Pub Date : 2022-07-03DOI: 10.1080/09574042.2022.2129421
C. Harper
Abstract The intimate body—essentialized in Judy Chicago’s The Dinner Party, complicated in Helen Chadwick’s Eat Me—is revisited through discourse on intersex, debate around trans identities and contemporary feminisms, via the subversive actions of radical crafting and visual, textual, material and performic queering.
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Pub Date : 2022-07-03DOI: 10.1080/09574042.2022.2129571
K. Macdonald
D-M Withers focuses on two issues in this detailed examination of the early publishing and business practice of Virago as a feminist publisher. Their book ‘is concerned with the practice of timing and how timeliness is culturally constructed’, and also with ‘what conditions enable a book that has slipped out of cultural view to resonate (again) with contemporary readers’ (2, 1). By using Virago Books as a case study for examining the reprinting of older texts to bring women’s writing back into print, they instruct the reader in how Virago as a business materially contributed to the consolidation of second-wave feminism. Women’s history had been ‘hidden from history’, as the title of Sheila Rowbotham’s 1973 history of women’s suppression puts it. Virago’s reprints made this history accessible again, to a new and receptive readership. By ensuring that women’s lives were taken seriously by investing money in the republication of writing about those lives, Virago gave the women’s liberation movement of the 1970s and 1980s, and one of its offshoots, the Feminist History Group, a foundation of feminist cultural heritage to build on. It is a dense but highly accessible read. Every sentence contains essential information. The shortness of the format (see below) encourages this: this is a highly compressed disquisition in which the good stuff has been retained and tangential excursions have been sieved out. While discussing a fairly specialized subject, this is also a useful potted history of Virago: reading Lennie Goodings’ A Bite of the Apple (2020), or indeed any other of the titles in the extensive bibliography, will fill in the picture at greater length. The value of this book is readability, and a mastery of the archival material that shows Withers’ strengths as a historian of print and of feminist history. Virago was incorporated as a limited company in 1973, as an imprint of Quartet Books, and became an independent company in 1976. This independence had to be funded by either investment or returns from sales, which led to a familiar dichotomy: by focusing on making money to ensure that the business could continue (and pay its staff and authors), D-M Withers, Virago Reprints and Modern Classics. The Timely Business of Feminist Publishing, Cambridge Elements in Publishing and Book Culture, CUP, 2021, £9.99 paperback, 978-1-108-81335-8
D-M·威瑟斯在详细考察维拉戈作为女权主义出版人的早期出版和商业实践时，关注了两个问题。他们的书“关注的是时间的实践，以及时间性是如何在文化上构建的”，同时也关注“什么条件使一本从文化视野中消失的书(再次)与当代读者产生共鸣”(2,1)。他们以维拉戈图书为例，研究了旧文本的重印，使女性的写作重新出现在印刷中，他们指导读者了解维拉戈图书作为一家企业如何为第二波女权主义的巩固做出了实质性贡献。正如希拉·罗博瑟姆1973年出版的《女性受压迫的历史》一书的标题所说，女性的历史一直被“隐藏在历史之外”。维拉戈的再版使这段历史再次为新的、乐于接受的读者所接受。为了确保女性的生活得到认真对待，维拉戈投资于有关女性生活的文章的再版，为20世纪70年代和80年代的妇女解放运动及其分支之一“女权主义历史组织”(Feminist History Group)奠定了女权主义文化遗产的基础。这本书内容密集，但通俗易懂。每个句子都包含重要信息。格式的简短(见下文)鼓励了这一点:这是一篇高度压缩的论文，其中保留了好的内容，剔除了不相干的内容。在讨论一个相当专业的主题时，这也是一部有用的维拉戈的简短历史:阅读莱尼·古丁的《咬一口苹果》(2020)，或者广泛参考书目中的任何其他书名，都将更详尽地填补这一空白。这本书的价值在于可读性，以及对档案材料的掌握，这些材料显示了威瑟斯作为印刷历史学家和女权主义历史学家的优势。维拉戈于1973年作为有限公司成立，作为四重奏图书的印记，并于1976年成为一家独立公司。这种独立性必须由投资或销售回报来提供资金，这导致了一种熟悉的两分法:专注于赚钱以确保业务能够持续下去(并支付员工和作者的工资)，D-M威瑟斯，维拉戈再版和现代经典。《女权主义出版的时尚性》，剑桥出版与图书文化中的元素，英国剑桥大学出版社，2021,9.99英镑平装版，978-1-108-81335-8
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Pub Date : 2022-07-03DOI: 10.1080/09574042.2022.2129588
