Secret Canon
Jul. 5th, 2019 11:42 pmSo ![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
katzenfabrik and anotherbluestocking have been sharing this essay on Twitter and now I'm obsessed with it. It's all about how women in the literary and artistic canons tend to be defined by the surrounding men, and it took me ten minutes to post a link on Facebook because I couldn't decide which chunk of it to quote, so fiercely was I nodding at all of it.
"I read Mansfield because I was reading Ali Smith, and Ali Smith loves Mansfield and she almost only loves women writers, so I took note. It’s always interesting which women are admired by those women who seem to intellectually prefer women. Katherine Mansfield wrote about being a woman with sorrow and effervescence, in the same way Marina Tsvetaeva did. While Mansfield characters are usually ensconced in ruffled middle class desperation—getting dressed, throwing parties, wanting to die; the material opposite of Tsvetaeva—both refuse to let the world off the hook for what girlhood does to a person. The splitting of self, the doubled being and not-being that femininity necessitates, how words and images stutter over this multiplicity, built for a masculine singular." - Secret Canon, Audrey Wollen.
katzenfabrik and anotherbluestocking have been sharing this essay on Twitter and now I'm obsessed with it. It's all about how women in the literary and artistic canons tend to be defined by the surrounding men, and it took me ten minutes to post a link on Facebook because I couldn't decide which chunk of it to quote, so fiercely was I nodding at all of it. "I read Mansfield because I was reading Ali Smith, and Ali Smith loves Mansfield and she almost only loves women writers, so I took note. It’s always interesting which women are admired by those women who seem to intellectually prefer women. Katherine Mansfield wrote about being a woman with sorrow and effervescence, in the same way Marina Tsvetaeva did. While Mansfield characters are usually ensconced in ruffled middle class desperation—getting dressed, throwing parties, wanting to die; the material opposite of Tsvetaeva—both refuse to let the world off the hook for what girlhood does to a person. The splitting of self, the doubled being and not-being that femininity necessitates, how words and images stutter over this multiplicity, built for a masculine singular." - Secret Canon, Audrey Wollen.
