This essay explores the trope of the island in recent Scottish poetry and in particular the tendency to treat poems as islands and vice versa. With a particular focus on the work of Meg Bateman, Jen Hadfield, Kathleen Jamie, Jackie Kay, and Liz Lochhead, the essay discusses ideas of entrapment, freedom, and isolation, to suggest that alongside the Utopian imaginings of islands, there is also the possibility of them becoming, like St Kilda for Lady Grange, constrictive prison cells.
{"title":"“If You Don’t Get Caught”: Islands, Isolation, and Entrapment in Contemporary Scottish Women’s Poetry","authors":"Peter Mackay","doi":"10.1093/cww/vpaa022","DOIUrl":"https://doi.org/10.1093/cww/vpaa022","url":null,"abstract":"\u0000 This essay explores the trope of the island in recent Scottish poetry and in particular the tendency to treat poems as islands and vice versa. With a particular focus on the work of Meg Bateman, Jen Hadfield, Kathleen Jamie, Jackie Kay, and Liz Lochhead, the essay discusses ideas of entrapment, freedom, and isolation, to suggest that alongside the Utopian imaginings of islands, there is also the possibility of them becoming, like St Kilda for Lady Grange, constrictive prison cells.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48191431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Why I Choose Poetry (What’s Nation Got to Do with It? What’s Gender Got to Do with It?): A Collective Poetry-Essay by 21 Poets Encountered in Scotland (2016–19)","authors":"J. Goldman","doi":"10.1093/CWW/VPAA026","DOIUrl":"https://doi.org/10.1093/CWW/VPAA026","url":null,"abstract":"","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CWW/VPAA026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46085824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rita Mae Brown’s Rubyfruit Jungle (1973) is a foundational work of lesbian literature and has been characterized as a queer text. This essay begins with resistance to reading the novel as a wholly celebratory queer text because of how it positions a form of essentialized lesbianism against queer sexualities that are coded as deviant and abnormal. Nonetheless, Rubyfruit Jungle brims with queer narratives, queer scenes, and queer characters. In the essay’s second half, I draw on Eve Kosofsky Sedgwick’s model of reparative reading to engage with potential queer readings the novel affords. I show how readers can recuperate the queer sexualities the novel documents in ways that the novel – with its specific historical and political positionality – did not or could not account for.
{"title":"“Just a Couple of Queer Fish”: The Queer Possibilities of Rita Mae Brown’s Rubyfruit Jungle","authors":"Josette Lorig","doi":"10.1093/CWW/VPAB001","DOIUrl":"https://doi.org/10.1093/CWW/VPAB001","url":null,"abstract":"\u0000 Rita Mae Brown’s Rubyfruit Jungle (1973) is a foundational work of lesbian literature and has been characterized as a queer text. This essay begins with resistance to reading the novel as a wholly celebratory queer text because of how it positions a form of essentialized lesbianism against queer sexualities that are coded as deviant and abnormal. Nonetheless, Rubyfruit Jungle brims with queer narratives, queer scenes, and queer characters. In the essay’s second half, I draw on Eve Kosofsky Sedgwick’s model of reparative reading to engage with potential queer readings the novel affords. I show how readers can recuperate the queer sexualities the novel documents in ways that the novel – with its specific historical and political positionality – did not or could not account for.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CWW/VPAB001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61034497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Scottish women’s poetry in recent years has evinced an interest in mapping daughterhood, frequently through linguistic negatives that challenge binary thinking. This essay argues that such “daughterlands” offer an imaginative alternative to the more familiar “motherland”: encompassing past, present, and future and positioning women in multiple roles, they have played a transformative role in the poetic imagining of “Scotland” in the new millennium. The essay considers the deployment of daughterly spaces by influential writers such as Carol Ann Duffy, Liz Lochhead, Jackie Kay, and Kathleen Jamie and then traces more recent instantiations by a younger generation of poets such as Claire Askew, Theresa Munoz, and Em Strang. In conclusion, it demonstrates the experiential and metaphoric potential of daughterhood for shaping broad political thinking in an explicitly public poem by Kay.