E. Ridge
James Bailey’s new book offers a bracingly fresh perspective on Muriel Spark’s early writing. It takes as its starting point a portrait of Spark, painted by Sandy Moffat for the Scottish National Portrait Gallery in 1984. Spark was far from enamoured by this portrait; as Bailey notes, she would observe, in a later essay, that its artist had been ‘less interested in capturing her in his painting than the brightly coloured scarf that she happened to be wearing... ’ (1). Being unfamiliar with this portrait, I took the trouble of googling it. Spark was right to be disgruntled; the resemblance is closer to Margaret Thatcher, a discomfiting visual reference point in a mid1980s context. Yet this resemblance, whether accidental or implied, is also telling. Not unlike the Iron Lady, Spark has also been mythologized as both sharp and uncompromising in her authorial vision, even if the material of metaphorical choice might be ‘crystalline’ (18) rather than iron in her own case. Bailey sets out to expose and to explode some of the reductive critical templates that have been established, through and alongside this process of mythologization, for interpreting Spark’s work. In particular, he takes issue with the tendency to read the typical Spark narrator in terms of a ‘relatively uncomplicated analogy’ with an ‘omnipotent and often callous God’ (14). Given Spark’s widely discussed turn to Catholicism, theological understandings of her work are not unjustified in and of themselves. Yet, as Bailey persuasively argues, such approaches have come to unjustifiably dominate Spark criticism, thus muting other potential implications and often very subversive forms of socio-political critique that might otherwise be discerned throughout her wide-ranging oeuvre. Bailey, instead, strategically mutes the theological in his analysis of Spark’s early writings and the results are compelling. It leads to an attentiveness to alternative narrative modes and stances – ‘the ghostly (or perhaps haunted narrator); the detached observer; the frustrated voyeur; the postmodernist attention to James Bailey, Muriel Spark’s Early Fiction: Literary Subversion and Experiments with Form, Edinburgh University Press, 2021, £75 hardback, 9781474475969.
詹姆斯·贝利的新书为穆里尔·斯帕克的早期写作提供了一个令人振奋的新视角。它以桑迪·莫法特(Sandy Moffat) 1984年为苏格兰国家肖像画廊(Scottish National portrait Gallery)所画的一幅《Spark》肖像为起点。斯巴克对这幅画像一点也不感兴趣;正如贝利所指出的，她在后来的一篇文章中观察到，这幅画的艺术家“对在画中捕捉她的兴趣不如她碰巧戴着的鲜艳的围巾……由于不熟悉这幅画像，我不厌其烦地用谷歌搜索了一下。斯帕克的不满是对的;这种相似之处更接近玛格丽特•撒切尔(Margaret Thatcher)，在20世纪80年代中期的背景下，她是一个令人不安的视觉参照点。然而，这种相似之处，无论是偶然的还是隐含的，也很能说明问题。与铁娘子没有什么不同，斯帕克在她的写作视野中也被神话化为犀利而不妥协，即使隐喻的材料选择可能是“水晶”(18)而不是她自己的铁。Bailey开始揭露和揭露一些简化的批判性模板，这些模板已经建立起来，通过和伴随着这个神话化的过程，来解释Spark的工作。特别是，他反对将典型的《星火》叙述者解读为“相对简单的类比”，即“全能而冷酷的上帝”(14)。鉴于斯帕克被广泛讨论转向天主教，对她作品的神学理解本身并不是不合理的。然而，正如贝利令人信服地指出的那样，这样的方法已经不合理地主导了火花批评，从而掩盖了其他潜在的含义，往往是非常颠覆性的社会政治批评形式，否则可能会在她广泛的作品中发现。相反，贝利在分析斯帕克的早期作品时，策略性地将神学因素隐去，结果令人信服。这导致了对另类叙事模式和立场的关注——“幽灵般的(或者可能是闹鬼的叙述者);超然的观察者;失意的偷窥者;詹姆斯·贝利:《穆里尔·斯帕克的早期小说:文学颠覆与形式实验》，爱丁堡大学出版社，2021年，75英镑精装本，9781474475969。
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Pub Date : 2022-07-03DOI: 10.1080/09574042.2022.2139055
Eleanor Careless
