Introduction: Trauma, Psychoanalysis, Literary Form

Notes

1. For a historical genealogy of trauma, see Leys, 2000; Luckhurst, 2008: Part I. 2. Psychoanalysis has deeply informed our understanding of trauma, particularly in the Humanities (see, for instance, Felman and Laub, 1992; Caruth, 1995c; 1996; Leys, 2000; Garland, 2002d; Ball, 2007b), and several critics (including Stonebridge, 1998; Jacobus, 1999; Schwab, 2001; Jacobus, 2005; Moran, 2007; Radstone, 2007a; b) have turned specifically to British object relations theory when writing about the relationship between trauma or violence and literature. Nevertheless, important aspects of this strand of psychoanalysis have not yet been comprehensively explored regarding their usefulness for a literary aesthetics of trauma. 3. While PTSD is central to contemporary understandings of trauma (including mine), especially in the Humanities, Ruth Leys points to The Harmony of Illusions: Inventing Post-Traumatic Stress Disorder (1995) by anthropologist Allan Young, which postulates that, in Leys’s words, ‘far from being a timeless entity […] PTSD is a historical construct that has been “glued together by the practices, technologies, and narratives with which it is diagnosed, studied, treated, and represented and by the various interests, institutions, and moral arguments that mobilized these efforts and resources”’ (2000: 6). For her part, Leys identifies ‘the problem of imitation, defined as a problem of hypnotic imitation’ (2000: 8) as central to the history of trauma (see also Radstone, 2007b: 14–16). 4. Relating to transnational adoption, Drucilla Cornell adopts Gayatri Spivak’s phrase ‘enabling violation’ to indicate ‘what can be enabling for certain children – parents who adopt them and, in many cases, enable them to stay alive – is inseparable from the violation perpetuated through systematic inequalities’ (2007: 234). 5. James Berger (1999) employs the term ‘post-apocalyptic’ to indicate a similar classification. 6. Page numbers cited in the text are from the latest edition of a work listed in the Bibliography. 7. This feeling of overwhelment not only concerns the neurological and psychological functions, but also instigates a profound existential doubt. Trauma crushes an individual’s fundamental belief in the safety of the world (Farrell, 1998: x), the positive value of the self, and the bond between individual and community (Herman, 2001: 51). Dori Laub furthermore high- lights the ability of a traumatic event such as the Holocaust to demolish not only personal beliefs but also ‘cultural values, political conventions, social mores, national identities, investments, families and institutions’ (Felman and Laub, 1992: 74). 8. For a similar defence of a democratic, emancipatory category of the aesthetic in terms of symbol-making, play and a cognitive theory of affect, see Armstrong, 2000.

218 Notes to Chapter 1 219

9. Luckhurst points to ‘the length and cost of psychodynamic therapies’ as contributing to this ‘revolution in diagnostics in the 1970s’ (2008: 211).

1 Writing the Body: Trauma, Woolf, Winterson

1. When reprinting Deutsch’s article (originally published in Psychoanalytic Quarterly, 26 (1957): 159–67) the editors changed his original references to refer to The Standard Edition instead. In this particular case, however, it appears that the text that Deutsch had originally cited (The Defense Neuropsychoses, in Collected Papers, I: 63) had a different translation than the later Standard Edition, for the latter reads ‘into something somatic’ rather than Deutsch’s ‘into some bodily form of expression’: ‘In hysteria, the incompatible idea is rendered innocuous by its sum of excitation being transformed into something somatic. For this I should like to propose the name of conversion’ (Freud, 1894: 49). I am thankful that the editors did not spot the variation, as the older translation seems more expressive than the cur- rent one. 2. Narrativization is also a topic of considerable concern in historiography (especially White, 1980). 3. For a more nuanced explanation of EMDR, which has an eight-phase approach, see Shapiro, 2007. 4. For a critique of van der Kolk’s neurobiological account of trauma, see Leys, 2000: Chapter VII. 5. Reading Woolf’s ‘generational conflict with the Edwardians’ more person- ally, Mark Gaipa postulates that the Bennett essays are actually a precursor to To the Lighthouse: ‘her earlier effort to work through the family triangle that she will return to in “Time Passes”’ (2003: 14, 15). It is through the empty house in ‘Time Passes’ and its separation of ‘body from spirit’, Gaipa suggests, that Woolf realizes that while ‘Bennett’s materialism may block Woolf’s access to Mrs. Brown, […] Woolf paradoxically needs this obstacle to help produce her vision’ (2003: 7, 16). 6. Including George Bernard Shaw and Beatrice Webb under the rubric of ‘Edwardian’, Ruth Livesey convincingly argues that ‘Woolf’s exorcism of Edwardian politics and literature [on the basis of their emphasis on ‘material externalities alone’] elides the continuing influence of writers and activists [such as William Morris, Edward Carpenter and Walter Crane] who had embraced socialism during the 1880s and for whom poetics, ethics, and politics were intimately related’ (2007: 129). The vestiges of this ‘forgotten’ generation of 1880s Bloomsbury socialists were problematic for Woolf, Livesey suggests, because they represented ‘a radical sympathy that sought to elide the individual in the name of solidarity’ which worked against Woolf’s own ‘tentative steps towards forming an individualist and autono- mous radical aesthetic’ (2007: 135). 7. Craig A. Gordon, for one, suggests that it is not a turn at all: ‘Far from a revisionist insight at which Woolf arrives in the last decade of her life, I would suggest that her exploration of the inseparability of body and mind is legible in her text from at least 1919 on’ (2007: 140). Gordon (2007: 135–41) performs a comparative reading of ‘Modern Fiction’ and ‘On Being Ill’ 220 Notes to Chapter 2

similar to mine, yet his particular focus is on Woolf’s preoccupation with psychology and the ‘nervous discourse’ of the period. 8. For a discussion of Jacob’s room as ‘empty coffin’, see Booth, 1996: 44–9. 9. On the ‘fabulous bodies’ of Villanelle and Sexing the Cherry’s Dog Woman, see Haslett, 2007. 10. Evelyne Ender links Written on the Body to a specific phrase from ‘On Being Ill’: ‘Left to ourselves we speculate thus carnally’ (Woolf, 1926b: 323). ‘In Winterson, just as in Woolf,’ she writes, ‘illness creates an intensification of bodily experience’ (Ender, 1999: 116). 11. This ‘genderless’ narrator forces readers to confront their own assumptions about gender, sexuality and narration. The incessant speculations on the ‘actual’ gender of the narrator (generally considered to be female) demon- strate the unwillingness of several readers and literary critics to accept such breach of literary convention. See Kauer, 1998; Stowers, 1998; Hobbs, 2004: Chapter 1; Antosa, 2008: Chapter 3. Reading gender identity as performa- tive, Antje Lindenmeyer more helpfully refers to the narrator as ‘butch’ (1999: 52). To preserve Winterson’s deliberate ambiguity, when talking about the narrator I use the pronouns s/he and him/her. 12. This is an undeniable evocation of The Lesbian Body, which contains about a dozen capitalized, unpunctuated passages listing the body’s (micro) anatomy. See Wittig, 1975b: 28, 40, 53, 62, 76, 88, 101, 115, 128, 141, 153. Their function, Wittig asserts in the ‘Author’s Note’, is to affirm the reality of the female body (1975a: 10). 13. On the (mis)use of illness, particularly cancer and AIDS, as a figure or metaphor, see Sontag, 1978; 1989. 14. See also Maagaard, who similarly concludes regarding Art & Lies: ‘What emerges is an ethics of the Word that is closely tied to the erotics of the body’ (1999: 56). ‘Language becomes a means to know the lover physically, and bodily sensations become a way to know language anew’ (Maagaard, 1999: 63). 15. Leigh Gilmore (2001: 134) addresses the turn towards trauma within the novel, but her focus is on questions about autobiography and self-representation or, more specifically, not-naming. 16. Alongside Winterson’s reverence for love, there is an earlier passage in the novel validating such a reading of the capital L. When sitting in the library, writing to Louise, the narrator looks at a facsimile of an illuminated manuscript, ‘the first letter a huge L’. The letter is a labyrinth with a pilgrim outside and the Lamb of God inside. Tellingly, the first word of the book is ‘Love’ (Winterson, 1992b: 88).

