AFTERWORD: AND THE FUTURE OF FEMINISMS

Adele Jones and Claire O’Callaghan

BRIDGING THE DIVIDE: FEMINIST PASTS AND PRESENTS At the time this collection was being fi nalised, Sarah Waters published her hugely anticipated sixth novel, (2014). The novel has met with more mixed reviews than Waters’s previous fi ve novels, with it being described both as ‘the apotheosis of her talent’1 and a ‘squander[ing]’ of Waters’s writing abilities ‘on the production of middlebrow entertain- ment’.2 Yet The Paying Guests is no less ambitious in scope, less carefully plotted, nor less poignant and satirical by turn, than her other works. Most importantly for this collection, though, the novel is explicitly feminist in terms of its representations of the heteropatriarchal structures that bind women into oppressive gender roles. Set in 1922, the novel appropriates the infamous Thompson-Bywaters case as the basis for its characters’ tangled stories. On 9 January 1923, Edith Thompson and Freddy Bywaters were hanged for the murder of Thompson’s husband, Percy Thompson. The case against them focused on their love affair as the prosecution maintained that both Thompson and Bywaters had plotted to kill Percy Thompson (though both Thompson and Bywaters always maintained that Edith was innocent and a mere witness to her husband’s fatal attack). Some lascivious (for the time) details from Thompson’s letters to Bywaters were revealed in court and the case became notorious, focusing particularly on the perceived dichotomy between Thompson as innocent victim and fallen woman. That notoriety was sealed when Thompson haemorrhaged spectacularly upon falling from the gallows.

© The Editor(s) (if applicable) and The Author(s) 2016 215 A. Jones, C. O’Callaghan (eds.), Sarah Waters and Contemporary Feminisms, DOI 10.1057/978-1-137-50608-5 216 AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS

Appropriating the premise of this early twentieth-century scandal, The Paying Guests focuses on the love triangle between Frances Wray and the Barbers, the paying guests of the title. After falling on hard times after the war, Frances and her mother take in lodgers to make ends meet and, in quintessential Waters style, Frances and Lilian Barber fall in love and begin a clandestine affair. The affair leads (almost inevitably) to a violent showdown between the women and Leonard Barber, a scene that results in a fatal blow being delivered to his head by Lilian. The aftermath of this accident—or murder, depending on whether Lilian is viewed as a downtrodden housewife or scheming adulteress—results in a gripping trial in which a young man is wrongly convicted of kill- ing Leonard. Although troubled by the incident, neither Frances nor Lilian confesses knowledge of the murder. At the close of the novel, as Frances and Lilian discuss the possibility of a future together, the reader is left with an uncomfortable ambiguity about the justice that has (not) been done. Is a man’s condemnation a fair payment for Lilian’s freedom from a life of oppressive, loveless marriage? Can love really conquer all, particularly a love that has murder and lies at its core? Is this the story of women’s crying out against the patriarchal confi nes which seek to defi ne them? It is these complex questions that reinforce the fact that, at its heart, The Paying Guests is a story of women and, in particular, a story of the love—and desire—between women. Given the early interwar setting, the novel is inherently concerned with women’s history and its secret spaces. If, as one interviewer says, ‘Waters is ours, the women’s writer, chroni- cler of our lives, passions and struggles’, then this is because—as Waters says of herself in response to this characterisation—‘[she] pay[s] attention to women’s history […] To their secret history and lives, acknowledging meaning in their domestic lives’.3 It is telling that in this statement and the response to this statement, past and present are elided. As we stated in our introduction, Waters uses particular moments in women’s history to highlight seminal points or moments in feminist history. This collec- tion and her continuing engagement with women’s history in The Paying Guests demonstrate how Waters’s feminist historiography refuses any easy relationship between the feminist past and present. She aims instead to provide the reader with a way of conceptualising her own relationship to, and responsibility for, the collective memory of a feminist past and the way in which that past informs our present and futures.4 In addition, given the bridging position occupied by The Paying Guests —between the AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS 217

neo- Victorian and the neo-forties—the novel guides the reader to a con- sideration of the changing nature of women’s position within historical moments. This collection has been concerned precisely with that changing position, charting how Waters’s writing draws out the inherent complexities of con- sidering feminist history(ies); The Paying Guests speaks to those concerns and explorations. Despite the move backwards in time (from the forties to 1922), the novel continues Waters’s journey from her early concerns with the queer to, as Natasha Alden argues, a more explicit engagement with overtly feminist politics. Through her representations of the “spinster”, Frances, Waters questions the role of marriage, and indeed, normative het- erosexuality, in women’s lives; the ultimate tragedy of the Barber’s marriage can only lead the reader to question the validity of the forced, gendered role of wife. Ironically, it is Lilian’s killing of her husband that allows her escape from this institution and therefore, to explore the possibility that her lesbian relationship with Frances, the only woman in the novel free from the con- straints of marriage, may afford her the happiness denied to her by marriage. This echo from the second wave—of those women who valorised the idea of lesbian separatism—speaks to the patriarchal “before” and the utopian “after” idea of marriage and lesbian desire in The Paying Guests , though as the uncertainty of the end of the novel shows, this utopian ideal cannot be the only answer to freeing women from heteropatriarchal constraints. As Kathryn Simpson argues, it is the interplay between agency (which Lilian gains) and sexuality (which Lilian is now able to explore as a choice) that becomes the feminist strategy in combatting the effects of heteropatriachal structures. Simpson’s point, that derives from her discussion of Waters’s intertextual play with Virginia Woolf, reinforces Lucie Armitt’s assertion, in the fi rst chapter of this collection, that the connections between storytelling and/or creativity and women’s bodies is an avowedly second-wave feminist strategy. Not only does The Paying Guests situate Lilian’s entrapment within marriage in her fi rst unwanted pregnancy, her body becoming the locus of heteropatriarchal power, it locates the burgeoning passion between her and Frances in Lilian’s ability to create Frances anew, in her fundamental creativity. On seeing Frances’s new haircut by Lilian, for example, Mrs Wray exclaims ‘I hadn’t an idea she was so talented […] Oh, but it’s charming, Frances’. 5 Thus Waters explicitly links the personal and the political; the personal lives of women come to undermine the social and cultural chains that bind them and the public (male-defi ned) personas of the women cease to hold power within the private spaces between them. 218 AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS

This inherently second-wave notion (as Armitt also asserts here) speaks to the idea of sisterhood that has become a trope of feminism since the 1960s and 1970s. Jessica Gildersleeve and Adele Jones argue in this collection that communities of and relationships between women have been subject to and have absorbed fears and hysteria. This is exemplifi ed in The Paying Guests by the ever-watchful eye of the Victorian mother fi gure, Mrs Wray (recall- ing the vigilant Mrs Prior in Affi nity [1999]), who displays constant anxiety about Frances’s relationships with other women. Frances, however, defi antly engages with feminist and socialist politics and opens Lilian’s eyes to the pos- sibilities of fulfi lling her desires through a relationship with another woman. As Gina Wisker argues in relation to , this defi ance is a strategy adopted by Waters to demonstrate how women can, in fact, escape their marginalisation by patriarchy. It also speaks to the contention made by Jones that lesbian desire can undermine the panoptic patriarchal impulse and subtly reinscribe women’s identities into precisely the structures from which they are made liminal. As Mari Hughes-Edwards shows, however, through her exploration of Waters’s representations of spatial confi nement, the fi ght against this liminality is ongoing for women and undermines those postfemi- nist assertions that the concerns of the second-wave battle have been resolved. Indeed, although Lilian and Frances escape the scrutiny of the courtroom, the fi nal scene of the novel (discussed below) by no means offers a resolved nar- rative and the possibilities for the women are left open. This is not to say, however, that feminist discourse(s) have not evolved to incorporate the overlap in critiques of the position of women and other marginalised identities. Helen Davies provides an insightful discussion of disability and ugliness in The Little Stranger , and these notions of (un)attrac- tiveness are again explored by Waters in The Paying Guests . Frances, as a spinster, not only sees herself as unattractive but is also perceived by both her mother and Lilian to function outside normative femininity. Despite this, her spinsterhood is presented as a state preferable to Lilian’s unhappy marriage and, in fact, her own mother’s happy Victorian marriage is exposed as nothing more than an empty (ph)allacy when Mr Wray dies and leaves his wife and daughter penniless. It is this refusal to be defi ned by a dominant male gaze that places Frances in line with Waters’s other female characters, as explored by Louisa Yates in her chapter on the links between Waters’s feminist concerns and contemporary feminist activism. Frances will not be drawn into a debate with her mother, and she openly rejects and defi es the male gaze in a vocal display against the objectifi cation of herself and Lilian. Although Frances is not an explicitly “masculine” character, she echoes AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS 219 and refl ects other of Waters’s butch female characters in her rejection of normative femininity. It is exactly this rejection that places her within the heated arguments around marginalised lesbian identities explored by Claire O’Callaghan, who suggests that the butch aesthetics of Waters’s work offer a way of revaluing butch lesbian subjectivity and so re-opens the possibility of celebrating a spectrum of women’s identities and agencies. Thus, The Paying Guests continues the debates explored in Waters’s earlier works and is avowedly feminist in its approach to representing women’s identities.

THE DOMESTIC MIDDLEBROW NOVEL Although Rachel Cusk deems Waters’s engagement with middlebrow fi c- tion to be pandering to ‘the voracious English appetite for period drama [that] has given rise to too many bloated narratives’,6 an alternative explo- ration of The Paying Guests would consider the ways in which Waters’s pastiche of the genre allows her to uncover and articulate the subversive nature of the desire bubbling under the surface of the house on Champion Hill. As Waters says of one of her middlebrow infl uences:

Yes, I love Elizabeth Taylor. My favourite is her fi rst, At Mrs Lippincote’s . Oh, but they’re all good, even the less-good ones, if you know what I mean. She’s such a subtle and precise writer—often seen as a bit middlebrow and cosy, I fear, but really her books are quite bleak and sometimes devastating. She respects all her characters—I like that about her. She has a great grasp of subtle social and emotional currents. 7

