Pub Date : 2021-11-10DOI: 10.14324/111.444.stw.2021.3
A. Piette
Sylvia Townsend Warner’s wartime novel The Corner that Held Them (1948), about a nunnery during the Black Death, reflects on female community and bonding in a period of male fascist violence. The novel explores the shift from pacifism to acceptance of the need for anti-fascist war which characterised Warner’s intellectual beliefs from the 1930s into wartime, probing the arts of peace in compositional practice. Such a dialectic of war and peace is considered in relation to what Maud Ellmann has described as the outward turn to collective choral consciousness in mid-century modernism. This article explores both the staging of fascism as plague and the feminist daring and limits that Warner saw as operative in female witnessing and withstanding of Nazi ideology and menace. It closely reads key scenes from the panorama of a novel (notably Alianor’s stillness as her husband is killed, Alicia’s plans to withstand the economic impact of the Black Death and the cure of Ralph’s plague symptoms) to register the satirical and allegorical substance of Warner’s rescripting of Woolfian notions of resistance to warmongering misogyny by a society of outsiders. The readings seek to consolidate a varied and multiple sense of the book as a Marxist historical novel that gives voice to the ruled. In doing so Warner analyses the Black Death as a moment in history that saw the emergence of early modern capitalism and labour relations out of the feudal system, even as the religious framework that had structured medieval Europe gave way to more secular beliefs in autonomy, self-determination, citizen and collective dreams, projects and affects. At the same time the plague as a political trope, rooted in anti-fascist rhetoric that turns Nazi anti-Semitic uses of the Black Death motif on their head, triggers readings that bring those historical scenes into allegorical relation with the ways in which the Second World War was experienced by marginalised female communities.
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Pub Date : 2021-11-10DOI: 10.14324/111.444.stw.2021.4
Sylvia Townsend Warner
An unpublished short story by Sylvia Townsend Warner. It fancifully elaborates the story of Acts 4 and 5 of Hamlet, starting on board the ship taking Hamlet to England after the killing of Polonius. The story begins before the Danish vessel’s encounter with a pirate ship and Hamlet’s capture by the pirates, and imagines the circumstances by which he returns to Denmark in the changed state of mind in which we meet him in Act 5.
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Pub Date : 2021-11-10DOI: 10.14324/111.444.stw.2021.6
Michael Bloch, S. Fox
This chapter from the new biography of Stephen Tomlin by Michael Bloch and Susan Fox details the years 1921–3, when Tomlin and Sylvia Townsend Warner knew each other best and saw one another most frequently.
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Pub Date : 2020-11-09DOI: 10.14324/111.444.stw.2020.19
Sylvia Townsend Warner
A draft manuscript essay in which Warner recalls the genesis of The Corner That Held Them and the stages of its composition.
这是一篇草稿文章，沃纳在其中回忆了《抓住他们的角落》的起源和创作的各个阶段。
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Pub Date : 2020-11-09DOI: 10.14324/111.444.stw.2020.22
Peter Swaab
This article considers why Warner’s writing has been undervalued, in particular taking issue with the argument that her works are too radically disparate to be discussed as an oeuvre. It argues that one path through her writings – a ‘handle to get hold of the bundle’ in William Empson’s phrase – is the idea of ‘the possibilities of freedom’, a topic broad enough to address a good deal in Warner’s writings but specific enough to bring some focus. ‘The possibilities of freedom’ – as against ‘freedom’ alone – points both ways, both to what is possible and conversely to the limits of the possible. The essay follows this theme and some of its variations through the six decades and several genres of Warner’s writing life, discussing in particular ‘The Young Sailor’, Lolly Willowes , Opus 7 , ‘To Come So Far’ and ‘Oxenhope’. It concludes that we should see her as in no way a quiet, removed stylist but instead as a figure of vigorous cultural engagements, an intellectual contemporary of writings such as Bertrand Russell’s Proposed Roads to Freedom (1918), Sartre’s Les chemins de la liberté (1945–49) and Hannah Arendt’s essay ‘What is Freedom?’ (1961).
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Pub Date : 2020-11-09DOI: 10.14324/111.444.stw.2020.21
The aim of this article is to establish the critical significance and value of work which was the product of the unique creative partnership developed by Valentine Ackland and Sylvia Townsend Warner during the 1930s. During that period, I argue, they imagined more variously and more incisively together, through mutual awareness and acceptance, than they would in all likelihood have done had they never met and fallen in love. An understanding of the sharp differences in temperament, outlook and reputation which precluded full-scale collaboration freed each of them, in turn, to pursue contrasting aspects of concerns held in common. So adventurous was that pursuit, at times, that it merits comparison with recent investigations of the idea of the ‘posthuman’. Since Warner was by far the more prolific author, I have tried to balance my account of her partnership with Ackland by drawing extensively not only on published fiction and poetry, but also on diaries and letters, and on a variety of other kinds of material from the archive.
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Pub Date : 2020-11-09DOI: 10.14324/111.444.stw.2020.23
P. Hartle, J. Hodgson
Two tribute pieces about Glen Cavaliero, a founder-member of the Sylvia Townsend Warner Society and for many years the referee for articles submitted to the Journal.
{"title":"Glen Cavaliero: Two Tributes","authors":"P. Hartle, J. Hodgson","doi":"10.14324/111.444.stw.2020.23","DOIUrl":"https://doi.org/10.14324/111.444.stw.2020.23","url":null,"abstract":"Two tribute pieces about Glen Cavaliero, a founder-member of the Sylvia Townsend Warner Society and for many years the referee for articles submitted to the Journal.","PeriodicalId":393913,"journal":{"name":"The Journal of the Sylvia Townsend Warner Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132093277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-09DOI: 10.14324/111.444.stw.2020.20
Sylvia Townsend Warner
This is the first part of a two-part edited presentation of an unfinished sequel to Sylvia Townsend Warner’s 1948 novel, The Corner That Held Them .
这是西尔维娅·汤森·华纳1948年出版的小说《抱着他们的角落》未完成的续集的第一部分，分为两部分。
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Pub Date : 2020-11-09DOI: 10.14324/111.444.stw.2020.00
Issue information for The Journal of the Sylvia Townsend Warner Society 20(1).
西尔维娅·汤森德·华纳协会杂志发行信息20(1)。
{"title":"Table of Contents: The Journal of the Sylvia Townsend Warner Society 20(1)","authors":"","doi":"10.14324/111.444.stw.2020.00","DOIUrl":"https://doi.org/10.14324/111.444.stw.2020.00","url":null,"abstract":"Issue information for The Journal of the Sylvia Townsend Warner Society 20(1).","PeriodicalId":393913,"journal":{"name":"The Journal of the Sylvia Townsend Warner Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127782331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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