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Modernist Feminist Failure and the Fiction of Vita Sackville-West, Sylvia Townsend Warner, and Jean Rhys

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Modernist Feminist Failure and the Fiction of Vita Sackville-West, Sylvia Townsend Warner, and Jean Rhys “Go for the failure”: Modernist Feminist Failure and the Fiction of Vita Sackville-West, Sylvia Townsend Warner, and Jean Rhys by Alicha Lynn Starr Keddy A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Language and Literature Carleton University Ottawa, Ontario © 2019, Alicha Lynn Starr Keddy Abstract This dissertation analyzes the gendered and often contradictory representations of women’s failure in the fiction of Vita Sackville-West, Sylvia Townsend Warner, and Jean Rhys who, I argue, each critique and expand the possibilities of modernist aesthetics and feminist expression through their depictions of the politics and pleasures of women’s failure. I bring these authors together because they differ significantly in their aesthetics, feminist interventions, and relationship to “high” modernism. These differences enable them to challenge the modernist canon in distinct ways, and reveal how the institutional formation and biases of “modernism” have failed them. My reading of failure takes up Jack Halberstam’s recuperative reading in The Queer Art of Failure (2011), where failure is re-read as a queer and feminist subversion of heteropatriarchal expectations. However, I problematize a purely affirmative ideal of failure by examining narratives of both liberating and oppressive failure. Sackville-West and Warner create protagonists who enthusiastically embrace failure as an alternative source of identification that is less bound to patriarchal ideals and norms of domination; as such, these protagonists carve out their own livable spaces—no matter how fleeting or compromised—within oppressive structures. In contrast, Rhys depicts failure as a decisively destructive social identifier thrust upon marginalized women who lack the social power to recuperate that label into a feminist identification. By putting constructive and devastating accounts of “failed” women in dialogue, I assert that embracing failure is a privileged form of feminist resistance. In turn, these authors critique the material conditions of women’s subjugation in the early twentieth century at the same time that they challenge literary modernism and early feminism. These authors willfully “fail” literary conventions for ii their own political and aesthetic aims, and their protagonists “fail” and expand the possibilities of early feminist discourse through their ambivalent and even resistant approaches to first-wave feminist orthodoxy. Ultimately, this dissertation examines not only the narrative possibilities of women’s failure but also the debates about the meanings of modernism and feminism, from the early twentieth century to today. iii Acknowledgements As I sit down to write these acknowledgements, I am overwhelmed by all the people who have helped me get to this point. If I were to properly thank everyone for all of their intellectual, emotional, and material support, then these acknowledgements would be as long as this dissertation. So, what follows is just a tiny portrait of my immense gratitude. I begin by expressing my profound thanks to Dr. Jodie Medd, without whom this project would not exist. Thank you for being a champion of my work from the start, even when my confidence wavered. Thank you for your generous and incisive feedback, for expanding my thinking about modernism and feminism, and for your patience and enthusiasm. Over the years, you have supported both my intellectual and personal growth, and in so doing, have demonstrated the truly transformative impact of feminist mentorship. Being your student has been a privilege and a pleasure. I would also like to gratefully acknowledge Dr. Dana Dragunoiu and Dr. Adam Barrows, who have similarly supported my work from the start. Dr. Dragunoiu: thanks for your generous and sharp feedback, and for your willingness to help me work through intellectual problems. Dr. Barrows: thanks for your enthusiastic feedback and for introducing me to Sylvia Townsend Warner. Because of you both, this dissertation is stronger and more nuanced thanks to your willingness to read early drafts, suggest texts, and meet with me to discuss my ideas. I also wish to thank Dr. Erica Delsandro and Dr. Danielle Kinsey for generously agreeing to be my external examiners and for taking the time to read this dissertation and participate in the defence. I am also grateful for my colleagues and friends who have been on this journey iv beside me, and who have made it a pleasure. Kim Sigouin: thanks for sharing your wealth of modernist expertise and for always taking the time to assist me, even amidst your own work demands. You have celebrated my