If middlebrow fi ction can be simply characterised as women’s narratives of the domestic and of romance (though it is also much more), then The Paying Guests is precisely a middlebrow pastiche which allows Waters to lift the roof off a typically middle-class house to examine what lies beneath. Whilst all the chapters in this collection focus on different aspects of Waters’s work, their locus is the (re)valuing of the complexity of Waters’s engagement with feminisms in their variant forms, as well as her con- scious indebtedness and contribution to a tradition of women’s writing. In many ways, The Paying Guests marks a continuing exploration by Waters of these issues, reinforced by the intertextuality (with her own work as well as women writers of the period) within the novel and her construc- tion of the two main characters, Frances and Lilian. Perhaps most marked in this intertextual chain is Waters’s representation of both domestic and 220 AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS public space; she explicitly interlinks the sociocultural structures which police gender and sexuality, and a re-visioning of the domestic space in which the love affair between Frances and Lilian takes place. This view of the novel undermines Cusk’s explicit rejection of middlebrow fi ction as unable to tackle important political, cultural, and intellectual debates and exposes an implicit bias against middlebrow women’s fi ction that has led to its eradication from the traditional literary canon. Elsewhere O’Callaghan has already explored the signifi cance of the queering of domestic spaces in Waters’s neo-Victorian novels, arguing that they are ‘places where lesbian sexuality can be both monitored and abjected, celebrated and performed, dystopian and heterotopian’.8 This notion is expanded by Adele Jones in her consideration of space and place in The Night Watch (2006) and there have been several explorations of how Hundreds Hall functions as a Gothic, abject space for women in The Little Stranger (2009). 9 Indeed, in this collection, Mari Hughes-Edwards’s consideration of confi nement and incarceration argues that within domes- tic space women monitor and exploit other women, reinforcing systemic, patriarchal confi nement. The structure of The Paying Guests itself invites a consideration of the infl uence of the political on the personal and vice versa. The fi rst half of the novel takes place almost exclusively within the home (or as O’Callaghan puts it, “homely” spaces), 10 a space monitored by Mrs Wray with the same zeal as Frances’s sexuality, and the second half occurs within the highly scrutinised and densely populated court room where the trial of Len Barber’s alleged murderer is taking place. The Paying Guests follows Waters’s previous representations of domestic space; they all present dichotomies between public and private, but there is also an immediate subversion of this divide. It is clear from the outset that Frances and her mother have been forced to take in lodgers because they have fallen on hard times, but what is also obvious is that by ushering in paying guests, Frances is also forcing the house (and the cultural and social norms it embodies) to become part of the twentieth century. She acknowledges that they haven’t afforded servants since 1916 and that she, as mistress of the house, is now entering into a business arrangement with a ‘more or less perfect stranger, who had been summoned into life by the placing of an advertisement’ (p. 10). Thus the Victorian separate sphere ideology of public and private that orders and polices the norms of gender and sexuality is blurred. Waters draws on and extends the links she makes between gender, sexu- ality, and class in The Little Stranger in order to reinforce her subversion of AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS 221 the normative, middle-class womanhood in this novel that speaks to this Victorian construction. Frances, because of her precarious fi nancial state, has to do (and quite likes) the domestic chores that should be carried out by the departed servants. She is ‘bored to death’ with the look on Lilian’s face when she sees Frances doing housework for the fi rst time; ‘[Lilian’s] colour was deepening: she was gazing in a mortifi ed way at the duster on Frances’s head, at her rolled-up sleeves and fl aming hands’ (p. 25). This embarrassment is dispelled by Frances’s open acknowledgement of why she has to do these tasks and her own private reasoning quickly replaces separate sphere ideology with the explicitly feminist “the personal is politi- cal”: ‘her mother’s friends, all of whom had got themselves through the worst war in human history […] seemed unable for some reason to cope with the sight of a well-bred woman doing the work of a char’ (p. 25). Frances is immediately characterised as a woman whose openly feminist concerns function as a disruptive force within the text. One of these feminist moments comes when Frances agrees to help Lilian abort the child with which she falls pregnant at the centre of the narrative, and which is the catalyst for the events which follow. Lilian is already trapped in her marriage to Len because she previously fell pregnant out of wedlock and she pleads with Frances to help her, though Frances exemplifi es Lilian’s—and indeed, at the time, all women’s plight—when, even with her feminist sensibilities, she states, ‘This keeps you stuck with him forever’ (p. 290). It is precisely the inevitability of this particular female narrative that precedes and anticipates the second wave of femi- nism and Waters demonstrates that nowhere is patriarchal oppression more concentrated than on women’s bodies. Lilian’s traumatic experience echoes that of Viv in The Night Watch and provides explicit comment on the sadness, danger, and amorality of women’s lack of control over their bodies and reproduction. Lilian begins to bleed uncontrollably (‘the napkin, heavy with blood, resembled a piece of raw meat’ [p. 308]), but whereas Viv almost dies and is saved by Kay, the butch ambulance driver (and O’Callaghan comments on Kay’s heroism in this collection), Lilian performs the ultimate act of agency and kills the embodiment of, for her, patriarchal oppression—her husband. This releases her from normative domesticity and is the last place in the narrative that we see Lilian within a domestic space. Waters, then, explicitly engages with the second-wave feminist call to political revolution from within the home. Another important feminist articulation comes soon after Frances and Lilian form a friendship and take an afternoon walk in the park. They are 222 AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS gazed at by a strange man who follows them and interrupts their conversa- tion. Having earlier given him a ‘frosty’ stare (p. 92), Frances tells him to go away, ‘furious’ (p. 98) at his presumptuous interruption, at which point he calls her a ‘suffragette’:

“But why should you have to waste your time ignoring them? Did you know he was following us? There he goes, look.” She was watching the man as he sauntered away across the park. “Off to try his charms on some other poor woman, no doubt. I hope she hits him. ‘Suffragette’. As if the word’s an insult! Honestly, if I were younger I might have hit him myself” (p. 98).