2 Symbolization, Thinking and Working-Through: British Object Relations Theory

1. For an excellent commentary of Jones’s paper, see Milner, 1955: 13–15. 2. On the debates between the Kleinians and the Independents concerning regression in patients, see Quinodoz, 2008: 15. 3. I have omitted the two intermediate stages of ‘incipient symbolization’ and ‘discursive symbolization’ in Freedman’s model as they are too particular Notes to Chapter 3 221

to be constructive here. Likewise, I disregard Susan K. Deri’s definition of a symptom as ‘the product of missymbolization’ (1984: 155), not because this is not a valid assertion, but because taking it up would lead to an even greater overload of too similar terminology. Finally, Anna Aragno (1997: 257–328) identifies as many as six stages of symbolization within a psychoanalytic developmental model of the mind. 4. Teresa Brennan clearly explains the distinction between projection and projective identification: ‘A projection is what I disown in myself and see in you; a projective identification is what I succeed in having you experience in yourself, although it comes from me in the first place’ (2004: 29). 5. Cathy Caruth’s work similarly emphasizes the role of survival within trauma: ‘What is enigmatically suggested […] is that the trauma consists not only in having confronted death but in having survived, precisely, without knowing it’ (1996: 64). 6. Equivalent to the relation between thought and absence is Hanna Segal’s proposal of the relation between symbolization and ‘the capacity to recognize and experience absence’ (1991: 57). 7. DeMeester employs it, for instance, to argue that whereas the communal trauma of war requires a collective response, modernist form displays trauma on a personal level, where ‘meaning lies in the internal and private, the subjective, and the consciousness of the individual’ (2007: 91). Perceiving Mrs Dalloway’s Septimus Smith as personification of modernist literature, she posits that ‘[t]he fragmentation and incongruity of Septimus’s message, while artistically stunning, would prevent successful communalization outside the fictional world of Woolf’s text’ (ibid.).

3 ‘The Most Difficult Abstract Piece of Writing’: ‘Time Passes’ as Container

1. For a similar view on the intellectual crisis after the First World War, see Valéry, 1919. 2. For a similar critique of Frank’s ahistoricism concerning Woolf, see LaCapra, 1987: Chapter 6. 3. On impersonality, modernist aesthetics and women writers, see Waugh, 1989: 16–21. 4. It has to be noted that Abel reads ‘Time Passes’ differently when considered through Lily Briscoe. 5. In the much later ‘De Quincey’s Autobiography’ Woolf decides upon two separate levels of being: ‘To tell the whole story of a life the autobiogra- pher must devise some means by which the two levels of existence can be recorded – the rapid passage of events and actions; the slow opening up of single and solemn moments of concentrated emotion’ (1932: 139). 6. For a wonderful reading of ‘Time Passes’ through the lens of ‘the temporal relations of Cambridge time philosophy’, see Banfield, 2003. 7. Much has been written about Woolf’s fractious relationship to psychoanalysis (which she came into contact with primarily through her brother and sister-in-law, Adrian and Karen Stephen, and the Hogarth Press publications of Freud in English translation). Although she is often quoted as dismissing 222 Notes to Chapter 3

Freudian psychoanalysis prior to 1939, Elizabeth Abel convincingly argues that ‘Woolf’s relationship to psychoanalysis was not monolithic: many of her objections to Freudian theory do not apply to the discourse launched by Klein, which de-emphasizes sexuality, values the aesthetic, and, perhaps most importantly, calls into question the prevailing hierarchy of gender’ (1989: 19). Psychoanalysis – and particularly the mother-centred Kleinian approach – has thus proved both a theoretically fruitful and historically relevant lens through which to read Woolf’s work, particularly To the Lighthouse. Alongside Abel’s seminal book see, especially, Panken, 1987; Jacobus, 1988: 102–20; Stonebridge, 1998: Chapters 2 and 3; Ward Jouve, 2000: 245–72; and Sánchez-Pardo, 2003: Chapter 9. 8. Thomas C. Caramagno (1992: 96) interprets Woolf’s ‘coy question’ as an evasive technique to avoid analysis, despite her earlier comment about the therapeutic effect of writing To the Lighthouse. 9. Alongside Lilienfeld’s (1977) influential essay, I would particularly recom- mend Rich, 1976: 227–8; Ruddick, 1977; J. Marcus, 1981; Moore, 1981; Lidoff, 1986; Rosenman, 1986; M. Hirsch, 1989: 108–18; Daugherty, 1991; and Hill, 1999: Chapter 6. For a tracing of shifting critical responses to Mrs Ramsay in light of changing mother–daughter relationships since the 1970s, see Silver, 2009. 10. Thomas G. Matro argues that the central concerns of the book are not ‘some transcendent aesthetic wholeness or the redeeming power of art’ but ‘the heart-breakingly simple human needs of sympathy, intimacy, stability, and communion’ (1984: 223). While Chapter 5 will explore Woolf’s relation to formalist aesthetics further, here it suffices to note the importance of indifference, silence and solitude (as opposed to sympathy, intimacy and communion) within Woolf’s cognitive aesthetics, which is in stark contrast to the prevalent idea that trauma requires an empathic listener. 11. Mary Jacobus warns against ‘the mother-centred feminist narrative [that] developed as an alternative to the oedipal narrative of psychoanalysis’ which, she argues, ‘risks reinscribing a fiction which defends against castra- tion anxiety at the price of denying sexual difference’ (1988: 113). Instead, she (re)turns to Freud and his theory of screen memories to establish ‘a reading that emphasizes the role of the pre-Oedipal in order to offer an account of the relations between sexual difference, subjectivity, and writing’ ( Jacobus, 1988: 118). 12. No dates are given, but references to the war are made throughout the second and third part of the novel, most notably in the parenthetical reference to Andrew’s death in France. Thoby died in November 1906, which would bring Woolf’s unhappy period to nine or, when counting the aftermath, ten years. 13. For a discussion of ‘nothing’ as part of Woolf’s distinct and recurrent negative vocabulary in To the Lighthouse, see Rubenstein, 2008. 14. Sheehan discerns ‘numerous striking parallels and coincidences with Bergsonian thinking’ in Woolf’s writing, although he acknowledges that ‘[h]er writing articulates not one but two interpretations of experience, as both flux and fragmentation’ (2002: 124, 128). Ann Banfield argues, by contrast, that ‘Woolf adopted not Henri Bergson’s philosophy but G. E. Moore and Bertrand Russell’s realism. Time passes not as duree but as a series of still moments’ (2003: 472). Notes to Chapter 3 223

15. Mark Gaipa interestingly points to the fact that ‘the very things that seem to frustrate vision – materialism, darkness, blockage, non-being, pain – are actually essential to producing the revelation Woolf now associates with the sense of the whole’ (2003: 28). 16. Alex Zwerdling (1986: 194) notes that chronology would require that ‘The Window’ takes place in the Edwardian era, but the depiction offered is rather that of Victorian family life. 17. Although it is a spatial rather than temporal metaphor, ‘corridor’ evokes length (ten years), narrowness of focus (the Ramsay summer house) and transition (from the Victorian to the modern age, from pre- to post-war Britain). In ‘Sketch of the Past’ Woolf uses the same word (with similar con- notations of loss, transition and mourning) to describe the time her mother, Julia Stephen, spent as a widow in between her two marriages: ‘she spanned the two marriages with the two different men; and emerged from that corridor of the eight silent years to live fifteen years more’ (1985: 102). 18. What Poole does not explicitly draw attention to is what Fussell calls ‘the style of British Phlegm’ originating in the officers’ letters home, ‘the antithetical style of utter sang-froid’: ‘The trick here is to affect to be entirely unflappable; one speaks as if the war were entirely normal and matter-of- fact’ (1975: 181). It is not difficult to link this with the narrator’s inexpressive tone too. 19. On the genesis of Jones’s poem, see Fussell, 1975: 144–54. 20. Ann Banfield reads ‘The Window’ and ‘The Lighthouse’ as short stories reminiscent of Katherine Mansfield’s impressionist stories ‘Prelude’ (1918) and ‘At the Bay’ (1922). In this reading, the final version of ‘Time Passes’ becomes the interlude that ‘transforms story into novel by relating past to future in a time-series, creating a post-impressionist “modern fiction”’ (Banfield, 2003: 472). 21. For her many admiring comments on Proust, see Woolf, 1976: 525, 565–6; 1977b: 39, 166; 1978: 234, 267–8, 322; 1979: 304; 1980: 7; 1982a: 126. 22. For a detailed account of the shifting opinion of England on French culture at the turn of the twentieth century, see Hynes, 1968: 307–13. 23. Woolf’s use of the word ‘symptoms’ is noteworthy. It reinforces my conten- tion that this is a novel knowingly originating from trauma, and suggests that a reading of the text as symptom was also not far from Woolf’s mind. In light of my re-reading of the novel as instance of successful symbolization rather than re-enacting trauma, however, ‘symptom’ would be an inaccurate term to use. 24. For a celebratory reading of Mrs McNab’s social status, see Tratner, 1995: 50–2. Alison Light (2007), conversely, scrutinizes Woolf’s fraught relations with domestic servants. 25. From this point onward, my focus will be on the English transcript. 26. My gratitude to the anonymous reader for pointing this out to me. 27. On Woolf as a political writer, see Carroll, 1978. 28. Martin Gliserman reads ‘Time Passes’ as founded on precisely such a split, not only between male violence and female reparation, but also between body and mind. As mentioned above, rather than focusing on the war, he perceives the section as ‘symbolically representing Woolf’s bodily center – the genital and existential core which the darkness of male sexuality has 224 Notes to Chapter 5