Abstract Feminist Book Fortnight was a signal event in the history of feminist publishing, but its history has not yet been written. Throughout the latter half of the 1980s, the Fortnight promoted feminist literature in the UK and Ireland and helped to sustain and power a revolution in feminist publishing. Drawing on the archives of Spare Rib magazine, this article analyses the often fierce tension between the Fortnight’s activist aims and its commercial imperatives, and maps out the distinctive regionalism of this annual book trade promotion. Books and literature were of vital importance to the women’s movement and Feminist Book Fortnight supported the expansion of the feminist literary marketplace outside London. As I will show, the Fortnight navigated not only between the activist margins and the commercial mainstream, but between isolated feminist outposts and metropolitan centres. Combining feminist digital geography with oral histories and literary analysis, this article concentrates not on women readers or authors but on the workings of the industry which mediated the production and consumption of feminist literature at this time. I argue that the Fortnight’s complex renegotiation of extant publishing practices (Murray (2017): 814), both commercial and regional, constituted its most significant contribution to the larger feminist movement.
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Pub Date : 2022-07-03DOI: 10.1080/09574042.2022.2129546
Isobel Armstrong
This important collection of essays marks a defining moment in Michael Field studies. It constitutes a declaration that Michael Field, pseudonym of the aunt and niece, Katharine Bradley and Edith Cooper, collaborators and incestuous lovers, is now firmly established as a major poet. A sign of this is the research depth, adventurous thinking and precision of the work here – Catherine Maxwell, for instance, meticulously names each of the specific species of roses beloved of the pair, and quotes Bradley’s horticultural learning, ‘the presence on our desk of Marshall Niel roses, with snow-green shadows’. Strikingly, all these essays open up in detail for the first time the many affiliations and formations to which Field belonged, going far beyond the known friendships with Pater, Wilde and Berenson, and in the process moving to texts well outside the customarily read works. Kate Thomas reminds us of Edward Carpenter’s pullulating plant world and its affinity with Field’s green sexual aesthetic of vegetable and plant life (‘Vegetable Love: Michael Field’s Queer Ecology’). Havelock Ellis and Field’s intense engagement, charged with the predicament of rape by a god, with the forgotten poet, Thomas Ashe, is another affiliation explored by Margaret D. Stetz (‘ “As She Feels a GodWithin”: Michael Field and Inspiration’). Ana Vadillo points to Field’s association with the book artist, Joseph Zaelnsdorf, and Alexander Stuart Murray, Keeper of Greek and Roman antiquities at the British Museum (‘Sculpture, Poetics, Marble Books: Casting Michael Field’). In her ‘Sister Arts: Michael Field and Mary Costelloe’, Sarah Parker explores Field’s relationship with Berenson’s mistress, rather than with the art critic himself, and points to further significant female friendships – Vernon Lee, Maud Cruttwell, Alice Trusted. Joseph Bristow names not only Wilde but Nietzsche (‘Michael Field’s “Unwomanly Audacities”: Attila, My Attila, Sexual Modernity, and the London Stage’), while Catherine Maxwell reminds us of the friendship with another queer partnership, Charles Ricketts and Charles Shannon. The last five essays venture into Field’s Catholicism, ground rarely and Michael Field: Decadent Moderns, ed. Sarah Parker and Ana Parejo Vadillo. Athens: Ohio University Press, 2019, £72.00 hardback, ISBN 9780821424018