In contrast to Frances’s outspoken railing against the man, Lilian ‘wouldn’t raise her eyes to his’ (p. 98). This recalls the argument made in Louisa Yates’s chapter. Detailing examples of silence and lack of consent by Waters’s female characters to unwanted sexual attention, Yates draws parallels to contemporary feminist activism around the politics of consent, which focuses attention on the violence of heteropatriarchal control of women’s bodies. By having Frances openly question the actions of the man and voice her fury, Waters aligns herself with the resistant voices of movements such as Slutwalk (on which Yates focuses) and the Everyday Sexism project, whilst acknowledging the repressions faced by women in specifi c historical moments. Thus, she reinforces the notion that her work collapses the spaces between feminist pasts and present, forcing us to ques- tion our own feminist voices and strategies. In contrast, both Frances and Lilian maintain silence when tipped into the formal, male spaces of the police station and courtroom which domi- nate the second half of The Paying Guests . Their desire is made ugly by public intrusion into their secret desire (‘The ease and familiarity were gone. She became aware that she was chafi ng at cooling, sticky, unen- chanted fl esh’ [p. 516]) and becomes symbolic of the very real risk posed to their freedom by patriarchally constructed systems of law and order. Waters, however, as in her other novels, subtly subverts these normative boundaries at the same time as drawing attention to their repressive ide- ological power. In focusing on a queering of the Thompson–Bywaters love triangle, Waters replaces the traditional heteropatriarchal narrative of jealousy and hysterical female desire with a lesbian desire that cannot be captured and contained. This recalls the escape of Selina Dawes and Ruth Vigers in Affi nity (1999) and also speaks to Adele Jones’s argument in this collection, that in (2002), repressive heterosexual desire AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS 223 is undermined by the displacement and queering of male desire. Like the bombed-out houses in The Night Watch that are highly visible yet uncan- nily unrecognisable and which allow Helen and Julia to have sex in pub- lic, the fi nal scene of The Paying Guests occurs ‘on the high mid-point’ of Blackfriars Bridge (p. 562) in a curiously public, yet private, ‘sort of alcove, with a shallow seat inside it’ (p. 562). This is an obviously symbolic (re)placing of lesbian desire at the centre of the narrative, in a space which undermines the patriarchally forced separation of two ideological spheres, an inherently feminist act which gives voice to women’s silences.

SEXUAL EVOCATIONS When asked in an interview about whether her novels contain too much sex, Waters’s response was perhaps to be expected given her focus on women’s desire and sexual experiences: ‘Sex is a part of life, a rather vis- ceral and compelling one, so any author telling a story of grown-up lives and relationships is probably going to want to depict it’.11 In her por- trayal of Frances, Waters invokes two of her earlier characters in particu- lar; Julia Standing and Kay Langrish, two of the lesbian characters in The Night Watch . Although one reviewer implies that this is tired recycling on Waters’s part (it is ‘as if characters have been derived from Waters’ bank of past creations’12 ), we suggest that the links between these characters estab- lishes another intertextual/sexual chain. Through this chain, women’s desire is articulated beyond the inter- and post-war master narratives which seek to (re)contain women’s voices and desires according to a reassertion of masculine norms after the wars (a point noted by O’Callaghan in her earlier chapter). Indeed, Frances’s challenge to these norms is signalled by the early refl ections between her and Kay: ‘She stood at a window in the largest of the rooms […] and stared out at the street’ watching the Barbers arrive to move into the house (p. 3) and later, when she sees Lilian moving around the room, she feels that she might have ‘become her own ghost’ (p. 10). In the opening pages of The Night Watch , Kay is described as ‘standing at her open window, smoking a cigarette, and watching the comings and goings of Mr Leonard’s patients’.13 Signifi cantly, Lilian and Kay are both moving around a room that belonged to Mrs Wray, a clear replacing of Victorian values by uncertain twentieth-century mores. Lucie Armitt argues in her chapter that Waters’s textual games involve a know- ingness about the theoretical constructs readers will want to deploy when looking at characters. It is clear here, from the implicit reference to Terry 224 AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS

Castle’s spectral lesbian, as well as her own characters, that Waters intends her reader to make these links. She is, as one astute reviewer comments, ‘giving fl esh to ghosts’.14 The sexual desire portrayed in The Paying Guests is more akin to the playfulness of Nancy and Kitty’s desire in (1997) than the urgent but sad sexual relationships of The Night Watch or The Little Stranger : ‘An image sprang into her head: that round fl esh, crimsoning in the heat’ (p. 28); ‘she brought a hand around Lilian’s thigh to the crisp curls between her legs. But at that, Lilian stiffened, and wriggled her hips away. Reaching to feel with her own hand, she said, as if she couldn’t believe it, “I’m all over wet!”’ (p. 210). Most notably, where Dr Faraday’s touching of Caroline Ayres in The Little Stranger —her gown had ‘three pearl buttons to it, and I awkwardly opened them up’15 —can be perceived in terms of sexual assault (see Yates’s comments in her earlier chapter), Lilian’s gown, which also ‘had three small pearl buttons on it, hard and round’ (p. 210), yields readily.16 Once again the clitoral imagery places female sexuality and desire at the centre of the narrative and undermines the patriarchal possessiveness of male characters (for example, Walter in Tipping the Velvet , Gentleman in Affi nity , Reggie in The Night Watch , Faraday in The Little Stranger ). Ultimately, this articulation (and celebra- tion) of female sexuality is a feminist reclamation of women’s bodies and desires, something that is acknowledged in each of the chapters in this collection.

