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Reconfiguring spinsterhood and the Victorian family in inter- war women’s writing
Emma Liggins

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 172 173 The legacy of Lucy Snowe friends are recorded very briefly and Ellen is not named. She also edits out Arthur

in Charlotte Brontë
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Sappho, Swinburne, and Amy Lowell
Sarah Parker

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 life writing his biography. Interestingly, a fragment of an essay

in Algernon Charles Swinburne
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Family, gender and post-colonial issues in three Vietnam War texts
Marion Gibson

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 : the tension

in Gender and warfare in the twentieth century
Doris Lessing’s late-twentieth-century fiction
Susan Watkins

-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, life writing and history in her work since 2000, which will be discussed in chapter 6 . In

in Doris Lessing
Susan Watkins

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 life writing. 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

in Doris Lessing
Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter
Debra Kelly

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

in Back to the Futurists
Russell J. A. Kilbourn

verse 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 have happened.25 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

in A literature of restitution
Griselda Pollock

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

in Writing otherwise
Possession and fairytales
Alexa Alfer and Amy J. Edwards de Campos

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

in A. S. Byatt
Roland Innerhofer

retain this practice when quoting or translating from his texts. References Adorno , T. ( 1997 ). Aesthetic Theory. Ed. G. Adorno and R. Tiedemann, trans. R. Hullot-Kentor . London : Continuum . Arteel , I. ( 2019 ). ‘ Experimental acoustic life writing – 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

in Tuning in to the neo-avant-garde