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Eighteenth-century women poets and their poetry : inventing agency, inventing genre
Co-Winner, James Russell Lowell Prize, Modern Language Association
This major study offers a broad view of the writing and careers of eighteenth-century women poets, casting new light on the ways in which poetry was read and enjoyed, on changing poetic tastes in British culture, and on the development of many major poetic genres and traditions.
Rather than presenting a chronological survey, Paula R. Backscheider explores the forms in which women wrote and the uses to which they put those forms. Considering more than forty women in relation to canonical male writers of the same era, she concludes that women wrote in all of the genres that men did but often adapted, revised, and even created new poetic kinds from traditional forms.
Backscheider demonstrates that knowledge of these women's poetry is necessary for an accurate and nuanced literary history. Within chapters on important canonical and popular verse forms, she gives particular attention to such topics as women's use of religious poetry to express candid ideas about patriarchy and rape; the continuing evolution and important role of the supposedly antiquarian genre of the friendship poetry; same-sex desire in elegy by women as well as by men; and the status of Charlotte Smith as a key figure of the long eighteenth century, not only as a Romantic-era poet.
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Blue Studios
Examines the work of experimental poets and the
innovative forms they create to disrupt assumptions about gender
and cultural power In her now-classic
The Pink Guitar , Rachel Blau DuPlessis examined a number
of modern and contemporary poets and artists to explore the
possibility of finding a language that would question deeply held
assumptions about gender. In the 12 essays and introduction that
constitute
Blue Studios , DuPlessis continues that task, examining
the work of experimental poets and the innovative forms they have
fashioned to challenge commonplace assumptions about gender and
cultural authority. The essays in “Attitudes and
Practices” deal with two questions: what a feminist reading
of cultural texts involves, and the nature of the essay itself as
a mode of knowing: how poetry can be discursive and how the essay
can be poetic. The goal of “Marble Paper,” with its
studies of William Wordsworth, Ezra Pound, and Charles Olson is
to suggest terms for a “feminist history of poetry.”
“Perspectives must be fashioned that displace and estrange
the world,” Theodore Adorno wrote, and in the section
\"Urrealism\" DuPlessis examines the work of poets from several
schools (the Objectivists, the New York School, the surrealists)
whose work embodies that displacement, among them George Oppen,
Lorine Niedecker, H.D., and Barbara Guest. These writers’
radical deployment of line, sound, and structure, DuPlessis
argues, demonstrate poetry’s power not as a purely
literary, artistic, or aesthetic force but as a rhetorical form
intricately tied to issues of power and ethics. And in \"Migrated
Into,” the author probes the ways these issues have
informed her, as a poet and a critic; how the political has
“migrated into” and suffused her own work; and how
the practice of poetry can be an arousal to a deeper
understanding of what we stand for.
eBook
Changing The Subject
Lady Mary Wroth (c. 1587-1653) wrote the first sonnet sequence in English by a woman, one of the first plays by a woman, and the first published work of fiction by an Englishwoman. Yet, despite her status as a member of the distinguished Sidney family, Wroth met with disgrace at court for her authorship of a prose romance, which was adjudged an inappropriate endeavor for a woman and was forcibly withdrawn from publication. Only recently has recognition of Wroth's historical and literary importance been signaled by the publication of the first modern edition of her romance,The Countess of Mountgomeries Urania.
Naomi Miller offers an illuminating study of this significant early modern woman writer. Using multiple critical/theoretical perspectives, including French feminism, new historicism, and cultural materialism, she examines gender in Wroth's time. Moving beyond the emphasis on victimization that shaped many previous studies, she considers the range of strategies devised by women writers of the period to establish voices for themselves.
Where previous critics have viewed Wroth primarily in relation to her male literary predecessors in the Sidney family, Miller explores Wroth's engagement with a variety of discourses, reading her in relation to a broad range of English and continental authors, both male and female, from Sidney, Spenser, and Shakespeare to Aemilia Lanier, Elizabeth Cary, and Marguerite de Navarre. She also contextualizes Wroth's writing in relation to a variety of nonliterary texts of the period, both political and domestic. Thanks to Miller's sensitive readings, Wroth's writings provide a lens through which to view gender relations in the early modern period.
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Herspace
This collection delves deeply into the power of solitude in a richly detailed exploration of the lives of women writers!
The essays in this fascinating volume combine literary theory, autobiography, performance, and criticism, while opening minds and expanding concepts of women's roles both in the home and within academia along the way. Herspace: Women, Writing, and Solitude begins with a discussion of the importance of solitude to the works of a variety of writers, including Margaret Atwood, May Sarton, Virginia Woolf, Marguerite Duras, and Zora Neale Hurston, and then moves on to an examination of the actual solitary spaces of women writers. The book concludes with the stories of modern women asserting their right to a space of their own. These essays, full of pain and new growth, lessons learned and battles fought, resound with the honesty and courage the authors have found in the process of truly making their own homes.
