Reconfiguring spinsterhood and the Victorian family in inter- war women’s writing
her devotion to
Ellen Nussey’, writing her letters that were ‘nearly amorous’ and expressing the desire to live with her (1937: 73). In a more recent discussion of
Victorian life-writing, Sharon Marcus talks about female friendship as
a ‘fundamental component of middle-class femininity and women’s life
stories’, using evidence from Sarah Ellis’s conduct books published in
the 1840s (Marcus, 2007: 39). In Gaskell’s account, Charlotte’s visits to
The legacy of Lucy Snowe
friends are recorded very briefly and Ellen is not named. She also edits
French ‘vices’; immorality in Swinburne’s case,
vers libre in Lowell’s, although she Americanized and
adapted the terms at once’ to ‘unrhymed cadence’
(Ribeyrol 2010 , 14; Gould 1975 , 139).
John Keats was also a major influence on Lowell: she
collected his manuscripts and first editions and spent the final years
of her lifewriting his biography. Interestingly, a fragment of an essay
Family, gender and post-colonial issues in three Vietnam War texts
complex life-writing. In particular, her multiplicitous imagery
of family gets lost in Heaven and Earth .
Instead, Stone seemed beset by his own personal circumstances.
His difficulties are made clear in his interview for Entertainment
Weekly , in which he fragmentedly links his family life with
Heaven and Earth :
-apocalyptic writing, which Rosenfeld states is ‘one of the four main categories of future history’ and defines as ‘a tale of the struggle to return to civilisation’. 1 General Dann suggests the radical implications of climate change for human social, cultural and personal identities. It draws on the idea of the acquisition of knowledge through palimpsestic accretion rather than the preservation of logos and points towards Lessing’s growing interest in memory, lifewriting and history in her work since 2000, which will be discussed in chapter 6 .
important part of her corpus and her use of autobiographical forms throughout her work (whether ostensibly novel, memoir or official autobiography) can be viewed as a creative engagement in forms of lifewriting. In terms of genre, Lessing has refused to fit into the niches that academics, publishers and booksellers use to classify fiction: this resistance to categorisation is undoubtedly connected to her suspicion of other attempts to categorise, whether in terms of gender, race, nation or age. Throughout her writing life there have been many processes of revision at
Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter
dramatic works; cinematic scenarios; a short attempt at autobiography; and
epic, non-punctuated narrative in Grabinoulor (although that text might
also be read as a form of extended life-writing). Although Cubism remains
an important context for reading Albert-Birot’s work, it is also essential to
understand his relationship to the two artistic movements with which he
has been readily associated with by critics – Futurism and Surrealism; the
focus here is on his interactions with Futurism.
To consider the extent of his involvement with Futurism means largely an
or in prose. [. . .] The true difference is that one relates what has happened, the
other what may happen” ’ (2009: 319). Unaccounted for in this ancient binary is the
fact that Sebald, like any writer of post-memorial ‘factions’, also relates what may
Travel was identified early on by Sontag, John Zilcosky and others as a significant
generic mode.26 Christopher C. Gregory-Guider coins the hybrid genre of ‘autobiogeography’ to capture what he calls ‘a unique subgenre of life-writing in which
the story of a person is refracted through the story
life-writing with art and artists exploded the oppressive structure of assumed authority to speak about others, in order to weave and
plait texts made from working with her peers. Her writing caught up a chorus
of voices building out from conversational encounters what can only be named
a theoretical framework for registering the networks of forces and resulting lived
ambivalences that constituted some of the traumas of contemporary femininities – classed, raced, ethnicised, desiring, embodied, sensate, material, psychically
vivid, thinking, speaking, writing and
LaMotte’s epic poem The Fairy Melusine , as
well as tales from her two collections of fairy stories. There are
amusing send-ups of contemporary critical writing that, as Chris Walsh
(2000: 185) has argued, constitute ‘stories of readings’
which complicate and further enrich the novel’s textual fabric.
And there are various examples of life-writing: Mortimer Cropper’s
imagined autobiography and, more
retain this practice when quoting or translating from his texts.
Adorno , T. ( 1997 ). Aesthetic Theory. Ed. G. Adorno and R. Tiedemann, trans. R. Hullot-Kentor . London : Continuum .
Arteel , I. ( 2019 ). ‘ Experimental acoustic lifewriting – Gerhard Rühm’s radio plays ’, CounterText , 5.3 , 332–51 .
Bürger , P. ( 1984 ). Theory of the Avant-garde. Trans. M. Show . Manchester : Manchester University Press .
Freud , S. ( 2017 ). Das Ich und das Es. Ed. L. Bayer . Stuttgart : Reclam .
Meißner , J. ( 2015