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Women Writing the
Neo-Victorian Novel
Erotic “Victorians”
Kathleen Renk
Women Writing the Neo-Victorian Novel
Kathleen Renk
Women Writing
the Neo-Victorian
Novel
Erotic “Victorians”
Kathleen Renk
Northern Illinois University
DeKalb, IL, USA
© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer
Nature Switzerland AG 2020
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, expressed or implied, with respect
to the material contained herein or for any errors or omissions that may have been made.
The publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
To my daughter Sarah Elizabeth and my granddaughters Isabella
Ann, Carrigan Clare, Piper Elizabeth, and Maeve Dinah,
with the hope that they will achieve all of their dreams and that
a feminist utopia will be attained in their lifetimes
Acknowledgments
vii
Contents
ix
x Contents
Bibliography179
Index193
List of Figures
Fig. 2.1 Love Locked Out, 1890, Anna Lea Merritt (1844–1930), Tate
Gallery, London. (Photo ©Tate) 24
Fig. 2.2 The J. Paul Getty Museum, Los Angeles, Julia Margaret
Cameron, “Annie,” 1864, Albumen Silver print, 21.1 × 16.2 cm 32
Fig. 2.3 The J. Paul Getty Museum, Los Angeles, Julia Margaret
Cameron, “Sappho,” 1865, Albumen Silver print,
22.1 × 17.6 cm 33
Fig. 2.4 The J. Paul Getty Museum, Los Angeles, Julia Margaret
Cameron, “Spring,” 1865 34
Fig. 2.5 The J. Paul Getty Museum, Los Angeles, Julia Margaret
Cameron, “Grace Thro’ Love,” 1865, Albumen Silver print,
24.8 × 19.5 cm42
xi
CHAPTER 1
[t]he erotic has often been misnamed by men and used against women. It
has been made into the confused, the trivial, the psychotic, and plasticized
sensation. For this reason, we have turned away from the exploration and
As such, this book addresses the following questions: Why are women
writers drawn to the neo-Victorian genre and what does this reveal about
the state of contemporary feminism? As readers, are we attracted to this
fiction merely because of our so-called prurient interests and our own era’s
pre-occupation with sexuality and sexual liberation? How do classical and
contemporary forms of the erotic play into the ways in which women writ-
ers address and answer the Victorian “woman question”? How exactly is
the erotic used to underscore women’s creative potential? How and to
what extent do these women writers write back/“talk back”7 to their
Victorian counterparts, such as Charlotte Brontë, George Eliot, and
Elizabeth Barrett Browning? How do these women writers conceive “new
worlds of habitation” (a term used by Annis Pratt) for Victorian women
where the creative erotic can be expressed?
Before considering how neo-Victorian women writers approach the
novel and utilize classical and contemporary forms of eros, I’d like to clar-
ify the approach to feminism that I take in this study. I agree with Judith
Keegan Gardiner that feminism is best defined as “a utopian discourse of
an ideal future, never yet attained” (2002, 10) and that “Neo-Victorianism
and feminism … have always been related endeavors” (MacDonald and
Goggin 1), particularly for women writers who still seek this unattained
ideal. Yet in writing about women’s sexual and creative eros (what could
be called sexual and creative subjectivity) in the Victorian era, these writers
underscore the hidden histories of ordinary women, female “geniuses,”8
who sought to create themselves as artists, writers, rogues/gender out-
laws, spiritualists, and travelers/adventurers, as well as to realize them-
selves as sexual subjects, not sexual objects.
