« women writings »

http://purl.org/dc/elements/1.1/subject

A Writers's Writer : Anna Kavan (1901-1968)

thesis, None

None

La Littérature onirique contemporaine : fragments d’autofictions ?

journalArticle, 2001

« La Littérature onirique contemporaine : fragments d’autofictions ? (Michel Leiris, Marguerite Yourcenar, Elsa Morante, Anna Kavan, Unica Zürn et Georges Perec) », in Les Romans du Je, textes réunis par Ph. Forest et Cl. Gaugain, Nantes, Editions Pleins Feux, 2001, p. 343-365.

Attentive Writers’: Healthcare, Authorship, and Authority. Conference Review by Jac Saorsa - Centre for Medical Humanities

webpage, 30/08/2013

After a brief and to the point conference opening address the first parallel panels began and I listened as Geraldine Perriam spoke about Gender, Medical Authority and Location in Fiction by Women. Her talk focused primarily on two texts, Asylum Piece by Anna Kavan, and The Pumpkin Eaters by Penelope Mortimer, wherein a woman with mental health problems, despite in each case being the central character in the narrative, was caught up in a ‘network of practices’ where her choices were made for her by doctors and male relatives.

Anna Kavan: a critical introduction

thesis, 1988

None

In Her Blood by Annie Hauxwell

book, 26/04/2012

Apparently, the character of Berlin was inspired by Anna Kavan who wrote for many years while addicted to heroin- which makes for an interesting premise for the story in itself.

Anna Kavan and the Politics of Madness

audioRecording, None

Author Anna Kavan’s critical and popular reception since her death in 1968 has been defined by a cult of personality fuelled by revelations about her psychiatric breakdown, heroin use and adoption of her own fictional character’s name. Victoria Walker unravels some of the accumulated mythology around this writer, and examines her complex association with, and interest in, early twentieth-century psychiatry and psychotherapy.

Literary Luminaries: Gender and the Avant-Garde Novelist – Part I | The Weeklings

journalArticle, 08/09/2014

"WHY DON’T YOU have a beard?” This was a question that a London taxi driver once posited to me. I’d just told him I was a novelist, and he eyed me with great suspicion, questioned my lack of facial hair and then concluded, with authority, “A Proper Author ought to be old, and look jaded, and have a beard.” I pointed out that Jane Austen and George Eliot had managed to pen fine prose despite having hair on their cunts rather than their chins; he merely looked confused.

What's the Story: Reading Anna Kavan's Ice

journalArticle, None

Anna Kavan's Ice is a novel of relentless, evanescent beauty that depicts a world in which two explicitly linked forms of violence dominate and inexorably and insanely destroy it. First published in 1967, on the eve of the second wave of feminism, Ice has never been regarded as a significant work of proto-feminist literature, although scholars occasionally include it on lists of sf by women written before the major works of feminist sf burst onto the scene in the 1970s.

Heroines

book, 2012

If you thought you knew a lot about the ‘wives’ of modernism and the various forms of silencing they suffered, Kate Zambreno’s Heroines will teach you more; if you didn’t know much, your mouth will fall open in enraged amazement.

Alumni

blogPost, None

My doctoral dissertation explores experimental and semi-autobiographical novels of the 1930s and ’40s written by Jean Rhys, Elizabeth Bowen, Stevie Smith, and Anna Kavan with a focus on language, narrative self-reflexivity, and the subject’s ambivalence about her gender, national, and cultural identity.

Ornithology and Ontology: The Existential Birdcall in Jean Rhys's Wide Sargasso Sea and Anna Kavan's Who Are You?

journalArticle, 23 Nov 2012

This essay explores textual parallels between Anna Kavan's novel Who Are You? (1963) and Jean Rhys's Wide Sargasso Sea (1966). Paying close attention to the interrogative birdcall that haunts both texts, it examines how (post-)colonial situations and the experiences of namelessness and marital sexual violence lead Rhys's and Kavan's protagonists to doubts about their identity and existence.

Psyché et le scret de Perséphone - Prose en métamorphose, mémoire et création - Katherine Mansfield, Catherine Pozzi, Anna Kavan, Djuna Barnes

book, 2004

L'auteur étudie dans cet ouvrage à travers quatre écrivains et poètes, Katherine Mansfield, Catherine Pozzi, Anna Kavan et Djuna Barnes les qualités de leur prose poétique dont elle montre comme elle se fonde sur réminiscence et imagination et échappe à toute forme de fixité. Le récit établit un lien au monde et à autrui en sa propre dimension temporelle, recréation, au présent, de l'unité de l'être, le sentiment parvenant, de façon semblable à ce que décrit Spinoza, à la conscience claire.

Time Bites

book, 2004

Towards the end of this long life, Goethe said that he had only just learned how to read. In this collection of the very best of Doris Lessing's essays - never before published in book form - we are treated to the wisdom and keen insight of a writer who has herself learned, over the course of a long, rich, life, to read the world differently.

Women in speculative fiction - Wikipedia, the free encyclopedia

encyclopediaArticle, None

None

Beyond The Lighthouse. English Women Novelists In The Twentieth Century

book, None

Are novels by women 'different' from those written by men? If so, how? Do women writers possess a sense of humour? And why have so many of their novels been over- or under-rated? These are some of the questions raised in this stimulating book, which considers the work of some sixty British and Commonwealth women novelists of the twentieth century. Margaret Crosland's enthusiasm for her subject will encourage readers, both women and men, to study the modern classics which they had always meant to read, or re-read those they read too long ago. The author considers some pioneers, such as May Sinclair, and experimenters of different types: Virginia Woolf, Dorothy Richardson, Anna Kavan, Ann Quin; humorists whose humour is often `black': Rose Macaulay, Muriel Spark, Barbara Pym, Beryl Bainbridge, Fay Weldon, Ivy Compton-Burnett;

The Novel of the Future

book, 1968

In The Novel of the Future, Anaïs Nin explores the act of creation—in literature, film, art, and dance—to arrive at a new synthesis for the young artist struggling against the sterility, formlessness, and spiritual bankruptcy afflicting much of modern fiction.

Experimental and semi-autobiographical novels of the 1930s and ’40s written by Jean Rhys, Elizabeth Bowen, Stevie Smith, and Anna Kavan

thesis, in progress

My doctoral dissertation explores experimental and semi-autobiographical novels of the 1930s and ’40s written by Jean Rhys, Elizabeth Bowen, Stevie Smith, and Anna Kavan with a focus on language, narrative self-reflexivity, and the subject’s ambivalence about her gender, national, and cultural identity.