Notes

Introduction

1. In his 1980 edition, Olney identified and cataloged various critical resources on autobiography, as did Leigh Gilmore fourteen years later (“Mark”). These accounts of the critical work on the genre have been formative in establishing and shaping “autobiographical studies.” 2. Foucault’s historicizing of sexuality and its discourses, in History of Sexuality, is a crucial underpinning of my work because of his emphasis on the construction of sexual paradigms as opposed to the naturalness of sexuality. 3. The collection Autobiography & Postmodernism would rectify a similar case for autobiography in studies of postmodernism; see Gilmore. 4. De Man studies the shifting nature of these “figure”s. Starobinski notes the “deviation.” 5. I agree with Gay Wachman, when she writes in her book about lesbian fiction of the 1920s that “writing, however oppositional” is “enmeshed in the dominant culture” (3); no matter how “oppositional” these writers were, they, to some extent, must rely upon the symbolic semiotics of their time. My trajectory shows the growing range in their abilities to write in another symbolic. That other symbolic has been identified as “sapphic modernism” by a number of scholars. See Laura Doan and Jane Garrity for an excellent overview of criticism (12, fn 16). 6. Andrea Harris also goes to Woolf’s exploration for the idea of “other sexes” in her excellent book on “women writers attempt[ing] to revise the prevailing system of binary gender” (xiii). Her book has provided a foundation for my own, with her argument that “gender and style form the central connection between feminism and modernity” (xv). 7. Terry Castle’s extraordinarily useful study explores how lesbian characters inhabit literary texts, unseen. She identifies culture as the active blinder: the “lesbian has been ‘ghosted’—or made to seem invisible—by culture itself” (4). 8. Working with the “feminine” and genre, Shari Benstock conceptualizes this area of study well when she asks, “how do textual forms that escape or confound the privileged visual order of cognition figure in accounts of psychosexual subjectivity?” (Textualizing xv). 156 Notes

9. I think immediately of the theoretical work in l’ecriture feminine, with its connections of textuality to the body. The “white ink” of Helene Cixous (“Laugh”) and the “two lips” of Luce Irigaray (This Sex) come to mind. The critical work in this area is growing. See, for example, Kathy Mezei’s Ambiguous Discourses and Joseph Allan Boone, as well as Judith Roof’s important study (Come). 10. See Jeffrey Weeks, Ruthann Robson, and Lynda Hart for a sampling of the growing critical work on lesbians in the British and American twentieth-century legal system. Adam Parke’s study of legality and obscenity helpfully situates effects on texts. 11. See Bristow, who suggests the work analyzing gay and lesbian literature “does not comprise a coherent field.” As important, then, as recognizing the differ- ence between straight and queer is a realization that “lesbian and gay designate entirely different desires, physical pleasures, oppressions, and visibilities” (2, 3). 12. I am particularly indebted to the generative work of the last thirty years on women’s autobiographies. The work began with Jelinek, extended through Heilbrun, Stanton, and Gilmore (Autobiographics), and continued in antholo- gies edited by Benstock, Smith and Watson, Brodzki and Schenck, Neuman, Brownley and Kimmich, and Culley. This important work continues to emerge. 13. The anthologies Lesbian Texts and Contexts; New Lesbian Criticism; and Sexual Practice, Textual Theory draw together, formulate, and extend critical work on lesbian aesthetics. 14. For an invigorating debate of the issues in the context of scholarship on Virginia Woolf’s work, see the four presentations under the rubric “New Applications of Queer Theory,” with Judith Roof, Troy Gordon, Eileen Barrett, and Patricia Cramer participating. I particularly like Cramer’s presen- tation of Woolf in terms of “activism” (119). One of Cramer’s points of clarification about the debate is that “lesbian-feminism is defined by lesbians who generally seek closer ties with non-lesbian identified women than with gay or otherwise-defined men” (118). So, for instance, lesbian-feminist critics of Woolf might look to the relationship between La Trobe and Isa in Between the Acts (120). The political nature of these debates is emphasized in all four presentations. Roof, in particular, emphasizes the (necessary?) essentialism of lesbian-feminist criticism that assumes a “pre-existent lesbian content,” that a lesbian exists (94). 15. James Olney, rightly, positions autobiography as a genre that represents many discourses, among them history and literary self-expression, philosophy and spiritual “confession,” psychology and art. 16. “Richard von Krafft-Ebing’s Pychopathia Sexualis (1889) and the work of Karl Ulrichs form the background to the writing of Edward Carpenter and Havelock Ellis. A common assumption of these writers is that the preference of sex object is fixed by nature” (Ayers 137). 17. I follow Cynthia Secor’s example when I refer to Doolittle as Hilda Doolittle, rather than Pound’s name for her, H.D. Doolittle had a number of names for herself, among them Delia Alton, the name under which she wrote an autobio- graphical sketch. Why not use one of these instead of the name inscribed for Notes 157

her by Pound across an early poem of hers? (Secor, “Gertrude Stein” 31). I follow convention by listing Hilda Doolittle as H.D. in the bibliography. 18. Shari Benstock’s Women of the Left Bank gives an excellent understanding of expatriate lesbians of this time period. See also Mary Lynn Broe’s and Angela Ingram’s edition Women’s Writing in Exile. 19. As Domna Stanton and others have pointed out, autobiography was only available to women if written in forms like the diary or letter. James Olney writes about the difficulty of putting boundaries around autobiography, reminding us that he himself made the argument that “T.S. Eliot’s Four Quartets is his spiritual autobiography” (5). 20. Virginia Woolf closely observed the trial, even standing as possible witness for the defense. 21. For excellent historical contextualizations of the Radclyffe Hall trial, in terms of British legal censorship, and Woolf’s part in it, see Scott, Refiguring 242–257 and Parkes, chapter 4. 22. Hermione Lee establishes Woolf’s extensive interest during the 1920s in the issues of censorship. See chapter 29, particularly 513–521. Lauren Rusk points out two audiences set up by Woolf from within Room: that of women and that of the patriarchy. Rusk focuses on “life writing of otherness,” life writing by “members of groups that are not dominant in their society” (1, 3). Leslie Hankins interprets lesbianism in terms of censorship, and shows how Woolf changes censorship from a patriarchal control to a playful feminist strategy. 23. Celia Marshik explores Woolf’s self-censorship, and her mocking of the institutions of censorships. For example, Marshik agues that “Orlando mocks the very kinds of self-censoring tactics that Woolf employed throughout her career” (“Publication” 878). See also her British Modernism and Censorship. 24. It took the work of scholars such as Joanne Trautmann, Suzanne Raitt, and Sherron E. Knopp even to establish Woolf’s 1920s lesbian sexual relationship with Sackville-West. 25. Louise DeSalvo shows how Woolf used revisions to cover lesbian sexuality in her first novel The Voyage Out (Melymbrosia). Hermione Lee notes that the revision process of Room concealed lesbian references (518–519). 26. Patricia Moran has uncovered the controversy written into Room between Woolf and Desmond MacCarthy over his sexism with regard to women writers. 27. Jane Marcus writes of Woolf’s narratives as “rhetorical seduction,” using “sapphistry as a suitable term” (169). She suggests that Woolf uses “ ‘a little language unknown to men’ which we might call ‘sapphistry’ in Night and Day, A Room of One’s Own, ‘Professions for Women,’ The Years, and Three Guineas” (92). 28. Examples are Leigh Gilmore’s important work on “the mark of the ‘I’ ” and Paul de Man’s “defacement” in autobiography, Jean Starobinski’s “double devi- ation,” and Susan Stanford Friedman’s theories of “dual consciousness” (39). 29. Catharine Stimpson’s brilliant reading of the “lesbian lie” has been instru- mental to my readings of lying and truth in lesbian autobiography. See Timothy Dow Adams excellent book on autobiographical lying in general. 158 Notes

30. See, for example, Stimpson on coding and parody (“Zero” 99–100, and 109); in contrast to the early twentieth century with its representative Well of Loneliness, the later-twentieth-century lesbian novel, Stimpson argues, gives “an alternative process of affirmation of the lesbian body” (110). Julie Abraham bases her arguments on her understanding that a lesbian tradition depends on identifying the lesbian literature, and “Given the particular social pressures surrounding the writing and reading of lesbianism over the past century, can we assume anything about what a text ‘about’ desire between women might look like?” (xiii). She finds a tradition in “social and cultural forms” (xvii). 31. In 1920, Freud published “The Psychogenesis of a Case of Homosexuality in a Woman.” As with Dora, sessions ended without termination of the analysis. In both case studies, Freud lays the failure at the feet of the patient. In this case the parents wished for a change; the girl did not. Freud notes that “normal sexuality depends upon a restoration in the choice of object; in general to undertake to convert a fully developed homosexual into a heterosexual is not much more promising than to do the reverse, only that for good practical reasons the latter is never attempted” (16). Freud records that he “broke off the treatment and gave advice that, if it was thought worth while to continue the therapeutic efforts, it should be done by a woman” (26). 32. Melba Cuddy-Keane argues that Woolf wrote a “counter-discourse” (27) to the highbrow/lowbrow dichotomy in reading and culture. Cuddy-Keane’s examination gives a model for examining Woolf within and against discourse systems. 33. Women writers of course have used autobiography politically in other contexts as well. The Latin American women’s testimonios (see Sommer), the suffragette use of “spectacular confession” (see Green), the activist autobiographical writings of African American women Angela Davis, Assata Shakur, and Elaine Brown (see Perkins) exemplify the use of experiential narrative to con- front dominant cultures, to present alternative ideologies, to counter cultural understandings of “truth” with blatant contradictory evidence. 34. Farwell’s work is foundational to this study. She herself points to Zimmerman and Palmer as placing the discussion of the lesbian within debates about theories and politics. She notes Rich’s and Wittig’s discussions of the lesbian in terms of her sexual experience and her socialization. 35. Gayle Rubins’s important “Traffic in Women” places Freud’s work within this ideology of exchange.

