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• W1579668498 abstract "There rose up like wisp of fog between me and the glittering promise of the future, kind of horror of the destiny of women. --Mary Austin, A Woman of Genius Mary Hunter Austin, best known for her book of essays The Land of Little Rain but also prolific novelist, is customarily regarded as an ardent Dudley Winn, writing shortly after her death, stated that she against the status of women in the 'eighties and 'nineties, and never rested until she had worked out her own naturalistic and empirical defense of women's rights. More recently she has been characterized by T. M. Pearce as a before all else and by Augusta Fink, with significant ordering, as feminist, naturalist, mystic, writer.(1) Both her nature writing and her use of Western materials and conventions have been insightfully read in recent years, the first by Elizabeth Ammons and the second by Faith Jaycox, as strategies for giv[ing] voice, deliberately and positively, to issues.(2) Certainly the biographical record provides sound basis for this assessment. Indeed, Austin called herself, in 1927 essay, fighting feminist. She marched and spoke for suffrage and rebelled against prescriptive notions of what women ought to want and do, adopting unconventional behaviors that shocked her small-town neighbors in California and startled even New Yorkers. She defied the then-prevailing to married women as schoolteachers and, after leaving her husband, made her own way in the world. Her insistence on her own and other women's right to pursue careers (one of the hallmarks of the New Woman identified by Carroll Smith-Rosenberg) is indeed one of the strongest of the feminist that, as Blanche Gelfant says of A Woman of Genius, shape much of her fiction.(3) The ardency of her expression of such ideas, which certainly worked to Austin's detriment commercially, has also been seen by recent scholars as cause of the long critical neglect of her work. Nancy Porter, for example, believes that it is because of their assertive feminism that her novels have been dismissed in favor of her nature writing.(4) Despite this critical consensus, I want to present different view of Austin's novels, one emphasizing tension and conflict more than consistency in her advocacy of views. This reading, too, is anchored in Austin's biography. She was in many respects person shaped by conflicting urges. At their best these constituted complementarities in her personality and goals--for example, her insistent restlessness and her powerful homing impulse. But with respect to what she wanted for her own life and what she believed women in general wanted, she was often ambivalent, both advocating reforms that she considered essential if women were to live as equals, especially in marriage, and at times expressing seemingly contrary, more traditional views. Her novels, too, are marked, as I read them, by inconsistencies and reversals-the kind of narrative splits and breaks that can be seen, as Margaret Higonnet writes, as forms of [feminist] resistance to narrative wholeness and closure or as evidence of Austin's reluctance to be bounded in single literary (or personal) space.(5) Their vision of gender issues is by no means singleminded. My purpose here is to propose sequential rereading of the nine novels--Isidro (1905), Santa Lucia (1908), Outland (1910 in pseudonymous British edition, 1919 in the American edition bearing Austin's name), A Woman of Genius (1912), The Lovely Lady (1913), The Ford (1917), No. 26 Jayne Street (1920), Starry Adventure (1931), and Cactus Thorn (1988)--that will accommodate both their undeniable strains and their traces of ideas that might even be called counter-feminist. Such counter-impulses sometimes appear as balancing complementarities implying fullness of vision and experience, but sometimes erupt into texts in unreconciled or even unacknowledged ways. …" @default.
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• W1579668498 date "1998-03-22" @default.
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• W1579668498 title "Mary Austin's Feminism: A Reassessment" @default.
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