Notes 1 Introduction: Birth, Death and Resurrection 1. Seán Burke, Authorship: From Plato to the Postmodern. A Reader (Edinburgh: Edinburgh University Press, 1995), p. 145. 2. Carol Shields, Mary Swann (London: Flamingo, 1993); Muriel Spark, Loitering with Intent (Harmondsworth, Middlesex: Penguin, 1995); Antonia Byatt Possession: A Romance (London: Vintage, 1991). 3. Sherley Anne Williams, Dessa Rose (London: Virago Press Ltd., 1998); Margaret Atwood, Lady Oracle (London: Virago Press Ltd., 1982); Ursula Le Guin, ‘Sur’, The Compass Rose (London: Victor Gollancz, 1983). 4. Alice Walker, ‘Everyday Use’, In Love and Trouble (London: The Women’s Press Ltd., 1984); Antonia Byatt, ‘Art Work’, The Matisse Stories (London: Vintage, 1994). 5. The history and etymology of the term, ‘author’, are usefully discussed in Donald E. Pease, ‘Author’, in Frank Lentricchia and Thomas McLaughlin (eds) Critical Terms for Literary Study (Chicago, IL and London: University of Chicago Press, 1990), pp. 105–117. 6. See, for example, Grace Stewart, A New Mythos: The Novel of the Artist as Heroine 1877–1977 (Montreal, Canada: Eden Press Women’s Publications, 1981); Linda Huf, A Portrait of the Artist as a Young Woman (New York: Frederick Ungar Publishing Co., 1983); Rachel Blau DuPlessis, Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers (Bloomington, IN: Indiana University Press, 1985); Gayle Greene, Changing the Story: Feminist Fiction and the Tradition (Bloomington, IN: Indiana University Press, 1991); Lisa Maria Hogeland, Feminism and Its Fictions: The Consciousness-Raising Novel and the Women’s Liberation Movement (Philadelphia, PA: University of Pennsylvania, 1998). 7. Ruth Parkin-Gounelas, Fictions of the Female Self: Charlotte Brontë, Olive Schreiner, Katherine Mansfield (London: Macmillan, 1991), p. 2. Note also the significant number of texts, particularly in the second half of the 1970s and into the 1980s, whose titles turn on notions of silence, breaking through silence, finding words, speaking out and so on. 8. Carol Shields, Unless (London: Fourth Estate, 2003), p. 208. Further references appear in the text. 9. Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven, CT: Yale University Press, 1979). See Chapter 2. 10. Lorna Sage, Women in the House of Fiction (London: Macmillan, 1992). 11. See Jenny Hartley, Reading Groups (Oxford: Oxford University Press, 2001); the Survey of the English Curriculum and Teaching in UK Higher Education (Report Series No. 8: English Subject Centre, 2003) shows that in terms of the popularity of optional courses women’s writing is on a par with Shakespeare 156 Notes 157 and second only to contemporary writing courses on which women writers tend to feature prominently as well. 12. Roland Barthes, ‘The Death of the Author’, in Stephen Heath (selected and trans.), Image–Music–Text (London: Fontana, 1977). 13. Barbara Smith, ‘Toward a Black Feminist Criticism’, Conditions: Two 1, No. 2 (1977); Luce Irigaray, Ce sexe qui n’en est pas un (Paris: Minuit, 1977); Elaine Showalter A Literature of Their Own (Princeton, NJ: Princeton University Press, 1977); Hélène Cixous, ‘The Laugh of the Medusa’, Signs, Vol. 1, No. 4 (Summer, 1976); Marxist–Feminist Literature Collective, ‘Women’s Writing: Jane Eyre, Shirley, Villette, Aurora Leigh’, in Francis Barker, John Coombes, Peter Hulme, Colin Mercer and David Musselwhite (eds) The Sociology of Literature 1848 (Essex: University of Essex, 1978); Gilbert and Gubar, The Madwoman in the Attic. 14. Eugen Simion, The Return of the Author (1981) ed. and intro. James W. Newcomb; trans. James W. Newcomb and Lidia Vianu (Evanston, IL: Northwestern University Press, 1996), p. 111. 15. Sage, Women, p. 168. Gilbert Adair, The Death of the Author (London: Minerva, 1993). 16. See Burke’s essay, ‘The Ethics of Signature’, in Authorship, pp. 285–91. 17. The writer as Jekyll and Hyde is explored by Margaret Atwood in Negotiating with the Dead: A Writer on Writing (London: Virago Press Ltd., 2003). Examples of the author taking over the identity of another would include Bernice Rubens, Autobiopsy (London: Sinclair-Richardson, 1993) and John Colapinto, About the Author (London: Fourth Estate, 2002). 18. Linda Hutcheon, Narcissistic Narrative: The Metafictional Paradox (London: Methuen, 1984). Hutcheon makes clear that she is using the term with respect to the narrative text and not the author. I would suggest that where the author figure features significantly in the text the term could be extended to include the author also. 19. J. M. Coetzee, Foe (Harmondsworth, Middlesex: Penguin, 1987). 20. I am following the Barthesian convention of using the upper-case ‘A’ when talking about the author of origin and legal and social status and the lower- case ‘a’ when referring to the published writer generally. 