invaded’ (Gliserman, 1996: 136). While ‘the formal pattern’ of ‘Time Passes’ indeed ‘transforms personal experience […] and serves to articulate thought not necessarily to resolve conflict’, Gliserman argues that it syntactically encodes that ‘the male intrudes and destroys, and the female intervenes and harmonizes’ (1996: 113).

4 ‘Ideas of Feeling’: Symbolic Transformation in Modernist Formalist Aesthetics

1. On Woolf’s ambivalent relation to formalism, especially vis-à-vis her feminism, see Reed, 1992. 2. For a defence of Richardson against Woolf’s claim, see Radford, 2005. 3. For a psychoanalytic discussion of Bell’s concept of significant form, see H. Segal, 1952: 199; and H. Segal, 1991: 78–82. 4. For an overview and discussion of the nine main ways in which Langer employs the term ‘symbol’ throughout her oeuvre, see Chaplin-Dengerink, 1999: Chapter 5. Although often superficially contradicting each other, Chaplin-Dengerink identifies ‘an underlying diachronic consistency […] rooted in a shift away from symbol as an entity to a position in which sym- bolisation is considered as both a process and a fundamental human capacity’ (1999: 183).

5 Woolf’s Embodied Cognitive Aesthetics: The Waves

1. See, for instance, Woolf’s diary entries of 11 October and 26 December 1929: ‘I’m not writing with gusto or pleasure: because of the concentration’ and ‘But I wish I enjoyed it more. I dont [sic] have it in my head all day like The Lighthouse & Orlando’ (1980: 259, 275). 2. Makiko Minow-Pinkney contends instead that ‘The Waves enacts a denigration of “general sequence” both formally and thematically’ (1987: 162). ‘Even when Bernard welcomes it,’ she writes, ‘he does so with an undertone of scorn or condescension’ (1987: 163). My reading differs from Minow-Pinkney’s in that I perceive Bernard’s attitude as more conflicted and nuanced. 3. Drawing alternately on work by Julia Kristeva, Jacques Lacan and Jacques Derrida, Stewart offers an extensive, detailed and fascinating reading of The Waves’ prose as ‘an instance of a more generalized poetic function […]: a pulsional break with normal discourse, the breakthrough of phonic play into the chain of symbolic or discursive continuity’ (1987: 421). He calls particular attention to a verbal phenomenon which he calls ‘a trans-segmental (or, more illustratively, a transegmental ) adhesion between units of discourse’ (1987: 423), as in ‘with thickness’ (cited in Stewart, 1987: 427). 4. The limited scope of this chapter prevents me from performing a gendered reading of this citation through Woolf’s notion of a women’s writing tradition as set out in A Room of One’s Own. On this topic, see DuPlessis, 1985: Chapter 3; Friedman and Fuchs, 1989; Showalter, 1999, especially Chapter 10. 5. Beer (1992: xxviii) remarks that in earlier versions Percival’s horse trips over a molehill, which makes his death even more inane. Notes to Chapter 6 225

6. In his review of The Waves in The New Statesman and Nation, Gerard Bullet wrote instead that ‘Mrs Woolf is a metaphysical poet who has chosen prose- fiction for her medium’ (1931: 9). 7. Eric Warner instead understands the novel as ‘an effort to hold off the reali- zation of a form which Woolf wanted to go beyond, but which her imagination could not abandon’ (1987: 100–1). ‘[T]he presence of the novel haunts The Waves,’ he writes. ‘The interplay between process and form, narrative and plot, is relevant here, for the novel of course stands at the centre of such a split’ (Warner, 1987: 101). Warner accurately pinpoints the difficulty, mentioned above, that Woolf felt was weighing down contemporary fiction. But it was not poetry she wanted to write, it was a new form of prose, albeit radically experimental. Rather than perceiving The Waves as a compromise, therefore, this chapter considers it to have exactly the form Woolf intended for the future novel. 8. Émile Benveniste (1951) points out that the term ‘rhythm’ is not semantically connected to the regular movements of the waves as is generally presumed. In Greek, ‘rhythm’ literally means ‘the particular manner of flowing’ but it developed into ‘form’, clarified by Benveniste as ‘the characteristic arrangement of the parts in a whole’ (1951: 283). This arrangement is always subject to change: ‘it is a representation of the universe in which the particular configurations of moving are defined as “fluctuations”’ (1951: 286). 9. Suzette Henke furthermore perceives Percival’s death as ‘a pre-text or cover story for Woolf’s more expansive, thanatopic meditation on ontological trauma’ (2007: 124). 10. Different things occur on a thematic and a structural level. Although Percival’s traumatic death renders Bernard’s habitual words, phrases and stories useless, his retrospective soliloquy constitutes an exceptionally dense, metaphorical prose. Likewise, it is a powerful description of how it feels to have the ground open up under one’s feet: the intensity of its disruption and violence. 11. Woolf claimed not to have started reading Freud until 1939, and Klein only began developing her theory of the depressive and paranoid-schizoid positions in 1934.

6 From Form to Feeling: Trauma and Affective Excess in Art & Lies

1. It is noteworthy that while Winterson seeks to revive an experimental writing style that has often been deemed elitist, her aim is to reach a mass audience. 2. Christy L. Burns, conversely, observes an irony in Winterson’s choice of epigraph as her metafictional practice ‘persistently disrupts her story’s auton- omy […] that break the reader out of the story’s spell’ (1996: 301). 3. Patricia Duncker refers to the ‘queer’ nature of the text in terms of its characters, subject matter and the musical score of The Trio from Der Rosenkavalier by Richard Strauss with which the novel closes, opera being ‘queer to the core’ (1998: 85). Art & Lies is indeed inhabited by queer characters, including a castrato (Handel), a female painter named after Pablo Picasso, the lesbian poet Sappho, and finally Doll Sneerpiece, an eighteenth-century prostitute who 226 Notes to Chapter 7

happily cross-dresses as a man to seduce the male object of her desire who, in turn, likes to cross-dress as a woman. 4. The conspicuous parallel with Woolf’s experience of being sexually abused as a child and young woman by her half-brothers Gerald and George Duckworth is unlikely to be coincidental. 5. Other characteristics they mention are ‘heavy resort to intertextuality; emphasis on repetition […]; fragmentation […]; or also the representation of psychological de-doubling’ (Ganteau and Onega, 2011: 17). 6. As discussed in Chapter 1, Christine Reynier similarly reads Winterson’s depiction of love (and art as love) as ‘an ethical impulse’: ‘a movement […], in Levinas’ terms, to “excendence”; “desire to escape the limits of the self” (Gibson 37) and turn towards the other’ (2005: 308).

