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- W3044282955 abstract "Critical appreciation of Penelope Mortimer’s <italic>A Villa in Summer</italic> (1954), <italic>The Bright Prison</italic> (1956), <italic>Daddy’s Gone A-Hunting</italic> (1958), and <italic>The Pumpkin Eater</italic> (1962) has been largely limited to biographicalism and Mortimer’s perceived anticipation of Betty Friedan’s ‘feminine mystique’. Jane Thomas reveals how, in their extraordinary and illuminating grasp of the signifying practices that constitute the self, these early novels gesture beyond second wave feminism in their anticipation of some of the seminal concepts of gendered subjectivity pioneered by theorists such as Judith Butler in the third wave. Focusing on the centrality of narrative practices to the construction of the self, Thomas also highlights a hitherto unremarked intertextual connection between <italic>The Pumpkin Eater</italic> and Carol Ann Duffy’s ‘Whoever She Was’, demonstrating what was truly original and <italic>avant garde</italic> about Mortimer’s work." @default.
- W3044282955 created "2020-07-29" @default.
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- W3044282955 date "2020-07-31" @default.
- W3044282955 modified "2023-09-25" @default.
- W3044282955 title "‘Whoever She Was’" @default.
- W3044282955 doi "https://doi.org/10.3828/liverpool/9781789621822.003.0015" @default.
- W3044282955 hasPublicationYear "2020" @default.
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