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Towards a Critical Edition of the Short Fiction of Sarah Grand, Part 1

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Towards a Critical Edition of the Short Fiction of Sarah Grand, Part 1 TOWARDS A CRITICAL EDITION OF THE SHORT FICTION OF SARAH GRAND, PART 1. KATHRYN ANNE ATKINS A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy. Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol. August 2015 1 THESIS ABSTRACT The majority of Sarah Grand’s short stories have been out of print since their first publication in book form. As Grand is today considered to be a significant feminist writer of the 1890s and early 1900s, it therefore seems timely to make readily available a large body of her work which has previously proved difficult to access. The thesis is, therefore, submitted in two parts. Part 1 contains critical and contextual work on Grand and her stories, and Part 2 comprises a collected, annotated edition of the twenty-six stories published as Our Manifold Nature (1894), Emotional Moments (1908) and Variety (1922). In working towards presenting a critical edition of the short fiction of Sarah Grand, I have set out to show how reading these stories can contribute to an increased understanding of both the author, her most widely read novels, and her role in contributing to the debates about women and marriage in the 1890s and beyond. In Part 1, the Introduction sets out the aims of the thesis, the research undertaken, provides biographical information about Grand and her times, and offers an overview of the stories and their publication history. Chapter One demonstrates the significant shifts in critical evaluation of Grand’s writing from 1894 to the present day. It provides a comprehensive overview of this critical response and substantiates my claim that an investigation of her short fiction can make a significant contribution to Grand scholarship. Chapter Two examines Grand’s relationship with her readers through her use of narrative techniques, building a bond of trust which is both educative and entertaining. Chapter Three, in eight sections, provides a detailed thematic and textual analysis of all the stories, highlighting Grand’s interest in and involvement with the life of the single woman, contemporary society, gender, marriage, eugenics, adolescence, class, employment and war. The Appendix, in providing details of Grand’s publishing history with William Heinemann, throws light on the literary career of an important New Woman writer who was still producing work at the dawn of the Modernist age. 2 CONTENTS ACKNOWLEDGEMENTS 3 INTRODUCTION 4 i. Aim ii. The research project iii. The stories iv. Sarah Grand CHAPTER ONE: SARAH GRAND: THE CRITICAL RESPONSE 1894-2014 19 CHAPTER TWO: RELATIONSHIP WITH READERS 38 CHAPTER THREE: CRITICAL ANALYSIS OF GRAND’S SHORT STORIES i. Single Women: “An Emotional Moment,” “A New Sensation,” “She Was Silent,” “The Wrong Road” and “The Undefinable: A Fantasia” 55 ii. The Josepha Stories: “The Man in the Scented Coat,” “‘I Can’t Explain it,’” “Josepha Recounts a Remarkable Experience” and “One of the Olden Time” 73 iii. Eugenics or ‘heir of a used up race’: “Eugenia” and “Boomellen” 89 iv. Fictionalising the Adolescent: “The Yellow Leaf” and “The Turning of the Worm” 108 v. Marring a Marriage: “From Dusk til Daybreak,” “The Condemned Cell” and “When the Door Opened...?” 126 vi. Class and Work: “Kane, A Soldier Servant,” “Janey, A Humble Administrator,” “The Rector’s Bane,” “Ah Man” and “The Butcher’s Wife” 139 vii. Dangerous Society: “The Baby’s Tragedy,” “A Thorough Change” and “Vanity and Vexation” 156 viii. Gender and War: “The Saving Grace” and “The Commandant” 170 CONCLUSION 183 APPENDIX I: PUBLISHING HISTORY WITH HEINEMANN 185 APPENDIX II: PHOTOGRAPHS OF SARAH GRAND 193 BIBLIOGRAPHY 196 Please note: All page numbers for quotations from Sarah Grand’s short stories correspond to Part 2 of the thesis 3 ACKNOWLEDGEMENTS My first thanks must go to Professor William Greenslade, my Director of Studies. His wisdom, patience, erudition and friendship, coupled with his unswerving belief in the project, have been a constant source of inspiration and encouragement. Thanks too to my second supervisor, Dr Zoe Brennan. Her enthusiasm coupled with her careful scrutiny of drafts, advice and suggestions for further reading have also been invaluable. In spite of their own heavy workloads, Professor Gareth Williams and Christopher Francis have always been available to read, comment, encourage, lend books from their extensive personal libraries and occasionally administer a well-placed kick. Thank you both. Gareth, I am grateful, too, for all the times you have told me to “Get on with it!” No thesis can be written in isolation. I owe a huge debt of gratitude to the library staff at the University of the West of England; to Anne Buchanan at Bath Central Library who made the entire Bath Sarah Grand archive available to me on numerous occasions; to the staff at