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Anna Beer - Eve Bites Back: An Alternative History of English Literature

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Anna Beer Eve Bites Back: An Alternative History of English Literature
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Essential reading. Claire Tomalin
Warned not to write and certainly not to bite these women put pen to paper anyway and wrote themselves into history.
From the fourteenth century through to the present day, women who write have been understood as mad, undisciplined or dangerous. Female writers have always had to find ways to overcome or challenge these beliefs. Some were cautious and discreet, some didnt give a damn, but all lived complex, eventful and often controversial lives.
Eve Bites Back places the female contemporaries of Chaucer, Shakespeare and Milton centre stage in the history of literature in English, uncovering stories of dangerous liaisons and daring adventures. From Julian of Norwich, Margery Kempe, Aemilia Lanyer and Anne Bradstreet, to Aphra Behn, Mary Wortley Montagu, Jane Austen and Mary Elizabeth Braddon, these are the women who dared to write.

Anna Beer: author's other books


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praise for EVE BITES BACK A smart funny and highly readable journey through - photo 1
praise for
EVE BITES BACK

A smart, funny and highly readable journey through the lives of women writers and the challenges they and their works face. Its an informative, enthusiastic and rightly enraging tour de force.

A.L. Kennedy

A totally absorbing and enlightening tour through the work of eight significant women authors with one of the funniest introductory chapters ever.

Sarah Bakewell, author of At the Existentialist Caf

Writing with energy, wit and at times barely suppressed fury, Anna Beer brings to life the struggle to be heard of eight women writers over 500 years. Her subtle literary excavations are both informative and a gripping read.

David Goodhart, founder editor of Prospect and author of Head, Hand, Heart

Anna Beer is one of those very rare writers who are able to combine rigorous research with a gripping and thoroughly accessible style. This is an ambitious, authoritative, feisty book and a worthy successor to her inspirational Sounds and Sweet Airs: The Forgotten Women of Classical Music .

Kate Kennedy, author of Dweller in Shadows

Written with a clear and authoritative voice, this is both a very entertaining and very important book about the many obstacles that women have overcome to be writers, and the long struggles even the most gifted and well-connected women authors have encountered in order to be taken seriously.

Yasmin Khan, associate professor of history, University of Oxford

more praise for
ANNA BEER

What brings the book to brilliant life is Raleghs voice. In conversation with his writing, Beers prose soars Its hard not to think Sir Walter would have approved.

Guardian on Patriot or Traitor

Beers book is a rigorous and readable take on her subject it captures the full scope of the character of Ralegh, one that remains frustrating, but endlessly fascinating.

The Times on Patriot or Traitor

This beautifully written and impeccably researched biography offers a fresh perspective on one of the most colourful and controversial characters of the Tudor and Stuart age Ralegh is brought to life as never before.

Tracy Borman, author of
The Private Lives of the Tudors , on Patriot or Traitor

A meticulously researched, engrossing read, vividly bringing its eight subjects to life. It should appeal not only to music connoisseurs but to anyone interested in social and cultural history and womens place in it.

Financial Times on Sounds and Sweet Airs

Rewarding insightful Beer conveys the sexism and lifelong frustrations some immensely gifted creative artists encountered.

New York Times on Sounds and Sweet Airs

Beers meticulously researched book is a vital step in the battle to overturn that ultimate injustice.

Observer on Sounds and Sweet Airs

Beers snapshot lives of women composers are savvy, sympathetic [an] essential and insightful study of a womans unsung place in the closed world of classical music.

Wall Street Journal on Sounds and Sweet Airs

Contents List of Illustrations Chapter One The Book of Margery Kempe - photo 2
Contents
List of Illustrations

Chapter One: The Book of Margery Kempe , Additional MS 61823, folio 123r, courtesy of the British Library

Chapter Two: Title page of Salve Deus Rex Judaeorum (1611) by Aemilia Lanyer, courtesy of the British Library

Chapter Three: Title page of The Tenth Muse (1650) by Anne Bradstreet, courtesy of Beinecke Rare Book and Manuscript Library, Yale University

Chapter Four: Portrait of Aphra Behn by Sir Peter Lely, c. 1670, courtesy of the Yale Center for British Art, Yale University

Chapter Five: Portrait of Lady Mary Wortley Montagu with her son by Jean-Baptiste Vanmour, c . 1717 ART Collection / Alamy Stock Photo

Chapter Six: Sketch of Jane Austen by her sister Cassandra Austen INTERFOTO / Alamy Stock Photo

Chapter Seven: Portrait of Mary Elizabeth Braddon by William Powell Frith, 1865 The Picture Art Collection / Alamy Stock Photo

In the Beginning
I

I started by seeking out a different Bible. I felt I knew more than enough about Eve bringing sin and death into the world (she gave me of the tree and I did eat) and the more punitive bits of the Book of Genesis:

I will greatly multiply thy sorrow and thy conception; in sorrow thou shalt bring forth children; and thy desire shall be to thy husband, and he shall rule over thee.

I was aware of Eves successors, the bloodthirsty Old Testament women (think Artemisia Gentileschis graphic, disturbing painting of Judith slaying Holofernes) or the sexy New Testament ones (think Dan Browns Da Vinci Code s portrayal of Mary Magdalene, sex worker turned Mrs Jesus). And I thought I knew the redemptive Second Eve, the Virgin Mary.

I was looking for something different, a biblical text written by a woman. So I seized on the Book of Esther, excised by the Church Fathers from the biblical canon. It was a mistake. No one has any idea who actually wrote the book, and, if we are being academic, the concepts of a single author or even a definitive text are both pretty useless when considering the murky, complicated origins and transmission of the texts that make up the Jewish and Christian Scriptures. When an author has been suggested, it has been a man, Mordecai, the main character. It might have saved me some time in the remoter corners of biblical scholarship if they had called it the Book of Mordecai.

Looking for Esther the author was a foolish mistake, but thinking about the erasure of womens lives and words in the far distant past was not. How that erasure was achieved, what was said, done and written then, matters now. When the patriarchs (literally, they were patriarchs) wrote their histories of the early Church, two archetypal women were left standing in the ruins. They would dominate literature in English for the next two millennia: Eve and the Virgin Mary. To be honest, if the two hadnt existed, then the patriarchy would have had to invent them. Do be Mary. Dont be Eve.

Eve whose God-given punishment for bringing sin and death into the world was to be placed under Adams rule and to experience pain in childbirth. Eve who was responsible for Adams sin as well as her own. Eve who gave authority to patriarchal commentators to tell women, over and over again, that their essential nature was vile and disgusting, that any attempt to conceal let alone challenge the fundamental truths of their bodies was fraudulent and blasphemous. Put bluntly, as Tertullian the early Christian Father did: women are Eve.

Sometimes, though, Eve fights back. She does so in unexpected ways that dont necessarily fit with our modern ideas of what a woman, let alone a feminist, should do. But simply by putting words together on the page, she takes up battle. And she does so, knowing in one form or another every reason why she should not write, and certainly should not bite.

Here are some of them.

II

You are physically incapable of being an author.

Medicine and philosophy, astronomy and theology all combined for millennia to insist that the female body is intrinsically faulty, cold, wet, irrational, changeable and above all fallen: unfit for the task of authorship. You can see why people questioned whether Trota of Salerno, a female doctor in eleventh-century Italy, actually wrote a number of texts about diseases and health conditions affecting women. Surely a woman could not possess the intelligence and expertise to have written the works? The obvious first step was to ascribe the works to male authors and the follow-up was to suggest that she never existed at all. Job done.

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