Chapter 1 wHoles in the Dyke: Havelock Ellis and Sigmund Freud Figuring the Lesbian

1. Both Sexual Knowledge, Sexual Science and Sexology in Culture are invaluable resources for charting changing ideologies of sexuality and for understanding the role played by sexology. I am using the term sexology in its specific sense of indicating turn-of-the-century medical work classifying sexual types. Carpenter’s The Intermediate Sex (1906) may best represent his work on Notes 159

homosexuality. See Oosterhuis for the influence of Krafft-Ebing in changing scientific understanding of homosexuality from degenerate vice to an abnormal but biologically natural perversion. 2. Ellis’s explanations about the usefulness in removing moral stigma may be self-serving. See Margaret Jackson’s excellent historicization of and excellent summaries of Ellis’s work, especially in terms of his negative reactions to feminism and the fight for women’s equality. Her chapter heading “Eroticizing Women’s Oppression” suggests the nature of Ellis’s complicity with that oppression, and her examples show the barbarous link Ellis perpetrated between women’s sexual desires and, according to Ellis, desire for pain and submission, even rape. I would highlight Jackson’s findings within the body of my text rather than in a footnote, except that I wish to emphasize Ellis’s own self-understanding; his understanding of the worth of his categories will influence Sackville-West, as I show in chapter 2. 3. The connections between Havelock Ellis’s ideas about eugenics and homosex- uality are explored in Hackett and in Sexology Uncensored. Jo-Ann Wallace discusses the ideas of Havelock Ellis’s wife, Edith Ellis, a lesbian, about intersections between homosexuality and eugenics. 4. He also wishes to make a national distinction, suggesting that, “dealing with a northern country like England, homosexual phenomena do not present themselves in the same way as they do in southern Italy today, or in ancient Greece. [. . . In countries like England or the United States,] all our traditions and all our moral ideals, as well as the law, are energetically opposed to every manifestation of homosexual passion” (58, 59). Despite its northern location, however, Germany is specified as having a specifically high incidence of homosexuality (60). 5. Carolyn Heilbrun gives an excellent understanding of how scripts for women prescribe their biographies and autobiographies. She shows how cultural scripts prefigure a life, even though autobiography seems to be based on an assumption that a life can differ radically from expectations. 6. Freud develops the Electra complex in 1935, as his parallel to the Oedipal complex, in order to explain the more complex development that women in patriarchy need to undergo. Whereas men transfer their erotic love for their mother to a woman, women must break from their early love of the mother and desire the father. 7. Jacobus coins this phrase as she outlines the progression of the place of the woman in Freud’s theories (“In Parenthesis”). 8. The theory, as many critics have shown, does not work for women either. From the point of view of Freud’s equation, itself, however, the lesbian has no place in the adult world. 9. A number of critics have connected narrative structure with content in Freud’s work. Stephen Marcus recognizes Freud’s case histories as a “new form of literature” (90). Sara van den Berg analyzes the role of Freud’s reading Dora in the case study of Dora. 10. Lesbian/bisexual rereadings of the primal scene include those by Marjorie Garber and Theresa de Lauretis (Practice). These reinterpretations reinforce the constructed basis of the primal scene. 160 Notes

11. Madelon Sprengnether explores how Freud “attempt[s] to enforce an oedipal interpretation on Dora’s desire” (“Enforcing” 70). 12. Dora’s interpretation of the events is foregrounded by Eric Erickson, Claire Kahane, Stephen Marcus, and Jacques Lacan. Lacan refers to the “odious exchange” (96), and Marcus, paralleling Freud to a swinger, identifies the “arrangement of wife and daughter swapping” (88). 13. Freud writes “it is of course not to be expected that the patient will come to meet the physician half-way with material which has become pathogenic for the very reason of its efforts to lie concealed; nor must the inquirer rest content with the first ‘No’ that crosses his path” (Dora 39–40). 14. See Judith Roof’s analysis of Freud’s knowledge and (mis)timing, in which she shows that “Freud indicates that he ‘knew’ or suspected the ‘homosexual current’ before he undertook the case” (Lure 180). 15. Jacobus, using Three Essays, points out that Freud had “difficulty in concep- tualizing feminine desire as other than Oedipal, and maternal desire as other than desire for the penis” (“In Parenthesis” 17). 16. Sprengnether shows how Freud links health also with seduction, charging Freud with “[h]aving metaphorically undressed and violated Dora” (“Enforcing” 61). 17. Gilman gives an extensive (three pages) bibliography for Freud’s relationship with his Jewish heritage (229–233 fn.22). See Lesser on Jewishness and women. See Boyarin on Jewishness and homosexuality; he shows how “the foundations of psychoanalysis and the Oedipus complex are specifically embroiled in the homophobic—anti-Semitic movement of the fin de siecle” (115). 18. Freud’s own homosexual feelings toward Fleiss led him to hypothesize an intrinsic bisexuality in everyone (Bernheimer “Introduction” 16). See also Lessner 7. 19. De Lauretis notes Freud’s innovative work; he “first put the quotation marks around ‘normal’ in matters sexual. [. . . by] making explicit and giving systemic (and highly dramatic) form to certain strategies of power-knowledge and social regulation” (Practice 8). 20. See Lesser on Freud’s misogyny (4). Lesser notes, in Freud’s presentations of female sexualities, the “schism between the radical and conventional Freud” (6). 21. Elisabeth Young-Bruehl succinctly states Freud’s position: “Both homosexuality and heterosexuality are, in Freud’s view, limitations of bisexuality—but one is socially acceptable and the other not” (241). 22. One of the parallels is shown in this statement: “the process of arriving at an object, which plays such an important part in mental life, takes place alongside the organization of the libido” (Auto 38–39). 23. Donna Haraway, in Primate Visions, shows how skewed can be the description of “nature” when an observer’s cultural assumptions lead the observer to ideological outcomes. Her examples show that popular writings of primate scientists in field studies presented Gorilla groups as “the ideal patriarchal, heterosexual, reproductive family” (145). She argues that “natural sciences are culturally and historically specific” (12), with interpretations influenced by cultural ideology; “Primatology is western discourse, and it is sexualized discourse” (11). See 170–179 on the influence of data collection processes on observed data. Notes 161

24. At this point in Freud’s work, he has not yet developed the Electra complex; he will do so by 1935. At that time, he adds a footnote for the later edition, explaining that “before a woman can reach the end of her normal develop- ment she has to change not only her sexual object but also her predominant genital zone” (39). 25. Freud’s work would, in the late twentieth century for feminist critics, become questionable, as a science. Critics in the school of l’ecriture feminine, for instance, see his work as a culturally specific narrativization of medicine. See, for examples, Helene Cixous and Catherine Clement, as well as Luce Irigaray (This Sex and Speculum). See also Madelon Sprengnether’s work on the figure of the mother; she writes that, whereas “Freud’s greatness lies in the process rather than the product of his interpretations,” by “casting his fate with that of Oedipus,” he “privileged and legitimized the status quo, which represses femininity and the figure of the mother” (Spectral x, xi).

Chapter 2 Counterfeit Perversion: Vita Sackville-West’s Portrait

1. See also Christopher Nottingham and Phyllis Grosskurth for examples of Ellis’s influence on his contemporaneous culture. 2. The success of Ellis’s tolerance seems minimal. Even in 1928, thirty-one years after Ellis’s initial edition of Sexual Inversion, Radclyffe-Hall’s fictionalization of her lesbian life, although supported by Havelock Ellis, will be censored as obscene. Though put on trial for obscenity, The Well of Loneliness was not condemned for explicit sexual scenes. It was banned because its portrayal of lesbian culture revealed that lesbianism could happen. In other words, follow- ing sexology’s notion of lesbianism as desire for intimacy rather than for erotic pleasure, the possibility of a lesbian relationship, not an erotic act, was judged obscene. 3. Critics who discuss counterfeit autobiography include Laura Browder and G. Thomas Courser. 4. Useful and interesting is Michel Foucault’s designation of sexology as a “confessional science” (64). 5. For other discussions of Vita Sackville-West in terms of Havelock Ellis’s paradigms, see Raitt (“Sex”) and Kaivola. 6. Raitt (Vita 92–98, 101), Caws (in Vita Sackville-West 241–243), Kaivola (28–30), and Glendinning (93, 109) also read this novel.

Chapter 3 Virginia Woolf’s Subjectivities and (Auto)biographies

1. Melba Cuddy-Keane uses this term to discuss ways in which Woolf undermined oppressive systems by exposing them. I am indebted to Cuddy-Keane for this terminology and concept, which validates my own thinking about Woolf’s responses to types of oppressive systems and their textualities. I was fortunate 162 Notes

to hear Cuddy-Keane’s insightful plenary presentation while making final revisions to this chapter. I make use of this term “coercive texts” throughout this chapter. 2. This doubling alone suggests a lesbian text. See Meese, see Blackmer 78. Whereas she does not connect the doubling to lesbianism, Pamela L. Caughie identifies a “double discourse” in Orlando (“Virginia Woolf’s”). See also Herrmann The Dialogic, in which she argues that Woolf’s “construction of a female subject [. . .] questions the very notion of subjectivity [. . .] by inscribing herself in her own text as gendered and as fictional subject” (2–3). That “production” Herrmann argues, “takes the form of intra- and inter-textual dialogues” (3). 3. A number of critics have discussed Sackville-West as a template for Orlando— see Trautmann’s and Knopp’s arguments that connect erotics of Orlando to Sackville-West. See also Julia Briggs’s chapter on Orlando for her discussion of the connections between Orlando and this erotic relationship. Also useful in this context of spoofing is Laura Marcus’s analysis of the figure of the biographer. Discussing Orlando in terms of Jacques Derrida’s concept of the “genre-clause,” in which Orlando represents itself as biography, Marcus argues that Woolf undermines conventional biography when she “mocks her narrator’s pretension to objectivity, and reveals the impossibility of reconstructing the past as it was” (118). Marcus shows how Woolf parodies biography and satirizes the concept of truth. While recognizing Woolf’s template, one does well to recall Hermione Lee admonishment that “simplified readings of Vita ‘as’ Orlando [. . .] won’t do” (485). 4. Brenda Helt’s argument that Woolf should be read as a bisexual complicates a late-twentieth-century and early-twenty-first-century terminology but not the issue of perversion. My general use of “lesbian” rather than “bisexual” or “Sapphist” (a term Woolf used to describe Sackville-West when first meeting her) is grounded in the fact of Woolf’s use of Sackville-West’s life as a template, and Sackville-West’s self-identification as a “dual” personality: one heterosexual, one lesbian. 5. Whitney Chadwick and Tirza True Latimer note also that Woolf “repeatedly winks at the sexological theories of ‘philosophers,’ ‘biologists,’ and ‘psycho- logists,’ ” identifying “Freud, Ellis, Carpenter, and Ulrichs recognizable among them” (12). 6. Liz Stanley observes, “At its most superficial level Orlando offers an assault upon gender, the social construction or interpretation of the appearance of fem- ininity and masculinity” (252). Jaime Hovey reads Orlando as “an exploration of queer white female subjectivity” in terms of “national and racial concerns” of the 1920s (394). 7. Although she does not analyze lesbian textuality, Pamela Caughie particularly notes Woolf’s use of narrative as a language for conveying meaning. She notes Woolf’s “use of discontinuities” (92), her “frames” (96), and her juxtaposing of fiction and essay forms (96–101) to “attract attention to narrative strategies” (90) in order to make readers “self-conscious about our terminology and common assumptions” (Virginia Woolf and Postmodernism 92). Notes 163