With that said, I take a broad, transhistorical postfeminist approach that
accounts for the multiple and varied debates about feminism since its
inception (not just since the second wave, as argued by Stéphanie Genz
and Benjamin Brabbon in Postfeminism: Cultural Texts and Theories
(2009, 22)). Although postfeminism is a conflicted, somewhat contested
term,9 I use it in a distinctive way, similar to how postcolonialism is some-
times defined. Akin to one definition of postcolonialism that defines post-
colonialism as everything that comes after the moment of contact with the
colonizers (Ashcroft et al. 1), postfeminism, in my view, can be defined as
all feminist approaches and practices that came after the first feminist writ-
ings and actions; thus postfeminism encapsulates all feminist theories and
practices from the first-wave through current theories and practices.10
Viewed in this way, postfeminism suggests that feminism is still necessary
1 INTRODUCTION: “EROTIC ‘VICTORIANS’: WOMEN, NEO-VICTORIAN… 5
and also suggests that feminism, which contains many intellectual, social,
and political threads, has not yet fully achieved all of its ends; the ideal of
feminism, the utopian dream, has not yet been attained. In this way, in an
era that asked the “Victorian Woman Question” about woman’s place and
her rightful social and political roles, the struggles of Victorian women to
create themselves are still relevant to many women in our current world.
In a sense, the Victorians are still “us,” despite the social and political gains
that women have achieved. Many women around the world have not yet
attained those fundamental rights, nor the right to act as sexual subjects,
not objects, nor the right to fully realize their creativity. The neo-Victorian
novel in women’s hands sets out to reform the world through advancing
the utopian ideal where all women can attain and exercise sexual and cre-
ative subjectivity/eros.
sexually liberated era; this fiction elicits and satisfies our “prurient” desires
(86). This suggests that the neo-Victorian novel offers readers a “peep”
show into the erotic lives of the Victorians. The novel becomes a lens
through which we observe what was not graphically represented in
Victorian fiction. While it is true that erotic sexuality is sometimes more
graphically described in neo-Victorian fiction by some writers, for example
in Michel Faber’s The Crimson Petal and the White, than it is in Victorian
fiction,13 Byatt’s Possession, despite the fact that it is written in a Post-
Freudian, Post-Kinsey era, is more philosophical in its approach to repre-
senting the erotic and draws more heavily on Victorian mores that would
prohibit the blatant depiction of sexual acts, therefore it leaves more to the
reader’s imagination. Here, I use the Greek concept of eros, as well as
Medieval and Renaissance notions of sexual possession by the “phantasm,”
to consider the ways in which the erotic is represented in Possession. I argue
that Byatt grounds the erotic in mythic material and suggests that erotic
love may be perilous because it is “egotistical and acquisitive” and can lead
to madness in the lover. In addition, Byatt also portrays the original idea
of Platonic love, which philosopher Gregory Vlastos defines as a “mix of
sensuality, sentiment, and intellect, a companionship [shared by a same-
sex couple] bound by erotic attraction no less than by intellectual give and
take”(125),14 as a possible cure for this destructive love.15
In “Sexsation and the Neo-Victorian Novel: Orientalising the
Nineteenth Century in Contemporary Fiction,” Marie-Luise Kohlke
repines that in Possession “[there is] a long drawn out build-up of attrac-
tion and seduction. When the Victorian poets Randolph Henry Ash and
Christabel LaMotte finally consummate their secret love affair, their
orgasms disappear into a line break in the text; the reader’s curiosity
remains unsatisfied” (63). The logic is odd here in that Kohlke wants the
reader to “vicariously experience” (63) Victorian sexual fulfillment and
concurrently she scolds contemporary writers for their projection of our
sexual license onto the Victorian era. Overall, she decries the use of the
erotic in neo-Victorian fiction, claiming that such writing, which often
seeks to replicate the Victorian novel, ends up “orientalising” the nine-
teenth century, making it the location and timeframe onto which we proj-
ect our own sexual desires. At the same time, she criticizes Byatt for not
going “all the way” and giving the reader detailed descriptions of sexual
scenes. Kohlke critiques Byatt’s diction in these sex scenes, arguing that
the language “withholds more than it discloses” (63).16 Kohlke, as a
reader, feels frustrated, because of the “highly romanticized” [not sexually
8 K. RENK
explicit] diction. Oddly, while Kohlke’s assertion about the ways in which
we project our own sexual desires onto neo-Victorian fiction is partially
correct in that we, as readers, likely think that Victorians were sexual prigs,
while we, in our era, are generally not,17 she overlooks one of the objec-
tives of some neo-Victorian fiction, in particular novels written by women.
