Artykuły w czasopismach na temat „Freewoman”

The political commitments of Rebecca West's The Return of the Soldier (1918) have proven hard to define. More subdued in its tone and telos than her volleys against patriarchal capitalism in publications such as The Freewoman and The Clarion, some argue that Return undermines West's socialist-feminist pronouncements, while others contend that the novel engages subtler modes of critique. Deepening and extending the latter vein of scholarship, this essay reveals uncharted lines of connection between West's early fiction and nonfiction by performing a ‘palm reading’ of Return: an examination of the work of hands in the text – particularly Margaret's ‘seamed red hand’, which ties her to the women workers West extols in her ‘Hands That War’ article-series (1916). Although West's foreclosure of Margaret's disruptive potential at the end of Return might seem ideologically suspect, I argue that this manoeuvre, rather than betray quietism, indexes West's burgeoning recognition of the difficulty of achieving the kind of social change she called for in her nonfiction.

This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.

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Nineteenth-century exslave narratives allow us to understand the way in which freedmen, freedwomen, and runaways experienced and enjoyed liberty. In such narratives, liberty, naturally enough, it seems, is the opposite of slavery. Once free, one was no longer a slave. Yet we should view this understanding of slavery and freedom as a problem in itself, as a rhetorical and time-bound use of the notions of enslavement and liberty. This article argues that an early exslave narrativist, John Jea, articulated a dichotomous, unrealistic, yet characteristically American, notion of the relationship between slavery and freedom: that anyone who is not a slave is free. Expressed in evangelical Protestantism, liberal individualism, and laissez-faire economics, this notion was a staple of nineteenth-century American ideology. It is no longer a convincing notion, since it obscures not only the variety of the experience of slaves, freemen, and freewomen, but also the forms of bondage that accompanied slavery and survived it. As a man of the nineteenth century, Jea seems never to have comprehended the ways that he remained unfree once he was manumitted. As a black man and exslave, Jea might have been one of those most sensitive to the persistence of bondage after slavery, but he was not. Surely this suggests how convincing, yet how false, was new thought about slavery and freedom in the early nineteenth century.