8. Elizabeth Abel, Nancy Armstrong, and Lois Cucullu have explored Woolf’s sharp contestation of Freud’s theories of female subjectivity. Abel’s important study remains the most extensive on Woolf in terms of psychoanalysis. Cucullu argues that the stakes were high—that Woolf and Freud battled for the representative space for women’s subjectivity, and that Freud won. See Nicole Ward Jouve for an excellent overview of Woolf’s reactions to Freud. 9. A number of critics have interpreted Woolf using Freud’s terminology and ideas. Shari Benstock argues that Virginia Woolf has “tapped the unconscious” (“Authorizing” 24) in “Sketch.” Charles Bernheimer (“A Shattered”) applies Freud’s theories to support a thesis that Woolf’s “works express a [. . .] powerful masochistic impulse to fracture the self’s wholeness and submit to the other’s violence” (188). He writes that Woolf’s connection between the mirror and the tomboy code “serve[s] to establish what is at stake in this analysis: the structuring of a specifically female self” (191). Diane Cousineau focuses on Woolf’s anxieties about mirrors in terms of Lacan’s Real, Imaginary, and Symbolic. While I appreciate each of these axcellent analyses, the approach of using Freud to understand Woolf may be foolhardy, since Freud’s theories rely on ideologies that Woolf opposed. Revistiting the modernist struggle between the lesbian’s own view of her subjectivity and that proposed by Freud may make much criticism using Freud suspect. 10. Woolf would have been implicated in this theory. She points out the beauty of the women in her family: “we were famous for our beauty” (“Sketch” 68; see also 82 on her mother’s beauty). 11. See Panthea Reid Broughton for a different presentation of Woolf’s work with Freud in “Sketch.” Broughton argues that “Sketch” shows Woolf’s “absorption in (and approval of)” of Freud (153). Usefully, Broughton presents Woolf’s diary entries about her reading of Freud. My reading of excess adds to, countering, Broughton’s reading. 12. Shari Benstock observes that the mother’s death keeps repeating (“Authorizing”). Thomas C. Caramagno argues that Woolf’s mother’s death “offered a coherent story line for experiences that would otherwise seem only senseless and impersonal” (16)—that “story line,” for Caramagno, could explain, for Woolf, the feelings of depression in the context of manic-depression. Though not undermining Caramagno’s interesting reading, I hope I show that Woolf’s story line is deliberately Freudian, not just conveniently so, and that this deliberation moves into parody. 13. I am reading seduction as an element of the larger process of Oedipal devel- opment, since it was seduction—real or fantasized—which Freud states led him to the Oedipal theory. 14. Vara Neverow explores Woolf’s use of the tomboy figure in To the Lighthouse (“Mrs.”). 15. The question of parody may seem to have large ramifications for Woolf criticism, particularly for the question of Woolf as victim of sexual abuse. Is she parodying Freud or recounting an actual case of abuse? My leanings are to argue for both; parody can use actual experience. See Louise DeSalvo’s moving account of possible abuse in the Stephen family, extending even to the 164 Notes

half-sister, “mad” Laura (Virginia), and Roger Poole’s reading of photographs from the Stephen children’s childhood. My argument does not depend on whether or not a reader believes that the abuse did happen, although I would argue with DeSalvo that it did. Woolf’s maneuverings of Freud’s narrative in this text do not, it seems to me, prove or disprove the possibilities of sexual abuse. As Linda Avril Burnett points out, Mitchell Leaska attempts to show that Woolf was never sexually abused, and he turns to Freud’s seduction theory to suggest that Woolf’s accusations are all fantasy. Burnett, challenging Leaska, asks, in light of DeSalvo’s important arguments, which are hard to dismiss, “How does a scene from a work of fiction confirm displaced Oedipal desire in its author?” (366). 16. Freud reenvisioned his seduction theory upon finding so many of his patients remembering seductions within the family. He concluded that the memories of seduction must be fantasies: “I was at last obliged to recognize that these scenes of seduction had never taken place, and that they were only phantasies” (Autobiographical). Peter Gay, however, reminds us that Freud only somewhat denied the women’s statements of sexual abuse: “It is important to insist that Freud never denied that child abuse was an appalling reality” (111). 17. Marianne DeKoven’s theory of female modernism urges that we look for this type of doubleness within women modernist’s texts. DeKoven describes a fear of punishment for anger and desire as typical of women modernists, and she argues that fear and anger were so powerful in modernist women that, with- out doubleness of form and duplicity of discourse, women would not have been able to write: “given the depth and intractability of the fear of punish- ment for female anger and desire in these narratives, the inherent doubleness of modernist form is precisely what allows the expression of feminist content at all” (“Gendered” 36). Though not disagreeing with DeKoven’s analysis of motivation, I hope I show that Woolf’s motivation could also be to present doubled texts in order to expose all narratives as constructed, rather than descriptively biological. 18. Jerry Aline Flieger’s label “prodigal daughter”—someone who works with the symbolic of the father, rebelling against it, and then returning to extend its boundaries—provides a model for thinking about Woolf’s process. 19. Leslie Stephen, within Woolf’s text, displays all the classic Oedipal attributes with regard to Stella: “As the engagement [between Stella and Jack] went on, father became indeed increasingly tyrannical. He didn’t like the name ‘Jack’, I remember his saying; it sounded like the smack of a whip. He was jealous clearly.... In fact he was possessive; hurt; a man jealous of the young man” (106). The half-brother George, in another section, is shown Oedipally in terms of the two younger girls: “Some crude wish to dominate there was; some jealousy, of Jack no doubt; some desire to carry off the prize; and, as became obvious later, some sexual urge. At any rate this matter of taking us out became an obsession with him” (“Sketch” 154). 20. Vara Neverow’s excellent study of Three Guineas, connecting Freud to Fascism to patriarchy, is invaluable in showing Woolf’s astute reading of Freud politically and culturally. Neverow shows that Woolf “advocates a compound of mockery and indifference as the best remedies” for a Notes 165

“diseased culture” (57). For Three Guineas’ connection to autobiography as a genre, see my study of this text as a collective autobiography. 21. According to Rachel Blau DuPlessis, many of the women writing during the modernist period opposed the romantic scripts imposed upon women by undermining traditional closure (see Writing). Ellen Friedman and Miriam Fuchs urge a reevaluation of the experimental women’s writing of this period, writing that critics analyze “the textual practice of breaking patriarchal forms; the radical forms—nonlinear, nonhierarchical, and decentering—are, in themselves, a way of writing the feminine” (3). The terms female modernism and male modernism form categories for the innovative and ground-breaking critical work that establishes distinctions between them: see Gender; DeKoven, “Gendered”; DuPlessis, Writing; and Friedman and Fuch’s Breaking the Sequence. Linearity, unified voice, conflation of plot, history, and truth, and closure are among the male modernist characteristics that contrast with the experimental circularity, multiplicity of plot and perspective, fragmentation, and repetition of female modernism. See also Ambiguous Discourse; the essays there establish a widespread historical base of an alternate tradition of female narratology, from Jane Austen to Jeanette Winterson. 22. Eve Sedgwick reveals the male homosocial base of Western patriarchy in literary representation (Between Men). 23. Sidonie Smith interprets “Sketch” ’s doublings by focusing on bourgeois culture and its divisions of the female body. She notes divisions in the text “between the autobiographical subject and the female body” (Subjectivity 102), in which “the narrative fizzles out in the total paralysis of the subject who cannot escape the social topography of separate spheres, the travesty of sex roles, the gender hierarchy of compulsory heterosexuality, and the social regulations of the body” (93). 24. That method will seem essentialist to some, yet it is culturally based. Jean E. Kennard’s excellent argument that lesbian reading must be learned reinforces this point, that cultural ideologies influence all textuality. 25. Maria Ramas considers hysteria as a chosen symptom, not an illness, which “insofar as it expressed a wish, sought to preserve preoedipal love for the mother/woman” (152). In this equation, hysteria is a symptom of the attempt to preserve lesbian desire. 26. Felman writes of the absence of Mary Hamilton in Woolf’s use of the ballad of the four Marys. Mary Hamilton was executed for killing her child, con- ceived out of wedlock with the King. Felman connects women’s autobiography, her self-annihilation, and her absence, a combination produced by woman’s placement in patriarchy. 27. Abel observes that “Woolf’s narratives interrogate Freud’s,” arguing that Woolf, by “questioning the paternal genealogies prescribed by nineteenth-century fictional conventions and reinscribed by Freud,” created “an alternative form” for narrative (3, 133). Marilyn Farwell’s Heterosexual Plots provides an important study of the ways narrative plots reflect ideologies of sexual desire. Rachel Blau DuPlessis shows in Writing Beyond the Ending how closely narrative structures parallel ideologies. Her “Woolfenstein” argues the influence of Stein on Woolf, that Woolf “was challenged by the formal designs, 166 Notes

the repetitions, the grids, the critique of the center, the other otherness of the work of Gertrude Stein” (101). This influence forms the basis of her assertion that “Woolf jettisons the whole complect of Oedipal emotional formation and thereby its narrative meaning” (111). 28. Sheri Benstock writes of the “gaps” in Woolf’s “Sketch” (“Authorizing”). 29. Mary Ann Caws writes of frames as “highly charged moments or scenes,” as the “bearers of meaning and intensity, the conveyors of revelation and insight” (8). Her insightful thinking about frames is useful in discussing Woolf’s. 30. In his essay analyzing a beautiful story by Andre Aciman, Paul John Eakin exemplifies our current cultural belief when he writes “I know that we can’t step into the same river twice. Moreover, I suspect we all instinctively know this” (5). I believe this, as with anything we “instinctively know,” might instead be questioned. It is intriguing that, like Woolf, Eakin in this essay links memory to the body.

