Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2083815
D. Rees-Jones
Abstract During the more than half a century since his earliest appearances in print, Anthony Rudolf has published many works in prose and verse, and also translated (and co-translated) books, mainly poetry, from the French and other languages. As a literary essayist, he has written on authors as diverse as Balzac, Byron, Borges and George Oppen, as well as several essays on Primo Levi and Yves Bonnefoy. He has also written on the work of visual artists, including Paula Rego, R. B. Kitaj, Vilhelm Hammershøi, Charlotte Salomon and Fermin Rocker, and younger artists including Haidee Becker, Jane Joseph, Jane Bustin, Arturo di Stephano, Paul Coldwell and Charlotte Hodes. In addition, he is a reviewer and obituarist and has contributed to Radio Three, Radio Four and—in English, French and Russian—the BBC World Service. Born in London in 1942, he still lives in the north-west of the city. His books include Jerzyk (2017), a study of the diary of his second cousin, the youngest known suicide of the Holocaust; Silent Conversations (2013) (a book on his reading); and European Hours (collected poems, 2017), whose eponymous prologue is a prose poem about places visited with Paula over the years.
自安东尼·鲁道夫(Anthony Rudolf)最早出现在印刷品上以来的半个多世纪里，他出版了许多散文和诗歌作品，并翻译(和合作翻译)了法语和其他语言的书籍，主要是诗歌。作为一名文学散文家，他写过巴尔扎克、拜伦、博尔赫斯和乔治·奥本等作家的文章，也写过几篇关于普里莫·列维和伊夫·邦尼福伊的文章。他还撰写了视觉艺术家的作品，包括Paula Rego, R. B. Kitaj, Vilhelm Hammershøi, Charlotte Salomon和Fermin Rocker，以及年轻艺术家，包括Haidee Becker, Jane Joseph, Jane Bustin, Arturo di Stephano, Paul Coldwell和Charlotte Hodes。此外，他还是一名评论员和讣告作者，并为英国广播公司第三、第四电台以及英语、法语和俄语的BBC世界服务撰稿。他1942年出生于伦敦，现在仍住在伦敦西北部。他的著作包括《耶日克》(Jerzyk, 2017)，研究了他的二表哥的日记，他是大屠杀中已知最年轻的自杀者;《无声的对话》(Silent Conversations, 2013)(一本关于他阅读的书);《欧洲时间》(European Hours)(诗集，2017年)，其同名序言是一首散文诗，讲述了葆拉多年来去过的地方。
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Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2072624
S. G. Scheiwiller
Donna Stein’s memoir The Empress and I is a tale of two women who crossed paths and became united in a vision to make the Tehran Museum of Contemporary Art (TMoCA, est. 1977) one of the most prominent collections of Modern Art in the world. The former queen and empress, Farah Diba Pahlavi (b. 1938), had a dream of establishing a global institution that fostered dialogue between modernist artists in Iran (then Persia) and in the Global North, as well as a new space of literacy and learning for the population en masse. The empress sought to enliven the local modern art scene while simultaneously engaging Iran in an international, intercultural exchange with some of the world’s most famous modern artists. Stein was asked to help with this vision because of her training and expertise in the art world in New York City; she would later take this professional skillset to Tehran to assist directly with the collections and protocols, alongside other important figures of TMoCA’s establishment, such as the architect and artist Kamran Diba (b. 1937). Stein’s book is filled with meticulous details and primary documents from the 1970s about her involvement in facilitating, advising, and building the collections of TMoCA, primarily the works on paper. More than 40 years later, letter excerpts, contracts, ledgers, and communiqués detail the many negotiations, processes, and persons involved in various transactions in New York City and Tehran that were all a part of TMoCA’s success as a major world institution. Stein keeps the reader’s attention by dividing the book into ten concise chapters and then by ending her own narrative with an in-depth interview with Farah Pahlavi that Stein conducted in 1990. In the memoir, Stein details how she was able to be part of this historic project. She had been part of the curatorial staff at the Museum of Modern Art in New York City and was awarded a prestigious National Endowment for the Arts Fellowship for Museum Professionals to study world fairs and their global impact on cultures. In 1973, this research eventually took Stein to Tehran, Shiraz, and Isfahan, and these magnificent cities of the world awed her—the thrilling urban setting and many museums of Tehran, the Donna Stein, The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art, Skira 2021, £21.45 paperback, 9788857244341
