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Leonora Carrington’s The House of Fear and The Oval Lady
Anna Watz

cruelly quelled, while the father, as an embodiment of bourgeois-patriarchal law, triumphs at the story's close. Meanwhile, the narrator – and by extension the reader – is forced to witness the agony of the burning horse in a completely powerless state, as if petrified. Jonathan P. Eburne convincingly reads the story's abrupt ending and the narrator's passivity as an expression of Carrington's fear of complicity with patriarchal or proto-fascist ideologies. 59 In ‘The Oval Lady’, Eburne notes

in Surrealist women’s writing
Ted Hughes and Kay Syrad
William Welstead

disparate group, they were ‘predominantly upper and middle class and included members of the British social and political elite, academics, retired scientists whose careers had been spent within the Colonial Service, medical practitioners, and writers focused on rural and agricultural themes’ (22–3), and they were united in their ‘concern about soil fertility, health, the state of agriculture and rural decline’ (23). Some of these thinkers were drawn to the arguments of the far right and this created a link, as in Nazi Germany, between fascist ideology and organic

in Writing on sheep
The philosophic narcissism of Claude Cahun’s essay-poetry
Felicity Gee

particular free-form essay charts Cahun's increasing engagement with anti-bourgeois, anti-fascist ideologies, but it also weaves in drifting thoughts about the value of art, fame, René Crevel's tragic suicide, a friendship with Henri Michaux, among other concerns. 53 It is an entirely different kind of writing from Disavowals , less poetic although still brimming with literary references, more a dialogue between certainty and uncertainty – an essay or treatise on poetry. But despite their obvious fit with surrealism in

in Surrealist women’s writing