Chapter 4 Hilda Doolittle’s Lesbian Vision

1. As I state in the introductory chapter, I follow Cynthia Secor’s example when I refer to Hilda Doolittle as Doolittle, rather than Pound’s name for her, “H.D.” I follow convention in the bibliography. 2. Adelaide Morris also explores Doolittle’s work in terms of science, analyzing Doolittle’s use of chaos theory in mid-century (How to Live 168–176). 3. I am indebted to the work of Susan Stanford Friedman, Rachel Blau DuPlessis, Claire Buck, Dianne Chisholm, and Lidia Yukman, who all analyze Doolittle’s work in terms of Freud, psychoanalysis, or her bisexuality. 4. Friedman cites early criticism using Freud to interpret Doolittle, criticism that reduced “H.D.’s search to penis envy,” which was “ridiculous at best and oppres- sive at worst” (Psyche 48). Both Friedman and Yukman argue that Doolittle was influenced by Freud and “challenge[d]” his theories (Yukman 138). Their interpretations guide my own. 5. Many contemporary theorists of sexuality would argue, rightly, that Doolittle should be considered as a bisexual, not as a lesbian. The labeling is important in contemporary theorizing about sexuality and its effects, since, as Clare Hemmings argues persuasively, bisexuality is not “the middle ground between sexes” but has instead an “enduring context of its own” (2, 3). I do not mean, in my work with Doolittle as a lesbian, to undermine or repudiate the argu- mentative theorizing about bisexuality and gender. See Hemmings’s account of and review of critical approaches to bisexuality. Also, Lidia Yukman gives an excellent argument for comparing Freud’s “Dora” and Doolittle’s HER in terms of “bisexual positions in language” (125). 6. Barbara Guest presents Doolittle’s life with a clear understanding of the lesbianism, particularly her relationship with Sylvia Dobson. Susan Stanford Friedman states that “The insecurity and fragmentation of identity H.D. expressed in her intense relationships with men is strikingly absent in her accounts of her relationships with two women”—Frances Gregg and Bryher (Psyche 38). Notes 167

7. Friedman gives excellent summaries of these texts and their connections with lesbianism (Psyche 39–45). 8. Guest, Friedman (particularly Gender), and Silverstein are my main sources for this sketch of Doolittle’s sexual and emotional life. See Grosskurth on Doolittle and Ellis, as well as Ellis’s “A Revelation” in which he describes Doolittle’s urinating. 9. I hope that my work does not preclude others from constructing, as Judith Halberstam suggests for female masculinity studies, more “imaginative or flamboyant taxonomies” (47). 10. Perhaps his unusual pleasure in her urination connects to Ellis’s mother’s pleasure in urinating in public places; she would urinate on the ground standing up (My Life 84–85). 11. Albert Gelpi notes the “mysterious moments in which the polarities seemed to fall apart” (12). See Adalaide Morris’s intriguing work on gifts, literal and metaphorical, in Doolittle’s life and work (“A Relay”). 12. DuPlessis emphasizes Doolittle’s “ways of knowing” in Notes as female— “female ways of knowing through the female body are privileged access points for transformative vision” (Career 40). The jellyfish metaphor for a womblike experience corroborates Bonnie Kime Scott’s claim that female modernists used both feminine and masculine metaphors effectively to subvert the divisions of gender (see “Introduction”). Alicia Ostricker, writing about the subversive techniques of women poets, observes that “critical argument often conducts itself through metaphor” (3). Ostricker’s work explores not only the overturning of gendered stereotypes in women’s poetry, but also gives an invalu- able account of the gendered stereotyped ideologies in criticism, in evaluating men’s versus women’s work (see particularly 1–9). Ostricker’s work has been important to me in its descriptions of methods of writing; her work has taught me new ways to read texts as a method to counter dominant cultural values. 13. DuPlessis calls Notes “one of H.D.’s few statements on poetics” (Career 40), and Friedman labels this work a “personal essay” and “philosophical essay” (Gender 87, 88). The piece, though it grounds itself in literary techniques, is more than an essay; it represents a new way of writing to represent a new way of thinking. Doolittle draws attention, within it, to terminology, like the “over-mind,” contrasting her terminology to ideas from both a “philosopher” and a “psychologist.” She defends her own understanding, contrasting it to theirs. Thus, it dialogues with and has its parallels in the case history and the philosophical essay, but is neither. 14. Only Louis Barron of the early reviewers recognizes how “subtle” the book is, noting that Tribute is an “assessment” both of Freud and “of the poet herself.” The length of the review, however, for the Library Journal, does not allow him to elaborate on why he finds Doolittle’s descriptions of her visions on Corfu “crucial.” 15. Jacqueline Rose writes that “Freud’s own definition of transference in its relation to the cure can be seen as caught in the same trap as that of this theory of sexuality” (136). 16. The excess of knowledge is a textualized form of the “excess” that de Lauretis explores as a part of the lesbian eccentric subject (“Eccentric Subjects” 123, 134, 136). I am indebted to Susan Stanford Friedman for her use of the term 168 Notes

repressed; I use it as she does, in the sense that texts can be read “as effects of ideological and psychological censorship” for a culture (237). 17. See also Devin Johnston’s insightful commentary on Freud’s models of consciousness, their contrasts with Doolittle’s experiences of vision, and the distinctions between Freud’s and Doolittle’s understandings of Doolittle’s condition (see especially 27–29). 18. Adalaide Morris identifies in The Gift Doolittle’s “intense and creative struggle with the conventions of autobiography” (“Autobiography” 228). Doolittle herself labels this text an “autobiographical fantasy” (Doolittle’s words in “Notes on Recent Writing” 20). 19. See Miriam Fuchs’s essay on The Gift (Southern Review), with her arguments on time and “self-inscription.” 20. These are “the child’s memories” she writes (“NRW” fld. 1121, January 21, 1950). Referring to her composition of the text, she presents the author as “we”: “We worked on and off at The Gift during the first years of World War II [. . .] we (as the Delia Alton of The Sword Went Out to Sea) heard a certain retired Air Marshal lecture on spirit messages” (“NRW” fld. 1125, 14). In other words, Doolittle as author multiplies, as both Doolittle and as an alternate per- sona, Delia Alton. During this period, in another, unpublished text, The Sword, Doolittle writes Delia Alton as a character, then a narrator, than an alternate persona for the author Doolittle. 21. DuPlessis writes that “A good deal of H.D.’s reading and poetic scholarship [. . .] goes toward the establishment of a secret understanding of the truth really concealed in an occulted substration of human and cultural experience” (Career 28). Here in The Gift is an autobiographical point from which that secret understanding could be seen to emerge. 22. In other ways, Doolittle’s thinking about memory parallels Freud’s, as Morris points out: “As H.D. and Freud understood it, [in] the dynamic of memory [. . .] experience once known may be repressed but it waits in the darkroom of the mind ready for redemptive return into consciousness” (“Autobiography” 234). 23. See also Morris’s work with the “sacred,” the gift that can provide re-“orientation toward life even in the midst of world catastrophe” (“Relay” 519).

Chapter 5 Lesbian Textualities in Stein’s Lifting Belly

1. Stein herself writes that “William James was of the strongest scientific influences that I had” (Wars 63). 2. See also Miller for a summary of the early experiments (18–21). 3. Brinnin, as do many of Stein’s biographers, gets information on Stein directly from her 1933 autobiography. There, she writes that William James tells her that “for psychology you must have a medical education, a medical education opens all doors, as Oliver Wendell Holmes told me and as I tell you. Gertrude Notes 169

Stein has been interested in both biology and chemistry and so medical school presented no difficulties” (79–80). 4. See Stimpson’s reading in “Somagrams” of Stein’s body. 5. Buck’s statement stems directly from Michel Foucault’s explorations of sexuality and culture. 6. See, for instance, the early critical reception of Tender Buttons, which can be found in The Critical Response 14–22. One contemporary critic scathingly remarks that “After reading excerpts from [Tender Buttons] a person feels like going out and pulling the Fime Bank building over onto himself [sic]” (14). 7. Miller’s excellent reading of this novel (43–46) has influenced my understanding of it. 8. In contrast, Stein’s male contemporaries emphasized the sexual binary in their novels. James Joyce and D.H. Lawrence portray demarcated worlds of gender difference. Lawrence is particularly immersed in gender difference with his theory of polar sexualities. Cynthia Lewiecki-Wilson claims that “Lawrence chafes at the constraints of patriarchy yet depends upon its binary oppositions. Indeed, Lawrence’s very contradictions confirm and reveal how deeply involved he is in the psychology of patriarchy” (68). 9. I think particularly of her revolutionary essay “One Is Not Born a Woman,” where she writes, “the category ‘woman’ and the category ‘man’ are political and economic categories not eternal ones” (15), as well as “women belong to men. Thus a lesbian has to be something else, a not-woman, a not-man” (13). 10. Bridgman’s judgment of Stein’s use of autobiography seems compromised by the lens of New Criticism, when he writes that Stein’s “aesthetic advances were overshadowed by autobiographical details” (150). Bridgman, however, is invaluable in his cataloging of Stein’s works. See 150–154, for an example of his cataloging of erotic instances in Stein’s work. See his Appendix C for a listing of Stein’s works in chronological order, as they were written. 11. Neuman writes that Stein, by using the “continuous present,” “refused to assume the identity of the past with the present ‘self,’ or the enunciating ‘I’ with the ‘I’ subject of its enunciation; only the I engaged in the act of writing remained in the autobiography” (“Gertrude Stein’s Dog” 66). I am indebted to Catharine Stimpson for my own first understanding of this concept. 12. See DuPlessis on the plot structures of the nineteenth century and the changes in female modernist structures (Writing). 13. Stein also reenvisions textual forms in “A Sonatina Followed by Another” and in her use of the sonnet form in “Patriarchal Poetry.” 14. Turner contrasts her reading with earlier readings of “cow,” which many critics have accepted as a code-word for orgasm. She also suggests that earlier critics Richard Bridgman and Linda Simon “veered toward” a scatological reading for “cow” but “pulled back” (25–26). 15. See Esther Newton on Radclyffe Hall’s The Well of Loneliness. Because of the belief that desire only occurred in men, she documents the “ ‘necessary’ masculinity of the early lesbian persona” (105 fn.12). 16. Lisa Ruddick finds Stein experimenting with gender, memory, and erotics even in the early 1906 “Melanctha,” there using the figures of a man and a 170 Notes