New York Public Library where I was able to see some of Grand’s correspondence as well as Mark Twain’s own, annotated copy of The Heavenly Twins; to Karen Kukil at the Neilson Library, Smith College, Massachusetts who gave me access to the large and important body of correspondence between Sarah Grand and William Heinemann as well as sight of some American first editions of Grand’s novels; to Sally Ann Russell at the British Library and to the staff at the National Library of Scotland. Jean Rose at the Heinemann Archive in Northamptonshire made it possible for me to gain a real insight into the publishing history of Grand’s work, while Hannah Rainey at the Harry Ransom Center, University of Texas has been tireless in her pursuit of previously unexplored archival material. I have long admired the work of Dr Marie Mulvey-Roberts and Dr Emma Liggins. It has been a privilege to have them as my examiners and I would like to thank them, and also Professor Shea Palmer, for making the final hurdle such a positive and enjoyable process. Finally, my thanks must go to my family and friends for managing to be so long- suffering, helpful and encouraging too, particularly Freyja (and her magical computer skills), Sam and Joe Atkins; Lorna and Mike Smith; Stella Berkeley; Liz Wilkins; Jo Elsworth and Professor Timothy Mowl. 4 INTRODUCTION Aim The aim of this thesis is twofold: to produce the necessary work towards presenting a critical edition of the short fiction of Sarah Grand (1854-1943) and to show how reading these stories in both their final published book form and in their original periodical publication form can contribute to an appreciation of a pioneering author and the innovatory qualities of her writing, as well as her place in the cultural and social debate about the position and role of women in the 1890s and beyond. The research project Sarah Grand’s trilogy of feminist novels, Ideala (1888), The Heavenly Twins (1893) and The Beth Book (1897) has received considerable critical attention, with some attention also being given to her six other novels, Two Dear Little Feet (1880), A Domestic Experiment (1891), Singularly Deluded (1893), Babs the Impossible (1901), Adnam’s Orchard (1912) and The Winged Victory (1916). However, comparatively little critical attention has been paid to the body of her short fiction (See Part 1 Chapter 1). It is clear, therefore, that there is considerable scope for further examination of the critical significance of her short stories, singly, in groups and in relation to her novels. Such an investigation will prove valuable in locating Grand within the literary, social and cultural context of the 1890s and the early 1900s and in furthering an understanding of her writing on important questions of the day, such as marriage, education, eugenics, class, empire and social reform. My starting point in considering a collected edition of Grand’s short fiction was Our Manifold Nature, her first volume of short stories, published in 1894, but readily available today as a print-on-demand volume. It was clear that there were striking similarities in subject matter between these stories and her novels. In tackling subjects such as venereal disease and the necessity for sexual purity, the town and country divide, paid employment for women, heredity and the fear of degeneracy, Grand demonstrates that she is a writer sensitively attuned to the intellectual and practical concerns aired so widely in contemporary fiction, in the pages of the burgeoning periodical market and on public platforms. 5 In addition, Grand wrote two further volumes of short stories, Emotional Moments published in 1908 and Variety, published in 1922. Although a print-on-demand version of Emotional Moments is available, Variety has not been reprinted since the 1922 edition. That the work of a New Woman writer was still being published in the 1920s is itself a significant feature of Grand’s literary output. In the light of this I have attempted to evaluate the extent to which her writing reflected the development of the women’s short story as a genre during a crucial period in literary history, from the fin de siѐcle to the emergence of feminist modernism. Other Grand short stories survive, namely “Mamma’s Music Lessons” (1878), “School Revisited” (1880) and “The Great Typhoon” (1881), all published in magazines. As these were never republished in book form, I have made the assumption that Grand considered them to be juvenilia which did not have a place alongside her writing of the 1890s and 1900s. I have, therefore, not included them in this study or in Part 2, my collected, annotated volume of short stories. The publication history of Grand’s stories has not so far been properly investigated. In her authorial Preface to Our Manifold Nature, she reveals that all the stories in the book had been previously published in magazines and that she revised many of them before their subsequent appearance in book form.
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