(IN)CONCLUSION This collection has addressed the elisions and assumptions about the pres- ence and form of Waters’s feminism(s) in the existing body of scholarship on her work. In exploring the dominant themes and tropes of her novels, feminism and feminist identities are often assumed to be organising frame- works or have been used interchangeably with the notion of gender. Thus, there has been a lack of analysis about the meanings of those frameworks. This, we argue, also reinforces a populist (and misleading) construction of feminism as a singular entity; feminism as a word and a concept has come to signify a range of positions, eliding the complexity of the differences in those positions. This assertion is complicated by Waters’s simultaneous engagement with specifi c historical moments, which she uses as a tool not only to expose the gendered nature of historical narratives which margin- alise or exclude female and feminine identities, but also to rewrite those narratives. In some senses, the linear progression of this collection—from AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS 225 fi rst-wave feminisms to the second wave and beyond—may appear to belie the overall argument. But we assert that looking back to women’s history (or an imagined one) is not only a rewriting of a feminist past but also a desire for something more than is currently articulated in the feminist present. It is in the slippage between past and present, in the nonlinear confusions of feminisms and gender politics in those pasts and the present, where Waters’s feminist project is most clearly revealed.

NOTES 1. Charlotte Mendelson, ‘The Paying Guests by Sarah Waters’, Financial Times , 22 August 2014 http://www.ft.com/cms/s/2/9f30e368-2303- 11e4-8dae-00144feabdc0.html#axzz3LxrZS3SY? (accessed Friday 7 November, 2014). Web. 2. Rachel Cusk, ‘The Paying Guests by Sarah Waters review—satire meets costume drama’, , 15 August 2014 http://www.theguard- ian.com/books/2014/aug/14/paying-guests-sarah-waters-review-sat- ire-costume-drama (accessed Friday 7 November 2014). Web. 3. Danuta Kean, ‘Sarah Waters Interview’, The Independent , 6 September 2014 http://www.independent.co.uk/arts-entertainment/books/fea- tures/sarah-waters-interview-i-pay-attention-to-womens-secret-history- and-lives-9715463.html (accessed Friday 7 November, 2014). Web. 4. In Feeling Women’s Liberation , Victoria Hesford provides an invaluable discussion of feminist historiography and individual and cultural memory of the Women’s Liberation Movement. See Victoria Hesford, Feeling Women’s Liberation (Durham and London: Duke University Press, 2013). 5. Sarah Waters, The Paying Guests (London: Virago, 2014), p. 122. Hereafter cited parenthetically. 6. Cusk, ‘The Paying Guests by Sarah Waters review’, n.p. 7. Sarah Waters, ‘Live Webchat: Sarah Waters’, The Guardian , 15 July 2011 http://www.theguardian.com/books/booksblog/2011/jul/13/live- webchat-sarah-waters (accessed Friday 7th November, 2014). Web. 8. Claire O’Callaghan, ‘Sarah Waters’s Victorian Domestic Spaces; or, The Lesbians in the Attic’, Peer English: The Journal of New Critical Thinking , 9 (2014), 122–38. 9. See, for example, Adele Jones, ‘Disrupting the Continuum: Collapsing Time and Space in Sarah Waters’s The Night Watch ’, Journal of Gender Studies , 23:1(2014), 32–44; Emma Parker,’ The Country House Revisited: Sarah Waters’s The Little Stranger ’, in Sarah Waters, ed. by Kaye Mitchell (London: Continuum, 2013), pp. 99–113; Ann Heilmann, ‘406 - ‘Spectors of the Victorian in the Neo-Forties Novel: Sarah Waters’s The Little Stranger (2009) and Its Intertexts’, Contemporary Women’s Writing 6:1 (2012), 38–55; Gina Wisker in this collection, pp. 97–114. 226 AFTERWORD: SARAH WATERS AND THE FUTURE OF FEMINISMS

10. O’Callaghan, ‘Sarah Waters’s Domestic Spaces; or, The Lesbians in the Attic’, p. 135. 11. Live Webchat: Sarah Waters, n.p. 12. Arifa Akbar, ‘The Paying Guests by Sarah Waters book review: Novel tackles big themes but lacks bite’, The Independent , 21 August 2014 http:// www.independent.co.uk/arts-entertainment/books/reviews/the-paying- guests-by-sarah-waters-book-review-novel-tackles-big-themes-but-lacks- bite-9683573.html (accessed Friday 7 August 2014). Web. 13. Sarah Waters, The Night Watch (London: Virago, 2006), p. 5. 14. Lucy Daniel, ‘ The Paying Guests by Sarah Waters, review: “eerie, virtuoso writing”’, The Telegraph , 30 August 2014 http://www.telegraph.co.uk/ culture/books/bookreviews/11061441/The-Paying-Guests-by-Sarah- Waters-review-eerie-virtuoso-writing.html (accessed Friday 7 November 2014). Web. 15. Sarah Waters, The Little Stranger (London: Virago, 2009), p. 276. 16. Claire O’Callaghan’s study of the image of pearls in Waters’s work has been referenced several times by contributors in this collection and has quickly become a central argument when discussing female desire in the novels. See Claire O’Callaghan, ‘The Equivocal Symbolism of Pearls in the Novels of Sarah Waters’, Contemporary Women’s Writing , 6:1 (2012), 20–37. BIBLIOGRAPHY

