By Julie Abraham
"Are ladies necessary?" asks Julie Abraham during this provocative learn of 20th-century lesbian writing. reading the advance of lesbian writing in English around the twentieth Century, Abraham identifies a shift from this "romance" version to a extra complex "history" version. the nice modernists, Woolf and Stein, in addition to the preferred writers of succeeding generations, like Mary Renault, regarded to ancient narratives, growing an enormous switch within the means the "lesbian tale" is outfitted. the chances in lesbian writing, from the early romance plots via to the post-1960s liberation stream experiments, are Abraham's geography. inside it, she bargains specified readings of significant writers in different genres, from excessive sleek to pulp, either British and American.
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Additional info for Are Girls Necessary?: Lesbian Writing and Modern Histories
44). He proffers adulthood: "She wanted George as a little girl wants to put her hair up or to wear long skirts" (63). He offers a way out of her family and her country. 8 ARE GIRLS NECESSARY? What distinguishes HERmione from the stories of Elizabeth Bennett, Dorothea Brooke, Rachel Vinrace, and Katherine Hilberry, is that H. D. 18 Through the stories of Hermione's relationships with George and Fayne, which, as Susan Stanford Friedman and Rachel Blau DuPlessis observe, "intersect . . with great complexity," H.
Appearing at the beginning of the fifties' heightened production and reproduction of lesbian novels, Price was frequently reprinted and widely distributed. The realist writer of the 1950s made use of the same formula as the modernist writer of the 1920s, even though the earlier text was invisible to the next generation of lesbian writers. At the beginning of the novel that bears her name, H. 's Hermione is in the position of many of the heroines of her own and preceding literary generations: from the Emmas, Elizabeths and Janes of Austen and the Bronte's, Eliot's Maggie Tulliver and Dorothea Brooke, to Virginia Woolf's Rachel Vinrace and Katharine Hilberry.
Typically, "Dr. : "If I had taken a typical case of lesbianism out of my files . . "49 These truth claims depend on the broadest cultural assumptions about fiction: Aldrich's "mirror to life" is, after all, a resounding cliche. Even as that consummate realist Arnold Bennett argued with Virginia Woolf over the formal innovations of modern fiction, the two were equally committed to the representational possibilities of the novel. 51 Truth claims are made most vociferously whenever a novel's subjects are sensational or sensationalized; truth justifies the shock and titillation the reader is promised.