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Gilliland, Gail--Authorship, Women and literature--United States--History--20th century, Literature--History and criticism--Theory, etc, Authorship--Sex differences, Canon (Literature) , Authorship.
publication date
:
1998
lcc
:
PS3557.I38Z465 1994eb
ddc
:
818/.5409
subject
:
Gilliland, Gail--Authorship, Women and literature--United States--History--20th century, Literature--History and criticism--Theory, etc, Authorship--Sex differences, Canon (Literature) , Authorship.
Page iii
Being a Minor Writer
by Gail Gilliland
University of Iowa Press Iowa City
Page iv
University of Iowa Press, Iowa City 52242
Copyright 1994 by the University of Iowa Press
All rights reserved
Printed in the United States of America
Design by Richard Hendel
No part of this book may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher.
Printed on acid-free paper
Library of Congress Cataloging-in-Publication Data
Gilliland, Gail. Being a minor writer / Gail Gilliland. p. cm. ISBN 0-87745-473-6, ISBN 0-87745-486-8 (pbk.) 1. Gilliland, GailAuthorship. 2. Women and literatureUnited StatesHistory20th century. 3. LiteratureHistory and criti cismTheory, etc. 4. AuthorshipSex differences. 5. Canon (Literature). 6. Authorship. I. Title. PS3557.138837Z465 1994 818'.5409dc20 [B]94-10562 CIP
01 00 99 98 97 96 95 94 C 5 4 3 2 1
01 00 99 98 97 96 95 94 P 5 4 3 2 1
Page v
For my mother and father, for David and Genevieve, and for all the unknown artists who ever were
Page vii
Contents
Preface,
ix
Acknowledgments,
xvii
Chapter 1 The Question of Being Minor,
1
Chapter 2 Purpose,
23
Chapter 3 Why I (Still) Write Stories: On Making the Short Story "A Small, Good Thing,"
46
Chapter 4 Experience,
73
Chapter 5 Listening,
122
Chapter 6 A Sense of Place: Geographic Flux and the Writer's Work,
143
Chapter 7 Diction: Searching High and Low for the Common Man,
179
Chapter 8 The Moment of the Subject: Motherhood and Authorship in a Deconstructive Age,
215
Notes,
241
Page ix
Preface
In a letter to the eldest son of one of his friends, the Roman poet Horace sets up the poetics, or principles of literary criticism, by which he as a practicing poet wishes to be judged. He expresses a particular concern in this letter with his current project, probably a tragic play. As with Aristotle's Poetics, Horace's comments in the letter that has come to be called his Ars Poetica may be broken down into separate discussions of purpose, subject matter, genre, character, diction, and style.1
But the Ars Poetica differs from Aristotle's Poetics in that, rather than seeking an aesthetics that stems primarily from a reader/critic's standpoint, with examples taken from various literary texts that were well known at the time, Horace sets up a subjective framework in which the practicing poet himself, while he may also comment upon the creative work of others, is primarily concerned with the goals he wishes to accomplish in his own art. The Horatian scholar C. O. Brink says of Aristotle and Horace, "It is hard to conceive of minds more different than those of the two men." While both men discuss the same concepts, Horace concentrates on "the unity of a work of poetry seen by a poet." Horace's is a poetics that links theory with practice, ''a poetic restatement" of his own work. While Aristotle attempts the pose of objectivity in discussing the merits of tragedy and epic, Horace finally abandons that pose altogether. He uses the established critical tradition for his own purposes and is not
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Iowa City