By P. Moran
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Extra resources for Virginia Woolf, Jean Rhys, and the Aesthetics of Trauma
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No doubt we shall find her knocking that into shape for herself when she has the free use of her limbs; and providing some new vehicle, not necessarily in verse, for the poetry in her. For it is the poetry that is still denied outlet. (R 80) Woolf’s vision of a time when the woman writer has “free use of her limbs” reminds us of the many times in Room that fiction and poetry issue from the female pen “disfigured,” “deformed,” “cramped,” and “twisted” (R 52, 64, 72, 73). Even worse, women’s novels almost always suffer from a mysterious “flaw in the centre” that rots the work from within (R 77), an image that recalls the way in which, for Ellis, menstruation gnaws in secret at the very root of a woman’s being.
Newton, furthermore, possessed the advantage of a tradition, and built upon the work of others: “You will not get a big Newton until you have produced a considerable number of lesser Newtons,” Woolf observes. But male censure is the sore point between the two, and Woolf turns away from her model of artistic Darwinism to address it again: [I]t is not education only that is needed. It is that women should have liberty of experience; that they should differ from men without fear and express their difference openly (for I do not agree with “Affable Hawk” that men and women are alike); that all activity of the mind should be so encouraged that there will always be in existence a nucleus of women who think, invent, imagine, and create as freely as men do, and with as little fear of ridicule and condescension.
Du Coudray’s Another Country: If, like the reporter, you believe that female novelists should only aspire to excellence by courageously acknowledging the limitations of their sex (Jane Austen, and in our own time, Mrs. Virginia Woolf, have demonstrated how gracefully this gesture can be accomplished), Miss du Coudray’s first novel may at the outset prove a little disappointing, since here is a writer definitely bent upon the attainment of masculine standards. (D3 196n5) Woolf included not only the anecdote about Rebecca West in Room (R 35), she included MacCarthy’s condescending phrase about women novelists, alluding to it not once but twice (R 78, 97).