successes and reassured me during times of anxiety. I have benefitted immeasurably from our many stimulating conversations, stress- relieving adventures, and from all the laughs. I cannot imagine doing this without you. Similarly, I gratefully recognize Bridgette Brown, who has been an endless support and inspiration. You helped me find my footing as a new mother and academic, and you always miraculously managed to find the time to read my work even as you faced your own tight deadlines. Thanks for your constant encouragement, good cheer, and for always checking in with me. I am delighted that we started and will finish this degree together. Thanks also to Chris Doody for helping me with all things academia-related, and Melissa Pullara for her editorial eye and for babysitting Nora in the early days. There are many other people in the department who I wish to acknowledge, including Adrien Robertson and Shaun Stevenson for their friendship, Dr. Barbara Leckie, Dr. Brian Johnson, and Dr. Julie Murray for being wonderful and good-humoured grad supervisors, and Judy Katz, Lana Keon, and priya kumar for patiently helping me solve innumerable administrative problems and for all the stress-relieving chats. I am also indebted to the phenomenal educators who care for my daughter, thus enabling my partner and me to do our work, and I am grateful to Dr. C for all the tea. I am also deeply grateful to my family, who have never wavered in their support of my intellectual growth, even when it took me halfway across the country from them. Linda Keddy, Janice Larade, Donna Keddy, Dennis Larade, Amanda Collins, Michael Collins, Karen Collins, and Audrey Power: thanks for encouraging me to be bold, to keep v writing, and to work hard. Thanks for celebrating my successes and for cheering me on when I felt depleted. To my furry writing companions: thanks for your gentle presence. Finally, I wish to express my heartfelt gratitude to my partner Sean and our daughter Nora. Sean: thank you for unceasingly supporting me throughout this degree, all while finishing your own Ph.D. and navigating the challenges of early parenthood. Your enthusiasm for my work, attentiveness during times of stress, and your intuitive knowledge of when to come forward to help, and when to step back to let me figure things out on my own, have enabled me to take on this challenge. Thanks for modelling to our daughter what a feminist partnership looks like. The last few years have gone by in a sometimes-chaotic blur of research and childcare, but there is no one else I could—or would—do this with but you. And to Nora, the greatest influence on this dissertation: even if you cannot see it, you are written into every page. Your embryonic kicks punctuate my early writing; the rhythms of my Warner chapters were formed around your calls for milk and comfort; my ideas about Sackville-West were quickly distilled so I could pick you up from childcare early, as we both got used to our new routine; and the despair of the Rhys chapter was mitigated by your joyful demands for dance parties, library trips, and visits to the park. I am proud that I finished this dissertation, but I am infinitely prouder of you. Financial support for this project has generously been provided by the Social Sciences and Humanities Research Council, the Ontario Graduate Scholarship, the Gordon J. Wood Scholarship, and the Beattie-Haines Graduate Scholarship in English. vi Table of Contents Abstract……………………………………………………………………………….….ii Acknowledgements……………………………………………………………….......…iv Table of Contents……………………………………………………………………….vii Introduction: Failure, Feminist Modernism, and the Women’s Canon………..……...1 Chapter One: “Such a hint of independence was an outrage, almost a manifesto”: Reluctant Feminism and Re-Writing the Modernist Künstlerroman in Vita Sackville-West’s All Passion Spent………………………………………..…………...30 “There was surely a discrepancy somewhere”: Early Feminism & Political Ambivalence……………………………………………………………..………….37 “She retained, however, a conviction”: Troubling the Language of Resistance…....48 “Anyhow, why should I accept other people’s ideas?”: Ripening the Künstlerroman…………………………………………………………………..…..54 “now she felt safe”: Feminist Mentorship & The Artistic Self………………..….... 64 “Achievement was good, but the spirit was better”: Re-reading Artistic Failure…...73 Chapter Two: Going for it: Slow Resistance, Feminist Fantasy, and Failure in Sylvia Townsend Warner’s Lolly Willowes…………………………………………...78 Disappointingly Charming Reviews and a Bewitched Public……………………....85 “Feme sole…and feme couverte, and all that sort of rot”: Failing Feminism…..…...89 “She had no thoughts”: Failing Modernist Aesthetics in Search of New Expression………………………………………………………………………..…98 vii “the clue to the secret country of her mind”: Conscious Transformation and WWI……………………………………………………………………………….104
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