By Kristin M. Bloomberg
"I am quite inspired with Bloomberg’s insights concerning the ways that girls writers’ urge to harness the facility of women’s myths has to some degree been aroused through historic forces. . . . She explains that women’s wish to reinvent their identities calls for that girls writers take over the narrative instruments (such as mythic allusions) supplied them via male writers and use these instruments to construct their very own textual ‘house.’"--Mary Lowe-Evans, college of West Florida
Tracing Arachne's Web examines using delusion in works via American ladies novelists of the overdue nineteenth and early twentieth centuries, exhibiting how either classical allusions and ethnic folks fable liberated those writers and enabled them to appreciate and adventure their social and fiscal worlds.
Using the metaphor of Demeter and Persephone as her framework, Kristin Mapel Bloomberg identifies a cycle in women’s fiction that strikes from the utopian global of Demeter’s backyard within the past due nineteenth century to the event of remoted girls within the patriarchal underworld of literary modernism. interpreting the works of Sarah Orne Jewett, Emma D. Kelley-Hawkins, Onoto Watanna (aka Winnifred Eaton), Alice Dunbar-Nelson, Edith Wharton, and Djuna Barnes, she develops a version of women’s writing that ties those writers’ fascination with the occult and Greek mythology to T. S. Eliot’s concept of the “mythical method.” Drawing from heritage and pop culture, she demonstrates how girls of colour spoke back to a few of the related cultural currents as white writers. She does this, additionally, by means of reading the coded recommendations by means of ladies of colour to get their books into print, with out collapsing race into gender issues.
Invariably provocative, Bloomberg’s writing creates an image of woman strength in turn-of-the-century American fiction during which girls writers became to replacement non secular ideologies and occult philosophies to enquire tensions among racism, sexism, and classicism. This e-book will attract students in American experiences, literary feedback, women’s experiences, and cultural studies.
Kristin M. Mapel Bloomberg, affiliate professor of English and women's stories at Hamline collage in St. Paul, Minnesota, holds the Hamline college Chair within the Humanities and can also be Director of the Women's stories Program.
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Additional resources for Tracing Arachne's Web: Myth and Feminist Fiction
For Gurdjieff, this practice could not be a pleasant one, and the process was “enhanced” with an emphasis on stress, pain, tension, and conflict. Gurdjieff ’s philosophy is one that is linked explicitly by Peter Washington in Madame Blavatsky’s Baboon to the Left Bank lesbian expatriate circle that included Jane Heap, Margaret Anderson, Djuna Barnes, and Janet Flanner (288). Gurdjieff ’s ideals also surface in Harlem, with Thadious Davis linking a study group led by Gurdjieff disciple Jean Toomer to writers including Nella Larsen (167).
Yet these women also took seriously what Marianne DeKoven describes as the “potential for bringing on retribution from a still-empowered patriarchy” (“Gendered Doubleness” 21) in the form of exploitative wage scales, limited career advancement, and certain sexual harassment for the unchaperoned or unaccompanied. Similarly, middle-class black women like Emma D. Kelley-Hawkins surveyed the violent and racist social territory of late-nineteenth-century America with a cautiously sharp eye. As such, the fictions of Jewett and Kelley-Hawkins carefully look to the utopian gaps that existed between an imagined freedom and the realities of the isolation of women under patriarchy’s sexism and black women under its violent racism.
For instance, the narrative of “Poor Joanna” foreshadows life as it will be for expatriated women of the early twentieth century, for Joanna is a woman who has been alienated by life ’s events and moves to Shell-Heap Island. Mrs. Fosdick explains, “All she wanted was to get away from folks, she thought she wasn’t fit to live with anybody, and wanted to be free” (65). Sadly, Joanna cannot bear even the mediated safety of patriarchy that exists in Dunnet Landing, and she finds it necessary to reinvent herself in the isolation of Shell-Heap Island.