By C. Hanson
The woman's novel is a time period used to explain fiction which, whereas immensely well known between knowledgeable girls readers, sits uneasily among low and high tradition. Clare Hanson argues that this hybrid prestige displays the ambivalent place of its authors and readers, as proficient ladies stuck among id with the male-gendered highbrow tradition and a counter-experience of lady embodiment. via six case reviews, the illustration of a "mind/body challenge" is explored within the fiction of Rosamond Lehmann, Elizabeth Bowen, Elizabeth Taylor, Margaret Drabble, A.S. Byatt and Anita Brookner.
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Additional info for Hysterical Fictions: The ''Woman's Novel'' in the Twentieth Century
Example text
M. ) She seems the perfect embodiment of a decorative, soft and nurturing femininity. Yet she has had other aspirations: she has attended Girton College, where she has performed brilliantly, taking a double first in her examinations. During her time at Cambridge, she does not play the part of the feminine beauty, but looks entirely different – ‘rather drab and plain’ according to Mrs Jardine, who also observes that during this period of her life ‘something about her gave me the notion of a person deliberately suppressing threequarters of her personality’ (pp.
Among the minor characters, both Ellie and Miss Stay ‘think back through their mothers’, remembering the closeness of the relationship – ‘we were all in all to one another’, as Ellie puts it (p. 20). In keeping with the novel’s emphasis on the bonds between the living and the dead, Ellie claims that she is still watched over by her mother – ‘She’s gone a long way on now, I expect, but we’re never really out of touch. 148). And one of the most important developments in the novel is the way in which Mrs Jardine/ Sibyl Anstey modifies her relationship to Rebecca, ceasing to struggle with her over Johnny.
In Dusty Answer, none of the three Fyfe brothers can give Judith what she needs. As Simons has pointed out, the three men correspond to three archetypal heroes from the world of romantic fiction – Roddy the ‘rhapsodic’ lover, Martin the ‘boy next door’, Julian the ‘glamorous but dangerous seducer’. 11 Only Roddy, the most distant and opaque of the three, can function as Judith’s object of desire, but Lehmann emphasizes the way in which his desires are directed away from Judith and back to the world of men.
