Bonnie Kime Scott - Refiguring Modernism, Volume 2: Postmodern feminist readings of Woolf, West, and Barnes
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Refiguring Modernism, Volume 2: Postmodern feminist readings of Woolf, West, and Barnes
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... an invaluable aid to the reconfiguration of literary modernism and of the history of the fiction of the first three decades of the twentieth century. Novel ... her readings of texts are quite smart and eminently readable. Tulsa Studies in Womens Literature... a challenging and discerning study of the modernist period. James Joyce Broadsheet (note: review of volume 1 only)... highly important and beautifully written, constructing a contextually rich cultural history of Anglo-American modernism. It wears its meticulous erudition lightly, synthesizing an enormous amount of research, much of it original archival work. SignsThrough her thoughtful exploration of the lives and work of these three female modernists, Scott shapes a new feminist literary history that successfully reconfigures modernism. Woolf Studies AnnualIn this revisionary study of modernism, Bonnie Kime Scott focuses on the literary and cultural contexts that shaped Virginia Woolf, Rebecca West, and Djuna Barnes. Her reading is based upon fresh archival explorations, combining postmodern with feminist theory.
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No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI z39.48-1984.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Scott, Bonnie Kime, date Refiguring modernism / Bonnie Kime Scott. p. cm. Includes bibliographical references (p. ) and index. Contents: v. 1. Women of 1928v. 2. Postmodern feminist readings of Woolf, West, and Barnes.
ISBN 0-253-32936-1 (v. 1: cl: alk. paper). ISBN 0-253-20995-1 (v. 1: pa : alk. paper). ISBN 0-253-32937-X (v. 2: cl: alk. paper). ISBN 0-253-21002-X (v. 2: pa: alk. paper) 1. English fiction20th centuryHistory and criticism. 2. Modernism (Literature)Great Britain. 3. Feminism and literatureGreat BritainHistory20th century. 4. Feminism and literatureUnited StatesHistory20th century. 5. Women and literatureGreat BritainHistory20th century. 6. Women and literatureUnited StatesHistory20th century. 7. Woolf, Virginia, 18821941Criticism and interpretation. 8. West, Rebecca, Dame, 1892Criticism and interpretation. 9. Barnes, DjunaCriticism and interpretation. 10. Modernism (Literature)United States. I. Title. PR888.M63S43 1995 823'.91099287dc2095-3579
1 2 3 4 5 00 99 98 97 96 95
For Tom my lasting attachment
Contents
Acknowledgments
ix
Abbreviations
xiii
Introduction: Feminist/Modernist Attachments
xv
Woolf's Rapture With Language
Barnes's Beasts Turning Human
West's Sense Of Scaffolding
1939 And The Ends Of Modernism
Notes
Bibliography
Index
Page 1
1 Wolf's Rapture with Language
"Yes," said Jinny, "our senses have widened. Membranes, webs of nerve that lay white and limp, have filled and spread themselves and float round us like filaments, making the air tangible and catching in them far-away sounds unheard before." The Waves 135
It is as though there were two faces to every situation; one full in the light so that it can be described as accurately and examined as minutely as possible; the other half in shadow so that it can be described only in a moment of faith and vision by the use of metaphor. "Phases of Fiction" 139, in a section on Proust
The mastery and, indeed, the revolution of the word were accomplishments prized among male modernists and the critics who canonized them, as shown in volume 1. Woolf was more skeptical: "Do I fabricate with words, loving them as I do?" she asked in her diary (2 D 248). She was also wary of facility with images. In reviewing Edith Sitwell's poetry, she was concerned that Sitwell was relying too much on visual imagery. Woolf feared that, like the male word-crafters, her poet friend might become "prematurely imprisoned within the walls of her own style" (2 E 309). Woolf's formal experimentation was aimed, beyond words and images, at a new relation to tradition and audience. She recognized the gender-weighted politics of language, and made this a theme in her essays and fiction. Woolf challenged the exclusionary sentencing of females by pontificating authorities such as Charles Tansley in To the Lighthouse and the Bishop and even Dr. Johnson in A Room of One's Own. She studied the untroubled inheritance of literary traditions and archives by young university men of her creationSt. John Hirst in The Voyage Out and Jacob Flanders in Jacob's Roomand the ways that they exercised this proprietorship over young women when offering them home education. Her relation to tradition was variable and thereby rich in perspective.
In A Room of One's Own, as she strolls by the architecture of the London military establishment, Woolf's persona makes the famous observa-
Page 10
and told just to keep it, not to look at ita diamond, something infinitely precious, wrapped up, which, as they walked (up and down, up and down), she uncovered, or the radiance burnt through the revelation, the religious feeling!when old Joseph and Peter faced them.... (35-36)
This moment changes the orientation of the world and extracts a forbidden passion. The feeling can be expressed only through a series of phrases, building a compound metaphor that oscillates in its multiple dimensions. The metaphor becomes the narrative of a gift, further comprehended as a diamond, generalized to something infinitely precious, yet given with mystical restrictions. She must not unwrap it, but she is able to experience it further through uncovering, or its radiance burning through. "Religious" is a final approximation of the feeling before it is violated by the appearance of Peter Walsh and the elderly Jacob Breitkopf, and the shock of Peter's word. The effect is a stark simile of confinement: "It was like running one's face against a granite wall in the darkness" (36). As in a flash of lightning, she sees his ''determination to break into their companionship" and is concerned for Sally, who is supposedly "mauled" by Peter's jealousy.
Peter has an equivalent moment at Bourton. His scene is by the fountain instead of on the terrace, and it involves an argument over Clarissa's attraction to Richard Dalloway, not her love of Sally. Peter is able to see Sally only as a co-conspirator against the elder generation at Bourton, not a rival in lovean emphasis shared in J. Hillis Miller's discussion of the novel. Breitkopf interrupts Peter's moment, showing embarrassment that he lacked when he broke in on the female couple. Peter experiences the reverse equivalent of Clarissa's stone wall: "He felt that he was grinding against something physically hard; she was unyielding. She was like iron, like flint, rigid up the backbone" (64). Indeed, her "failure" with Richard and her own metaphors for her functioning in society invoke the same metaphors. Most of Peter's remembered moments are negative. He admits a critical tendency to "ticket" moments in which Clarissa disappoints him, as when her prim reaction to illegitimacy becomes "the death of her soul" (59).
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