唐娜·斯坦(Donna Stein)的回忆录《皇后与我》(The Empress and I)讲述了两个女人相遇的故事，她们为了一个愿景团结在一起，使德黑兰当代艺术博物馆(TMoCA, est. 1977)成为世界上最著名的现代艺术收藏之一。前女王和皇后法拉·迪巴·巴列维(生于1938年)梦想建立一个全球性的机构，促进伊朗(当时的波斯)和全球北方的现代主义艺术家之间的对话，并为大众提供一个新的识字和学习空间。这位皇后试图活跃当地的现代艺术界，同时与世界上一些最著名的现代艺术家进行国际文化交流。斯坦被要求帮助实现这一愿景，因为她在纽约艺术界受过培训和专业知识;后来，她将这一专业技能带到德黑兰，与TMoCA建立的其他重要人物(如建筑师和艺术家卡姆兰·迪巴(生于1937年))一起直接协助收藏和协议。斯坦因的书中充满了20世纪70年代她参与促进、建议和建立TMoCA收藏(主要是纸上作品)的细致细节和主要文件。40多年后，信件摘录、合同、账簿和公报详细记录了在纽约和德黑兰进行的许多谈判、过程和参与各种交易的人员，这些都是TMoCA作为一个主要世界机构取得成功的一部分。为了吸引读者的注意力，斯坦因将书分为十个简明的章节，然后以她自己在1990年对法拉·巴列维的深入采访结束了自己的叙述。在回忆录中，斯坦因详细描述了她是如何成为这一历史性项目的一部分的。她曾在纽约市现代艺术博物馆担任策展人员，并获得了著名的国家艺术基金会博物馆专业人员奖学金，以研究世界博览会及其对全球文化的影响。1973年，这项研究最终把斯坦因带到了德黑兰、设拉子和伊斯法罕，这些世界上宏伟的城市让她敬畏不已——令人兴奋的城市环境和德黑兰的许多博物馆，《Donna Stein，皇后和我:一个古老的帝国如何收集、拒绝和重新发现现代艺术》，Skira 2021，平装本21.45英镑，9788857244341
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Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2072618
L. Roberts
Rowena Kennedy-Epstein’s new book,Unfinished Spirit: Muriel Rukeyser’s Twentieth Century, is a bracing work of scholarly devotion. Reading across genres and forms, Kennedy-Epstein focuses on four thwarted projects: Rukeyser’s Spanish Civil War-era novel Savage Coast, unpublished in her lifetime; a clutch of lectures, radio talks, and essays that illuminate Rukeyser’s sexual politics; collaborative work with her lover, the photographer Berenice Abbott; and a biography of the anthropologist Franz Boas. In each case, Kennedy-Epstein traces Rukeyser’s resourceful struggle against ‘the sexism of editors, the withdrawal of publishing contracts, political censure [and] derision’ (7). The result of ten years of archival work, almost every page bristles with evidence drawn from letters, unpublished interviews, and marginalia. This material isn’t brandished as a trophy but woven into the argument of the book, which shows us that what doesn’t come to fruition isn’t simply waste, and that ‘waste’ is itself a highly ideological concept. Alongside plenty of original readings and fresh interpretation, Kennedy-Epstein manages the uncanny trick of presenting us with Rukeyser at work, thinking and feeling her way through the catastrophes of her epoch. The first part of the book – three taut chapters – is organized around Rukeyser’s experiences in Spain, where she travelled in 1936 for the opening of the antifascist People’s Olympiad. Dedicated readers of Rukeyser will be aware of some of this terrain already, thanks in part to KennedyEpstein’s own editorial work. Her edition of Savage Coast appeared in 2013 with the Feminist Press, and helped to introduce Rukeyser’s writing to a new generation of activists and poets. This recovery work originated in the activities of the CUNY Poetics Document Initiative, Lost & Found, which has been an inspiration for anyone working on experimental poetry in the long aftermath of the financial crisis. Kennedy-Epstein’s contribution to the series, Barcelona, 1936: Selections from Muriel Rukeyser’s Spanish Civil War Archive (2011), joined work by other scholars on Diane Di Prima, Margaret Randall, John Wieners, Jean Sénac, June Rowena KennedyEpstein, Unfinished Spirit: Muriel Rukeyser’s Twentieth Century, Cornell University Press, 2022, 224 pp., 13 illustrations, 9781501762338
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Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2072617
Sarah Crook
When several hundred women gathered at Ruskin College, Oxford, on a chilly February day in 1970, they did so in clothes familiar to the era: ‘scraggy fur coats’, ‘maxi-length coats... acquired in Army and Navy surplus stores’, and ‘long flowing sixties scarves and hair too’ (17-18). What the women came to discuss and challenge was less familiar, however. Talks were given on women’s relationship to work, class, capitalism, and the home and family. Both the factory floor and the kitchen sink were discussed as sites where politics was enacted: at this first Women’s Liberation Conference, a ‘new politics was being expressed through women’s daily experiences’ (20). Sheila Rowbotham was one of those who spoke at the conference, drawing upon the research she had been doing for her book Women, Resistance