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A B abortion, 2, 93, 203, 209 Banner, Florence, 177, 201 activism, 11, 12, 16, 173–6, 178, 181, Barber, Lilian, 216, 217, 218, 222 220, 223 affect, 31, 62, 64, 67, 70, 72, 74, 75, Barthes, Roland, 116, 117, 129n1, 85, 102, 111, 122, 124, 145, 129n4 182, 208, 210 Bowen, Elizabeth, 11, 81, 82, 88 Affi nity , 5–7, 11, 13, 15, 28, 30, 32, ‘boy,’ 104, 105, 163, 198–200 36, 43–57, 65, 68, 69, 71, 99, Briar House, 34, 178 119, 121, 125, 128, 133–5, Brontë, Charlotte, 11, 97, 99, 104, 137–41, 144–7, 149, 176, 179, 108 201, 218, 222, 224 Butch, 16, 68, 73, 193–210 Affi nity (adaptation), 3, 5–7, 9, 13, butch-femme, 212n25, 213n34, 219, 15, 28, 30, 32, 36, 43–57, 65, 221 68, 69, 71, 99, 119, 121, 125, Butler, Judith, 10, 21, 30, 124, 125, 128, 133–5, 137–41, 144–7, 149, 177, 195–7, 199 . See also Gender 176, 179, 201, 218, 222, 224 Trouble; performativity ‘Angel in the House,’ 155, 169, 170n2 Butler, Kitty, 3, 178, 184 Apparitional Lesbian , 6, 30, 73, 125 Astley, Nancy, 3, 179, 184, 186, 197 asylums, 15, 99, 137 C Ayres, Caroline, 3, 38, 85, 93, 97, 99, Carter, Angela, 12, 16, 17, 106 101–3, 105, 106, 108–11, 156, Castle, Terry, 6, 7, 30, 41n23, 62, 73, 158, 160, 162, 165–9, 179–81, 96n42, 204, 224 . See also 185, 194, 224 Apparitional Lesbian

© The Editor(s) (if applicable) and The Author(s) 2016 243 A. Jones, C. O’Callaghan (eds.), Sarah Waters and Contemporary Feminisms, DOI 10.1057/978-1-137-50608-5 244 INDEX

chora , 118, 121–3, 126, 131n13 feminism, 1–3, 5–8, 10–15, 39, 84, 97, cross-dressing, 47, 71, 197, 198 99, 115–29, 169, 176, 177, 182, 195, 197, 200–2, 205, 215–25 feminist history, 3, 175, 216, 217 D femme , 195, 198, 200, 202, 203, 207 Dawes, Selina, 32, 55, 68, 222 Fingersmith , 3, 5, 7, 15, 28, 33–6, 38, de Beauvoir, Simone, 3, 38 66, 71, 72, 75, 99, 115–29, dereliction , 14, 81–94 130n5, 131n18, 134–8, 140, desire, 2, 8, 9, 13, 16, 25, 36, 43, 143–5, 147, 149, 178, 179, 222 46–57, 62–6, 68, 83, 106, 111, Fingersmith (adaptation), 3, 5, 7, 15, 117, 118, 120–9, 142, 147, 163, 28, 33–6, 38, 66, 71, 72, 75, 99, 170, 176, 177, 181, 182, 186, 115–29, 130n5, 131n18, 134–8, 194, 196–9, 200, 205, 207–10, 140, 143–5, 147, 149, 178, 179, 216–19, 222–5, 226n16 222 Dickinson, Emily, 29, 32, 33, 36 Foucault, Michel, 6, 30, 57n6, 61, 62 disability, 15, 156–70, 172n26, 218 freedom, 4, 14, 37, 54, 55, 82, 86, domestic space, 8, 9, 118, 119, 162, 88, 89, 134, 135, 137, 143, 185, 220, 221 145–9, 194, 216, 222 dress, 33, 37, 105, 106, 108, 136, Freud, Sigmund, 63, 93, 164, 165, 157, 158, 173–86, 198, 201, 204 167, 172n24 . See also Dr. Faraday, 14, 15, 38, 85, 89–92, melancholia; mourning; uncanny 94, 98, 100–11, 156–70, 171n17, 180–2, 185, 186, 194, 224 du Maurier, Daphne, 11, 97, 98, 102, G 104, 105, 110, 113n14, 185 gay , 4, 6, 9, 26, 31, 44, 51, 72, 73, 76n12, 175–7, 179, 186, 196, 205 gaze, 1, 14, 15, 47, 118, 121–3, 127, E 156, 157, 160, 161, 169, 184, eroticism, 16, 55, 199 185, 200, 201, 205, 218 execution, 122, 140, 148 Gilbert, Sandra, 13, 28–32, 40n13, 97, 99, 112n1 Gothic , 11, 14, 69, 82, 97–112, 119, F 120, 156, 220 Fawcett Society, 12, 17n2, 174 grotesque, 87, 163–8 ‘feeling backwards,’ 45, 51 . See also Gubar, Susan, 13, 25, 26, 28–32, 34, Heather Love 35, 97, 99, 112n1 female gaze, 1, 121–3, 185, 200, 201 female Gothic, 11, 69, 156 female masculinity, 16, 193–210 H femininity, 13, 15, 29, 103, 120, 147, hair , 49, 54, 91, 103, 121, 136, 137, 155, 159, 165, 167, 195–8, 201, 158–60, 163, 170n4, 185, 198, 202, 204, 207, 208, 218, 219 201, 204, 209 INDEX 245