{"title":"“Daughterlands”: Personal and Political Mappings in Scottish Women’s Poetry","authors":"G. Norquay","doi":"10.1093/cww/vpaa024","DOIUrl":"https://doi.org/10.1093/cww/vpaa024","url":null,"abstract":"Scottish women’s poetry in recent years has evinced an interest in mapping daughterhood, frequently through linguistic negatives that challenge binary thinking. This essay argues that such “daughterlands” offer an imaginative alternative to the more familiar “motherland”: encompassing past, present, and future and positioning women in multiple roles, they have played a transformative role in the poetic imagining of “Scotland” in the new millennium. The essay considers the deployment of daughterly spaces by influential writers such as Carol Ann Duffy, Liz Lochhead, Jackie Kay, and Kathleen Jamie and then traces more recent instantiations by a younger generation of poets such as Claire Askew, Theresa Munoz, and Em Strang. In conclusion, it demonstrates the experiential and metaphoric potential of daughterhood for shaping broad political thinking in an explicitly public poem by Kay.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42289886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay explores Kathleen Jamie’s ecopoetry, expanding upon previous discussions of her work in this context. Through close readings of key poems, a broader exploration of lyric poetry and ecopoetics is developed. The opening section discusses current debates. While there is agreement with a critical consensus that our environmental catastrophe necessitates new ways of thinking, it is queried whether this, regarding lyric poetry, necessitates rejection of all convention and previous approaches. The main section of the essay then reexamines the work of Jamie, a well-known ecopoet, to scrutinize ways in which an emphasis on close reading and attention to matters of form might allow for a richer understanding than is allowed for in current ecocritical debates.
{"title":"Late Negotiations: Ecopoetry and Kathleen Jamie","authors":"A. Gillis","doi":"10.1093/cww/vpaa023","DOIUrl":"https://doi.org/10.1093/cww/vpaa023","url":null,"abstract":"\u0000 This essay explores Kathleen Jamie’s ecopoetry, expanding upon previous discussions of her work in this context. Through close readings of key poems, a broader exploration of lyric poetry and ecopoetics is developed. The opening section discusses current debates. While there is agreement with a critical consensus that our environmental catastrophe necessitates new ways of thinking, it is queried whether this, regarding lyric poetry, necessitates rejection of all convention and previous approaches. The main section of the essay then reexamines the work of Jamie, a well-known ecopoet, to scrutinize ways in which an emphasis on close reading and attention to matters of form might allow for a richer understanding than is allowed for in current ecocritical debates.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43130517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This work was supported by a grant from the Spanish Ministry of Science and Innovation (FFI2015-63895-C2-1-R).
这项工作得到了西班牙科学与创新部的资助（FFIF2015-63895-C2-1-R）。
{"title":"Ordinary Affects and Spectrality in Three Works: Carole Giangrande’s Midsummer, Brenda Missen’s Tell Anna She’s Safe, and Andrea Thompson’s Over Our Heads","authors":"Silvia Caporale-Bizzini","doi":"10.1093/cww/vpaa016","DOIUrl":"https://doi.org/10.1093/cww/vpaa016","url":null,"abstract":"This work was supported by a grant from the Spanish Ministry of Science and Innovation (FFI2015-63895-C2-1-R).","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45679840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fay Weldon, Feminism, and British Culture: Challenging Cultural and Literary Conventions","authors":"Margaret E. Mitchell","doi":"10.1093/cww/vpaa004","DOIUrl":"https://doi.org/10.1093/cww/vpaa004","url":null,"abstract":"","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42778359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article has a dual focus. It demonstrates the recent repoliticization of Linda Hutcheon’s category of historiographic metafiction through the extension of Marianne Hirsch’s concept of postmemory to lesbian novelists, arguing that this theoretical framework offers a lens through which we can understand some recent trends in lesbian historical fiction. Focusing on the novelist and critic Emma Donoghue’s 2008 novel The Sealed Letter, it also argues that this text’s evocation of an imagined lesbian past, and its use of metafictional techniques, are illuminated by reading it as a highly political engagement with lesbian postmemory.
