Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison
: the first is a supernatural, Gothic account written by a husband, Archibald McCandless, while the second is a new, unsentimental, and rational epistolary account in the form of a letter from 1914 following McCandless’s death (1909) penned by his wife, Bella/Victoria. Like William Godwin’s contentious memoir of Mary Wollstonecraft (1798) that, in recounting her titillating love life and various suicide attempts, destroyed her already damaged reputation, Bella considers McCandless’s intended testament of love an offensive and ‘infernal parody’ (273) comprised of a
debated question. Even Elie Wiesel, who won the Nobel Peace Prize in 1986 for his indisputably genuine account of surviving the Holocaust, Night , noted, ‘Things are not that simple … Some events do take place but are not true; others are – although they never occurred.’
The book, though acclaimed, has always suffered from debate over whether it is an eyewitness account, a fictionalised autobiography, semi-fictional memoir and so on.
We accept that writers make things up. When they're writing
Wolf-children, storytelling and the state of nature
direct response to Wordsworth and Coleridge's Lyrical Ballads of 1798.
Robinson was inspired by the reports of the ‘wild boy of Aveyron’ in October of that year in The Morning
Her memoir shows that she had been contemplating the history of Victor, ‘the little savage’.
Robinson had earned the nickname ‘Perdita’ (or ‘lost one’) for her role in Shakespeare's The Winter's Tale in
Savage vibrations in ghost stories and D. H. Lawrence’s Kangaroo
‘Pirates’). 46 Although these authors to some extent
depict Cornwall as a place of danger and hostile natives, it is probably
D. H. Lawrence for his thinly disguised memoir, Kangaroo (1923),
who drew most heavily on his personal experiences of feeling unwelcome,
involving his perception of stones of sacrifice.
Kangaroo is set in wartime, but it is the conflicts
between the central character, Somers, and
biography in 1980. Two
particular contributions deserve to be brought together here.
In the introduction to the World’s Classics
edition, the editor demonstrates how the initial presentation of
Austin Ruthyn derives from a passage in Chateaubriand’s
Mémoires d’Outre Tombe (1849–50). 12 The details
of the proof need not detain us again; it is sufficient to say that
Remembering incest in A Thousand Acres (1991), Exposure
(1993) and Beautiful Kate (2009)
), received praise, her memoir – The
Kiss – was castigated by many; aligned with Roiphe’s hostility
towards ‘twentieth-century realism’, 118 Harrison was condemned for telling her
own story (she herself experienced incest with her father). 119 Ironically
mirroring Edgar’s excuses, Exposure is socially ‘acceptable’
through its status as art, as a fabrication.
A Thousand Acres (dir. Jocelyn Moorhouse
Spectres of Maturin; or, the ghosts of Irish Romantic fiction
‘A note on Charles Robert Maturin’,
in Charles Robert Maturin, Melmoth the wanderer , 3 vols
(London: R. Bentley, 1892 ), 1: lv.
‘Memoir of Charles Robert Maturin’,
in Maturin, Melmoth the wanderer (London, 1892 ), 1: xxviii, xxix.
The picture originally appeared in The new monthly
Henry and the quarto and
folio texts of Jonson’s Masque of Queenes demonstrate
how Jonson takes a piece of ephemera intended for the glory of the
queen and her ladies, as well as the king, an astonishing spectacle
produced by many hands and artists, and turns it into a
semi-autobiographical memoir of the author at work. This memoir is,
like Mary Shelley’s Frankenstein , the
to contemporary novelist Kim
Newman’s recreation of the First World War, populated by vampires
and humans. Newman’s postmodern pastiche of history, literature
and film highlights the vampiric nature of genre to reveal how the
fantastic can be just as effective as the military memoir in exposing
the truth, myths and horror of war. This chapter will indicate the ways
in which the literary treatment of
show: a private screening of Powell and Pressburger’s The Red Shoes , attended by her parents and her sister Margaret and organised by Alexander Korda. In his memoir A Life in Movies , Powell relishes the effect the film had on its royal audience: ‘[Korda] told me they were all devastated by the ending of the picture, as they were intended to be, and thanked him with tears streaming down their faces for showing them “such a lovely – boohoo! – picture”.’ 6 The film takes its title from the Hans Christian Andersen fairy tale about a vain and selfish girl whose red