Pub Date : 2020-04-15DOI: 10.14324/111.444.stw.2020.09
F. Bingham
This article presents and introduces a sequence of six poems that Sylvia Townsend Warner dedicated to Valentine Ackland. Five are previously unpublished, as is the sequence as a whole. Five of the six are love poems to Valentine Ackland arising from their trips to Spain during the Spanish Civil War; in them the romantic and sexual theme is interwoven with their experience of social revolution in Barcelona. The poems are particularly important because of their unusual combination of radical politics and queer desire.
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Pub Date : 2020-04-15DOI: 10.14324/111.444.stw.2020.04
An article reporting on the writer’s attendance at the Second Congress of the International Association of Writers in Defence of Culture in Madrid, 1937, and on conditions in Spain more generally. It was published in the Daily Worker on 7 July 1937.
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Pub Date : 2019-04-12DOI: 10.14324/111.444.STW.2019.15
H. Booth
Sylvia Townsend Warner’s The Flint Anchor (1954) has received surprisingly little critical attention; it is discussed here in relation to modernism. Approaching The Flint Anchor through the understanding of modernity and space operating in Warner’s late collection Kingdoms of Elfin (1977), and in particular the story ‘Visitors to a Castle’, the article addresses how the Victorian patriarch John Barnard is remembered and the claims of sodomy made with respect to Barnard’s son-in-law, Thomas. The Flint Anchor is shown to question whether the novel form, as a product of an earlier economic and social formation, is up to the task of exploring new times.
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Pub Date : 2019-04-12DOI: 10.14324/111.444.STW.2019.14
J. O'Leary
Sylvia Townsend Warner’s Spanish Civil War writing reveals the complexity of her anti-fascism as it related to questions surrounding the role of propaganda and violence in resisting fascism. By analysing contributions Warner made to Left Review , this article argues that she both wrote propaganda in support of the Spanish Republic’s war effort and critiqued the war (and its propaganda) for the human suffering it inflicted. It also suggests that, by critiquing the war in the form of lyric poetry, Warner was able to avoid the risk of rejection by a publication that strongly supported the Republic’s war effort.
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Pub Date : 2019-04-12DOI: 10.14324/111.444.STW.2019.10
Ingrid Hotz-Davies
Originally conceived of as an introduction to a new edition of Sylvia Townsend Warner’s Kingdoms of Elfin (Handheld Press, 2018), this article provides an overview of the place of Kingdoms of Elfin (1977) in Sylvia Townsend Warner’s oeuvre and life, placing it in the final phases of her life as an astonishing new departure. In Kingdoms , Warner experiments with the excision of affect from the narrative process, producing stories which construct the narrative voice uncompromisingly as a voice of observation rather than identification. The playing field on which this is carried through is nothing less than a whole new fictional universe in the form of meticulously worked-out ‘Elfin’ worlds. The narratives’ observational stance unfolds itself as a disinterested ethnography of the strangeness of behaviours both human and non-human, radically decentring human perceptions and moral convictions in the process.
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Pub Date : 2019-04-12DOI: 10.14324/111.444.STW.2019.16
Emma Shaw
This article explores the function of walking in two novels by Sylvia Townsend Warner. Rambling in post-Rousseauian nature, Laura Willowes discards the persona of spinster aunt to discover her vocation as a witch. However, the novel’s elegiac ending suggests her freedom may be short-lived. Sophia Willoughby’s heroic walks amidst the Paris barricades in Summer Will Show similarly suggest little possibility of real change. Walking in Warner’s fiction offers the prospect of liberation, but in crossing social boundaries her protagonists are ultimately confined to the margins of society.
本文探讨了西尔维娅·汤森德·沃纳两部小说中行走的功能。漫步在后卢梭时代，劳拉·威洛斯抛弃了老处女姨妈的角色，发现她的职业是一个女巫。然而，小说悲歌般的结局表明，她的自由可能是短暂的。索菲娅•威洛比(Sophia Willoughby)在《夏日秀》(Summer Will Show)中在巴黎街垒中英勇行走，同样表明真正改变的可能性微乎其微。行走在华纳的小说中提供了解放的前景，但在跨越社会界限时，她的主人公最终被限制在社会的边缘。
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Pub Date : 2019-04-12DOI: 10.14324/111.444.STW.2019.12
Janet E. Montefiore
This essay argues that Warner’s frequent portrayals of children in her mid-century fiction, particularly her short stories, are closely connected with her sharp critiques of bourgeois conventionality (‘The Cold’, ‘Noah’s Ark’) and of fascism (‘Apprentice’, ‘View Halloo’). Thanks to their unembarrassed clarity of perception and direct self-expression, Warner’s children openly voice the aggression and/or heartless indifference shared by their (usually) politer elders. This dark vision is partly alleviated in Warner’s later work by stories in which children’s fresh perceptions allow them respond sensitively to the beauty of music, poetry, fur growing on a cat’s nose or a wild garden.
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Pub Date : 2019-04-12DOI: 10.14324/111.444.STW.2019.13
P. Robichaud
Sylvia Townsend Warner’s early poetry maps her vision of England through a sustained engagement with the pastoral mode in its many variations. Warner’s revisions of pastoral more typically involve complex ironies of character, situation and social observation. Such ironies are what make her poems modern, if not straightforwardly modernist. Because of its capacity for social criticism and its power to accommodate ironies, the pastoral mode offers a suggestive way of reading Sylvia Townsend Warner’s poetry. Her pastoral modernism is deeply ironic, employing traditional modes and forms to question gender roles and social injustice.
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Pub Date : 2018-10-26DOI: 10.14324/111.444.STW.2018.02
S. Pinney
Susanna Pinney recalls her meetings with Sylvia Townsend Warner, first as a child in the 1950s, and then at greater length in the 1970s, when she was Warner’s typist for the Kingdoms of Elfin stories as well as her friend and a regular visitor. The memoir also touches on the author’s role as one of Warner’s literary executors (along with William Maxwell).
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