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• W1584866892 abstract "In her two published novels, Prior Prize-winning Pea Pickers (1942), and its sequel White Topee (1954), Eve Langley engaged in subversive gender games and resignifications, including cross-dressing and picaresque adventures that could still be accommodated within mainstream of relatively conventional narratives. However manuscript of Langley's third, and potentially finest novel, Wild Australia, when submitted in 1953, utterly disconcerted Angus and Robertson Readers, unaccustomed as they were to public speaking/writing that radically disrupted normative textual and biological boundaries by outrageously transgressive and parodic multiple shifts of gender, sex, time and space. The thread of MS (it can certainly not be called a story or plot) is a ride taken by 'Steve' in 1929 over Australian Alps Bruthen to join her sister Blue who is hop-picking. first 200 pages describe ride, places stopped at, people met with and, most of all, landscape and yearnings and--not to mince matters--the completely irrelevant thoughts it often calls forth in her. At all times reader has difficulty in following Steve's leaps in time and space. One is given so few clues to her thought processes . . . it is so undisciplined, so, in parts, overwritten, and so, one might say, chaotic . . .(1) Nan McDonald's annotation on this Report also expresses concern and mystification about the author's idea of having been Oscar Wilde, mixed up with some peculiar ideas of changing sexes . . ..(2) pun in title of Wild Australia hints at these shifts; Langley redeploys Oscar Wilde as Steve/Eve's reincarnated Other/Self to explore identity inversions and temporal, spatial, and sexual dislocations that make gender politics of Orlando seem by comparison about as radical as those of Peter Pan. parodic and ironic juxtapositions, destabilisations, and reappropriations of Langley's innovative narrative strategies wreak havoc with hegemonies, decades before Monique Wittig's deconstructions and reconstructions of heterosexual configurations and normative identities. Langley charted her own rites of passage to textual, psychic, personal, and political spaces, creating extraordinary narratives that make it tempting to affix such labels as Premature Postmodernist, were it not for fact that Eve and Oscar have surely suffered enough categorisations, specifically those reserved for asocial and eccentric, bad and mad. Both writers are similarly plagued by their novels being interpreted overliterally in context of their lives, instead of in fictive contexts which extend beyond personal encodings which may or may not be discovered in their evasive, shifting and multilayered textual realities. It is said that labels derive distrust of truly radical difference in other, and Wilde himself ironically observed that from a label there is no escape.(3) Wilde and Langley were subjected to inevitable and varying degrees of textual and material diminishment as an outcome of that ultimate means of controlling different other, incarceration: one was deprived of liberty in Reading Gaol, other in Auckland Mental Hospital. Langley's labels have been predictable enough; madwoman in Australian literary attic; repressed lesbian, or maybe even clinical transvestite; victim of a conservative critical and publishing establishment; abject object in reclusive death in that isolated hut on outskirts of Katoomba--the images proliferate and coalesce, refracted through other realities and agendas which invariably distort and diminish woman and writer. comments of Vyvyan Holland, writing of his father, hold an analogous relevance; As people recede further and further into past, they are apt to assume aspect of effigies which all humanity has departed; and when other people write about them they hack them about to make them fit into a pattern of their own making until no flesh and blood remains. …" @default.
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• W1584866892 date "1994-01-01" @default.
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• W1584866892 title "Eve Plays Her Wilde Card and Makes the Straight Flush" @default.
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