Karen Kaivola - All Contraries Confounded: The Lyrical Fiction of Virginia Woolf, Djuna Barnes, and Marguerite Duras
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All Contraries Confounded: The Lyrical Fiction of Virginia Woolf, Djuna Barnes, and Marguerite Duras
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All Contraries Confounded : The Lyrical Fiction of Virginia Woolf, Djuna Barnes, and Marguerite Duras
author
:
Kaivola, Karen.
publisher
:
University of Iowa Press
isbn10 | asin
:
0877453241
print isbn13
:
9780877453246
ebook isbn13
:
9781587291227
language
:
English
subject
Woolf, Virginia,--1882-1941--Criticism and interpretation, Barnes, Djuna--Criticism and interpretation, Duras, Marguerite--Criticism and interpretation, Fiction--Women authors--History and criticism, Women and literature--History--20th century.
publication date
:
1991
lcc
:
PR6045.O72Z746 1991eb
ddc
:
823/.91209
subject
:
Woolf, Virginia,--1882-1941--Criticism and interpretation, Barnes, Djuna--Criticism and interpretation, Duras, Marguerite--Criticism and interpretation, Fiction--Women authors--History and criticism, Women and literature--History--20th century.
Page iii
All Contraries Confounded
The Lyrical Fiction of Virginia Woolf, Djuna Barnes, and Marguerite Duras
by Karen Kaivola
University of Iowa Press Iowa City
Page iv
University of Iowa Press, Iowa City 52242 Copyright 1991 by the University of Iowa All rights reserved Printed in the United States of America First edition, 1991
No part of this book may be reproduced or utilized 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
Kaivola, Karen, 1957 All contraries confounded: the lyrical fiction of Virginia Woolf, Djuna Barnes, and Marguerite Duras/by Karen Kaivola.1st ed. p. cm. Includes bibliographical references and index. ISBN 0-87745-323-3, ISBN 0-87745-324-1 (pbk.) 1. Woolf, Virginia, 18821941Criticism and interpretation. 2. Barnes, DjunaCriticism and interpretation. 3. Duras, MargueriteCriticism and interpretation. 4. Fiction, ModernWomen authorsHistory and criticism. 5. Women and literatureHistory20th century. I. Title. PR6045.O72Z746 199190-24358 823'.91209dc20CIP
Page v
Contents
Acknowledgments
vii
1 Introduction
1
2 The Lyrical Body in Virginia Woolf's Fiction
17
3 Djuna Barnes and the Politics of the Night
59
4 Marguerite Duras and the Subversion of Power
101
Afterword
143
Notes
147
Bibliography
161
Index
169
Page vii
Acknowledgments
I want to thank Carolyn Allen for her challenging responses to early versions of this project, her assistance in helping me shape my ideas, and her more general encouragement and support of my work. I am grateful to Evan Watkins, Katherine Cummings, and Steven Shaviro for providing insightful feedback that enabled me to consider new perspectives. My thanks to Robert Burchfield of the University of Iowa Press for his thoughtful and thorough editing. And special thanks to Malcolm Griffith, who continues to be my most careful reader and most demanding critic.
Page 1
1 Introduction
In a 1989 article about Kate Chopin and Charlotte Perkins Gilman, Marianne DeKoven suggests that early female modernists' texts are permeated by ambivalence, an ambivalence rooted simultaneously in a desire for and fear of the new. The modernist moment (approximately 1890 to 1945) was a time in which a new order appeared possible, and the possibilities inherent in such change seemed simultaneously alluring and terrifying. Although ambivalence also characterizes traditional notions of modernist texts as forms which both use and transform nineteenth-century modes of representation, DeKoven extends and makes more specific this traditional characterization by suggesting that modernist ambivalence takes shape differently in male and female authored texts.1 As DeKoven writes, the new order was "alluring to male modernists in its promise to destroy bankrupt bourgeois culture and to female modernists in its promise, simply, of freedom and autonomy; terrifying to male modernists in its threat to destroy their privileges and to female modernists in its potential for bringing on retribution from a still-empowered patriarchy" (21).
Feminist perspectives on gender, culture, and representation have brought about significant shifts in the ways we think about twentieth-century literature. DeKoven joins other feminist critics, including Sandra Gilbert, Susan Gubar, Rachel Blau DuPlessis, and Jane Marcus, in the important project of rereading modernism through the work of women writers.2 For DeKoven, new expressions of resistance to convention become possible for female writers with the development of modernist forms capable of sustaining the most powerful kinds of ambivalence. This ambivalence is "not the
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