7 ‘The Story of My Life’: Winterson’s Adoption, Art and Autobiography

1. The announcement for ‘Jeanette Winterson: My Monster and Me’ reads: ‘Following her recent memoir Why Be Happy When You Could Be Normal, Jeanette Winterson tells the story of her recent breakdown and suicide attempt, her quest to find her birth mother and how the power of books helped her to survive’ (Anon., 2012). 2. I am grateful to the anonymous reader for pointing to other possible reasons for Winterson’s early life to have come back to haunt her, such as the recent wave of literary and critical work on orphans and adoption, Winterson’s relationship with her godchildren as well as with Susie Orbach, and the latter’s psychoanalytic work. 3. The coined term ‘auto/biography’ originates from critics such as Liz Stanley (1992) and Laura Marcus (1994). Stanley describes it as ‘encompass[ing] all these ways of writing a life and also the ontological and epistemological links between them’ (1992: 3). 4. This comment was made during his only ever discussion of Cubism, with American critic Marius de Zayas in 1923, which was published in translation as ‘Picasso Speaks’ (Picasso, 1923). 5. The fact that she changed the name of the main character from Jeanette to Jess in the 1990 BBC TV adaptation of the novel – for which she wrote the screenplay – implies that she may have regretted this decision. But her belated attempt to escape from the ‘true’ story label was unsuccessful. 6. On intertextuality more generally in the novel, see Cosslett, 1998. 7. To rectify this situation, Novy edited Imagining Adoption: Essays on Literature and Culture in 2001, which was followed in 2005 by her monograph, Reading Adoption: Family and Difference in Fiction and Drama. 8. While legislation was reformed in Britain in 1975, sealed adoption records (whereby adult adoptees are denied access to their original birth certificates to protect primarily the birth mother’s privacy) continue to be common practice in the United States. 9. With thanks to Elizabeth Hughes for drawing my attention to this website. 10. Lighthousekeeping is the exception. Its protagonist Silver does get informally adopted by Pew, but she is an orphan after the death of her mother rather than being relinquished at birth. Notes to Coda 227

11. In his chapter on the ‘memoir boom’ in the 1990s, Roger Luckhurst discusses Philip Roth’s ‘striking turn’ to ‘publish[ing] a sequence of four books that toyed with the confessional mode’ (2008: 137). Whereas ‘[a]t the time, Roth’s shuttling between fiction and fact was understood within the paradigm of Postmodernism’ (2008: 138), it not only gets him into trouble with his wife (the character Philip embarks on an extramarital affair), but retrospectively Luckhurst also identifies ‘these moments of textual uncertainty [as] generated by passages of trauma, which newly disturb the relationship between representation and the real and thus prompts these swerves in truth status’ (2008: 139). 12. Kacandes’s model of testimony is heavily indebted to contemporary trauma theory as discussed in the Introduction (for instance, Felman and Laub, 1992). For a critique of ‘the dominance of the Manichean testimony over the testimony of the [ethical] “gray zone”’ (103), see Radstone, 2007a. Radstone problematizes the prevalent radical dualism in testimony between innocent victimhood (and its concomitant risk of overidentification) and evil perpetration. 13. Bondi’s distinction is especially constructive in a framework of trauma, in the sense that it does not deny the validity of traumatic experience while neither elevating it to the status of sublimity. 14. For an exposition of this series as prime example of the role of ‘re-vision at the heart of economic culture and consumerism at the center of rewriting as a memory practice’ (402), see Plate, 2008. 15. This incident actually occurred in March 2007 when a woman found Winterson’s unpublished manuscript on a bench at Balham station, South London.

Coda

1. In his Introduction to the Cambridge University Press edition of Between the Acts (Hussey, 2011), from which his 2007 conference paper was extracted, the question – and its negative confirmation – is no longer put so starkly. Here, he simply writes: ‘Woolf herself would – contrary to Leonard’s note in the novel – have continued to make “large or material alterations” just as she always had done’ (2011: lx). And: ‘[F]or there is no work that Woolf saw into print as her “last novel”. Between the Acts remains in process, permanently deferred’ (2011: lxi). 2. This may partly have resulted from the fact that, after meeting him in January 1939, a few months later Woolf finally began to read Sigmund Freud (especially on war and civilization) and was deeply affected by his ideas on primeval aggression (Lee, 1996: 722–6). Bibliography

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Abel, Elizabeth, 80, 81–2, 98, 104, aesthetics 105, 221n4, 222n7 embodied cognitive, 19, 73, 113, absence 116–25, 134, 137, 144, 148, 168 v. loss, see LaCapra, Dominick new-baroque, 21, 164–9, 171–5 and thinking, link between, 63, affective excess, see excess, affective 114, 128, 221n6 aggression, 53–4, 80, 81, 153, 227n2; abstraction see also destructiveness; hate; v. empathy, 71–2, 90, 106, 135 sadism narrative, 10, 15, 17, 18, 20, 30, 67, Albright, Daniel, 34, 215 69, 74, 107, 123, 138 Alexander, Jeffrey, 5 see also symbolization alpha-function, 10, 57–61, 66, 108, abuse, 3, 4, 29, 36; see also sexual 123, 128, 132 abuse ambivalence, 14, 47, 54, 80, 82, 196, acting-out, 2, 3, 14, 175, 211, 58 224n1 in The.PowerBook, 186, 195, 198, American Psychiatric Association, 3 203, 211 Antakyalıog˘lu, Zekiye, 180–1 see also Freud, Sigmund; repetition Antosa, Silvia, 46, 160 compulsion anxiety adoption primary, 55, 61 as (founding) trauma, 4, 12, 185–6, unthinkable, 56–7, 61–2, 64, 73, 201, 206–11, 213 86, 203 generative narratives of, 211–13 see also nameless dread in Oranges Are Not the Only Fruit, Art & Lies: A Piece for Three Voices and 177, 183–7 a Bawd, 36, 45, 155–75 as primal wound, 4, 21, 178, 193, affective excess, 5, 21, 37, 45, 198–9, 206, 208–9, 211, 213 157–9, 166–7, 172–5 in The Stone Gods, 204–6 attempted filicide, 5, 20, 157, 161 in The.PowerBook, 194–9 incest/sexual abuse, 5, 36, 159–61, in Weight, 199–203 163, 169, 226n4 in Why Be Happy When You Could love, 158, 161–4, 170, 175, 220n16 Be Normal?, 176–8, 206–11 as modernist, 20, 21, 157–8 Winterson’s, 4, 44, 176–8, 206, 208 new-baroque aesthetics, 21, 164–75 adoptive mothers/parents, 161, 162, Picasso’s fall, 159; narrative reversal 186, 199, 205, 210, 211, 212 of, 20, 162–4 Mrs Winterson, 44, 176–7, 179, Picasso’s ‘self-portrait’, 20, 160–3, 183–4, 197, 203, 212 166 compare birth mother polemics, 5, 157–8, 168–71 Adorno, Theodor W., 155 queer nature, 165, 169, 225n3 aesthetic emotion, see Bell, Clive The Waves, compared with, 165, aesthetic experience, 19, 48, 112, 119, 167–8, 171 123, 125, 169 Art Objects: Essays on Ecstasy and aesthetic moment, see Bollas, Effrontery, 155–7, 164, 169, 170, Christopher 180, 192

