| Margaret Storm Jameson: Writing in Dialogue Contributor(s): Birkett, Jennifer (Editor), Briganti, Chiara (Editor) |
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ISBN: 1847181821 ISBN-13: 9781847181824 Publisher: Cambridge Scholars Publishing OUR PRICE: $58.36 Product Type: Hardcover - Other Formats Published: May 2007 |
| Additional Information |
| BISAC Categories: - Biography & Autobiography - Literary Criticism | Women Authors - Language Arts & Disciplines | Journalism |
| Dewey: 828.912 |
| Physical Information: 216 pages |
| Themes: - Cultural Region - British Isles - Sex & Gender - Feminine |
| Descriptions, Reviews, Etc. |
| Publisher Description: From her birth in Whitby in 1891, to her death in Cambridge in 1986, Margaret Storm Jameson's life and writing spanned the greater part of the twentieth century. She was, in every sense, a woman of her time, speaking to the long series of generations she lived through of their collective present, past and future. Out of her own life-history she created a mirror reflecting the long twentieth-century transformation of Europe. This collection of essays, the first volume to be devoted entirely to Jameson, brings together a distinguished group of academics to analyse the impressive range and variety of her work. Their studies follow the chronology of her career from the 1920s to the 1960s. They review the different modes in which she wrote (fiction, journalism, autobiography), and show how effectively her writing engages with the contested issues of the period (socialism, fascism, pacifism, exile, communism, colonialism) and with key historical events (the First World War, the General Strike, the Munich Pact, the Second World War, the Cold War). They place her writing in relation to other writers of the day, both her English connections and her European models, in order to underline its relevance, recover forgotten networks of activism and collaboration, and restore Jameson to the pivotal role she played during her lifetime. In the process, the conventional categorisations of twentieth-century writing come under pressure: reviewing Jameson's links with early modernist journals, and highlighting overlooked connections between British and Continental modernisms, these essays help redefine the field of modernist studies. The collection closes with a sequence of unpublished letters from Jameson to the feminist, historian, and social activist Hilary Newitt Brown, a lively, first-hand account of literary, political and everyday life in England during the Second World War. Jameson was first and foremost a stylist, whose work on the relations of aesthetics and politics challenges simplistic critical divides between modernism and documentary realism. She was a key activist in politics and cultural politics, and an analyst of feeling, and the part it plays in both politics and everyday life. Last but not least, she was a chronicler of public life, and of the collective experience of England and Europe in the twentieth century. This volume proposes a re-assessment of Jameson's overall significance in the writerly landscape of her time; in the process, it suggests perspectives in which that landscape is itself ripe for revision. For someone who published so many novels, among them ones of real distinction, Storm Jameson was unusually prone to self doubt. 'Its singular badness proves that I was not a born novelist', she remarked of her early and very interesting novel, The Pot Boils (1919), and in her autobiography, Journey From the North, she more than once suggests that her chosen career was a mistake, or at all events led to no great achievement. That she rarely made much money from her novels is true. Yet as every page of the autobiography shows, and as a cache of letters included in the present book further reveals, Jameson was a born writer. These letters, which have never before been published and which perhaps provide the book's high point, were written over a period of some fifty years to her close friends, Hilary Newitt Brown and Harrison Brown, an English couple who, foreseeing the coming of the Second World War, in 1937 settled in British Columbia and to whom Jameson could talk with unabashed candour - for example, of her fearful loathing of Hitler and fascism, of her contempt for most politicians, and of her sense of outrage at the pusillanimity, backsliding and ill faith of officialdom in wavering about whether to grant refugee status to writers and intellectuals she was trying to get out of continental Europe before the Nazis got to them. Jameson was deeply involved in P.E.N., whose English president she became in 1939, but this alone won't account for her hard work on behalf of other writers. These letters are vivid testimony of the tensions, fears and difficulties of the times, both before, during and after the war. But what makes them so appealing is Jameson's often excoriating wit. Of Chamberlain's relationship with the French government in 1938, she remarks: 'it isn't true C let the French down. He didn't have to this time. They were taking the lift down so fast he had to run to get into it' (p.185). And, in 1940, with Britain under siege, she notes, 'I don't know where the Munich spirit is, I mean, what stone it has crawled under. No doubt you could lift a stone or two and find things come crawling out. I know where one or two such stones lie. But the ordinary people are fine' (p.193). The essays that make up Writing in Dialogue rightly consider some of the ways in which Jameson finds fictional form in which to explore her awareness that the worth of 'ordinary people' is threatened by forces that they must try to control or be controlled and oppressed by. Her writing career more or less coincides with what Eric Hobsbawm has called 'The Age of Extremes' - that is, 1913-1989 - and her novels try to account for the age's dark, violent forces, and at the same time, and despite a period as a pacifist and although she was a committed socialist, try not to buy into any of what Orwell, with pugnacious relish, called 'the smelly little orthodoxies that contend daily for our souls.' As the editors remark in their Introduction, 'Jameson has suffered from the tendency in feminist scholarship to focus solely on female writing for its representation of women's lives and to ignore their political work except in terms of their feminism' (p. 3). In this context, it is notable that Rosamond Lehmann is quoted as finding Jameson's 'Munich' novel, Europe to Let, 'electrifying and ferocious', and motivated by a 'a passionate disgust and indignation combined with a masculine intelligence.' I'm surprised tha |