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Long before John Barth announced in his famous 1967 essay that late 20th-century fiction was 'The Literature of Exhaustion,' authors have been retelling and recycling stories. Barth was, however, right to identify in postmodern fiction a particular self-consciousness about its belatedness at the end of a long literary tradition. This book traces the move in contemporary women's writing from the self-conscious, ironic parodies of postmodernism to the nostalgic and historical turn of the 21st century. It analyses how contemporary women writers deal with their literary inheritances, offering an illuminating and provocative study of contemporary women writers' re-writings of previous texts and stories. Through close readings of novels by key contemporary women writers including Toni Morrison, Doris Lessing, Margaret Atwood, Zadie Smith, Emma Tennant and Helen Fielding, and of the ITV adaptation, Lost in Austen, Alice Ridout examines the politics of parody and nostalgia, exploring the limitations and possibilities of both in the contexts of feminism and postcolonialism.
Entries profile women writers of poetry, fiction, prose, and drama, including Sylvia Plath, Fleur Adcock, and Toni Morrison.
This book examines the connections and conversations between women writers from the twentieth century and the twenty-first century. The essays consider the ways in which twenty-first-century women writers look back and respond to their predecessors within the field of contemporary women’s writing. The book looks back to the foundations of contemporary women’s writing and also considers how this category may be defined in future decades. We ask how writers and readers have interpreted ‘the contemporary’, a moving target and an often-contentious term, especially in light of feminist theory and criticism of the late twentieth century. Writing about the relationships between women’s writings is an always-vital, ongoing political project with a rich history. These essays argue that establishing and defining the contemporary is, for women writers, another ongoing political project to which this collection of essays aims, in part, to contribute.
Autotheory--the commingling of theory and philosophy with autobiography--as a mode of critical artistic practice indebted to feminist writing and activism. In the 2010s, the term "autotheory" began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory.
Encompassing several genres of literary composition, this up-beat, multi-cultural anthology provides an integrated curriculum of contemporary American women writers from diverse backgrounds whose works have recently emerged or made an impact on American literature in the last several decades. Juxtaposing the works of emerging writers with those of American classics, this book comes organized into eight thematic sections - language, family, and multicultural histories, transformation, music/spirituality, work, love, and happiness. It includes a variety of genres in each section - fiction, memoirs, essays, poetry, drama - moving from one to another with ease and a sense of discovery. Presenting an original interview at the end of each section with a distinguished author, it provides clearly and concisely written headnotes for each section. Spanning a broad historical range, from Margaret Walker (1915) to the present day, it includes brief biographies for each author, along with contextual notes for each reading. For professors of American literature and/or women's studies; librarians.
Unique in its breadth of coverage, Who's Who in Contemporary Women's Writing is a comprehensive, authoritative and enjoyable guide to women's fiction, prose, poetry and drama from around the world in the second half of the twentieth century. Over the course of 1000 entries by over 150 international contributors, a picture emerges of the incredible range of women's writing in our time, from Toni Morrison to Fleur Adcock- all are here. This book includes the established and well-loved but also opens up new worlds of modern literature which may be unfamiliar but are never less than fascinating.
This book maps the most active and vibrant period in the history of British women's writing. Examining changes and continuities in fiction, poetry, drama, and journalism, as well as women's engagement with a range of literary and popular genres, the essays in this volume highlight the range and diversity of women's writing since 1970.
The haunting debut novel that put Kate Zambreno on the map, O Fallen Angel, is a provocative, voice-driven story of a family in crisis—and, more broadly, the crisis of the American family—now repackaged and with a new introduction by Lidia Yuknavitch. Inspired by Francis Bacon's Three Studies for Figures at the Base of a Crucifixion, Kate Zambreno's brilliant novel is a triptych of modern-day America set in a banal Midwestern landscape, told from three distinct, unforgettable points of view. There is "Mommy," a portrait of housewife psychosis, fenced in by her own small mind. There is "Maggie," Mommy's unfortunate daughter whom she infects with fairytales. Then there is the mysterious martyr-figure Malachi, a Cassandra in army fatigues, the Septimus Smith to Mommy's Mrs. Dalloway, who stands at the foot of the highway holding signs of fervent prophecy, gaping at the bottomless abyss of the human condition, while SUVs scream past. Deeply poignant, sometimes hilarious, and other times horrifying, O Fallen Angel is satire at its best.
This study explores the subtle and complex significance of food and eating in contemporary women's fiction. Sarah Sceats reveals how preoccupations with food, its consumption and the body are central to the work of writers such as Doris Lessing, Angela Carter, Margaret Atwood, Michèle Roberts and Alice Thomas Ellis. Through close analysis of their fiction, Sceats examines the multiple metaphors associated with these themes, making powerful connections between food and love, motherhood, sexual desire, self identity and social behaviour. The activities surrounding food and its consumption (or non-consumption) embrace both the most intimate and the most thoroughly public aspects of our lives. The book draws on psychoanalytical, feminist and sociological theory to engage with a diverse range of issues, including chapters on cannibalism and eating disorders. This lively study demonstrates that feeding and eating are not simply fundamental to life but are inseparable from questions of gender, power and control.
Antoinette Fouque cofounded the Mouvement de Libération des Femmes (MLF) in France in 1968 and spearheaded its celebrated Psychanalyse et Politique, a research group that informed the cultural and intellectual heart of French feminism. Rather than reject Freud's discoveries on the pretext of their phallocentrism, Fouque sought to enrich his thought by more clearly defining the difference between the sexes and affirming the existence of a female libido. By recognizing women's contribution to humanity, Fouque hoped "uterus envy," which she saw as the mainspring of misogyny, could finally give way to gratitude and by associating procreation with women's liberation she advanced the goal of a parity-based society in which men and women could write a new human contract. The essays, lectures, and dialogues in this volume finally allow English-speaking readers to access the breadth of Fouque's creativity and activism. Touching on issues in history and biography, politics and psychoanalysis, Fouque recounts her experiences running the first women's publishing house in Europe; supporting women under threat, such as Aung San Suu Kyi, Taslima Nasrin, and Nawal El Saadaoui; and serving as deputy in the European Parliament. Her theoretical explorations discuss the ongoing development of feminology, a field she initiated, and, while she celebrates the progress women have made over the past four decades, she also warns against the trends of counterliberation: the feminization of poverty, the persistence of sexual violence, and the rise of religious fundamentalism.