245 246 Index autobiographical pact, 177, 181–2 Bloomsbury Group, 29 autobiography, 15, 21, 176–83, 188, body 193, 194, 199–200, 220n15 absence of in Woolf’s work, 15, authenticity instead of, 15, 21, 178, 30–1, 34–5 190–2, 194, 200–1, 207, 217 hatred of/dissociation from, 160, feminist, 21, 178, 180, 190, 191, 207 163 Woolf on, 95, 221n5 as-lived-depth, 32, 41, 46 see also memoir as part of subjective experience, 15, Autobiography of Alice B. Toklas, 34, 38, 41, 43 The, 179, 192 as-surface, 15, 38, 41–6 see also illness; ‘On Being Ill’ Backus, Margot Gayle, 184–5 body and mind, mutually constitutive Bazin, Nancy Topping, 102 relationship of, 15, 26–8, 42, 47, bearing witness, 20, 43, 144, 189–90, 52, 61, 73 192, 207; see also testimony in Woolf’s work, 32–4, 78, 148, Beer, Gillian, 127, 135, 140, 141, 219n7 224n5 body–mind dichotomy, 23–6, 27, belatedness, 5, 60, 174; see also 31, 32, 36, 37, 223n28; see also Nachträglichkeit Cartesian dualism Bell, Anne Olivier, 97 Bollas, Christopher, 48, 67, 143 Bell, Clive, 106, 113, 141, 147, 156 aesthetic experience as aesthetic emotion, 111–12, 115, 120 transformational, 19, 112–13 significant form, 19, 110–12, 116, aesthetic moment, 122–5, 139, 147, 117, 122, 147, 224n3 154, 168 simplification, 111, 136 Bondi, Liz, 191, 227n13 Bell, Vanessa, 96 Boon, Kevin Alexander, 133, 149, 151 Benjamin, Jessica, 14, 47 Booth, Allyson, 80, 86, 93, 222n8 Bennett, Arnold, 15, 30–1, 131, 133, Børch, Marianne, 40–1 215, 219n5; see also Edwardians Bowlby, Rachel, 83 bereavement, traumatic, 4, 131, 216 Bradbury, Malcolm, 17, 70, 72 Bernard’s, 20, 143, 152–3 Brearley, Michael, 23, 46–7 in Woolf’s work, 11–12, 19, 35, 55, Brison, Susan J., 13, 60 88, 107 Britton, Ronald, 58, 59, 61, 91 Berenson, Bernard, 124 Berger, James, 218n5 Cartesian dualism, 26, 32, 46, 52, Between the Acts, 34, 68, 214–16, 61, 118; see also body–mind 227n1 dichotomy Bion, W. R., 10, 57–66, 114, 128 Caruth, Cathy, 1–2, 7–8, 59–60, 193, and literature/writing, 78, 108, 132 209, 211, 221n5 birth mother, 176, 195–7, 226n8 Cassirer, Ernst, 113–15, 121 loss of, 178, 180, 204, 206, 208–10, catastrophe, 2, 33, 55, 58, 78 212 celebrity, 176, 208 narrative return, 22, 183, 186, Chaplin-Dengerink, Adrienne, 116, 204–6, 208 118–22, 126, 224n4 narrative suppression, 22, 184–6, ‘Character in Fiction’, 15, 31–2, 95, 197, 199, 211, 217 130, 133 search for, 205, 208, 212–13, Charcot, Jean-Martin, 24 216–17, 226n1 Charles, Marilyn, 107 compare adoptive mothers/parents Cixous, Hélène, 40 Index 247 cognition, embodied, 15, 19, 57, 73, desymbolization, 51–3, 57, 59, 64, 73, 113 161, 183; see also symbolization cognitive aesthetics, embodied, Diagnostic and Statistical Manual of see aesthetics Mental Disorders (DSM), 3, 8–9 Cognitive Behavioural Therapy (CBT), Dick, Susan, 93–4, 103 13 discursive v. non-discursive, see Collins, Robert G., 137 Langer, Susanne K.; symbolization Commerce, 18, 94, 102 dissociation, 5, 68, 107, 192 compulsion to repeat, see repetition from the body, 160, 163 compulsion Doan, Laura, 38 Connerton, Paul, 5 drive to repair, see reparation Conrad, Joseph, 106, 130 Duckworth, George, 28, 226n4 container, literary form as, 12, 48, Duckworth, Gerald, 28, 74, 226n4 66–9, 181 Duckworth, Stella, 29, 83, 85, 89, 109 in Jean Rhys’s work, 67–8 Duncker, Patricia, 169, 225n3 in modernism, 18, 19, 68–9, 158 in Woolf’s work, 109–10, 135, 154, Eakin, Paul John, 181 190; see also ‘Time Passes’ Eberly, David, 28 container, maternal, 10, 47, 60–2, écriture feminine, 101; see also 123, 210 feminine discourse Cook, Jennifer, 101 ecstasy corporeality, see body lyric cry of, 134, 157–8, 160 Cox, Katharine, 185, 188, 195, 197 in new-baroque aesthetics, 166 cure, 8, 24, 45, 47, 116, 129, 164 problematic relationship with absence of, 11, 13 trauma, 163, 172 as response to art, 111–12, 122–3, Davies, Margaret Llewelyn, 100 125 de Man, Paul, 2 Edwardians, Woolf’s critique of, 31–2, De Quincey, Thomas, 95, 138, 165 34, 75, 130–1, 219n5, 219n6 ‘De Quincey’s Autobiography’, 95, in The Waves, 137, 153; represented 221n5 by Bernard, 133–4, 142 death drive, 55, 79, 81, 82, 153 Eigen, Michael, 50, 58–9, 132 deaths, see under individuals Eliot, T. S., 18, 71 deconstruction/deconstructive, 174, 193 art/significant emotion, 106–10, approach to trauma, 2, 6, 14, 17, 111–12, 115, 117 45, 68–9, 107, 193, 211–12 impersonal theory of poetry, 19, feminist, 36, 38–9, 42, 200 106–10, 156 DeMeester, Karen, 68, 221n7 Winterson and, 155–6, 158, 168, depressive position, 54, 79, 82, 182 225n11; see also paranoid-schizoid Woolf and, 127, 134–6 position Elizabethan drama, 136 Derrida, Jacques, 2, 174, 224n3 Ellam, Julie, 38, 44, 45, 185, 204, 206 DeSalvo, Louise, 28, 29 embodied cognition, see cognition, destructiveness, 53–4, 62, 84–5, 162, embodied 199, 204 embodied cognitive aesthetics, see nature’s, 20, 76, 92, 99, 102, 139 aesthetics trauma’s, 12, 76, 91, 163 embodiment, see body war’s, 85, 93, 100–1, 158, 215 empathy, 172, 181, 198 see also aggression; hate; sadism v. abstraction, 71–2, 90, 106, 135 248 Index epistemology, see thinking Freud, Sigmund, 26, 41, 48, 50, 62, erotic desire, 35, 38–9, 44, 160–1, 162, 63, 222n11, 225n11, 227n1 170, 226n3 fort-da game, 186 ethics, 2, 84, 169, 171–5, 219n6, hysterical symptoms, 23–4, 49, 219n1 220n14 mastery, 53, 136, 186, 190, 202 exaltation, see ecstasy remembering, repeating and excess, affective, 5, 15, 21, 37, 45, working-through, 1, 7, 49, 186, 157–9, 166–7, 172–5 193; see also acting-out; repetition exhilaration, see ecstasy compulsion Eye Movement Desensitization and symbolism, 9, 49, 111 Reprocessing (EMDR), 25, 219n3 Freudian psychoanalysis, 1, 24, 25, 42, 46, 47, 81, 221–2n7 facilitating environment, 61, 66, 123 Friedman, Lawrence, 116 fantastic/fantasy, 16, 36, 177, 182, Frosh, Stephen, 14, 24, 43, 69 184 Froula, Christina, 85, 89, 90 Farrell, Kirby, 5 Fry, Roger, 19, 96, 106, 147, 155–6 Felman, Shoshana, 2, 6, 174, 193, criticism of ‘Time Passes’, 97–8 211 formalism, 19, 72–3, 78, 110, 116 feminine discourse, 39, 150; see also Fuss, Diana, 191 écriture feminine Fussell, Paul, 102, 223n18 feminism/feminist, 4, 15, 41, 46, 81, 100, 165, 182, 193, 202, 222, Galsworthy, John, 15, 30–1, 131, 215; 224n1 see also Edwardians auto/biography, 21, 178, 180, 190, Ganteau, Jean-Michel, 21, 37, 45, 111, 191, 200, 207 157, 159, 166–9, 171–3 deconstruction, 36, 39, 42, 200 Garland, Caroline, 9, 13, 57 essentialism/constructionism, 191 Genette, Gérard, 74, 166, 187–8 Fenichel, Otto, 51 Georgians, 130, 133, 136; compare Ferrer, Daniel, 137, 140 Edwardians Field, Joanna, see Milner, Marion Gilmore, Leigh, 199, 207, 220n15 First World War, 18, 72, 84, 88–90, Gliserman, Martin, 29, 223–4n28 100–2, 109, 128, 221n1 Glover, Edward, 56 communal experience, 90–1 good-enough mother, 61, 63, 124 death, 35, 83, 86, 104 gratitude, 57, 80 trauma, 4, 6, 29, 71, 84, 99, 107 Graves, Robert, 93, 166 formalism, 22, 186, 224n1; see also Great War, see First World War modernist aesthetic formalism; Grice, Helena, 181 spatial form grief and grieving, 20, 40, 87, 98, Forster, E. M., 29, 106, 130 104–5, 131, 141, 143, 144, 146, Foster, Hal, 21, 178, 192–3, 209, 215 205 founding traumas, see LaCapra, Grosz, Elizabeth, 15, 27–8, 32, 41–2, Dominick 44, 46, 52, 114, 118, 148 fragmentation, 2, 14, 17, 21, 69, 92, Gustar, Jennifer, 200 105, 107, 141, 165–6, 221n7, Gut Symmetries, 178, 189 222n14, 226n5 Frank, Arthur, 189 Halbwachs, Maurice, 5 Frank, Joseph, 71–2, 90, 120, 123, Hare, Augustus J., 134–5 127, 221n2 Hartman, Geoffrey, 2, 174 Freedman, Norbert, 51, 53, 220n3 Haslett, Jane, 36 Index 249 hate, 101, 153, 160, 161, 162; Kacandes, Irene, 188–90, 198, 227n12 see also aggression; destructiveness; Kahane, Claire, 215 sadism Kahlo, Frida, 186, 190, 199, 201 Haule, James M., 94–5, 98–101 Kemp, Peter, 167, 170 Helal, Kathleen M., 101 Keulks, Gavin, 36 Hellerstein, Marjorie, 91 Klein, Melanie, 48, 50, 60, 61, 153, Henke, Suzette, 12, 28, 225n9 220n2, 225n11 Herbert, George, 166 matricentric model, 4, 81, 221n11, Herman, Judith Lewis, 3, 4, 6, 7 222n7 history, 3, 34, 70, 72, 84, 88, 90, 102, model of trauma based on, 4, 57 163, 177, 180–1, 216 negativity and trauma theory, 54–7, v. trauma, 2, 6; see also LaCapra, 80, 84 Dominick readings of literature based on, 69, Hogarth Press, 214, 221n7 77, 79, 81–3, 91, 105, 129, 222n7 Holocaust, 2, 5, 6, 7, 155, 218n7; theory of symbolization, 52–3 see also Shoah Kleinian psychoanalysis, 1, 9, 47, 50, Homans, Margaret, 194, 211–12 54–7 ‘How It Strikes a Contemporary’, 130 Koppen, Randi, 72–3, 113 Hussey, Mark, 84, 214, 227n1 Krieger, Murray, 123, 168 Hutcheon, Linda, 12 Kristeva, Julia, 81, 86, 98, 224n3 Huyssen, Andreas, 155 hysteria, 23–4, 49, 50, 219n1 Lacan, Jacques, 27, 81, 224n3 LaCapra, Dominick, 14, 90, 164, 169, ideas of feeling, see Langer, Susanne K. 193 identity politics, 4, 191 absence v. loss, 2, 6, 128–9, 130, illness, 33, 150, 208, 220n10, 220n13 131, 149, 151–2 literature’s approach to, 33–4 founding traumas, 185–6, 192, 201, trauma and, 3, 4, 38 206–11, 213 Woolf’s unconventional attitude historical v. transhistorical/struc- towards, 20, 143–4, 146 tural trauma, 6, 62, 128–32, 136, in Written on the Body, 38, 40, 43 139 see also ‘On Being Ill’ sublime and trauma, problematic illusion, 48, 50, 51, 66, 81, 161, 216, relationship of, 2, 3, 20–1, 163, 218 172–3, 185, 192, 209, 216 incest, see sexual abuse LaMothe, Ryan, 3, 4, 11, 13 interiority, discourse of, see trauma Langer, Susanne K., 113–22, 123 intertextuality, 16, 158, 168, 176, art as expression v. art as impression, 226n5, 226n6 111–12, 158, 167 introjection, 54, 64, 66 cognitive aesthetics, 19, 112–13, Isaacs, Susan, 112 discursive v. non-discursive, 114, 120–2, 126, 127, 137, 142, 144, Jackson, Rosemary, 36, 182 145, 147 Jacob’s Room, 18, 29, 34–5, 83, 105, feeling and form, paradox of 220n8 aesthetics as conflict between, 27, Jacobus, Mary, 54–5, 57, 61–2, 86, 98, 115–16, 118 146, 152–3, 222n11 ideas of feeling, 19, 112, 113, Jones, David, 92, 223n19 116–22, 124, 148–9, 167–8, 169, Jones, Ernest, 49–50, 220n1 171, 215 Joyce, James, 29, 71, 106 Lasky, Richard, 51–2, 73 250 Index

