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Hidden Mothers and Poetic Pregnancy in Women's Writing

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Hidden Mothers and Poetic Pregnancy in Women's Writing Hidden Mothers and Poetic Pregnancy in Women’s Writing (1818-present day) Sarah Emily Blewitt Submitted in partial fulfilment for the degree of Doctor of Philosophy Cardiff University 2015 1 Acknowledgements Cardiff University and the Arts and Humanities Research Council provided much-needed financial support during the writing of this project; without the assistance of the Postgraduate Starter Bursary, 125 Scholarship, and later, the AHRC grant, this would have been a much harder task to complete. I am deeply grateful for the unfailing commitment of my supervisor, Dr Becky Munford, whose clear critical insight, expert guidance, and enthusiastic encouragement invigorated and informed this project from its conception to its birth. Many thanks are due also to Professor Katie Gramich, who guided the thesis into the world in its final stages – calmly, firmly, and expertly, like the perfect midwife. Many colleagues and friends have been a source of support and professional development, not least those among the Postgraduate Contemporary Women’s Writing Network. Dr Neil Badmington also provided helpful feedback on early drafts of the thesis, and always expressed keen interest in the project. My friends in the department – especially Dr Laura Foster, Catherine Han, Helen McKenzie, Elinor Shepley, Dr Jennifer Whitney and Dr Rhys Tranter – have all provided comfort, cups of tea, and fertile discussion. Finally, and most importantly, I would like to thank my family. Ma and Pa, thank you for taking me to the train station every morning at 6.30am for a year, and for letting me come home whenever I needed; Anna, thanks for the Harry Potter-themed distractions; David, thanks for reminding me every time I see you that one day I will have to ‘get a proper job’. Greg, I have no idea how to thank you for putting up with the labouring that scattered our home in various images of dissected body parts, scraps of paper, books, and other paraphernalia. I do know, however, that you have infected me with an enjoyment of bloody, grotesque, and downright frightening horror films, and are the perfect father to Ozymandias, our other baby-substitute. Thank you. 2 Abstract This thesis investigates representations of the pregnant body in works by women writers in the period from 1818 to the present day, tracing the multiple connections between the actual bodily experience of pregnancy and its use as metaphor for literary production. Setting a diverse corpus of work by women poets and novelists in dialogue with medical constructions of the pregnant body – from eighteenth-century anatomical atlases to contemporary ultrasound images – it offers a provocatively feminist contribution to the field, by defining ‘poetic pregnancy’ as a fertile, corporeal and important variant on the childbirth metaphor. In so doing, it both explores women's writing as a site of resistance to the objectification of the pregnant subject by medical discourse and traces the ways in which this might also challenge traditional constructions of the dominant male canon. Chapter I explores the early stages of pregnancy, from Consummation to Quickening, in Elizabeth Barrett Browning's verse-novel Aurora Leigh (1857). By examining Barrett Browning's poet-heroine as a pregnant subject, it considers the gestation of the book/baby in relation to nineteenth-century theories of ‘maternal impressions’. Chapter II, on Miscarriage, begins by conceptualising the nineteenth-century female body underneath the corset, before investigating what happens when the girdle is unclasped and the waistline is dropped during the early twentieth century, by uncovering the non-reproductive, ‘mis- carrying’ silhouette of the flapper in Virginia Woolf's Orlando (1928) and Rosamond Lehmann's The Weather in the Streets (1936). Chapter III identifies and explores the phenomenon of ‘Ultrasound poetry’ written by contemporary women poets such as Kathleen Jamie, Pat Borthwick and Leontia Flynn, a phenomenon spawned from twentieth- and twenty-first century developments in New Reproductive Technologies. This chapter analyses two particular characteristics of the ultrasound poem: firstly, the conjuring of an 3 unspecified, atavistic past; secondly, the emergence of the futuristic and spectral foetal spaceman. Chapter IV, on Labour, moves back to the nineteenth century, by examining Mary Shelley's 1818 novel, Frankenstein. Situating the text in terms of its medical and scientific context – the rise of the man-midwife and the entry of the anatomised headless image of the pregnant torso into popular medical discourse – this chapter offers a fresh way of reading Frankenstein, not only as a 'birth myth', but as a text engaged with the increasingly medicalised pregnant body. This thesis’s structure thus replicates thematically the rounded shape of the pregnant belly, offering a critical re/membering of the pregnant subject that foregrounds both the embodiment of pregnancy and its metaphorical significance for these women writers. Overall, it argues that the pregnant body, which is often Gothicised, obscured and made spectral in representations, is also resistant, disruptive and potently corporeal. The metaphor of poetic pregnancy, like the childbirth metaphor, is not fixed and singular, but comprised of metaphorical matrices, which generate multiple meanings. 