Recuperating and Revaluing: Edith Sitwell and Charlotte Mew

  • Gary Day
  • Gina Wisker

Abstract

The history of women’s poetry in the early part of the twentieth century has been one of absence: absence from bookstores and library shelves and even from course lists. However, this situation is now changing and this chapter aims to contribute to that change by considering the work of Edith Sitwell and Charlotte Mew.

Keywords

Beach Posit Hunt Refraction Ghost 

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Notes

  1. 1.
    See V. Glendinning, Edith Sitwell: A Unicorn among Lions (Oxford: Oxford University Press, 1981) p. 3.Google Scholar
  2. 4.
    E. Sitwell, ‘Colonel Faxtock’, in Collected Poems (London: Macmillan, 1965) p. 174; hereafter referred to as CP with poem titles and page references given in the text.Google Scholar
  3. 6.
    E. Sitwell, quoted by R. H. Ross, The Georgian Revolt: Rise and Fall of a Poetic Ideal (London: Faber, 1965) p. 195.Google Scholar
  4. 9.
    V. Woolf, A Room of Ones Own (Harmondsworth: Penguin, 1967) P. 77.Google Scholar
  5. 10.
    See Julia Kristeva, ‘The System and the Speaking Subject’, Times Literary Supplement, 12 October 1973, pp. 1249–50.Google Scholar
  6. 11.
    Geoffrey Thurley, The Ironic Harvest: English Poetry in the Twentieth Century (London: Edward Arnold, 1974) p. 136.Google Scholar
  7. 12.
    ‘we can pronounce not a single destructive proposition which has not already had to slip into the form, the logic and the implicit postulations of precisely what it seeks to contest’ (J. Derrida, ‘Structure, Sign and Play’, in J. Derrida, Writing and Difference, trans. A. Bass (London: Routledge, 1978) pp. 278–93, at pp. 280–1).Google Scholar
  8. 13.
    E. Pound, ‘A Few Don’ts By An Imagiste’, in Imagist Poetry, ed. with an introduction by P. Jones (Harmondsworth: Penguin, 1976) pp. 130–4.Google Scholar
  9. 14.
    A. Easthope, Poetry as Discourse (London and New York: Methuen, 1983) p. 74.Google Scholar
  10. 15.
    See C. K. Stead, The New Poetic: Yeats to Eliot (London: Hutchinson, 1986) p. 82.Google Scholar
  11. 16.
    W. Kerr, ‘Counting Sheep’, in Georgian Poetry V, ed. E. Marsh (London: Poetry Bookshop, 1920–22).Google Scholar
  12. 18.
    C. Mew, ‘Fame’ in Collected Poems and Prose, ed. V. Warner (London: Virago, 1982) p. 3; hereafter referred to as CPP with poem titles and page references given in the text.Google Scholar
  13. 20.
    R. Barthes, ‘The Death of the Author’, in Modern Criticism and Theory: A Reader, ed. D. Lodge (London and New York: Longman, 1988) pp. 167–72.Google Scholar
  14. 22.
    For an excellent account of this process, see S. Hall and B. Schwartz, ‘State and Society 1880–1930’, in Crises in the British State 1880–1930 (London: Hutchinson, 1983) pp. 7–33.Google Scholar
  15. 23.
    Difference is the process which enables language to signify. It is because words are different from one another, not because they correspond to objects in the world, that they have meaning. However, this meaning is never fully present in words because it always depends on other words which come before and after them. For this reason — given here in a brutally reductive form — Derrida argues that meaning is deferred. For a full account of this process, see J. Derrida, ‘Difference’, in J. Derrida, Margins of Philosophy, trans. A. Bass (New York and London: Harvester Wheatsheaf, 1982) pp. 3–27.Google Scholar
  16. 24.
    See T. S. Eliot, ‘Hamlet’, in T. S. Eliot, Selected Essays (London: Faber and Faber, 1976) pp. 141–6, at p. 145.Google Scholar
  17. 25.
    See J. Lacan, Ecrits: A Selection, trans. A. Sheridan (London: Tavistock, 1977) especially ‘The Signification of the Phallus’, pp. 281–91 and ‘The Subversion of the Subject and the Dialectic of the Desire in the Freudian Unconscious’, pp. 292–324.Google Scholar

Copyright information

© Palgrave Macmillan, a division of Macmillan Publishers Limited 1995

Authors and Affiliations

  • Gary Day
  • Gina Wisker

There are no affiliations available

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