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Christine Brooke-Rose’s Thru
Glyn White

the book and equally, because our interaction is with the graphic surface, we, the readers, refuse to concede to the text the ability to reject, and so limit, aspects of itself. The same is true of critics: Sarah Birch’s useful analysis identifies the feminist impulse accurately in the text but while catching references to Cixous and Irigaray she strays into parts of the text

in Reading the graphic surface
Open Access (free)
Sara Haslam

History (Cambridge, Cambridge University Press, 2000), p. 63. 54 Marina Warner, Alone of All Her Sex: The Myth and the Cult of the Virgin Mary (London, Weidenfeld & Nicolson, 1976), p. 67. 55 I am reminded of Cixous’ Sorties (‘Where is she?’) here, in which she lists a series of gender-related binaries, including ‘Writing/Speech, Day/Night, Culture/Nature’ (see Elaine Marks and Isabelle de Courtivron (eds), New French Feminisms, Hemel Hempstead, Harvester Wheatsheaf, 1981, pp. 90–8). 56 ‘I am a Tory because I cannot help myself’, Ford averred in 1911, continuing, ‘I am

in Fragmenting modernism