Lauter, Jane Hamovit, 102 metafiction, 168, 182, 188, 203, 204, Lawrence, D. H., 29, 106, 130 225n2 Lee, Hermione, 104, 216 Milner, Marion, 9, 10, 17, 48, 51, 66, Lehmann, John, 214, 215, 216 67, 81, 112, 119, 123 Lejeune, Philippe, 181, 194, 202 mind and body, see body and Levinas, Emmanuel, 37, 173, 174, 226n6 mind, mutually constitutive Leys, Ruth, 2, 4, 8, 218n3 relationship of Lifton, Betty Jean, 211 mind–body dichotomy, see body–mind Lighthousekeeping, 178, 226n10 dichotomy Lilienfeld, Jane, 28, 77, 222n9 Minow-Pinkney, Makiko, 132, 138, loss, 4, 30, 42, 43, 54–5, 68, 77, 82, 141, 224n2 104, 129, 139, 152, 223n17 Möbius-strip model, 15, 26–8, 32, 47, v. absence, see LaCapra, Dominick 61, 114, 118 of birth mother, see birth mother and symbolization, 52, 73, 121 and love, 44–6, 205 and trauma, 42, 52, 73 see also ‘Time Passes’ and Woolf, 31, 32, 46, 148 love (psychoanalytic), 50, 57, 80, 101 ‘Modern Fiction’, 15, 30–1, 219n7 Luckhurst, Roger, 1, 5, 219n9 ‘Modern Novels’, 30 narrative possibility v. rupture, modernism, 70–2, 111, 188 16–17, 68, 125, 173–4 aesthetic transformation of trauma, traumaculture, 21, 178, 187, 192–4, 17–18, 73, 74, 81, 83, 93, 113 206–8, 209, 213, 215, 216–17, anti-symptomatic readings of, 18, 227n11 69, 107 working-through, importance of, deconstructive/symptomatic 1, 6, 49 readings of, 17, 30, 68–9, 72, 106, 107 Maagaard, Cindie Aaen, 167, 220n14 impersonality, 15, 18, 22, 29, 72, Makinen, Merja, 35 86, 106, 111, 157–8, 186, 188, Marcus, Jane, 141 215, 221n3 Marcus, Laura, 226n3 and psychoanalysis, 14, 54–5 Marcus, Steven, 24 see also modernist aesthetic materialism/materialist, 15, 30–2, 47, formalism; spatial form 215, 219n5, 223n15 modernist aesthetic formalism, 10, Mauron, Charles, 94 17, 18, 67, 68, 69, 72, 73, 107, Mauron, Marie, 97, 98 123; see also formalism; spatial McFarlane, James, 17, 70, 72 form melancholia, 18, 68, 82–3, 162; modernity, 88 compare mourning structural trauma of, 128, 131, 139 memoir, 15, 21, 44, 176–8, 179, 200, Moran, Patricia, 12, 29–30, 46, 67–9 207–8, 211, 213, 216, 226n1, mourning, 80, 87, 223n17 227n11 in literature, 82, 100, 149, 152 trauma, 177–8, 207, 213, 216 of lost object, 44, 54, 129, 212 see also autobiography trauma and, 12, 79 Memoir Club, 29 Woolf’s, 77, 104–5 memory, 68, 138, 227n14 compare melancholia cultural/collective, 5, 190 ‘Mr Bennett and Mrs Brown’, 31, 133 recovered, 207 Mrs Dalloway, 18, 34, 83, 221n7 traumatic, 1, 7, 43, 46, 48, 68, 107, music, 34, 67, 116, 121, 126–7, 138, 160 143, 148, 150, 182, 225n3 Index 251