Herspace examines:
the stereotyped spinster
solitude as a process and a journey
women's prison literature
cars, empty nests, kitchen counters, and other found spaces for writing
the meaning of a home of one's own
creating beauty in solitary settings
Contributors to Herspace have made a conscious effort to integrate the personal with the academic, and the result is a volume of surprising intimacy, a window into the world of women writers past and present actively engaging solitude. From finding and defining the muse to the identity issues of home ownership, Herspace, which includes Jan Wellington's essay 'What to Make of Missing Children (A Life Slipping into Fiction),' (winner of the 2003 NCTE Donald Murray Prize for 'the best creative essay about teaching and/or writing published during the preceding year') provides you with the perspectives of women who are living these issues.
As the editors write: 'The solitary space itself enables the writing proc
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The Men in My Life
Gornick on V. S. Naipaul, James Baldwin, George Gissing, Randall Jarrell, H. G. Wells, Loren Eiseley, Allen Ginsberg, Hayden Carruth, Saul Bellow, and Philip Roth and the intimate relationship between emotional damage and great literature.
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Men and Women Writers of the 1930s
Men and Women Writers of the 1930s is a searching critique of the issues of memory and gender during this dynamic decade. Montefiore asks two principle questions; what part does memory play in the political literature of and about 1930s Britain? And what were the roles of women, both as writers and as signifying objects in constructing that literature? Montefiore's topical analysis of 1930s mass unemployment, fascist uprise and 'appeasement' is shockingly relevant in society today. Issues of class, anti-fascist historical novels, post war memoirs of 'Auden generation' writers and neglected women poets are discussed at length. Writers include: * George Orwell * Virginia Woolf * W.H. Auden * Storm Jameson * Jean Rhys * Rebecca West
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The Way of the Woman Writer
The Way of the Woman Writer, Second Edition continues the work of the inspirational original, offering guidance to women who wish to document their lives in writing. More a template than a how-to manual, this insightful book addresses the concerns, needs, and issues of women writers (both aspiring and experienced), concentrating on the internal process of putting thought to paper, including new chapters on the creative process and the ethics and integrity of writing. The author, Dr. Janet Lynn Roseman, offers writing exercises in women's autobiography that draw on the significant rhythms of a woman's life, utilizing visualization and meditation techniques to amplify the inner writing voice.
From the author: \"What strikes me in re-examining the text of this book is just how timeless the subject of chronicling women's lives is. When we pass down our stories and share them with family and friends, we provide future generations with the opportunity to not only understand the lives of each woman, but we are able to gain insight into their unique experiences.\"
The Way of the Woman Writer, Second Edition includes new writing samples and new chapters on:
The Creative Spirit, which presents a seven-step guide to the creative process-ritual, surrender, silence, waiting, trust, recognition, and distance
The Ethics and Integrity of Writing, which addresses the discipline and courage a writer needs when dealing with the effects of her autobiographical truths on others
The Way of the Woman Writer, Second Edition is an essential resource for creative writing courses, oral history courses, writer's workshops, and women's studies programs, and an invaluable guide for any woman who wishes to tell her story.
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Elizabeth Bishop and Marianne Moore
This highly innovative work on poetic influence among women writers focuses on the relationship between modernist poet Elizabeth Bishop and her mentor Marianne Moore. Departing from Freudian models of influence theory that ignore the question of maternal presence, Joanne Diehl applies the psychoanalytic insights of object relations theorists Melanie Klein and Christopher Bollas to woman-to-woman literary transactions. She lays the groundwork for a far-reaching critical approach as she shows that Bishop, mourning her separation from her natural mother, strives to balance gratitude toward Moore, her literary mother, with a potentially disabling envy.
Diehl begins by exploring Bishop's memoir of Moore, \"Efforts of Affection,\" as an attempt by Bishop to verify Moore's uniqueness in order to defend herself against her predecessor's almost overwhelming originality. She then offers an intertextual reading of the two writers' works that inquires into Bishop's ambivalence toward Moore. In an analysis of \"Crusoe in England\" and \"In the Village,\" Diehl exposes the restorative impulses that fuel aesthetic creation and investigates how Bishop thematizes an understanding of literary production as a process of psychic compensation.
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Feminist Poetics
Feminist Poetics in concerned with all of these questions, but also with the issue of rewriting an older poetics for what it does not say about the marginalisation of the feminine. The first half of the book traces the trajectory of a particular, feminine, academic subject learning to find her voice. The second half uses that differently disciplined voice to re-read the textual traces of the Governor murder stories, murders committed against white women and children by black men in Australia in 1900. This book is a feminist poetics for those who are engaged in the teaching of literacies, and in the making of Knowledge about literacies.
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