The Untimely Stevie Smith

Abstract

This essay considers the role of the untimely in the work of Stevie Smith. It explores motifs of belatedness in her reception history, suggesting how her own authorial persona and public presentation encodes this response. It examines the notion of the last-minute in her work, focusing on motifs such as disruption, elongation and delay. It suggests how her revision practice responded to the idea of being ‘too late’, with the moment of publication providing her with further prompts to revise her work. It focuses on final words and endings in her poetry and frames her interest in Christianity through ideas of temporality and form.     

Stevie Smith and Her Dancing Girls

Abstract

What constitutes a good Stevie Smith poem? The question bothered the author herself and it can bedevil the reader too, with evaluative quandaries often compounding interpretative ones. Smith's uncertainty about the relative merits of her poems informed publication decisions, and this in turn has resulted in certain compositions being overlooked in critical assessments of her achievement. This article takes as a test-case example a hitherto largely neglected poem, ‘The Ballet of the Twelve Dancing Princesses’, and through sustained close reading makes the case that the poem, unpublished in Smith's lifetime, may be one of her finest pieces. Through an analysis of the poem's cultural and historical context, its manifold ambiguities, its imagery and atmosphere, its coded engagement with the fabular and the strange effects achieved through rhythm and rhyme, the poem is shown to offer a complex, psychologically suggestive response to issues which exercise Smith in many of her poems, including the tension between innocence and knowledge, between the child and the adult, between the capricious and the calculated, and between the ‘frivolous’ and the ‘ominous’. The difficulty of determining how ironically and how seriously Smith engages with some of the latent preoccupations of her poem, such as the power of sorcery and the supernatural, the growth of sexual awareness in young girls and (possibly) the approach of the Second World War, is taken as symptomatic of the tendency of Smith's poems to at once invite and defy exegesis. Taken together, these various concerns and characteristics provide the grounds for considering one of Smith's overlooked poems as one of her most effective. Yet the conclusion seeks to complicate this assessment by cross-questioning the criteria by which Smith's ‘success’ as a poet may be determined.     

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.     

‘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.     

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.     

Jean Rhys,William Orpen and the Frames of Modernist Representation

The female body as artist’s model and its exchange value—both the woman and her painted image—are deployed by Caribbean modernist Jean Rhys to question representational structures as they exist in the modernist art context. This article considers the relation between literary modernism and the visual arts, between text and image, in her unpublished novel Triple Sec and short story ‘Tea With an Artist’. Using the fleeting relationship between Rhys and English painter Sir William Orpen, for whom she posed nude aged twenty-three, as my basis, I examine Rhys’s presentation of the power politics that constrain the female model in the contemporary art world. Her allusions to artists, models and artworks in her texts widen out to issues of frames and framing, where narratives of framed pictures, or the female model’s body within a picture’s frame, speak of social acts of framing, containment and objectification within modernist representational structures.     

The Impersonal Strategy: Re-visiting Virginia Woolf's Position in The Common Reader Essays

The concept of impersonality as a writer's strategy has been exposed to misinterpretations that either fail to exhaust its full meaning and deposit an unequal amount of attention on all components of the term or, in the worst case, tend to distort its true elements. In relation to Virginia Woolf's criticism, in particular, it is a critical commonplace that the author employed an impersonal position in order not to fully materialise her feminist vision, but to shy away from explicitly expressing her feminist convictions and openly supporting women's rights. Indicative of this is the criticism that suggests disapproval of Woolf's reluctance to side with her own gender and declare the power of female personality.

The aim here is to challenge such critical views, separate the discussion of impersonality from its association with that of androgyny, and re-visit the issue of Woolf's employment of the impersonal strategy. I examine two of Woolf's essays on nineteenth-century women writers included in her first volume of The Common Reader and offer an analysis from both a gender-oriented and a genderless angle. Woolf's strong affinity with female conditions of oppression, her modernist convictions, her need to compromise with the male-dominated context of the time and her concurrent urge to co-operate with the common reader of an unspecified sex for the sake of artistic creation reveal more complex reasons behind her intentions than those examined by critics so far.     

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.     

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.     

Exploring the Realm of the Unconscious in Anna Kavan’s Sleep Has His House

Abstract

Sleep Has His House, one of Anna Kavan’s most radically experimental novels, appeared in Britain in 1948, in the wake of the Second World War. An objection levied at the novel on its publication was that it bore no relationship to external ‘reality’. However, this article argues that the novel’s focus on the oneiric realm, contrary to what hostile contemporary reviews claimed, does not take place in isolation of larger society. Portraying modernist, surrealist and psychoanalytical influences, the novel is namely concerned with the representation of a nocturnal realm that emphasizes the osmotic relationship between the external world and an individual’s subjectivity. Focusing on the ways in which violent images of war infiltrate the dream world, this article suggests that Sleep Has His House can in fact be understood as reflecting and responding to the pressures of British war-torn society in the mid twentieth century.     

Center Stage: Humiliation,Being Found Out,and the Myth of Supercompetence

Youth workers operate within a professional climate in which competence is perceived to be linked to a worker's ability to respond quickly and effectively to whatever situations clients may present. Many youth workers perceive their own inability to respond in moments of stuckness as indicative of their own failing and lack of professional skill. They often view their colleagues as more equipped and competent than themselves and fear having their own struggles exposed. This chapter describes the third of five themes associated with youth workers' experiences of not-knowing what to do: humiliation and the fear of being found out. In addition to presenting the dominant theme, this chapter discusses the two variations on the theme, as described by youth worker participants: (a) The worst public humiliation and (b) They'll know I'm a fraud. Implicit in both variations is the weight of youth workers' attempts to measure up to the field's myth of supercompetence in their practice.