Nachträglichkeit, 2; see also belatedness painting, see visual arts nameless dread, 61–2; see also anxiety paranoid-schizoid position, 55, 79, Naremore, James, 151 82, 91, 225n11; see also depressive ‘Narrow Bridge of Art, The’, see position ‘Poetry, Fiction and the Future’ Passion, The, 35, 36, 178, 189 neurobiology, 9, 13, 24–5, 26, 219n4 performativity, 187, 197, 200, 201 new-baroque aesthetics, 21, 164–9, phantasy, 49–50, 53, 56, 57, 63, 103, 171–5 142 Newman, Herta, 153 depressive, 103, 153 nostalgia, 166, 173 depressive position as theoretical, Novy, Marianne, 210, 213, 226n7 82 omnipotent, 46, 60, 159, 164 object relations theory, 48–69, 73, 81, primary, 112 112, 118, 156 Picasso, Pablo, 179, 225n3, 226n4 on aesthetics/creativity/writing, 12, ‘Pictures and Portraits’, 144, 146–7 48, 67, 119, 122–5 play, 50, 126, 186, 218n8 on trauma, 1, 8–10, 14, 218n2 playfulness, 36, 187, 188, 192, 197, Woolf contradicting, 20, 142, 144, 204 146 ‘Poetry, Fiction and the Future’ ‘On Being Ill’, 134, 146 failure of poetry, 134–5 bodily experience, 15, 32–3, 220n10 future novel, 19, 88, 126–30, 137, indifference of art and nature, 139, 141 144 structural effects of modernization, inseparability of mind and body, 6, 128–9 38, 219n7 Winterson and, 156 language and illness, 143 Poole, Roger, 80, 90–1, 92, 223n18 see also body; illness Poresky, Louise, 99 ‘On Re-reading Novels’, 109, 117 postmodernism, 2, 14, 22, 24, 179, Onega, Susana, 21, 37, 157, 159, 165, 193, 227n11 169, 171–4, 182, 198, 204 Winterson’s, 35–6, 69, 155, 167, Oranges Are Not the Only Fruit, 170, 182 179–87, 205, 212 poststructuralism, 2, 193 adoption, 22, 177, 183–7 Post-Traumatic Stress Disorder (PTSD), fantasy, 177, 182, 184 3, 25, 159, 171, 211, 218n3 as feminist auto/biography, 179–83, potential space, 48, 118 187 projection, 64, 67, 221n4 love, 183, 185 projective identification, 10, 53–4, 58, The.PowerBook, compared with, 60–1, 65, 123, 221n4 194–5, 197, 201, 203 Proust, Marcel, 96, 223n21 origins psychoanalysis, see Freudian absence of, 130, 152 psychoanalysis; Kleinian adoption and, 184, 194, 208, 211–12 psychoanalysis; object relations of aesthetic experience, 123 theory; see also individual concepts of symbolization, 52–4 in The.PowerBook, 194–9 Radstone, Susannah, 227n12 trauma and, 11, 209 Ramadanovic, Petar, 2, 6 Orlando, 179, 182, 224n1 real, return of the, 22, 176–8, 186, overidentification, 21, 159, 168, 169, 192, 199, 215, 217; see also 171, 172, 227n12 traumatic realism 252 Index recovery, 11, 13, 56–7, 211; see also Segal, Lynne, 178, 193 working-through Seltzer, Mark, 3, 209 reparation, 48, 57, 69, 80, 101, 161, Sexing the Cherry, 178, 220n9 223n28 sexual abuse, 4, 5 repetition compulsion, 2, 21, 15, 49, in Art & Lies, 5, 36, 159–61, 163, 68, 107, 201, 211, 217 169, 226n4 in narrative, 16, 45, 165, 167, 168, of Woolf, 15, 28–30, 226n4 190, 195, 208, 226n5 Shapiro, Francine, 25 see also acting-out; Freud, Sigmund Shatan, Chaim, 209 repression, 7, 26–7, 49–51, 53, 59, 81, Sheehan, Paul, 86, 222n14 101, 115, 150, 193 Sherry, Vincent, 100–1, 102 of trauma, 42–3, 44, 46, 68, 105, Shoah, 2; see also Holocaust 107, 160, 178, 185, 197–8, 205, Sickert, Walter, 147–8, 149 210–11, 216 Sickert, Walter, 147–8, 149 see also unconscious, the significant form, see Bell, Clive resilience, 8 Silver, Brenda, 101 reverie, 61, 123, 139 ‘Sketch of the Past’, 28, 77–80, 85, 87, Reynier, Christine, 37, 111, 157, 226n6 132, 160, 223n17 Rhys, Jean, 12, 67–8, 69 Smith, Sidonie, 28 rhythm Smith, Susan Bennett, 98, 105 in art, 111 solitude in literature, 19, 109, 136–8, 162, 168 in the aesthetic moment, 124, 147 in music, 127, 150 Bernard’s fear of, 132–3 origin of, 225n8 Woolf on, 20, 135, 141, 142–4, 146, as theme in The Waves, 151 152–3, 222n10 Richardson, Dorothy, 106, 141, 224n2 spatial form, 49, 70–2, 107, 118, 120, Roberts, Michèle, 170 123, 138–9 Room of One’s Own, A, 68, 106, 135, Spilka, Mark, 104–5 156, 169, 224n4 Spitz, Ellen Handler, 10, 66 Rose, Jacqueline, 24, 56 splitting, 14, 55, 60, 63, 145, 211 Rothberg, Michael, 22, 172, 178–9 in Art & Lies, 161 Rothschild, Babette, 25 in To the Lighthouse, 91–2, 101, Rousset, Jean, 166 223n28 Rubinson, Gregory J., 40–1 Stein, Gertrude, 155, 179, 192 Russell, Bertrand, 113, 119, 120, 222n14 Stephen, Julia, 77, 98, 223n17 death of, 29, 80, 83, 85, 87, 104, sadism, 52–3, 80; see also aggression; 109 destructiveness; hate Stephen, Leslie, 80, 100 Sánchez-Pardo, Esther, 18, 68–9, 71, death of, 77, 80 79–80, 82–3 Stephen, Thoby, death of, 29, 35, 85, Scarry, Elaine, 33–4, 143 89, 109, 139, 140, 222n12 Schwab, Gabriele, 124, 127, 138, 141 Stewart, Garrett, 132, 224n3 Schwartz, Murray, 118 Stone Gods, The, 22, 178, 180, 186, Schwarz, Daniel R., 29 194, 196, 199, 203 Segal, Hanna, 9, 17, 52, 77, 82, 112, birth mother, narrative return of 221n6 the, 204–6 classical tragedy, 102–3, 153 ethics of affect, 174–5 symbolic equation, 8, 12–13, 53–4, love, 37, 204, 205 57–8, 79, 161 Stonebridge, Lyndsey, 54, 78, 79, 80, 84 Index 253 stream of consciousness, 32, 34, 68, Tal, Kalí, 4, 5, 11, 12–13, 209 69, 107, 141 talk fiction, 188–90, 196, 198, 203 ‘Street Music’, 136–7, 149–50 ‘Temps passe, Le’, 94–6, 99 sublimation, 48, 50, 53 testimony, 20, 187–90, 192, 198, sublime, 2, 3 199–200, 207, 227n12; see also love in Winterson’s fiction as, 37, 45 bearing witness new baroque and, 21, 166, 171–3 The.PowerBook, 35, 178 problematic relationship with acting-out, 186, 195, 198, 203, 211 trauma, 2, 3, 21, 163, 172–3, 185, adoption, 5, 177, 178, 180, 183, 192, 216 186, 187, 193, 194–9, 201, 206 traumatic, 173–4, 227n13 love, 36–7, 44, 194, 195, 198 see also transcendence Oranges Are Not the Only Fruit, suicide, 132, 216 compared with, 194–5, 197, 201, suicide attempt, 161, 177, 208, 210, 203 226n1 ‘These Are the Plans’, 109 symbol v. symptom/sign/signal, 9–10, thinking, 38, 52, 73, 79, 119, 122–3, 12–13, 14, 26–7, 47, 50–1, 54, 65, 139, 158 79, 106, 114, 116 and absence, link between, 63, 114, symbol formation, see symbolization 128, 221n6 symbolic equation, see Segal, Hanna affective, 58–9, 118, 132, 142 symbolization Bion’s theory, 57–66 discursive v. non-discursive, 114, concrete v. symbolic, 7–8, 10, 47, 120–2, 126, 127, 137, 142, 144, 51–2, 53, 58, 62–4, 115, 128 145, 147 reparative function, 65–6, 78 embodied nature, 10–11, 52, 58, role within trauma, 1, 7, 9, 14, 42, 77, 78 46, 64, 65–6, 160–1 origins, 52–4 Three Guineas, 68, 101 v. symbolism, 49–52 ‘Time Passes’ transformative abstraction, 10, 20, absence of characters, 20, 69, 86, 58–60, 67, 73, 86, 111, 156 99, 107, 139 v. verbalization, 79, 89 as container, 18, 70–105, 107 see also desymbolization as corridor, 89, 94, 223n17 symptom, 5, 9, 16, 23–4, 26, 41, 45, grief and grieving, 87, 98, 104–5 49, 50–1, 59, 97, 114, 120, 183, impersonal narrator, 18, 69, 75, 86, 186, 190, 221n3, 223n23 88, 93, 105, 107, 168, 215 narrative mirroring of, 16, 26, 107 loss, 83, 84, 85, 86, 89, 100, 105 v. symbol, 9–10, 12–13, 14, 26–7, Mrs McNab, role of, 76, 86, 97–8, 47, 50–1, 54, 65, 79, 106, 114, 99, 100–1, 223n24 116 nature’s destructiveness, 20, 76, 92, symptomatic 99, 102, 139 expressions of trauma, 110, 159, parentheses, 86, 87, 89, 90–3, 98, 171, 175, 197, 215–17 100–1, 103, 104–5, 135, 158, readings of literature, 16, 26, 48 215, 222n12; compared with readings of modernism, 17, 30, In Parenthesis, 92, 223n19 68–9, 72, 106, 107 revisions, 18, 74, 93–101, 103, readings of Woolf, 46, 104–5 215 return of traumatic adoption Roger Fry’s criticism, 97–8 story in Winterson’s work, see sentimentality, 18, 96 Winterson, Jeanette war, 76, 83–93, 99–102, 104, 105 254 Index