Halberstam, Judith, 8, 44, 193–5 . See Langrish, Kay, 3, 85, 194, 203, 223 also female masculinity; queer time lesbian, 4–6, 8, 9, 13, 26, 29, 30, 35, Hall, Radclyffe, 44, 55, 204 37, 47, 51, 56, 61–76, 83, 84, Heather Love, 45, 57n4 . See also 88, 96n42, 98, 99, 110, 115, ‘feeling backwards’ 123–8, 136, 142, 146, 175–9, heterosexual, 26, 37, 43, 47, 51–3, 184, 193–208, 210, 211n7 66, 88, 166, 176, 178, 179, lesbian culture, 200 184–6, 198, 200, 205–8, 222 lesbian feminism, 8, 195 heterosexuality, 7, 124, 126, 147, 169, lesbian history, 63, 65, 67, 74, 197 183, 196, 217 lesbianism, 2, 7, 16, 66, 149, 194, Hill, Susan, 111, 197 195, 198, 200, 203 historiographic metafi ction , 48, 62–5, Lily, Maud, 3, 33–6, 71, 72, 116–18, 71, 72, 76n12, 85, 173 120–8, 131n21, 134, 135, 137, homophobia , 3, 13, 44, 45, 55, 57 143, 144, 147–9, 178, 179 homosexual, 44, 201, 208 The Little Stranger , 3–5, 9, 14, 15, 30, Horsemonger Lane Gaol, 135, 138 38, 39, 74, 82, 85, 86, 89, 90, 92–4, 97–112, 115, 155–70, 171n17, 172n18, 176, 178, 180, I 181, 185, 186, 194, 218, 220, imprisonment, 15, 33, 47, 59n43, 73, 224, 225n9 104, 133, 134, 137, 145 love , 36, 43–57, 63, 64, 67, 68, 88, incarceration, 46, 100, 103–5, 109, 89, 93, 99, 100, 111, 145, 149, 116, 121, 127, 128, 133–49, 220 184, 198, 205, 207, 215, 216, insanity, 137 219, 222 intertextuality, 85, 116, 120, 129, 219 The Invisible Man , 37, 74 Irigaray, Luce, 14, 83, 84, 93 M male gaze, 14, 15, 218 masculinity, 16, 90, 119, 126, 130n7, J 178, 193–210 Jeffreys, Sheila, 195, 198, 200, 207, matrilineal, 7, 82–5, 94 211n8, 211n12 medicine, 156–63 melancholia, 63, 93 . See also Freud, Sigmund; mourning K men , 37, 83, 84, 86, 99, 104, 105, Kristeva, Julia, 115–29, 129n4, 107–9, 136, 140–2, 148, 155–70, 130n9, 130n10, 131n13 174–6, 178, 179, 181, 183, 184, 186, 208 metafi ction , 8, 48, 61–8, 70–2, 75, L 76n12, 85, 173 . See also Lacan, Jacques, 118, 130n7, 130n9, historiographic metafi ction 130n10 metonymic fragment, 72, 74 246 INDEX

middlebrow, 11, 215, 219–20 The Paying Guests , 3, 16, 66, 215–20, Millbank Prison, 46, 48, 134, 178, 179 222–4, 225n2, 225n3, 226n12, mirror (Mirror Stage), 63, 65, 66, 226n14 118, 121, 122, 128 Peace, Vivian, 103 misogyny, 2 Pearce, Duncan, 178 mother, 26, 32, 34, 38, 46, 47, 52, pearls, 11, 29, 179–81 53, 68, 69, 81, 83, 84, 91, 93, performativity, 66, 195, 196, 199 . 98, 101, 102, 104, 108, 109, See also Butler, Judith 119, 121, 123, 124, 131n21, phallus, 117, 121, 123, 126, 129, 140, 143, 145, 162–4, 167, 216, 130n7, 165 218, 220 Prior, Margaret, 32, 50, 120, 144, mother-daughter, 7, 84, 93, 121–5 145, 148, 178, 194, 218 mourning , 63, 68, 75, 93 . See also prison , 32, 33, 46, 54, 68, 85, Freud, Sigmund; melancholia 133–49, 178, 203 Mrs Sucksby, 33, 34, 71, 116, 119, prison warder, 136, 137, 139–43, 125, 127, 136, 138, 143, 145, 148 145 psychoanalysis, 15, 115, 116, 121–5, 130n4 N New Woman, 201, 202 The Night Watch , 3, 8, 9, 14, 26, 30, Q 36, 37, 61, 62, 65–7, 72–6, 82, queer theory, 8–11, 133, 177, 195, 85–8, 92, 94, 99, 102, 103, 115, 196, 205 119, 120, 131n15, 176, 178, queer time, 55 193–210, 220, 221, 223, 224, 225n9 The Night Watch (adaptation), 3, 8, 9, R 14, 26, 30, 36, 37, 61, 62, 65–7, Radicalesbians, 183, 189n39 72–6, 82, 85–8, 92, 94, 99, 102, ‘re-vision,’ 12, 44, 175–7, 220 . See 103, 115, 119, 120, 131n15, also Rich, Adrienne 176, 178, 193–210, 220, 203, Rich, Adrienne, 7, 12, 176, 183, 221, 223, 224, 225n9 188n17 . See heterosexuality; ‘re-vision’ Rosamund Lehmann, 11 O Rubin, Gayle, 193–5, 210, 211n2 Orlando , 11, 13, 43–57, 59n35 ruin , 54, 55, 85, 86, 88–92, 111, 148