and Revolution (1972) to talk on ‘The Myth of Inactivity’. No one could accuse Rowbotham of being inactive. A key member of the Women’s Liberation Movement, Rowbotham is an important scholar of women’s history as well as a crucial voice on the movement itself. This, her most recent book, builds upon her earlier memoir Promise of a Dream: Remembering the Sixties (2000). Progressing chronologically, Daring to Hope maps a personal journey through the 1970s. Daring to Hope starts in January 1970, picking up not with an analysis of the state of feminism but with a new and romantic connection with David Widgery, a member of the International Socialism group. It threads the intimate and personal – the loves, the betrayals, the friendships, motherhood – with the labour of working for social change across the 1970s. This work took a variety of forms: conferences, meetings (lots of meetings), Sheila Rowbotham, Daring to Hope: My Life in the 1970s, London and New York, Verso, 2021, ISBN 978-1-83976-389-2
1970年2月一个寒冷的日子，几百名女性聚集在牛津大学罗斯金学院(Ruskin College)，她们穿着那个时代所熟悉的服装:“破旧的皮大衣”、“长大衣……在陆军和海军的剩余物品商店买到的”，以及“长而飘逸的六十年代围巾和头发”(17-18)。然而，女性们来讨论和挑战的内容却不那么熟悉。会议讨论了妇女与工作、阶级、资本主义、家庭和家庭的关系。工厂车间和厨房水槽都被讨论为政治制定的场所:在第一次妇女解放会议上，“通过妇女的日常经验表达了一种新的政治”(20)。希拉·罗博瑟姆(Sheila Rowbotham)是会议上发言的人之一，她在为自己的书《妇女、抵抗与革命》(1972)所做的研究中谈到了“不活动的神话”。没人能指责罗博瑟姆怠惰。罗博瑟姆是妇女解放运动的重要成员，是研究妇女历史的重要学者，也是妇女解放运动本身的重要声音。这是她最近的一本书，以她早期的回忆录《梦想的承诺:回忆六十年代》(2000)为基础。《勇敢的希望》按时间顺序展开，描绘了1970年代的个人旅程。《勇敢的希望》从1970年1月开始，不是从对女权主义状况的分析开始，而是从与国际社会主义组织成员大卫·威格里(David Widgery)的一段新的浪漫联系开始。它将亲密和个人——爱情、背叛、友谊、母性——与20世纪70年代为社会变革而努力的劳动联系在一起。这项工作采取了各种形式:会议，会议(很多会议)，希拉·罗博瑟姆，敢于希望:我在1970年代的生活，伦敦和纽约，Verso, 2021, ISBN 978-1-83976-389-2
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Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2072615
S. Thornham
Abstract Karyn Kusama’s Destroyer (2018) was reviewed as a neo-noir re-working and a star vehicle for Nicole Kidman. This article argues that it in fact offers a complex re-visioning of both the noir narrative to which reviewers compared it, and the ‘woman’s film’ and its successor, the maternal revenge film. It examines the ways in which Kusama’s film plays on cinematic genre codes and structures to suggest that they constitute a ‘compulsion to repeat’, in which femininity as performance is scripted, defined and positioned, and, where it threatens transgression, rendered abject as bodily excess. The film’s flashback structure, it argues, first exposes the various scripts through which its protagonist Erin’s younger self performs the roles she is given, and then stages the recovery of embodied memory, as generic codes and structures give way to the phenomenology of the process of remembering. Through its construction of a memory text in which time is fractured and/or slowed in moments of intensity, the film works against conventional accounts of subjectivity to suggest that Erin’s recovery of memory is also a recovery of a specifically maternal body. It thus stages an attempt to retrieve, or construct, a subjectivity that is embodied, relational, and maternal.
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Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2072614
Charlotte Taylor Suppé
Abstract Although Virginia Woolf’s interest in the social and political participation of women has garnered decades of critical consideration, there has been limited attention to the historical relevance of maternal themes in her works. This article begins to address this gap by offering an analysis of Woolf’s writing on infant feeding, a trope which emerges in her very earliest fiction and continues throughout her canon. During Woolf’s lifetime maternal discourses were rooted in changes in employment, social structure, politics, philanthropy and science. Her writing on maternity is especially valuable not only because of her response to these contemporary events—the trope of infant feeding, for example, offers another critical approach to her thoughts on class—but also due to the deeply personal aspect of the subject. Exploring a variety of ways Woolf engaged with infant feeding, the author here considers how such a theme offers a fresh perspective on Woolf’s feminism, social engagement and feelings about creating art.
