Archive for March, 2012

Women, Writing and Trauma

Thank you to those of you who have commented on my blog and welcomed me so warmly to the blogosphere! 


This week sees students scrambling to get work done before Easter break, not easy during this mini-heat wave in the UK. It also sees me waiting to hear from my agent about a novel I submitted to her a while back (this wait has gone on a long time, with occasional encouragement followed by months of silence, though she assures me that it will sell and I must be patient… I am not quitting my day job).  I have had a short story accepted by an academic creative writing journal, though (no money, small readership, but good for my resume!) And I am putting together an edited collection of essays with a colleague of at another university. The subject is Life Writing and Human Rights – so another bestseller no doubt!


But this week I am also thinking about writing and trauma – a subject in which I have must interest.  In particular, I am curious about writers, and in particular women writers, who make use of personal trauma (whether or not they are conscious of being traumatised) in their fiction.  An obvious example about which much has been written is Virginia Woolf and her childhood sexual abuse. (See this essay for a good academic essay on the subject- I will attach a copy to the blog if I can figure out how to do it – otherwise just paste this into Google): Emily Dalgarno. “Ideology into Fiction: Virginia Woolf’s ‘A Sketch of the Past’”. Novel: A Forum on Fiction. 27.2 (Winter 1994): 175-95.


To be clear, my interest is not so about the sad stories of these women’s lives (though re-reading Katherine Mansfield, Jean Rhys, Emily and Charlotte Bronte, Alice Walker and others, is a salutary experience) but rather in the way in which they turned the  sorrowful events of their lives into fiction: Mansfield’s illness and long-term invalidism, Louisa May Alcott’s ambivalent and violent feelings towards her father, Alice Walker’s bb-gun blinded eye- each of these terrors has been turned, often repeatedly into fiction (note Mansfield’s use of windows and enclosed rooms in her fiction, Louisa Alcott’s missing fathers and hot-headed heroines in her children’s fiction and her incestuous fathers and daughters in her pseudonymously published sensation fiction [see Stern’s, Behind a Mask: The Unknown Thrillers of Louisa May Alcott] and Alice Walker’s Story “When the Other Dancer is the Self”



In various places, Virginia Woolf refers to the power of some of her memories, and they way in which they informed not only her fiction, but her very identity.  In the brief memoir “A Sketch of the Past” which Woolf wrote in 1939  she speaks of a particular memory of childhood, noting that “If life has a base that it stands upon, if it is a bowl that one fills and fills and fills–then my bowl without a doubt stands upon this memory”.  My own bowl stands upon two memories – too sad to share here – but one involving not being heard at a crucial moment and the other the need to keep silent about a terrible secret.  Yin and yang memories both to do with the inherent power of storytelling.  What is the memory upon which that the bowl of your life and your storytelling stands upon? A very good question, I think.


Further reading in this area, and my current recommendation: Rachel Cusk’s new book Aftermath.


Rachel recently did an interview with journalist Bonnie Greer ( as part of our Kingston Writing School Series

The interview will appear soon on this website – but in the meantime here is the link to an interview with Rachel you might like!


For purposes of full disclosure I should mention that I am friends with Rachel Cusk and that I even appear in this book (in a small paragraph, blink and you’ll miss me – and I get no commission for recommending it!)  But I am telling everyone to read it because I think it is, sentence by sentence one of the best things I have read in a long time – though the subject matter is ethically troublesome and many people have and will shake their heads. A well-balanced review here:

 I care about the writing and Aftermath is breathtaking, post-trauma writing.

Welcome to

Now all philosophers agree
That WOMEN should not LEARNED be
For fear that as they wiser grow
More than their husbands they should know.
Anonymous c. 1739

For most of history, Anonymous was a woman.
Virginia Woolf, 1928 is an information sharing and discussion site devoted to the daily life of writing women, as well as to the history, practice, concerns, aesthetics, theoretical perspectives and life stories of such women from all cultures and time periods. I am a creative writer and an academic, and my own research expertise and personal interest is in American and British women writers in the 19th, 20th and 21st centuries. I have developed and now teach a course in this subject at Kingston University in London (see my short bio), and this site will become both a resource for my students and also a place for them to share their own work.

In addition to research-based academic writing, I also write creative non-fiction, poetry, and autobiographical fiction. And I am a woman. Over the last decade, I developed the department of Creative Writing and Kingston University and therefore have unique access to any number of well-known women writers. Likewise, in over a decade of teaching and researching English and American literature, I have come to know and learn from dozens of highly respected academic women. Over this period, many of these women writers, both creative and academic, have become friends and mentors, and I will to draw upon and share their knowledge and experience via this blog. Taking Virginia Woolf’s warning above as a guide, I hope to eradicate the anonymity and invisibility of women’s wisdom and women’s voices, by both sharing and listening to the words of my sisters.

The aim of the blog is two-fold and reflects these two different “hats” I wear when I am writing and thinking about writing:

The first is my “Creative Writer”hat: aims to offer daily inspiration to those women who, like me, consider themselves to be writers – whether they are published professionals, secret scribblers or something in between.
Such inspiration will come in the form of wise words my students and I have collected over time from contemporary and historical writing women, including free access to podcasts of bespoke interviews I will undertake with many well-known women writers. I will also share a bit of my own daily writing practice and the ups and downs of writing and trying to publish short stories, non-fiction, poetry and literary fiction for commercial and general trade publishing.

The second is my “Academic Writer” hat: aims to offer links to current, cutting edge research in the field of women’s studies, literature and history by, about and for women. Such information will come in the form of links to key influential and contemporary studies in these areas, and in podcasts and interviews with academic women writers. I will also share a bit of my own academic writing practice and offer insights into the ups and downs of writing and trying to publish academic writing with University Presses and peer-reviewed journals.
I look forward to hearing from you!