woman to “confront” two versions of memory through Jeff Campbell and Melanctha Herbert. Types of memory, she argues, connect to the “sexual theme” (“Melanctha” 549). Ruddick suggests that “Melanctha’s pathological forgetfulness is a corollary of her ‘mind-wandering,’ her refusal to impose categories” (550), a precursor to Stein’s later work with lesbian erotics and multiple possibilities disconnected from a moral stance. 17. Sue-Ellen Case’s theorization of a butch/femme aesthetics helps provide theoretical paradigms through which to interpret Stein’s use of those roles as ones of performance, camp, and parody. 18. I use Kermode’s words. See also DuPlessis, Writing. 19. Stein’s handwritten original of this text is in notebooks, with only a few lines of the poem on each page. The beginning of the second notebook coincides with the beginning of this second II of the published text (Naiad Press edition) with no subtitle in the published version. This second “Part Two” in the original manuscript has the additional title I am quoting, “Lifting Belly Is so Kind,” which is also in the text (23). (The original manuscript is housed in the Beinecke Rare Book & Manuscript Library, Yale University, New Haven, Connecticut.) 20. A late-twentieth-century example of a floating text occurs in Adrienne Rich’s lesbian erotic poem, “Twenty One Love Poems,” which includes a “floating” poem as a section. 21. Susan McCabe also is working with Stein (and Lowell and Doolittle) when she proposes a connection between sexuality and textuality, stating that a “position as lesbians (or as women who chose another woman as their primary, significant relationship) encouraged a poetics that often became overflowing, even excessive in its blurring of one thing with another: lover and beloved, self and perception” (77). 22. Nicki Hallett gives a concrete example of the opposite—that adult students could not easily perceive the lesbian in autobiographies and biographies. She asked a “group of adult learners” to read autobiographies and bio- graphies of Elizabeth Bowen, Marlene Dietrich, Katherine Mansfield, Vita Sackville-West, and Virginia Woolf. The students were not able to recognize lesbian figures. Hallett sees this inability as a definitional one; one student suggests that they could not be lesbian; after all, “ ‘they were married weren’t they?’ ” (2). 23. Meese also works with the subject position of the lesbian lover. Her insistence on the positive existence of a lesbian style, not a coded form of heterosexual language, and her connections of that style both to active lesbian experience and to historical lesbian existence have been formative to my own thinking and reading of lesbian writers. 24. It is from this positioning that Stimpson coins her term the “lesbian lie,” a subgenre she writes that relies upon “two audiences [. . .] a heterosexual audience generally suspicious of transgression , and a homosexual audience that longs to celebrate sexual, not literary differences” (153). The lesbian lie, one might suggest, proceeds from and reproduces the gay closet, even while, Stimpson notes, as a “performance,” the lie is, positively, “a source of courageous, jaunty, often outrageous style” (163). Notes 171

25. S.C. Neuman connects Stein’s work with “spatial configuration” in The Autobiography of Alice B. Toklas. There, she connects the effects of Stein’s use of her “continuous present” on “its potential for replacing the linearity of the graph in autobiography” (Gertrude Stein 24). 26. Stein’s ideologies about family are shown to be even more complicated than is seen on the surface with Janice L. Doane’s and Devon Hodges’s work on Making of Americans—they show that, for Stein, the family triangle signified incest, not safety (Telling Incest). Bibliography

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Abel, Elizabeth, 80, 163n. 8, as counterfeit, 7, 13, 58–66, 71, 165n. 27 73, 76, 82, 88, 95, 161n. 3 Abraham, Julie, 10, 158n. 30 as modernist, 1–3, 22–26 Adams, Alice, 34, 42, 47 and origin, 4, 9, 25, 40–1, 151, Adams, Timothy Dow, 157n. 29 153 Allan, Maud, 17 as private history, 4, 9, 11, 15, 17, Armstrong, Nancy, 163n. 8 25–6, 81, 84, 87 Austen, Jane, 16 queered, 3–12, see also lesbian autobiographical aesthetics binaries, 11, 35, 47, 75, 138, 149 and science, 13, 27–8, 32–41 contract, 14, 17 see also lesbian (alternatives fluctuation, 6, 10, 12, 20, 24, 70, to science) 96, 99, 115 Ayers, David, 28–29, 156n. 16 resolution (ending), 4, 52, 62, 68, 129, 139, 146–7 Barron, Louis, 167n. 14 retrospection, 4, 40–1, see also Barrett, Eileen, 78, 156n. 14 lesbian aesthetics (continuous Barthes, Roland, 8 texts) Bell, Quentin, 15 script, 4–5, 9, 21, 25, 32–4, 38, Benstock, Shari, 4, 77, 155n. 8, 52, 73, 159n. 5, 165n. 21 156n. 12, 157n. 18, 163n. 9, autobiography, compare lesbian 166n. 28 autobiography Bernheimer, Charles, 38, 52, 160n. and “antihomophobic 18, 163n. 9 analysis,” 11 Berry, Ellen, 130 and audience, 9, 11, 16, see also Binkley, Sam, 31 lesbian autobiography Blackmer, Corinne, 73, 162n. 2 (audience) bodies and closet, 3, 9, 10, 26, see also female, 1, 13–14, 47, 56, 57, 73, knowledge 75–6, 79, 160n. 20, 165n.16, as constructed culturally, 4, 10, 165n. 23, 167n. 12 26, 35, 38, 41, 53, 58–66, lesbian, 6, 20, 28, 76, 95, 99–105, 92–3, 153, 164n. 17 111, 113–15, 118–22, 125, as constructed epistemologically, 140, 142, 148, 151, 156n. 9, 7, 11, 36, 123–4, 144 158n. 30 192 Index

Bodies—continued case study and memory, 89–92, 101–15, and lesbian subjectivity, 5, 23, 25, 113–19, 125, 166n. 30, 42, 43, 45, 56 168n. 2 narrative form of, 13, 36–41,134, in patriarchy, 81, 85, 87, 99, 103, 137, 138–9 129, 169n. 4 and retrospective memory, 36, 38, sexualized scientifically, 20, 39, 89 27–32, 36, 47, 50, 66, 76, in scientific ideology, 36, 38, 42, 100, 105 139,159n. 9 Boone, Joseph Allen, 8, 156n. 9 and textualization of sexuality, 5, Booth, Alison, 77 36, 41, 56 Bowlby, Rachel, 75 Case, Sue-Ellen, 170n. 17 Boyarin, Daniel, 160n. 17 Castle, Terry, 22, 61, 155n. 7 Bridgman, Richard, 25, 138, Caughie, Pamela, 162n. 2, 162n. 7 169n. 10, 169n. 14 Caws, Mary Ann, 68, 161n. 6, Briggs, Julia, 162n. 3 166n. 29 Brinnin, John Malcolm, 127, 128, censorship, 6, 14–18, 157n. 21, 168n. 3 157n. 22 Bristow, Joseph, 5, 156n.11 and audience, 15–17, 73–4, Brodzki, Bella, 4, 156n. 12 76–8 Broe, Mary Lynn, 157n. 18 and closet, 10, 15–16, 157n. 22, Brooks, Peter, 8–9 157n. 23 Broughton, Panthea Reid, 163n. 11 and culture, 15, 168n. 16 Browder, Laura, 161n. 3 and normalcy, 15, 73 Brownley, Martine Watson, and patriarchy, 88, 157n. 22 156n. 12 see discourse Bruss, Elizabeth, 14 Chadwick, Whitney, 162n. 5 Bryher (Annie Winifred Ellerman), Chessman, Harriet, 130 97–9, 101, 102, 103, Chisholm, Dianne, 166n. 3 111–12, 113–14, 117, Cixous, Helene, 9, 135, 156, 161n. 166n. 6 25 Buck, Claire, 102, 112, 122, 129, Clement, Catherine, 135, 161n. 25 166n. 3, 169n. 5 closet, 3,11 Burch, Beverly, 9, 52, 54, 69 and audience formation, 10, Burke, Carolyn, 132–3 170n. 24 Burnett, Linda Avril, 164n. 15 as queer trope, 3, 9, 11 Bush, Clive, 129 see also autobiography; Butterfield, Stephen, 14 censorship; narrative formation; knowledge camp, see narrative formation Colburn, Krystyna, 77, 78 Caramagno, Thomas, 163n. 12 conscious, 7, 18, 20, 38, 39, 90, Carlston, Erin, 4 115, 131, 132, 133, 146, Carpenter, Edward, 12, 28, 31, 55, 157n. 28, 168n. 17, 168n. 22 156n. 16, 158n. 1, 162n. 5 Cook, Blanche Wiesen, 14 Index 193

Cope, Karin, 142 double-voiced, 4, 15, 162n. 2, Courser, G. Thomas, 161n. 3 164n. 17 Cousineau, Diane, 163n. 9 about the lesbian, 6, 20, 42, 70 Cramer, Patricia, 77, 78, 156n. 14 of lesbian modernism, 3, 17, 21, Cucullu, Lois, 163n. 8 164n. 17 Cuddy-Keane, Melba, 158n. 32, and truth, 18, 57–8, 63, 168n. 21 161–2n. 1 of patriarchy, 15, 134 Culley, Margo, 156n. 12 of science, 9, 14, 20–1, 29, 35, 42, 47, 55, 134 Davidson, Henry, 107 of sexualities, 1, 2, 3, 36, 129, DeKoven, Marianne, 130–2, 135, 155n. 2, 160n. 23 164n. 17, 165n. 21 Doane, Janice, 134, 171n. 26 De Lauretis, Teresa, 8, 18, 34, 52, Doan, Laura, 55, 57, 155n. 5 159n. 10, 160n. 19, 167n. 16 Dollard, John, 107 De Man, Paul, 155n. 4, 157n. 28 Dollimore, Jonathan, 49 Derrida, Jacques, 162n. 3 Doolittle, Hilda, 12–14 DeSalvo, Louise, 62, 78, 157n. 25, and abnormality, 99–100, 102–5 163–4n. 15 “Advent,” 106–7, 110–12, 123 desire Correspondence, 98, 99 Dora’s, 44–6, 52–3, 139, 142, as Delia Alton, 115, 156n. 17, 160n. 11 168n. 20 female, 32, 46–7, 87, 160n. 15 and experience, 12, 95, 98–105, in Freud’s paradigms, 33–7, 40, 108, 113–14, 117–19, 121–2, 42–53, 83–4, 87, 110, 113, 124–5, 167n. 12, 168n. 17, 119, 133, 136, 139, 152, 168n. 21 159n. 6 The Gift, 14, 101, 106, 113–22, lesbian, 1, 46–7, 56–8, 75, 81, 84, 124–5, 167n. 11, 168n. 18, 96, 110, 113, 128–9, 140–53, 168n. 19, 168n. 20, 168n. 21, 156n. 11, 158n. 30, 165n. 25 168n. 23 in modernism, 8, 104, 164n. 17 “H.D. by Delia Alton,” 115 and narrative, 7–9, 12, 20, 23, and lesbian eroticism, 97–9, 110, 165n. 27 114, 124 patriarchal, 62, 83, 93 as medium (receiver), 99, 104–5, as perverted, 7, 46–53, 56 108–9, 113–19, 125 when silenced, 11, 15–16, 20, 42, 47 and multiple identity, 110, as subject/object, 92, 115–16, 114–16, 119–22, 125 138, 142, 149, 152 “Narthex,” 98 as subject/subject, 74, 141–51 “Notes on Recent Writing,” 96, see also lesbian eroticism 105, 106, 115, 116, 125, discourse and discourses, 3, 9, 45, 168n. 20 58, 130, 156n. 9, 158n. 32 Notes on Thought and Vision, 14, of autobiography, 15, 58, 63, 98, 100–6, 111, 113, 118, 156n. 15 120, 122, 123, 167n. 12, of censorship, 14, 15, 17, 73, 77 167n. 13 194 Index