这本重要的文集标志着迈克尔·菲尔德研究的一个决定性时刻。它宣告迈克尔·菲尔德，姨妈和侄女凯瑟琳·布拉德利和伊迪丝·库珀的笔名，合作者和乱伦的恋人，现在已经确立了他作为主要诗人的地位。这一点的一个标志是研究的深度、冒险的思维和工作的精确——例如，凯瑟琳·麦克斯韦(Catherine Maxwell)一丝不苟地命名了这对夫妇所喜爱的每一种特定的玫瑰，并引用了布拉德利的园艺知识，“马歇尔·尼尔(Marshall Niel)玫瑰出现在我们的桌子上，有雪绿色的阴影”。引人注目的是，所有这些文章首次详细地揭示了菲尔德所属的许多从属关系和组织，远远超出了与佩特、王尔德和贝伦森的已知友谊，并在此过程中转移到传统阅读作品之外的文本。凯特·托马斯让我们想起了爱德华·卡彭特(Edward Carpenter)的植物世界，以及它与菲尔德对蔬菜和植物生命的绿色性美学的亲缘关系(《蔬菜之爱:迈克尔·菲尔德的酷儿生态学》)。哈夫洛克·埃利斯和菲尔德与被遗忘的诗人托马斯·阿什(Thomas Ashe)密切接触，被指控被上帝强奸的困境，这是玛格丽特·d·斯泰兹(Margaret D. Stetz)探索的另一种联系(《当她感到内心有上帝:迈克尔·菲尔德与灵感》)。Ana Vadillo指出Field与书籍艺术家Joseph Zaelnsdorf以及大英博物馆希腊和罗马文物管理员Alexander Stuart Murray(“雕塑，诗学，大理石书籍:铸造Michael Field”)的联系。在她的《姐妹艺术:迈克尔·菲尔德和玛丽·科斯特洛》一书中，莎拉·帕克探讨了菲尔德与贝伦森情妇的关系，而不是与这位艺术评论家本人的关系，并指出了更重要的女性友谊——弗农·李、莫德·克鲁特韦尔、爱丽丝·托斯特。约瑟夫·布里斯托不仅提到了王尔德，还提到了尼采(迈克尔·菲尔德的《非女性的大胆行为:阿提拉，我的阿提拉，性现代性和伦敦舞台》)，而凯瑟琳·麦克斯韦尔则让我们想起了与另一个同性恋伙伴查尔斯·里基茨和查尔斯·香农的友谊。最后五篇文章探讨了菲尔德的天主教信仰，以及莎拉·帕克和安娜·帕雷霍·瓦迪略主编的《迈克尔·菲尔德:颓废的现代人》。雅典:俄亥俄大学出版社，2019，精装本72.00英镑，ISBN 9780821424018
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Pub Date : 2022-07-03DOI: 10.1080/09574042.2022.2129578
Rachel Murray
Towards the end of Modernism and Physical Illness, Peter Fifield sketches out an early plan for the book: each chapter would be structured around a specific illness or disease in modernist literature, beginning with depictions of cancer, and moving through consumption and venereal disease before concluding, somewhat bathetically, with colds. Fifield’s outline of the book he didn’t write is key to understanding the one he did, for this is a study that seeks to resist the lure of a medicalized account of illness, where physical symptoms are sorted into specific pathologies, and where bodily experiences that do not fit existing categories tend to be overlooked or dismissed. Focusing on the work of five canonical and lesser-known British writers – Virginia Woolf, D. H. Lawrence, T. S. Eliot, Dorothy Richardson, and Winifred Holtby – Fifield’s compelling and highly readable study uncovers a more varied and ‘generatively textured’ (3) account of ill health in the early twentieth century that is brought to the fore by modernism’s emphasis on embodied subjectivity, relationality, and non-normative experience. Fifield’s book joins a number of recent studies – including Maren Tova Linett’s Bodies of Modernism (2016) and Elizabeth Outka’s Viral Modernism (2019) – in seeking to counteract the dominant emphasis in modernist studies on mental as opposed to physical illness. Yet while the former text is focused on particular disabilities – blindness, deafness, mobility impairments – and the latter explores the cultural, social, and aesthetic aftermath of a particular illness event, the 1918 influenza pandemic, Modernism and Physical Illness is concerned with ‘small stories of fictional and actual individuals laid-up and struck down’ (26) with fevers and coughs, toothaches and skin conditions. Indeed, Fifield’s study begins, rather than ends, with a cold, the famous sniffle experienced by Madame Sosostris in The Waste Land – a detail that not only highlights ‘the mundane grubbiness of everyday modernity’ (1), but which also exemplifies modernism’s mixing of the high and the low, the sacred and the profane, the intellect and the body. This is not to say that the study is concerned only with Peter Fifield, Modernism and Physical Illness: Sick Books, Oxford University Press, 2020, 272 pp., £80 hardback, 9780198825425
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Pub Date : 2022-07-03DOI: 10.1080/09574042.2022.2140514
Lewis Johnson
Abstract This interview with the poet Glenda George and Lewis Johnson (PhD student, University of Liverpool) took place over email during December 2021–March 2022. George discusses her early work in the British Poetry Revival, examining the impacts of class and gender on her experience as a writer. George describes her role in the development of the poetry magazine Curtains (1971–1978), discussing her translation process and her reason for translating the French avant-garde into English. George concludes by tracing her poetics from the 1970s and 1980s into the present, offering her views on contemporary poetry and poetics.