In mimicking the style and substance of Victorian fiction, Byatt and other
women writers of neo-Victorian fiction will not wholly break with Victorian
conventions in regard to what can be penned about sexual acts. Instead,
Byatt “withhold[s] explicit language” and leaves much to the reader’s
imagination as she ponders philosophical aspects of eros.
In order to address how Byatt represents sexual eros, it is important to
consider Greek definitions of the term as well as conceptions of the god.
According to Bruce Thornton, the god Eros, (in the Roman pantheon,
Cupid), is drastically different from our contemporary notion of love; he
is the antithesis of the “hallmark” Cupid who benignly shoots his arrows
and unites us in love to one another. Instead, Eros is “much more sinis-
ter … [he] is a force of nature, a window into the irrational where swarm
myriad other desires whose excess leads to our destruction” (14).18 The
concept of eros for the Greeks, like the god himself, connotes damage and
chaos, which can “overthrow … the mind and orders of civilization” (12).
Plato complicates this concept and the god through the tale that Socrates
conveys in The Symposium that he heard from his “instructress in the art of
love,” Diotima of Mantinea who relates that:
Following the birth of Aphrodite, the other gods were having a feast, includ-
ing Resource [sometimes translated Plenty], the son of Invention. When
they’d had dinner, Poverty came to beg, as people do at feasts, and so she
was by the gate. Resource was drunk with nectar (this was before wine was
discovered), went into the garden of Zeus, and fell into a drunken sleep.
Poverty formed the plan of relieving her lack of resources by having a child
by Resource; she slept with him and became pregnant with Love [or Eros].
(Plato 39)
*
* *
*
* *
*
* *
Il avait parlé ainsi. J’avais cru sentir se réfugier contre moi cette
grande détresse. Et j’avais vu monter dans ses yeux une tendresse
implorante qui ne s’y était jamais montrée. Mais mon âme la
meilleure, qui se fût émue de tout cela, continuait d’être absente, et
ce qui avait pu naître durant ces quelques semaines n’existait plus à
côté de ce qui était né depuis ces quelques jours.
Je le croyais du moins… je le croyais… Mais pourquoi les
ombres heureuses s’en étaient-elles véritablement allées du jardin ?
Quand je descendis un peu plus tard, comme chaque jour, pour les y
chercher, je ne pus les retrouver. — Et je sentais maintenant à leur
place rôder cette ombre pesante qui s’attachait à Fabien et qu’il me
fallait traîner avec lui.
Notre promenade ce jour-là nous conduisit au delà du Rhône,
jusqu’à Villeneuve, si morne, si morte, avec ses rues où pousse
l’herbe et ses palais abandonnés. Au retour, comme nous étions las,
nous nous assîmes un instant au bord de la route. Le soir venait. Il
faisait presque froid. Autour de nous, parmi la campagne, et devant
nous dans Avignon, les lampes s’allumaient au fond des maisons.
Enveloppée dans mon manteau, tout près de Fabien qui se
serrait contre moi, je pensais à notre maison qui était là-bas, un peu
plus au nord, derrière les collines déjà bien sombres sur le ciel gris.
En ce moment Adélaïde avait, elle aussi, allumé la lampe et
Guicharde s’asseyait devant la table pour m’écrire une fois de plus :
« Quand allez-vous revenir ? » C’est la question que, depuis une
semaine, me posaient toutes ses lettres. Elle trouvait le temps long.
Elle s’ennuyait. Elle s’étonnait un peu. « Fabien, remarquait-elle, doit
avoir pris maintenant tout le repos nécessaire. » Pensant à elle, je
pensais à ce foyer dont elle était restée la gardienne. Y reviendrions-
nous jamais ? Pourrions-nous y revenir et recommencer de vivre là
comme nous y avions vécu après que Fabien m’aurait enfin parlé,
quand nous aurions regardé ensemble dans le passé la minute
effrayante, et dans l’avenir, tous les jours, tous les mois et les
longues années ?…
*
* *