{"title":"From the Effective to the Affective: Postmemory in Emma Donoghue’s The Sealed Letter","authors":"Natasha Alden","doi":"10.1093/cww/vpaa017","DOIUrl":"https://doi.org/10.1093/cww/vpaa017","url":null,"abstract":"\u0000 This article has a dual focus. It demonstrates the recent repoliticization of Linda Hutcheon’s category of historiographic metafiction through the extension of Marianne Hirsch’s concept of postmemory to lesbian novelists, arguing that this theoretical framework offers a lens through which we can understand some recent trends in lesbian historical fiction. Focusing on the novelist and critic Emma Donoghue’s 2008 novel The Sealed Letter, it also argues that this text’s evocation of an imagined lesbian past, and its use of metafictional techniques, are illuminated by reading it as a highly political engagement with lesbian postmemory.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45941978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thin Skin (2002) and Cherries in the Snow (2005) are coming-of-age novels set in reverse. This is to be expected when considered in conjunction with the “needy and attention seeking” narratives so typical of Emma Forrest’s oeuvre (Forrest, Thin Skin 123). Alighting on a deliberate confusion of girlhood and womanhood, both novels anticipate a contemporary (and postfeminist) rhetoric that, as Stephanie Harzewski identifies, is “uncomfortable with female adulthood itself, casting all women as girls to some extent” (9). As Forrest’s protagonists all carry an unease about being grown-up, despite the fact that they are grown-up, her work makes a timely intervention that both celebrates (and problematizes) the postfeminist trend and cultural phenomenon of girling women in the twenty-first century. Thin Skin, even down to its title, alludes to the simultaneous and often volatile encounters of girlish and grown-up, ugly and beautiful feminine identities through its twenty-something failed actress and self-proclaimed fucked-up girl, Ruby. In Cherries in the Snow, grown women are resold their former grrrlishness through the ugly makeup central to the fictional cosmetic company, Grrrl Cosmetics. In both novels, the girl/grrrl is instrumentalized by Forrest to tinker with established structures of feminine identity. I examine the extent to which the grrrling of women is politically, socially, or culturally progressive: does it really change anything or suggest a pathway to change? Or is it evidence not of resistance or rebellion but of a predictable tinkering with interpretations of femininity that have gained traction in contemporary consumer culture.
{"title":"Grrrl Revlonution: Cosmetics, Ugly Beauty, and Grrrling Women in Emma Forrest’s Cherries in the Snow and Thin Skin","authors":"Megan Sormus","doi":"10.1093/cww/vpz019","DOIUrl":"https://doi.org/10.1093/cww/vpz019","url":null,"abstract":"\u0000 Thin Skin (2002) and Cherries in the Snow (2005) are coming-of-age novels set in reverse. This is to be expected when considered in conjunction with the “needy and attention seeking” narratives so typical of Emma Forrest’s oeuvre (Forrest, Thin Skin 123). Alighting on a deliberate confusion of girlhood and womanhood, both novels anticipate a contemporary (and postfeminist) rhetoric that, as Stephanie Harzewski identifies, is “uncomfortable with female adulthood itself, casting all women as girls to some extent” (9). As Forrest’s protagonists all carry an unease about being grown-up, despite the fact that they are grown-up, her work makes a timely intervention that both celebrates (and problematizes) the postfeminist trend and cultural phenomenon of girling women in the twenty-first century. Thin Skin, even down to its title, alludes to the simultaneous and often volatile encounters of girlish and grown-up, ugly and beautiful feminine identities through its twenty-something failed actress and self-proclaimed fucked-up girl, Ruby. In Cherries in the Snow, grown women are resold their former grrrlishness through the ugly makeup central to the fictional cosmetic company, Grrrl Cosmetics. In both novels, the girl/grrrl is instrumentalized by Forrest to tinker with established structures of feminine identity. I examine the extent to which the grrrling of women is politically, socially, or culturally progressive: does it really change anything or suggest a pathway to change? Or is it evidence not of resistance or rebellion but of a predictable tinkering with interpretations of femininity that have gained traction in contemporary consumer culture.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpz019","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44210055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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