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Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2084248
Isobel Armstrong
Laura Marcus, our loved colleague and friend, tragically died in September 2021, after a brief illness, so brief that we were all shocked and unprepared for this early death. She was at the height of her powers. Laura had a thirty-year connection with Women: a cultural review. She became our Reviews Editor in 1990 and subsequently became one of the Editors. During this period she moved from Birkbeck, University of London, to the University of Sussex (1999), from there to the Regius Professorship at the University of Edinburgh (2007), and from Edinburgh to the Goldsmiths’ Professorship at Oxford (2010). She published some of her most renowned books during her time with Women: Autobiographical Discourses, Theory, Criticism, Practice (1994), a study of Virginia Woolf (1997), The Cambridge History of Twentieth-Century Literature (2004), The
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Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2072625
Dominic Symonds
For many, British musical theatre of the 1950s is epitomized by two classics: Julian Slade’s quirky Salad Days (1954), and Sandy Wilson’s breezy The Boy Friend (1953). Not only have these shows become enduring small-scale favourites, but so too have their writers become, to a certain generation, familiar names, thanks to their irreverent treatment as the characters Julian and Sandy in the radio comedy Round The Horne. Projected as camp caricatures by Hugh Paddick and Kenneth Williams trading in the euphemistic slang Polari, Julian and Sandy featured in weekly sketches throughout the late sixties, bringing a fondly grotesque parody of gay lifestyles into British households. In her new book, And This is My Friend Sandy, the title of which riffs off one of the stock phrases from that radio show, Deborah Philips explores one of these writers, Sandy Wilson, in the context of The Boy Friend, London Theatre, and gay culture. The early part of the book charts his Oxford University experiences in revue, alongside the likes of contemporaries Donald Swann and Kenneth Tynan. Seen through the lens of Wilson’s own autobiography, this reveals an ardent theatre lover who would migrate to London’s Soho as successful student revues transferred. Soho itself is explored in chapter two, very much as a vibrant home to London’s gay community, and it is here, at the intimate music-hall venue the Players’ Theatre Club, in 1953, that The Boy Friend first opened, before transferring in an extended version to the West End the following year. Situating Wilson’s early theatrical success in the context of London’s gay culture of the 1950s enables Philips’ account to emphasize the strong influences he had from British musical theatre’s iconic gay establishment. This was a time during which the restrictive laws against homosexuality were being both publicly exercised (with the great classical actor John Gielgud’s notorious arrest for cottaging in 1953), and tested (with the publication of the Wolfenden Report in 1957). It was also a time during which personalities like Noel Coward, Ivor Novello, and Binkie Beaumont enjoyed huge status and acclaim, their sexuality masked yet resonant on Deborah Philips, And This is My Friend Sandy: Sandy Wilson’s The Boy Friend, London Theatre and Gay Culture, London, Methuen, 2021, 256 pp, 5 Illustrations, ISBN 9781350174238
