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• W223200746 abstract "A REVIEW OF LUCY FROST, A FACE IN THE GLASS: THE JOURNAL AND LIFE OF ANNIE BAXTER DAWBIN (HEINEMANN, 1992); PATRICIA CLARKE AND DALE SPENDER EDS, LIFE LINES; AUSTRALIAN WOMEN'S LETTERS AND DIARIES, 1788 TO 1840 (ALLEN AND UNWIN, 1992); CAROLE FERRIER ED., AS GOOD AS A YARN WITH YOU: LETTERS BETWEEN MILES FRANKLIN, KATHARINE SUSANNAH PRICHARD, JEAN DEVANNY, MARJORIE BARNARD, FLORA ELDERSHAW AND ELEANOR DARK (CAMBRIDGE UNIVERSITY PRESS, 1992).What a relief it is to put your thoughts on paper! what an invention is writing? (8)Annie BaxterVirginia Woolf, commenting in the early part of the twentieth century, expressed the conviction that her `life writing' was less important than her novels. This prioritisation reflected current theoretical opinion that `literature' was the highest form of creative writing, intrinsically superior to autobiography and available only to the talented few. Life and art were seen as separate spheres. Through the interventions of such diverse bodies of theory as contemporary feminism, postmodernism and cultural studies in the latter part of this century, hierarchical notions of `good writing' and what constitutes `literature' have been called into question, opening up spaces for the consideration and study of other forms of cultural production. In recent years there has been a rush to the archives, in particular by feminist scholars eager to recover women's writing in the hitherto unvalorised forms of letters, diaries and journals, writing that was presumably not intended for publication.The recent spate of publication of women's letters and journals written in Australia, ranging from those of the early settlers to the letters of women writers in the mid-twentieth century, gives me an opportunity to explore this genre, through an examination of the ways in which the editors/authors of the three books under review seem to have approached their material.Much feminist endeavour of the last twenty to thirty years has been devoted to the recovery of women's voices in history in order to challenge the patriarchal hegemony in which women have had little access to public avenues of cultural production. The editors of Life Lines, Patricia Clarke and Dale Spender, have continued the `recovery' approach, finding this a sufficient rationale for their volume of letters and diaries of colonial women, on the basis of their interest, and because they are representative of some aspect of early colonial (xxiv-xxv). Lucy Frost and Carole Ferrier move beyond the notion of simply adding to the volume of published material by Australian women because of its intrinsic interest and, in their vastly different projects, investigate and broaden the potential uses of `private' material such as letters and journals.Lucy Frost explores a new dimension to the genre of biography in her journal and life of Baxter Dawbin, A Face in the Glass, seeking to know Annie through selections from the thirty-two extant volumes of her journal, supplementing them with meticulous historical research into manuscripts and official records of the time. She acknowledges the part her own perspective plays in the difficult process of constructing a life, particularly across a period of over one hundred years:As I wrote about Annie, my story was written too. Gazing into the mirror she held, I found my image hovering there, its eyes those of a woman at the end of the twentieth century, as she did not see herself. (xi)Frost then places her own presence in the text: But is the important figure in the seeing (xi).Unlike the writings of Baxter Dawbin and most of the women represented in the Clarke/Spender volume, the personal letters Carole Ferrier has chosen to collect in As Good As a Yarn With You are by women who also have public identities as writers of fiction. She comments in her Introduction that the book can be read as a narrative that complements the `literary production' of these six writers. …" @default.
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• W223200746 title "Reading Life Writing: Australian Women's Letters and Diaries" @default.
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