P S patriarchy, 2, 10, 37, 84, 94, 116, second-wave feminism, 5, 39, 97, 99 169, 178, 183, 184, 195, 196, semiotic, 118–120, 123–6, 129, 201, 218 130n4, 130n9, 131n13 INDEX 247 sex, 11, 27, 35, 43, 47, 52, 56, 68, V 93, 98, 106, 108, 110, 177, 179, violence, 7, 10, 16, 88, 92, 94, 102, 180, 182–6, 204, 208, 209, 223 127, 146, 176, 180, 182, 183, sexual violence, 16, 182, 183 185, 222 signifi cation, 11, 117, 118, 123, 124, voice , 8, 9, 14, 49, 50, 69, 70, 127, 130n10, 131n13, 197 94, 101, 104, 105, 109, 116, sisterhood, 16, 27, 36, 134, 140, 119, 176, 179, 182–6, 204, 150n8, 218 222, 223 SlutWalk, 16, 173–86, 222 socialist feminism, 202 spinster, 5, 7, 32, 56, 68, 103, 143, W 217, 218 war, 37, 73, 74, 81, 85–8, 90, 92–4, Symbolic Order, 84, 86, 89, 116, 98–102, 105, 107–9, 111, 177, 120–3, 126, 129, 130n10, 178, 203, 204, 206–8, 216, 221 131n11, 131n21 Waters, Sarah bodies , 4, 13, 16, 45, 106, 157–9, 161, 165, 172n26, 173, T 176–82, 186, 217, 222, 224 Taylor, Elizabeth, 11, 219 feminism, 1–3, 5–8, 10–15, 39, 84, third-wave feminism, 77n30 97, 99, 115–29, 169, 176, 177, time, 2, 4, 6, 7, 9, 26, 27, 34, 36, 37, 182, 195, 197, 200–2, 205, 44, 52, 54, 57, 59n35, 63, 65, 215–25 66, 70, 72, 73, 85, 87, 89, 101, interview, 3, 12, 31, 56, 62, 71, 86, 105, 107, 117, 119, 121, 122, 174, 197, 216 127, 129, 146, 148, 194, 198, PhD thesis, 6, 31 209, 210, 215, 217, 221, 222 politics, 2–10, 12–16, 35, 45, 55, Tipping the Velvet , 3, 6, 8–11, 30–2, 62, 75, 83, 103, 105, 115–29, 65–8, 71, 72, 75, 99, 172n26, 174–7, 181, 182, 183, 194–8, 176–9, 186, 187n2, 193–210, 201, 202, 205, 207, 210, 217, 212n17, 224 218, 220–2, 225 Tipping the Velvet (adaptation), 197, 203 queer , 8–11, 133, 177, 195, 196, Townsend Warner, Sylvia, 11 205 trauma, 5, 63, 64, 88, 138, 145, 175, writing, 2, 3, 5–9, 11–17, 25–39, 203, 206, 209 43–57, 62, 64–72, 81, 82, 86, Trinder, Susan (Sue), 116, 134, 178 99, 116, 117, 120, 125–6, 135, 148, 173–82, 196, 208, 210, 215, 217, 219 U waves, 2, 3, 5, 12, 182, 225 ugliness, 15, 156, 158, 159, 161, 166, waves metaphor, 12, 39 167, 170, 218 Wells, H.G., 37, 73 uncanny , 84, 86, 94, 107, 156, Wolf, Naomi, 155, 161, 169, 170n3, 163–8, 170 170n4 248 INDEX

women , 2–17, 25–31, 33, 35, 37, women’s writing, 11–13, 30, 31, 39, 39, 44–52, 54, 62–4, 66, 68, 81, 82, 99, 126, 219 73, 81–94, 97–110, 112, Woolf, Virginia, 11, 13, 43–6, 48–50, 116–18, 121–3, 126, 133–49, 52, 54, 55, 57, 58n29, 155, 169, 155–70, 173–9, 181–6, 193–6, 170n1, 217 198–210 World War II, 82, 85, 86, 90, 99, 105, Women’s Liberation Movement, 3, 6, 156, 194 12, 14, 225n4 Wray, Frances, 216–18, 220, 223