21. Peggy Kamuf, ‘Writing Like a Woman’, in Sally McConnell-Ginet Ruth Borker and Nelly Furman (eds) Women and Language in Literature and Society (New York: Praeger, 1980), pp. 285–6. 22. Carol Shields, ‘Absence’, Dressing Up for the Carnival (London: Fourth Estate, 2000). 23. Margaret Atwood, The Handmaid’s Tale (London: Virago Press Ltd., 1987). 24. Nancy Miller, ‘The Text’s Heroine: A Feminist Critic and Her Fictions’, Subject to Change: Reading Feminist Writing (New York: Columbia University Press, 1988), p. 71. 25. Most especially Bourdieu has written on Flaubert. See The Field of Cultural Production: Essays on Art and Literature, ed. and intro. Randal Johnson (Cambridge: Polity Press, 1993) and The Rules of Art: Genesis and Structure of the Literary Field, trans. Susan Emmanuel (Cambridge: Polity Press, 1996). For examples of a Bourdieuian analysis of women’s writing, see Bridget Fowler, The Alienated Reader: Women and Popular Culture in the Twentieth Century (Hemel Hempstead, Hertfordshire: Harvester Wheatsheaf, 1991) and Pierre 158 Notes Bourdieu and Cultural Theory (London: Sage Publications, 1997). Toril Moi’s essays on appropriating Bourdieu for feminism in What Is a Woman? (Oxford: Oxford University Press, 1999) are also relevant and a Bourdieuian approach influenced her Simone de Beauvoir: the Making of an Intellectual Woman (Oxford: Blackwell Publishers, 1994). 26. Raymond Williams, The Long Revolution (Harmondsworth, Middlesex: Pelican, 1965). 27. Margaret Atwood, Alias Grace (Toronto, Ontario: McClelland & Stewart Inc., 1996). 28. Salman Rushdie, Shame (London: Jonathan Cape, 1985), p. 116. 29. Claude Lévi-Strauss, ‘A Writing Lesson’, Tristes Tropiques, trans. John and Doreen Weightman (London: Jonathan Cape, 1973), pp. 294–304; Jacques Derrida, Of Grammatology, trans. Gayatri Chakravorty Spivak (Baltimore, NY and London: The Johns Hopkins University Press, 1976). 30. Gayatri Chakravorty Spivak, ‘Theory in the Margin: Coetzee’s Foe Reading Defoe’s Crusoe/Roxana’, in Jonathan Arac and Barbara Johnson (eds) Consequences of Theory: Selected Papers from the English Institute, 1987–88 (Baltimore, NY and London: The Johns Hopkins University Press, 1991); David Attwell in interview with Coetzee, in David Attwell (ed.) J. M. Coetzee, Doubling the Point: Essays and Interviews (Cambridge, MA: Harvard University Press, 1992); Iris Marion Young, Intersecting Voices: Dilemmas of Gender, Political Philosophy, and Policy (Princeton, NJ: Princeton University Press, 1997). 31. Elaine Showalter, A Literature of Their Own, 2nd ed. (London: Virago Press Ltd., 1999), p. 321. 32. David Lodge, Nice Work (Harmondsworth, Middlesex: Penguin, 1989); Alison Lurie Foreign Affairs (London: Abacus, 1986); Alison Lurie, The Truth about Lorin Jones (London: Michael Joseph, 1988); Amanda Cross, Death in a Tenured Position (New York: Ballantine Books, 1981). 33. Michèle Le Dœuff, The Philosophical Imaginary, trans. Colin Gordon (London: The Athlone press, 1989) and Hipparachia’s Choice: An Essay Concerning Women, Philosophy, etc., trans. Trista Selous (Oxford; Blackwell, 1991). 34. Anita Brookner, Hotel du Lac (London: Granada publishing Co. Ltd., 1985); Fay Weldon, The Life and Loves of a She Devil (London: Sceptre, 1984). 35. Sue Vice, ‘Addicted to Love’, in Lynn Pearce and Jackie Stacey (eds) Romance Revisited (London: Lawrence & Wishart, 1995), pp. 122–3. 36. Catherine Belsey, Desire: Love Stories in Western Culture (Oxford: Blackwell, 1994). 37. Jane Gardam, ‘The Sidmouth Letters’, The Sidmouth Letters (London: Abacus, 1981). 38. Michèle Roberts, The Looking Glass (London: Little, Brown and Company, 2000). 39. Joan Riviere, ‘Womanliness as a Masquerade’, Victor Burgin, James Donald and Cora Kaplan (eds) Formations of Fantasy (London: Methuen & Co. Ltd., 1986). 40. Hélène Cixous, ‘Sorties’, in Cixous and Catherine Clément The Newly Born Woman, trans. Betsy Wing (Manchester: Manchester University Press, 1986). 41. Friedrich Nietzsche, On the Genealogy of Morals, trans. Douglas Smith (Oxford: Oxford University Press, 1996). Notes 159 2 Feminism and the Death of the Author 1. Julie Birchall, The Guardian 26 October 2002. 2. Carol Shields, ‘Absence’, Dressing Up for the Carnival (London: Fourth Estate, 2000). Further references appear in the text. 3. Jorge Luis Borges, ‘Borges and I’, Labyrinths (Harmondsworth, Middlesex: Penguin, 1970), p. 283. 4. Virginia Woolf, A Room of One’s Own and Three Guineas (Harmondsworth, Middlesex: Penguin, 1993), p. 90. See also Woolf on the relation between ‘I’ and egotism in essay writing in ‘The Decay of Essay-writing’, in Andrew McNeillie (ed.) The Essays of Virginia