To the Lighthouse trauma memoir, see memoir framing, 18, 82–3 traumaculture, see Luckhurst, Roger Lily Briscoe’s completion of her traumatic realism, 20, 21–2, 172, painting, 74, 77, 80, 81–3, 162 178, 187, 188, 190, 199, 207, 217; sentimentality, 18, 96, 101–5 see also real, return of the therapeutic effect of writing, 77, 79, ‘Tunnel, The’, 141 222n8 see also ‘Time Passes’ unconscious, the, 24, 42, 60, 100, 191; To the Lighthouse: The Original see also repression Holograph Draft, 18, 76, 93–4 transcendence van der Kolk, Bessel, 24–5, 211, 219n4 of art, 20, 37, 158, 160, 163, 222n10 Verrier, Nancy Newton, 211–12 of love, 15, 37–8, 45, 46, 158, 163, Vickroy, Laurie, 16, 68, 190 206 victim, 3–4, 6, 29, 159 problematic relationship with difference between perpetrator and, trauma and working-through, 21, 3–4 163–4 victimhood, 4, 209, 227n12 see also sublime Vietnam veterans, 4, 209 transitional objects, 56 violence, 3, 4, 5, 13, 26, 39, 84, 99, Tratner, Michael, 88 101, 132, 135, 184, 198, 215, trauma 218n2, 223n28 childhood, 3, 28, 68, 177, 178, 193, visual arts, 19, 67, 110–11, 121, 124, 195, 206, 213 127 collective, 1, 5, 29, 30, 74, 90–1, painting as silent art, Woolf’s 139, 185, 209, 221n7 writing on, 143–4, 146–9 as damaging the capacity to think Picasso as painter in Art & Lies, symbolically, 8–9, 11, 13, 57, 62, 159–61 64, 72, 73, 158 Voyage Out, The, 34, 35, 74–5, 90 and ethics, 2, 169, 171–5 founding, see LaCapra, Dominick Ward, Lewis, 2, 172, 173–4 historical v. transhistorical/struc- Warner, Eric, 131, 153, 225n7 tural, see LaCapra, Dominick Waves, The interiority, inviting discourse of, 38, Bernard’s epiphany, 151–3 44, 46, 192 Bernard’s identity as storyteller, malignant, 3–4, 11 130–3, 142, 149; end of, 151–3 modernist approach to, 10–14, 49, 69 Bernard as isolate, 151–3 as overwhelming, 3, 8–10, 16, 48, interludes, 19–20, 138–41, 148, 55, 57, 62, 66, 69, 73, 86, 107, 154; compared to Art & Lies, 165, 128, 129, 131, 143, 158, 159, 163, 167–8, 171 164, 172, 190, 206, 218n7 ‘little language’, 133–4, 143, 149, and politics, 1, 3, 4, 6, 12, 45, 49, 150–1 55, 165, 174, 193, 194, 218n7 Percival’s death, 43, 131, 134–5, re-enactment, see acting-out; Freud, 140, 143–4, 149, 224n5, 225n9 Sigmund; repetition compulsion Rhoda as personification of struc- and sublime, problematic relation- tural trauma, 6, 129, 131–2, 142 ship of, see sublime rhythm, 136–8, 151 survival, role of, 56, 221n5 sequentiality, predicament of, trauma fiction, 16–17, 20, 30, 155, 173 131–4, 150, 151, 224n2 Woolf as precursor to, 68 soliloquies, 20, 137–9, 141, 154, 165 Index 255

Weight: The Myth of Atlas and Heracles Woolf, Leonard, 96, 97, 214, 227n1 adoption, 5, 22, 178, 180, 185, 186, Woolf, Virginia 194, 196, 199–203, 205, 206 body, relationship with, 15, 28–35, authenticity, 15, 21, 178, 190–2, 41, 46, 160; see also body 194, 200–1, 207, 217 deaths in family, see individuals retelling the story, 202–4, 206 on French writing, literature and Wells, H. G., 15, 30–1, 215; see also art, 31–2, 95–7, 99, 223n21 Edwardians illness, grief and trauma, Whitehead, Anne, 16, 26, 172 unconventional attitude towards, Why Be Happy When You Could Be 20, 143–4, 146 Normal? mother–daughter relationship, 77, adoption as primal wound, 21, 178, 222n9 193, 199, 206, 208–9, 211, 213 sexual abuse of, 15, 28–30, birth mother, search for, 208, 226n4 212–13, 216–17, 226n1 on silence, 20, 141, 143–9, 152–3, love, 208, 212 165, 222n10 Winterson’s suicide attempt, 177, on solitude, see solitude 208, 210, 226n1 suicide, 216 Winnicott, D. W., 9, 17, 63, 81, 122, and war, 4, 18, 29, 30, 35, 74, 76, 186, 212 78–9, 83–93, 99–102, 104–5, 107, isolate, theory of, 20, 144–8, 152–3 109, 128, 139, 215–16, 221n7, on trauma, 56–7, 59, 88 222n12, 227n2 Winterson, Jeanette see also individual works adoption, see adoption working-through, 1, 6, 14, 21, 48–69, authenticity instead of autobiogra- 80, 164, 216; see also Freud, phy, see autobiography Sigmund; recovery body, relationship with, 15, 35–47; Workman, Mark E., 212 see also body Worringer, Wilhelm, 71, 90, 109–10, body-as-surface, 38, 41–6 128, 135 modernist aesthetics, 5, 20–1, 155–9, wound, 4, 26, 43, 44–5, 137, 209 166–8, 169–71, 179, 200, 217 adoption as primal, see adoption new-baroque aesthetics, 21, 164–9, Written on the Body, 36, 38–46, 178, 171–5 206, 209 portrayal of love, 15, 35, 206 anatomy, 38, 40–3, 220n12 postmodernist aesthetics, 35–6, 69, body, 36, 220n10 155, 167, 182 body-as-surface, 15, 38, 41–6 storytelling/testimony, 180–1, erotic desire, 35, 38–9, 44 187–90, 198, 202–3, 206 illness, 38–43 traumatic adoption story, Lesbian Body, compared to The, 39, symptomatic return of, 22, 177, 220n12 178, 180, 183–7, 189–90, 193, 194, love, 36–8, 43–6, 226n6 197, 200–1, 206–7, 213, 216–17 trauma, 12, 15, 41–3, 160, 210 see also individual works Wulfman, Clifford E., 134, 150 witness, see bearing witness; see also testimony Years, The, 29, 68 Wittig, Monique, 39, 220n12 Woods, Tim, 181 Zwerdling, Alex, 93, 96, 223n16