Doolittle, Hilda—continued 139–40, 148, 156n. 16, 159n. 2, and overconscious, 105 159n. 3, 161n. 1, 161n. 2, and role of artist, 24, 102–5, 107, 161n. 5, 162n. 5, 167n. 8, 115–16, 120, 122 167n. 10 and scenes, 108–9, 111–13, and abnormal/normal binary, 115, 123 23–4, 28–32, 36, 48–9, 55–8, and sub-conscious, 105, 109, 116, 99–105 121 and case study, 36, 139 and super-memories, 101, 107, and innovations, 12, 28, 35, 55, 111–22, 125 57, 159n. 2 The Sword, 168n. 20 and racism, 30–2, 36, 48, 56–7, “Synthesis of a Dream,” 96, 99, 104 125 “A Revelation.” Fountains of Life, “Thorn Thicket,” 98 102, 167n. 8 Tribute to Freud, 14, 100–2, 106, My Life: Autobiography of 117–18, 123–4, 167n. 14 Havelock Ellis, 32, 48, and unconscious, 96, 104, 109, 167n. 10 113, 115, 117 Sexual Inversion. Studies in the and vision, 100–5, 111–12, Psychology of Sex, 28–32, 120–2, 125 57, 69, 161n. 2 “Writing on the Wall,” 106–7, and types, 20, 23–4, 28–9, 35, 111–12, 123 55–6, 70–1, 75, 99, 102–3, dreams 105, 158n. 1 in analysis, 41, 44, 45, 73, 80, and urination, 102 100, 107, 147 see eugenics; sexology in consciousness, 99, 102, 103, Engelbrecht, Penelope, 35, 138, 141, 104, 106, 110, 117 144 and fantasy, 109, 124 Erickson, Eric, 160n. 12 in Freudian process, 81–2, 90, eugenics, 28, 48, 104, 159n. 3 100 and memory, 73, 112, 117 Faderman, Lillian, 28, 30, 57 in reading strategies, 37, 146 family romance, 9, 34, 84, 125 as vision, 99, 100, 105, 112, 117 fantasy DuPlessis, Rachel Blau, 24, 165n. 21, in Freudian theories, 33, 34, 40, 81, 165n. 27, 166n. 3, 167n. 12, 84, 101, 164n. 15, 164n. 16 167n. 13, 168n. 21, 169n. 12, as genre type, 10, 14, 101, 170n. 18 168n. 18 Dydo, Ulla, 132 Farwell, Marilyn, 6–7, 10, 22, 158n. 34, 165n. 27 Eakin, Paul John, 166n. 30 Felman, Shoshana, 88, 165n. 26 Eisner, Caroline, 26 Felski, Rita, 70 Ellis, Havelock, 12, 13, 19–24, female development, 1, 5, 40, 73–4, 27–32, 35–6, 47–9, 55–7, 67, 79, 88–9, 92, 95, 137 69, 70, 73, 76, 95–6, 98–9, see bodies, female 101–5, 111, 124, 127, 134, female eroticism, 132 Index 195 female masculinity, 28, 47, 167n. 9 Drafts and Notes: female modernists, 2, 14, 169n. 12 1887–1902, 52 female Modernism, 164n.17, 165n. “The Psychogenesis of a Case of 21, 167n. 12 Homosexuality in a Woman,” Fiedler, Leslie, 107 42–4, 158n. 31 Fifer, Elizabeth, 130, 131–2 The Psychopathology of Everyday Flieger, Jerry Aline, 87, 88, 164n. 18 Life, 78 Foucault, Michel, 155n. 2, 161n. 4, and self-interest, 46–53 169n. 5 and talking cure, 36, 89, 90 Frangos, Jennifer, 26 Jokes and Their Relation to the Frankland, Graham, 34 Unconscious, 146 Freeman, Barbara, 80 Freudian theories, 8, 163n. 12 Freud, Sigmund, 12, 13, 18 of arrested development, 12, 23, and abnormal/normal binary, 34, 46, 110 23–4, 35–6, 42–3, 46–53, of memory, 87–92, 96, 115, 116 48–52, 99–100, 105, 110, of Narcissism, 79, 92, 113 160n. 19 of object desire, 35, 138 An Autobiographical Study, 38, of primal scene, 39–41, 51, 121, 39, 47, 160n. 22 151, 159n. 10 “The Dissolution of the Oedipus of repression, 3, 7, 18, 32, 35–6, Complex,” 33 38–9, 42, 44–5, 48, 51, 82, Dora: An Analysis of a Case of 90, 117, 119, 121, 129, Hysteria, 19–20, 34–5, 38, 131–2, 146, 151, 153 44–6, 50–3, 81, 83, 84, 111, of trauma, 33, 39, 40–1, 81, 90, 135–5, 139, 145, 147, 151, 116, 121–2, 135–6, 146 158n. 31, 159n. 9, 160n. 11, of the unconscious, 129–31 160n. 12, 160n. 13, 160n. see fantasy; Oedipal complex; 16, 166n. 5 repetition; seduction as figure of scientist, 12, 23, 27, Friedman, Ellen, 165n. 21 47–9, 51, 106–11, 130–4, Friedman, Susan Stanford, 49, 98, 137–9, 141–2, 144, 146–7, 100, 104, 157n. 28, 166n. 3, 151–3 166n. 4, 166n. 6, 167n. 7, “From the History of an Infantile 167n. 8, 167n. 13, 167n. 16 Neurosis,” 39–41, 151 Fuchs, Miriam, 122, 165n. 21, and homosexual feelings, 160n. 18 168n. 19 and innovations, 28, 35, 37–8, 50, Fuss, Diana, 42, 47, 108 108, 114, 160n. 19, 160n. 20 The Interpretation of Dreams; Galvin, Mary, 3–4, 7 Introductory Lectures on Garber, Marjorie, 159n. 10 Psychoanalysis, 33, 39, 91, Garrity, Jane, 155n. 5 131–2 Gay, Peter, 164n. 16 “On narcissism,” 79 gay sensibility, 3, 13 Outline of Psychoanalysis, 33–4 Gelpi, Albert, 100, 167n. 11 The Origins of Psychoanalysis: The Gender of Modernism, 98, 104, Letters to Wilhelm Fliess, 165n. 21, 167n. 8, 167n. 13 196 Index

Gilman, Sander, 47, 160n. 17 and textuality, 5, 10–11, 20, 23–4, Gilmore, Leigh, 4,10, 14, 58, 149, 52, 66–7, 77, 111, 113, 114, 155n. 1, 155n. 3, 156n. 12, 143, 144, 165n. 27 157n. 28 Heuving, Jeanne, 24 Glendinning, Victoria, 56, 60, 61, Hoefel, Roseanne, 85 161n. 6 Hoffman, Michael, 127 Gohdes, Clarence, 107 Hodges, Devon, 171n.26 Green, Barbara, 158n. 33 Holbrook, Susan, 137, 141, 147 Grosskurth, Phyllis, 102, 161n. 1, homosexual story, 10, 19–22, 34–5, 167n. 8 42–6, 52–3, 61 Gubar, Susan, 69 homosexuality, 19–32, 34–6, 52–3, Guest, Barbara, 166n. 6, 167n. 8 70, 100, 159n. 1, 159n. 3, Gusdorf, Georges, 9 159n. 4, 159n. 8, 159n. 10, 160n. 21 Hackett, Robin, 159n. 3 and heterosexuality as polar Halberstam, Judith, 28, 46, 47, opposites, 3 167n. 9 Hovey, Jaime, 162n. 6 Hallett, Nicky, 4, 31, 69, 170n. 22 Hughes, Judith, 34 Hall, Radclyffe, 14, 22, 55, 144, hysteria, 33, 40, 87, 165n. 25 157n. 21, 161n. 2, 169n. 15 Hankins, Leslie, 78, 157n. 22 intermediate sex, 29, 55, 158n. 1 Hanson, Clare, 88 Ingram, Angela, 157 Haraway, Donna, 160n. 23 inversion, 17, 19, 23, 28–32, 43, 67, Harris, Andrea, 155n. 6 69 Hart, Lynda, 30, 57, 156n. 10 Irigaray, Luce, 156n. 9, 161n. 25 H. D., see Doolittle, Hilda. Heilbrun, Carolyn, 4–5, 156n. 12, Jackson, Margaret, 159n. 2 159n. 5 Jacobus, Mary, 8, 34, 159n. 7, Helt, Brenda, 162n. 4 160n. 15 Hemmings, Clare, 166n. 5 Jagose, Annamarie, 57 Herrmann, Anne, 8, 162n. 2 Jelinek, Estelle, 4, 156n. 12 heteronormative, 88, 147 Johnston, Devin, 113, 168n. 17 heterosexuality, 2, 10, 16–20, 23, Johnston, Georgia, 165n. 20 31–3, 35, 158n. 31, 160n. 21, Jones, Ernest, 107 162n. 4 Jouve, Nicole Ward, 163n. 8 and autobiography, 1, 3, 5, 8, Joyce, James, 14, 133, 169n. 8 10–11, 13, 25 Jung, Carl, 12 and culture, 9, 10–12, 18, 21, 24–5, 42–53, 58–66, Kahane, Claire, 160n. 12 69–71, 73–7, 85–7, 93, 96–7, Kaivola, Karen, 161n. 5, 161n. 6 100, 102, 110, 111, 113, Kennard, Jean, 165n. 24 114–15, 131, 141, 144, Kermode, Frank, 170n. 18 147–8, 151, 160n. 23, 165n. Kershner, R. B., 22 23, 170n. 23 Kimmich, Allison, 156n. 12 Index 197