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Pub Date : 2022-04-03DOI: 10.1080/09574042.2022.2101750
M. Jacobus
Abstract The term ‘elders’ has been used to refer to those who might once have been called ‘seniors’, ‘retirees’ or ‘OAPs’ (Old Age Pensioners). The Middle English eldre—connoting wisdom and experience—signals a discomfort-zone. ‘Elders’ are us, embarked on an unknowable end-of-life journey. Similarly, ‘elder-speak’ designates an artificial manner of speaking (reduced speed, simplified vocabulary, exaggerated diction), implying that those of advanced years have limited cognition and linguistic competence. The memory- and language-losses of later years challenge literary and visual representation. We risk becoming ventriloquists, eavesdroppers, or voyeurs in our efforts to accompany the old on their last journey. Listening with ‘the third ear’ (Theodor Reik’s term, borrowed from Nietzsche)—or seeing with the third eye—potentially allows for a non-intrusive mode of understanding the old, and also ourselves. Women are often care-partners. But sometimes they are the ones cared for—part of an aging couple. My three examples will be Kazuo Ishiguro’s novel, The Buried Giant (2015); later life seen through the lens of contemporary British Object Relations psychoanalysis; and Paddy Summerfield’s photographic essay about his elderly parents, Mother and Father (2014). Read together, they underline the role of aesthetics in understanding the meanings and losses of old age.
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Pub Date : 2022-01-02DOI: 10.1080/09574042.2022.2021026
Abbie Garrington
Lauren Berlant writes of intimacy as a kind of intimation (promise; expectation; agreement), and as having, therefore, the quality of a pact. That pact links to the matter of bringing-close that is at the heart of Elsa Högberg’s edited collection Modernist Intimacies—creating intimate proximity between people; between person and text; or between person and person, as mediated by text. Such closeness has its emotional aspects, but is also about specifically bodily proximity (or, in the case of text, its imagined or projected equivalents), bringing the tactile into view, adding tact to pact. The late, lamented Berlant operates as a presiding spirit for this group of 12 essays, although she is more often glancingly acknowledged than fully deployed, with the exception of Högberg’s own valuable chapter on Nathanael West’s Miss Lonelyhearts (1933). Here, Högberg uses both Berlant’s ‘cruel optimism’ and Eva Illouz’s ‘cold intimacies’ to read West as offering an exploration of emotional solace (via the advice column indicated by his title) as not just cover for but obstruction to the collapse of material inequality and the pursuit of a happy life. Högberg deftly situates her own arguments amongst extant West criticism, and draws a thread from the US inter-war advice industry toward modernity’s cold intimacies, suggesting that in the present day, too, intimacy and compassion have political dimensions that may pull them clear of care. Our Covid-affected times are marked by the apparent absence of new intimacies, yet shaped by public regulations and discourses that recalibrate regimes of the intimate, including those previously, precariously considered private. As a result, this collection, while its focus is on the early years of the twentieth-century and for the most part on artistic production considered ‘modernist,’ can also be read as excavating the pre-history of today’s formulations of our intimate lives. Högberg’s ‘Acknowledgements’make reference to the joy of compiling and editing the collection, and some of that joy can surely be attributed to the first chapter, from Axel Englund, on the seep of Wagner’s music into the intimate spaces of the bourgeois home—both cover for and prompt to Elsa Högberg, ed., Modernist Intimacies, Edinburgh University Press, 2021, £75 hardback 9781474441834
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Pub Date : 2022-01-02DOI: 10.1080/09574042.2022.2019437
Nonia Williams
Abstract Ann Quin’s innovative, versatile oeuvre made a substantial contribution to 1960s and 1970s British avant-garde and experimental writing, but literary scholarship has, until recently, been slow to appreciate the brilliance and importance of her work. This special issue of Women: a cultural review is the first collection of its kind focused solely on Quin. To frame the collection, I offer a short introduction to Quin’s work and life, and discuss how her working-class identity has been considered a significant factor in relation to the distinctive forms, language, aesthetics and experimentation of her writing. I introduce the volume’s contributions, which include an interview, a creative-critical piece, and four critical essays on Quin, to show the correspondences, overlaps and contrasts between them. In particular, I focus on their consideration of archive materials, and the aesthetic and sensory qualities of Quin’s writing. I argue that, precisely by being read together, the contributions deepen and extend our thinking about Quin, give a sense of current critical approaches to her work, and provide a key opportunity to reflect on the significance of our impulse to return to her work today.
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Pub Date : 2022-01-02DOI: 10.1080/09574042.2022.2020011
Adam Guy
Abstract This article attends to the aural dimensions of Ann Quin’s Three (1966). It argues that just as high modernist texts developed symbiotically with the emergent sound technologies of the late-nineteenth and early-twentieth centuries, so might Quin’s novel be read for its engagement with the tape recorder which rose to commercial prominence after 1945. Aiming to contextualize Quin’s writing on tape, the article considers the history and prehistory of the medium, as well as its appropriation by Quin’s contemporaries in music, film, and the visual arts. Through the figure of tape, Three finds ways of valuing ambience and materiality, while resisting transactional and suspicious forms of knowledge.
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