4 Contents List of Figures p. 6 Introduction: The Conception of the Pregnant Subject p. 10 The ‘Lyric I’ As Pregnant Pronoun p. 28 The Muse as Mother p. 35 Hidden Mothers: Metaphors of Female Creativity p. 39 Chapter I: From Consummation to Quickening: the Pregnant Poet in Elizabeth Barrett Browning’s Aurora Leigh. p. 46 Sexing the Virgin: Aurora’s Consummation p. 53 Aurora's Intimate Chamber p. 56 Poetic Passion: The Rape of the Madonna p. 63 Maternal Impressions: Through the Blood p. 78 The Permeable Poet p. 82 Quickening: Moving with the (M)other p. 88 The Sublime Madonna p. 96 Chapter II: Unclasping the Girdle: Writing Pregnancy Loss p. 100 ‘Straps, buckles, laces and bones’: What Makes a Woman p. 105 Dropping the Waistline and Dropping the Baby: Mis-Carrying in Orlando p. 123 The Wrong Clothes: ‘modern concavity’ and Abortion in The Weather in the Streets p. 139 Nicola’s Room: Lehmann’s Hidden Mother p. 155 5 Chapter III: A ‘look within’: Contemporary Women’s Ultrasound Poetry p. 160 Impertinent Rays: The X-Ray and the Pregnant Subject p. 160 An (Un)familiar Story: The Rise of Ultrasound p. 168 The First Look: Leontia Flynn’s ‘Two Ways of Looking at an Ultrasound Scan’ p. 172 Meeting the Foetal Spaceman p. 178 A Second Way of Looking p. 194 ‘Speaking from the belly’: A Third Way of Looking? p. 205 Chapter IV: Labouring (M)others: Delivering Frankenstein p. 209 Percy Shelley’s Labouring Reader p. 215 Mary Shelley’s ‘hideous progeny’ p. 229 Victor Frankenstein’s ‘workshop of filthy creation’ p. 237 Shelley’s Other Mothers p. 243 Conclusion: Afterbirth p. 262 Beheading and Bodysnatching p. 262 Metaphorical Matter: After Birth and Afterbirth p. 274 Bibliography p. 287 6 List of Figures Introduction Fig. 1. p. 10 Jacques-Pierre Maygrier, Plate XXV, 'Histoire de la grossesse. Etat naturel, 3 mois, 6 mois, 9 mois', in Nouvelles démonstrations d'accouchements. Avec des planches en taille-douce, accompagnées d'un texte raisonné, propre à en faciliter l'explication (Paris: Béchet, 1822[-27]), p. 73. Image available from Wellcome Images. Fig. 2. p. 13 Jacques-Pierre Maygrier, Plate XXVI, 'Histoire de la grossesse. Etat naturel, 3 mois, 6 mois, 9 mois' (Side view), in Nouvelles démonstrations d'accouchements. Avec des planches en taille- douce, accompagnées d'un texte raisonné, propre à en faciliter l'explication (Paris: Béchet, 1822[- 27]), p. 74. Image available from Wellcome Images. Fig. 3. p. 42 Hidden Mother Image, from Linda Fregni Nagler, The Hidden Mother (Mack and Nouveau Musée National de Monaco, 2013), repr. by The Guardian <http://www.theguardian.com/artanddesign/gallery/2013/dec/02/hidden-mothers-victorian- photography-in-pictures?CMP=fb_gu> [accessed 11 June 2015]. Chapter I Fig. 1. p. 71 Sandro Botticelli, The Virgin and Child with a Pomegranate, [Tempera on wood]. The National Gallery, London. (1480-1500). Fig. 2. p. 72 Sandro Botticelli, Madonna of the Pomegranate (Madonna della Melagrana), [Tempera on panel]. Galleria degli Uffizi, Florence. (1487). Chapter II Fig. 1. p. 107 ‘Present Fashion’, in Madame Roxey A. Caplin, Health and Beauty; Or, Corsets and Clothing, Constructed in Accordance with the Physiological Laws of the Human Body (London: Darton and Co., 1856), p. 24. 7 Fig. 2. p. 112 ‘Normal chest’ and ‘Effects of tight lacing on bony thorax’, in Anna M. Galbraith, Personal Hygiene and Physical Training for Women (Philadelphia and London: W. B. Saunders Company, 1911), p. 248. Fig. 3. p. 118 ‘Gestation Corset’, in Madame Roxey A. Caplin, Health and Beauty; Or, Corsets and Clothing, Constructed in Accordance with the Physiological Laws of the Human Body (London: Darton and Co., 1856), p. 54. Fig. 4. p. 127 Photograph of dancing flappers, in Chelsea Mageland, ‘The Roaring ’20s: 1920-1929’, The History of Human Sexuality <http://historyofsexuality.umwblogs.org/topic-1/early- 1900s/roaring-20s/> [accessed 3 August 2015]. Fig. 5. p. 135 ‘Style, Health and Comfort From Infancy to Old Age: H. & W. Corset Waists’ (1914), NYPL Digital Collection <http://digitalcollections.nypl.org> [accessed 3 August 2015]. Chapter III Fig. 1. p. 165 Pregnancy Transverse Lie, Abdomen X-ray, N0021272 [n.d.]. Image available from Wellcome Images. Fig. 2. p. 170 Ultrasound Image of Normal 24 Week Foetus, N0019386 (1999). Image available from Wellcome Images. Fig. 3. p. 180 Lennart Nilsson, Spaceman, 13 weeks (1965) <http://www.lennartnilsson.com/child_is_born.html> [accessed 17 August 2015]. 8 Fig. 4. p. 181 Lennart Nilsson, Drama of Life Before Birth, Time (April 30 1965) <http://time.com/3876085/drama-of-life-before-birth-landmark-work-five-decades-later/> [accessed 17 August 2015]. Fig. 5. p. 185 Foetus at 8 Weeks Gestation, Intra Vaginal Ultrasound Scan, N0014066 [1993?].
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