Klein, Madeleine, 12 continuous texts, 129, 146–7, Knopp, Sherron E., 157n. 24, 167n. 3 150, 165n. 27 knowledge excess, 11, 18–19, 35, 67, 81–2, and closet, 11, 25–6, 42, 146, 88, 92, 95, 112, 120–1, 141, 170n. 24 149–50, 163n. 11, 167n. 16, lesbian surplus of, 11, 18, 100–5, 170n. 21 111–12, 120–2, 125, 147–52, masks, 2, 7, 69, 148–9 167n. 16 multiplication of subjects, 2, and the unconscious, 89, 146 6–7, 12, 17–18, 20, 75, Kochhar-Lindgren, Gray, 33, 34, 52 110, 114–16, 119–22, Krafft-Ebing, Richard von, 12 125, 137, 141–3, 148–150, 165n. 21, 168n. 20, Lacan, Jacques, 37, 160n. 12, 163n. 9 170n. 16 Laity, Cassandra, 69, 99 narrative position, 5, 7–8, Laqueur, Thomas, 27 24–5, 55–6, 59, 68–71, 74–5, Latimer, Tirza True, 162n. 5 82–3, 108–12, 115, 135, Lawrence, D.H., 14, 169n. 8 148–53, 170n. 21, 170n. 23, Leaska, Mitchell, 164n. 15 170n. 24 Lee, Hermione, 157n. 22, 157n. 25, palimpsest, 7, 10, 15, 23, 25, 67, 162n. 3 70–1, 73–4, 76–7, 99 Lejeune, Philippe, 14, 17 parody, 16, 19–20, 78, 84–5, 88, lesbian 92, 133–4, 147, 158n. 30, alternatives to science, 22–4, 71, 163n. 12, 170n. 17 87, 125, 128, 132–3 vision, 100–5, 111–12, 120–2, as a category, 28, 101, 138, 169n. 9 125 culture, 14, 24, 124, 161n. 2 see also repetition as disruptive, 6, 9, 17–18, 35, 87, lesbian autobiography, compare 114–15 autobiography as eccentric subject, 18, 167n. 16 as alternative tradition, 5, 8, feminism, 6–7, 156n. 14 13–14, 17–20, 22–6, 35, 78, figuring, 3, 8, 12, 18, 22, 24, 26, 112, 120, 125, 128, 142, 148, 35, 76, 170n. 22 153 “I,” 2, 7, 10, 18, 19, 21, 25, 35, creating a trajectory in, 8–12, 74, 83, 86, 88, 89, 91–2, 14–15, 18–19, 20–6 112, 114, 121, 136–9, 142–3, audience of, 2, 3, 4, 10, 15, 18, 145, 149, 151–3 19, 21, 74, 83, 131, 149, as invisible, 3, 7, 10, 18, 20, 26, 150, 157, 170 66–7, 70, 77–8, 148–9, as critical lens, 1, 2, 7, 9, 14, 17, 155n. 7, 170n. 22 22, 73, 95, 96, 124 lesbian aesthetics, 4–7, 115, 122–5, as experiential, 10–12, 16–17, 19, 147–8, 156n. 13, 170n. 17 23, 26, 24, 64, 66–7, 71, 75, coding, 2, 24, 26, 78, 117, 129, 82, 89, 91, 95, 98–105, 108, 147–9, 158n. 30, 169n. 14, 113–14, 117–19, 121–2, 170n. 23 124–5, 128, 139, 142, 146–7, 198 Index lesbian autobiography—continued McCabe, Susan, 170n. 21 152, 158n. 34, 167n. 12, 168n. McNaron, Toni, 77 17, 168n. 21, 170n. 23 Meese, Elizabeth, 4, 18–19, 77, 130, and lesbian symbolic, 7, 92–3, 147–50, 162n. 2, 170n. 23 153, 155n. 5 memoir, 14, 24, 55, 56, 58–61, 64, to a lover, 4, 10, 68, 136–52 66–7, 70, 73–4, 80, 84, 86–8, traditional versions of, 19–21, 90 42–6 memory, 7, 12, 18, 116 and “truth,” 4, 14, 18, 23, 26, 44, as constructed, 38–41, 80, 82, 50, 52, 58–9, 62–5, 71, 110, 88–92, 114–19, 121, 124, 116, 122, 129, 157n. 29, 151–3, 159n. 10, 162n. 3 158n. 33, 162n. 3, 165n. 21, and chronology, 1, 38–9, 70, 74, 168n. 21 80, 85, 88–93, 95, 107, and women’s autobiography, 4–5 111–12, 114–17, 119, 121, lesbian eroticism 123–5, 128, 151–2, 162n. 3, in autobiography, 2–3, 5, 8, 168n. 19, 168n. 20, 168n. 12–13, 20–22, 24, 35, 78, 92, 22, 169n. 11 95–100, 104, 110, 128–30, and trauma, 33, 39–41, 81, 90, 132, 134–53, 162n. 3, 169n. 116, 121–2, 125, 135–6, 146, 10, 169–7-n. 16, 170n. 20 168n. 23 in cross-dressing, 66–71, 75–6 alternatives to Freudian, 74, 88–9, in Ellis’s theory, 32, 57, 134, 96, 117 159n. 2, 161n. 2 Meyer, Steven, 128 in Freud’s model, 19–20, 44–6, Mezei, Kathy, 156n. 9 53, 134, 136, 152–3, 159n. 6 Miller, D.A., 11 and readers, 78, 151–3 Miller, Rosalind S., 169n. 7 lesbian modernism Mitchell, Juliet, 49 as deconstruction of patriarchy, Monette, Paul, 3 7, 13 Moran, Patricia, 157n. 26 as unreadable within patriarchy, 7 Morris, Adalaide, 120, 121, 166n. Lesser, Ronnie, 160n. 17, 160n. 20 2, 167n. 11, 168n. 18, 168n. Levy, Heather, 77 22, 168n. 23 Lewiecki-Wilson, Cynthia, 169n. 8 Linehan, Carol, 85 narcissism, 63, 79, 90, 92, 113 Lister, Anne, 25–6 narrative formation Locatelli, Carla, 7 and camp, 16–17, 144, 170n. 17 and closet, 9–11, 25–6, 146, Marcus, Jane, 77, 78, 157n. 27 170n. 24 Marcus, Laura, 1, 162n. 3 expected conventions of, 1, 4, 10, Marcus, Stephen, 35, 159n. 9, 14, 18, 37–8, 63, 73, 130, 160n. 12 138–9, 144, 150, 162n. 3, Mark, Rebecca, 141, 144, 151 165n. 27, 168n. 18 Marshik, Celia, 157n. 23 gendered, 3, 4–8, 10, 15–16, Martin, Biddy, 21 21–4, 42, 59, 76, 82–90, Materer, Timothy, 112 92–3, 111, 117, 120, 128–53, Index 199

