The agonies of ambivalence: Anna Mendelssohn, La poétesse maudite

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Anna Mendelssohn (1987) What a performance

This is a storyfilmplaypoemmusicalcomedy about someone who didn’t want to be the person described. It is written for the Pin Ball Wizard

Fleurs du travail, fleurs sublimes: Anna Mendelssohn's Involute tulips

Situating Anna Mendelssohn within the nineteenth-century, highly feminised genre of floral poetry, anthologies, and dictionaries, this essay argues that flowers become a means by which Mendelssohn performs feminist oscillations between sentimentality and sublimity. Through genetic criticism and close reading, the essay attends particularly to Mendelssohn’s archived and published instantiations of tulips from 1974 to 1995, culminating in her great poem “Silk & Wild Tulips” (1995). By tracking floral motifs in Mendelssohn’s work, the essay unearths the thorough labour of her editorial processes, as well as some innately conservative strands of her artistry and ideology. At their most ideal, Mendelssohn’s flowers stand for an inarticulable, as-yet-unattainable, and distinctly feminised form of communication, and in this guise, they are a catalyst by which Mendelssohn strives to redefine her masculinist avant-garde inheritance. Numerous unpublished archival materials are referenced, among them, Mendelssohn’s prison diaries, marginalia, pamphlets, prose typescripts, and poem manuscripts

[Review] Gabrielle McIntire (2008) Modernism, memory, and desire: T S Eliot and Virginia Woolf

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Out of the archive: Woolfian domestic economies

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Silence and noise: understanding Christine Brooke-Rose's 'Such'

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[Review] Ruth Hemus (2009) Dada's Women

Review of: Hemus, R., 2009. 'Dada’s Women'. New Haven: Yale University Press

The time being: on Woolf and boredom

Boredom is widely considered a subjective malaise best gauged in twentieth-century literature. Woolfs preoccupation with boredom is evident throughout her workparticularly Orlandobut comes to fruition in The Lady in the Looking-Glass: A Reflection. This story pits the perception of boredom as a form of self-affirmation against a rejection of the inherent dullness of continually acknowledging the self, a process elucidated via examinations of Heideggers visionary ennui and Levinass reworking of bored subjectivity. Additionally, Lady in the Looking-Glass participates in a relatively unexamined aspect of boredom theory: namely, the treatment of time as a spectre haunting the bored

Phenomenology and affect: modernist sulking

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Wild Ascending Lisp

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