对许多人来说，20世纪50年代的英国音乐剧是两部经典作品的缩影:朱利安·斯莱德古怪的《沙拉日子》(1954)和桑迪·威尔逊轻松愉快的《男朋友》(1953)。这些剧不仅成为了经久不衰的小众宠儿，而且它们的编剧也成为了某一代人熟悉的名字，这要归功于他们在广播喜剧《圆角》(Round the horn)中扮演的角色朱利安(Julian)和桑迪(Sandy)。休·帕迪克和肯尼斯·威廉姆斯用委婉的俚语Polari来描绘他们的营地漫画，朱利安和桑迪在整个60年代末的每周小品中都有出现，给英国家庭带来了对同性恋生活方式的可爱而怪诞的模仿。黛博拉·菲利普斯在她的新书《这是我的朋友桑迪》(这是我的朋友桑迪)中，借用了那个广播节目中的一个常用语，她在《男朋友》、伦敦剧院和同性恋文化的背景下探讨了其中一位作家桑迪·威尔逊。书的前半部分描述了他在牛津大学的戏剧经历，以及同时代的唐纳德·斯万和肯尼斯·泰南。从威尔逊自己的自传来看，这揭示了一个狂热的戏剧爱好者，随着成功的学生剧团转移，他将搬到伦敦的苏荷区。第二章探讨了苏荷区本身，这里是伦敦同性恋社区充满活力的家园。1953年，《男朋友》就是在这里，在亲密的音乐厅里，在球员剧院俱乐部(Players’Theatre Club)上演的，次年，《男朋友》在伦敦西区(West End)上演了加长版。菲利普斯将威尔逊早期戏剧的成功置于20世纪50年代伦敦同性恋文化的背景下，这使他的叙述更加强调了他受到英国音乐剧标志性同性恋机构的强烈影响。在这段时间里，针对同性恋的限制性法律既被公开执行(1953年，著名古典演员约翰·吉尔古德(John Gielgud)因住在茅屋而被臭名昭著地逮捕)，也被检验(1957年，《沃尔芬登报告》(Wolfenden Report)的出版)。这也是一个像诺埃尔·科沃德、伊沃·诺韦洛和宾基·博蒙特这样的人物享有巨大地位和好评的时期，他们的性取向被掩盖，但在黛博拉·菲利普斯的《这是我的朋友桑迪:桑迪·威尔逊的男朋友》中引起共鸣，伦敦剧院和同性恋文化，伦敦，梅休恩，2021,256页，5插图，ISBN 9781350174238
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Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2072616
H. Carr
Charles King is a distinguished American commentator on the recent history of the Balkans and the Near East, but in this striking intervention in political debate the time and place of his concerns are very different. He has turned his attention to the United States in the first half of the twentieth century, particularly the interwar years, concentrating on the development of the discipline of anthropology and centring on the figure of Franz Boas, a humane, courageous and farsighted German Jew, and on the group of women anthropologists he taught and fostered. By the time of Boas’ death in 1942, his arguments for racial equality were widely accepted, as the US entered a war against the horrors of Aryan supremacy. Charles King wrote his book in the last days of the Trump presidency when racism had become once more accepted, powerful and corrosive. It hadn’t of course ever gone away, but it was once more the norm for a terrifyingly large and influential number of Americans. King only mentions Trump once, but his message is clear. Boas had a number of distinguished male students, many of them Jewish immigrants like himself, and their own ground-breaking work helped to spread his insights and values throughout the States. But King concentrates on his female students who had a much harder battle. They needed Boas’ ongoing help to find enough financial support to practice anthropology at all. It wasn’t that there hadn’t been women anthropologists before—it had been a wonderful escape from drawing-room life for some well-to-do women in the late nineteenth and early twentieth century, somewhere they could be in charge for once and where no-one contradicted them. But gaining an academic position was a very different matter. King concentrates on four women. There is Margaret Mead, with her genius for attracting attention and book sales. Then Ruth Benedict, for years ignored and marginalized, but who eventually, after the war and Charles King, The Reinvention of Humanity: A Story of Race, Sex, Gender and the Discovery of Culture, Bodley Head, 2019, £25, 9781847924490
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