitute the very grounding of identity, the very grounding even of meaning itself? One of the ways it does this, for both male and female national subjects, is through the image of Woman, a phenomenon most evident in the cultural productions of a nation—its novels and films, its poetry and painting. It is in these ‘texts’ that the reach of the image of Woman in reproducing the particular fantasies that sustain the belief in our national identity, our ‘unique way of life’ can be seen. In his novel The Plains, Gerald Murnane satirises the Australian fantasy of nation that elevates Woman to such a status that she becomes both the sublime image of the very essence of nation and an always unattainable object of desire. As Lacanian theory tells us, this fantasy of Woman as the impossible sublime object is a form that is most often found on the male side of sexuation. The image of Woman that sustains such fantasies is an empty container, a pure image that contains only its own constitutive no-thing, but an image that nevertheless is compelling, that captures the gaze, appearing to offer all. That is, it has a fascinatory effect. Given that masculinist fantasies of nation continue to appear in all Australian cultural forms, reproducing predominant national meanings, it remains a vital part of the Australian feminist project to analyse these contemporary expressions of the place of Woman in national reproduction and how the masculine fantasy of Woman sustains a particular form of nation. Gerald Murnane's recently republished literary novel The Plains remains as relevant to these questions as it was when it was first published in 1982. This article offers a Lacanian analysis of the function of Woman in Murnane's The Plains, a novel which is itself preoccupied with the use made of the image of Woman in the reproduction of prevailing national fantasies.     

sexual assault as trauma: a Foucauldian examination of knowledge practices in the field of sexual assault service provision

This paper examines the deployment of the concept of psychological trauma in the field of sexual assault service provision, a field in which a feminist understanding of sexual violence has achieved a position of ‘truth’. Using a Foucauldian methodological approach, the investigation centred on service provision in New South Wales, Australia, and analysis focused on the everyday practices of workers illuminated through documents collected from the field, in particular the interview texts produced from interviews with thirty sexual assault practitioners. The paper focuses on the adult survivor of child sexual assault who emerged in the study as the most traumatised category of victim. I lay out how ‘trauma’, specifically the concept of ‘complex trauma’, operates as the conceptual (emotional, relational, neurobiological) link between past abuse and current problems, redefining them not as ‘problems’ but as the symptoms or effects of untreated childhood trauma. I argue that in the local field this deployment is simultaneously enabling and problematic. The production of a subject position of ongoing ontological vulnerability has the effect of repositioning the ‘adult survivor’ outside the socio-political context of their current lives and as such appears misaligned with a feminist ‘regime’ centred on enabling practices and structural gender inequality. However, I demonstrate how this same knowledge of the neurobiological, relational and emotional effects of trauma on the survivor self is used by practitioners as part of their established feminist practices of enabling victims to regain a sense of power and control, of interrupting blame and working for victims at a broader systemic level. The research adds to feminist research and commentary that has drawn critical attention to uptake of trauma in sexual assault work by showing the specificity of how trauma operates in a specific location, and illustrating both the potential and the problematic aspects of trauma as a feminist knowledge practice.     

food

The shift to companionate marriage in South Asia and elsewhere is widely read as a move from ‘tradition’ to ‘modernity’ resulting in an expansion of individual agency, especially for women. This paper critically examines the narratives of urban middle-class women in Sri Lanka spanning three generations to illustrate that rather than indicating a radical shift in the way they negotiated between individual desires and social norms, the emphasis on ‘choice’ signals a shift in the narrative devices used in the presentation of the ‘self’. The paper illustrates how young women’s narratives about marriage appear to suggest ‘modernity’ as inevitable—that its processes are reconstituting the person who, less constrained by ‘tradition’ and collective expectations, is now experiencing greater freedom in the domain of marriage. However, it also shows how urban middle-class families in Sri Lanka have collectively invested in the narrative of choice through which ‘a choosing person’ is consciously created as a mark of the family’s modernity and progress. Rather than signalling freedom, these narratives about choice reveal how women are often burdened with the risks and responsibility of agency. The paper illustrates that the ‘choosing person’ is produced through narratives that emphasise agency as a responsibility that must be exercised with caution because women are expected by and obligated to their families to make the ‘right’ choices. Hence, a closer look at the individualised ‘choosing person’ reveals a less unitary, relational self with permeable boundaries embedded within and accountable to family and kinship.     

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.     

Feminism,imperialism and orientalism: the challenge of the ‘Indian woman’

Abstract

This article examines the content and process of imperialist discourse on the ‘Indian woman’ in the writings of two North American women, one writing at the time of ‘first wave’ feminism, the other a key exponent of the ‘second wave’ of the movement. By analysing these writings, it demonstrates how the content of the discourse was reproduced over time ith different but parallel effects in the changed political circumstances, in the first case producing the Western imperial powers as superior on the scale of civilisation, and in the second case producing Western women as the leaders of global feminism. It also identifies how the process of creating written images occurred within the context of each author's social relations with the subject, the reader and the other authors, showing how an orientalist discourse can be produced through the author's representation of the human subjects of whom she writes; how this discourse can be reproduced through the author's uncritical use of earlier writers; and how the discourse can be activated in the audience through the author's failure to challenge established cognitive structures in the reader.     

country matters: sexing the reconciled Republic of Australia

This essay analyses how Australian postcolonial discourses, influenced by both Republicanism and Reconciliation, deploy the trope of woman to signify political change in both feminist and cultural debates about belonging, national legitimacy and sovereignty. I point out that white feminist rejection of the Queen in favour of embracing indigeneity is itself complicit with a history of ‘incorporating’ and assimilating indigeneity – a complicity that is sublimated in favour of a triumphant rejection of Imperial white womanhood. The essay looks at a contemporary Australian novel, media depictions of Paul Keating's ‘embrace’ of Queen Elizabeth II (as a kind of captivity narrative), critical whiteness studies’ ‘rejection’ of the Queen and the misrecognition of Australia's distinct characteristics as a ‘settler culture’ (that incorporates indigeneity) within Australian feminist debates and claims of ‘transgression’ that are made for interracial relationships in Australia.