155n. 6, 162n. 2, 164n. 17, Parkes, Adam, 157n. 21 165n. 21, 165n. 23, 167n. patriarchy 12, 169n. 8 and civilization, 3, 30–1, 51, 85, “heteronarrative,” 10, 85 119, 121 and laughter, 16–18, 135–6 deconstructed, 5, 7, 35, 84–6, and lullaby, 140 129, 135, 137 through rhetoric, 58–66 disrupted, 3, 15, 17, 87–8, 92–3, as parody, 77–93 103–4, 148 as vision, 117–19, 100–5 and heterosexuality, 2, 10, 25, 34, see also case study (narrative form 42–3, 45, 74, 82–7, 93, 95, of); Oedipal complex (and 102, 111, 114–15, 131–4, narrative form) 137, 143–4, 151, 160n. 23, Neuman, S. C., 156n. 12 164n. 19, 165n. 26 Neverow, Vara, 77, 163n. 14, as institution, 1, 7, 23–4, 35, 164n. 20 40, 44–5, 73–4, 82–3, 120, Newton, Esther, 28, 169n. 15 125, 131–4, 139–140, Nicolson, Harold, 56, 58–65, 164n. 20 67–8 and literary criticism, 13, 60–1, Nicolson, Nigel, 60–1, 66 107–8, 130–3, 169n. 10, North, Michael, 148, 150 157n. 26, 164n. 17 Nottingham, Chris, 104, 161n. 1 and narrative, 6–7, 15–16, 24–5, 52–3, 63, 74, 77–82, 91–3, O’Connor, Noreen, 33 101, 113, 129–30, 139, Oedipal complex, 8–9, 12, 23, 26, 143–4, 157n. 22, 165n. 21, 32–4, 38–40, 42–4, 48, 51–2, 165n. 22 74, 78, 80–7, 89, 92–3, 95, and science, 2, 16, 24, 38, 44, 99–101, 105, 107, 110, 113, 47–52, 74, 106, 111, 115, 115, 129–31, 134, 136–7, 147, 132, 159n. 6 152, 159n. 6, 160n. 11, see bodies; censorship; desire; 160n. 15, 160n. 17, 161n. 25, discourse 163n. 12, 163n.13, 164n. 15, Penelope, Julia, 87 164n. 19, 166n. 27 performance and formation of the “I,” 33, 44, and autobiography, 6, 149 39, 82, 83, 86–89, 92 and lesbian writing, 4, 5, 147, and narrative form, 8–9 170n. 17, 170n. 24 Olano, Pamela, 78 as textual narrative, 83, 88, 91, Olney, James, 155n. 1, 156n. 15, 128, 134, 141, 149 157n. 19 Perkins, Margo V., 158n. 33 Oosterhuis, Harry, 159n. 1 Pettipiece, Deirdre Anne, 96 Ostricker, Alicia Suskin, 167n. 12 Poole, Roger, 164n. 15 Ouellet, Pierre, 38 Porter, Roy, 28 Owens, David M., 137 Psychopathica Sexualis, 28 palimpsest, 7, 10, 15, 23, 25, 67, 70, queer theory versus lesbian 71, 73, 74, 76, 77 feminism, 6–7 200 Index race, 30–2, 36, 47–8, 56–7, 104, The Letters of Vita Sackville-West 140, 162n. 6 to Virginia Woolf, 75 Radner, Hilary, 88 and Orlando, 74–6, 162n. 3, The Rainbow, 14 162n. 4 Raitt, Suzanne, 32, 62, 66–7, and perversion, 55, 58–9, 62, 157n. 24, 161n. 5, 161n. 6 70–1 Ramas, Maria, 165n. 25 Portrait of a Marriage, 14, 23–4, repetition, 127 55–67, 69, 71, 75, 76, 83 and female modernism, 165n. 21 and rhetoric of confession, 67, in Freudian theory, 8, 25, 33, 39, 58–9, 62 80, 90 and science, 12, 19, 20, 22 as lesbian narrative technique, 2, and sexology, 23, 25, 55–63, 65, 80–2, 84–6, 92, 95, 107, 112, 159n. 2, 161n. 5 114, 116, 123–4, 128–30, and sexuality, 23–4, 157n. 24, 138, 140–5, 148, 150–3, 162n. 3 163n. 12, 165n. 21, 166n. 27 Vita and Harold: The Letters of retrospection, 4, 18, 25, 39–40, Vita Sackville-West and 70, 135 Harold Nicolson, 58, 60, 63, see memory (chronology) 64, 68 Rich, Adrienne, 10, 170n. 20 Vita Sackville-West: Selected Risolo, Donna, 77 Writings, 67, 68, 161n. 6 Robson, Ruthann, 156n. 10 and writing autobiography out of Roof, Judith, 35, 135, 151, 156n. 9, absence, 70–1 156n. 14, 160n. 14 Salome, 17 Rose, Jacqueline, 167n. 15 Saussure, Ferdinand de, 146 Rubin, Gayle, 83, 158n. 35 Schenck, Celeste, 4, 156n. 12 Ruddick, Lisa, 130, 144, 147–8, Scott, Bonnie Kime, 14, 157n. 21, 169–70n. 16 167n. 12 Rusk, Lauren, 157n. 22 Secor, Cynthia, 13, 127, 139, 140, Ryan, Joanna, 33 147, 148, 156–7n. 17, 166n. 1 Sedgwick, Eve Kosofsky, 11, 25, Sackville-West, Vita, 1, 12–14, 23, 165n. 22 55–71, 73 seduction and case study, 56 Freud’s theory of, 19, 32, 35, Challenge, 14, 23, 66–71, 74–6, 39–42, 51, 73–4, 81–4, 88, 124, 161n. 6 160n. 16, 163n. 13, 164n. 15, Correspondence, 62, 65, 67, 68 164n. 14, 164n. 16 and counterfeit rhetoric, 58–66, and lesbian rewriting, 25, 33, 44, 71, 73, 76, 82, 88 73, 74, 81, 84, 157n. 27 and cross dressing, 66–71 and violation in, 81–2, 86–7, and dual personality, 56, 69–60, 160n. 11, 160n. 12, 62, 65, 70, 74, 162n. 4 160n. 16, 163n. 4, 163n. 15, and gendered morality, 59–66 164n. 16 and lesbian “I,” 18, 53, 55–71, Sense and Sensibility, 16–17 82, 99 Severijnen, Olav, 2 Index 201 sexology, 5, 7, 12–14, 19–20, 22–3, Stein, Gertrude 27–32, 36, 43–4, 47, 55–8, 63, The Autobiography of Alice B. 65–6, 70–1, 75–6, 96, 134–5, Toklas, 10, 128, 149, 171n. 25 158n. 1, 159n. 3, 161n. 2, Bee Time Vine and Other Pieces 161n. 4 [1913–1927], 128, 138 sexuality and case study, 139 as arrested, 12, 23, 34, 46, 110 “Composition as Explanation,” 128 and biology, 12, 22–4, 27–32, and continuous present, 128, 139, 38–40, 50–2, 55, 74, 76–7, 153, 169n. 11, 171n. 25 79, 95–6, 98, 100, 102–5, and doubled authorship, 150 125, 138, 143–4, 148, and gendered morality, 133–4 159n. 1, 162n. 5, 164n. 17 Ida, a novel, 129, 133 binaries in, 42, 47, 75, 89, 135–6, and lesbian eroticism, 128–9, 155n. 6, 169n. 8 140–53 as bisexual, 12, 45, 59, 51, 69, The Letters of Gertrude Stein and 75, 83, 96, 100, 159n. 10, Thornton Wilder, 133 160n. 18, 160n. 21, 162n. 4, Lifting Belly, 10, 14, 24, 25, 128, 166n. 3, 166n. 5 134–147, 151–3, 170n. 19 as cultural construct, 9, 10, 12, Making of Americans: the 18, 20, 22, 34, 38, 49, 50–3, Hersland Family, 128, 133, 57, 74, 80, 82–8, 95–6, 100, 171n. 26 137, 142, 148, 155n. 2, as medical student, 127–9, 168n. 1, 162n. 2, 162n. 6, 167n. 9 168n. 2, 168n. 3 see heterosexuality; homosexuality “Melanctha,” 128, 133, 148, Showalter, Elaine, 17, 56 169–70n. 16 Silverstein, Louis H., 97, 167n. 8 and parody, 133–4, 147, 170n. 17 Skinner, B. F., 127 “Patriarchal Poetry,” 128, Smith, Patricia Juliana, 78 169n. 13 Smith, Sidonie, 49, 63, 156n. 12, and production of audience, 165n. 23 148–152 Smyth, Ethel, 15, 17, 79 Q.E.D., 128 Somerville, Siobhan B., 104 “A Sonatina Followed by Sommer, Doris, 158n. 33 Another,” 169n. 13 Souhami, Diana, 61, 128 and sub-conscious, 127 Spahr, Juliana, 21, 130 and textualized psychology, 133–4, Sprengnether, Madelon, 160n. 11, 137–40, 143–4, 146–7, 160n. 16, 161n. 25 151–3, 169–70n. 16, 170n. 21 Sproles, Karyn Z., 75 and unconscious, 129, 131–3, Stanley, Liz, 11, 21, 149, 150, 140, 146, 151–3 162n. 6 Wars I Have Seen, 128, 168n. 1 Stanton, Domna, 4, 156n. 12, Stephenson, William, 10, 85 157n. 19 Stimpson, Catharine R., 128, 129, Starobinski, Jean, 155n. 4, 130, 143, 149, 157n. 29, 157n. 28 158n. 30, 169n. 4, 169n. 11, Steedman, Carolyn, 37 170n. 24 202 Index

Strachey, James, 47, 79 and desire, 33, 46 subjectivity, see lesbian “I” and dreams, 32–3 and autobiographical “I,” 4, 6, and lesbian, 42, 46, 113, 151–2 58, see Oedipal complex and memory, 36, 39, 41, 80, 90, (formation of the “I”) 152 as female, 35, 49, 83, 86, 143, Freud’s theory of, 18, 36, 38, 42, 162n. 2, 162n. 6, 163n. 8, 48, 90, 96, 129 163n. 9 in individuality and group identity van den Berg, Sara, 159n. 9 formation, 4, 8–9, 12, 17–18, Vicinus, Martha, 69 20–1, 26, 29, 32–3, 35, 99–100, 113–66, 118, 120–2, Wachman, Gay, 155n. 5 124–5, 138, 144, 150, Wagner-Martin, Linda, 57 157n. 22, 160n. 23 Wallace, Jo-Ann, 159n. 3 Sulloway, Frank J., 48–9 Watson, Julia, 70, 156n. 12 Swan, Davina, 85 Weeks, Jeffrey, 56–7 Swanson, Diana, 77 The Well of Loneliness, 14, 22, 144, 158n. 30, 161n. 2, 169n. 15 textuality, 132–3, 165 Wilde, Oscar, 17 and body, 156n. 9 Wilder, Thornton, 133 as generic, 21, 38, 124, 146, 153, Wiley, Christopher, 87 162n. 7 Wilson, Deborah, 77 and sexuality, 6, 9, 21, 77–8, 128, Wineapple, Brenda, 128, 132 147, 148–50, 170n. 21 Wittig, Monique, 136, 158n. 34 Thiher, Allen, 49 Woolf, Leonard, 22, 78, 79 third sex, 29, 31 Woolf, Virginia Thompson, Virgil, 138 and alternative theory of memory, Toklas, Alice B., 128, 129, 143, 144, 74, 80, 188–93 149, 150 Between the Acts, 156n. 14 Todd, Jane Marie, 52–3 and censorship, 15–17, 76 Tomiche, Anne, 138 and Challenge, 74–7 Trask, Michael, 8 and civilization, 3, 83 Trautmann, Joanne, 157n. 24, The Diaries of Virginia Woolf, 79 162n. 3 and framing as technique, 90 Trefusis, Violet Keppel, 56, 58–62, as ironist, 82–8, 90 64–71 The Letters of Virginia Woolf, 79 Turner, Kay, 128, 141, 143, and narcissism, 79 169n. 14 Orlando: A Biography, 10, 14–17, 23–4, 73–7, 88–9, 93, Ulysses, 14 116, 157n. 23, 162n. 2, unconscious, 2, 18- 20, 25, 32, 162n. 3, 162n. 6 38–40, 81, 90, 104, 109, 115, and patriarchy, 1–3, 6–7, 15, 117, 131–3, 140, 146, 153, 24–5, 82–88, 93, 164n. 20, 163n. 9 165n. 25, 165n. 27 Index 203 and Professor von X, 2 164n. 19, 165n. 23, and reproduction, 84–5, 166n. 28 87–8, 89 and seduction, 73, 81–2 and rhetorical strategy, 77–8, as spectator, 83–8 80–2, 84, 89–90, 93 Three Guineas, 14, 83–5, A Room of One’s Own, 2, 14, 157n. 27, 164–5n. 20 16, 82, 88, 157n. 22, and the unconscious, 81, 90, 157n. 25, 157n. 26, 163n. 9 157n. 27 “A Sketch of the Past,” 14, 73, Young-Bruehl, Elisabeth, 160 74, 78–93, 163n. 9, Yukman, Lidia, 120, 166n. 3, 163n. 10, 163n. 11, 166n. 4, 166n. 5