marshtide: (Default)
I, approximately forever after the rest of the world, have just seen the recent Sherlock Holmes film. I'll admit I really wasn't expecting anything good, but it fell short of even what expectations I did have, actually.

Thoughts: )

That done with, I'm moving on! I think I'll watch the Brett version of A Scandal in Bohemia and see if I can get some screencaps of... oh, I don't need to tell you, do I?

(Up sides to today: we bought plants and now the flower beds outside aren't sad and empty any more! Also I have gin! Down sides to today: my computer has fallen over and died. Typing this from Val's. Other posts I may have had planned are likely to be delayed.)

Women

May. 12th, 2010 07:57 am
marshtide: (Default)
Stray & largely undeveloped thoughts:

1. Has anyone written about that whole idea of The Madwoman In The Attic as it applies to the Sherlock Holmes stories? Does anyone have any thoughts on it? It comes up several times: either there is an actually mad woman or a woman who is locked up and claimed to be mad or just locked up and forgotten about, and other women who figure far less literally as a part of that dismissive tradition in one way or another. There are some fairly literal cases and some examples which I sort of mentally bracket under the same sort of heading, and I'm going to be terrible and not actually cite examples now because I can't remember them without hauling out books and I'm having a peculiarly weak day today & not getting out of bed yet. But I think the way that women figure in Sherlock Holmes stories generally is something interesting to poke at, in the wider context of Victorian society and in the context of literary convention. I haven't got any further than that yet. Partly because I'd need to do some re-reading and probably get hold of some literary theory books and read or re-read those as well. I feel under-educated again now. Oops.

2. I read Irene Adler as bisexual. I freely admit that this may be partly influenced by that beautiful scene in the Granada TV series where she's meant to be spending time with her lover the king but is clearly much more interested in eyeing up the legs of the dancing girls with the most appreciative expression ever, but I also don't think it's an invalid reading of the actual short story. I also think I'd need to be feeling a bit more energetic to lay out that argument properly. I'm chipping slowly away at getting the reasoning straightened (ha ha) out, though.

3. Still on women from that era, but now moving north! I'm half way through reading Victoria Benedictsson's Money, so of course I can't have full thoughts on it yet, but it's pretty interesting. Reading it I actually thought it was being quite shockingly frank about the situation of women and about sex as a part of that, for a novel of its time. Which is the point, of course: it's a novel all about sex and money. I didn't realise until Val was talking about students who'd missed significant points that I was still reading between the lines a lot to form that impression. Goddamn it, C19th. The spectre of Being Considered Mad for the crime of being a woman who wants to do something with her life hangs over this book too, by the way, but this time as a definite part of the point the author is trying to make.

4. When I'm done with that I've got a volume of Virginia Woolf's diaries to read and I admit I'm sort of procrastinating over posting about her until I've read at least some of that.
marshtide: (Default)
A bitty entry this time, because I have a few scraps I want to gather up and get rid of that I can't make into full posts in their own right at this exact (everyone-is-sick-and-chaos-reigns) moment.


1.

Have you heard of Victoria Benedictsson? I hadn't! This might just be because I'm not very well-read, but then again, it might not be. I will add the disclaimer here that I haven't actually read her books yet, though as soon as I can get to the library there's a copy of her novel Money (Pengar) waiting for me to collect. I am pretty excited about this. It's a criticism of the inequality of marriage at the time and of the sexual double standard between men and women!

Victoria Benedictsson was a Swedish writer, working in the late 19th century. She had a pretty eventful and possibly quite scandalous life, and struggled really hard to be accepted as artistically legitimate (often being dismissed as writing about women's issues). She was concerned with women's place in society and female sexuality, and her writing apparently has a really strong element of social commentary. She also inspired/influenced (and also possibly horrified) Ibsen and Strindberg, who I bet you have heard of, because they're basically The Dudes of Scandinavian theatre & literature. (The library I worked at last year in the UK had a Scandinavian literature section, which was composed almost entirely of Ibsen, with two plays by Strindberg. That was all. For reference.) Right now she's getting a bit more attention for the fact that her writing is basically full of pretty feminist ideas, but for ages people talked about her largely as that woman who had an affair with a literary critic and then killed herself because it didn't work out, which is unfortunate. (Especially as she didn't kill herself for those reasons, as far as can be discerned from the sources avaliable, which include, you know, detailed diary entries.)

Probably more on this topic at a later date, when I'm better informed.


2.

I've come to a realisation lately: namely, that traditional narrative is just not really my best friend. I tried to be friends with it for a few years and I think it mostly produced stories which were fragmented anyway (but, in absolute fairness, sometimes worked quite well like that) and stories which I could not possibly finish, and while we'll certainly remain on speaking terms I think we need some space from each other. The problem with it is maybe that it implies to some degree a worldview that I have problems with, of definite beginnings and middles and ends, patterns which resolve themselves into meaning, etc., and while I can happily accept that this is exactly what a lot of stories need and that there are very good reasons for telling them in that sort of way I don't think I would actually want to write like that because I am... not really writing for those reasons, not really interested in what happens so much as the people it happens to (or around or because of or in the mind of or...) and the places it happens in. If I am interested in patterns it's maybe more why people perceive them the way they do, and the ways in which they try to make stories out of their lives.

Possibly this is some kind of terrible difficulty, but I'm not really convinced; I think it's more of a difference, and one I'm happy to play with, which means I should write a different kind of story. It's the sort of thing where just accepting it is likely to make for slightly happier writing. I'm interested in building up fragments into something of a story and I'm interested in ambiguity and making people join the dots up to a certain point, though of course one has to play carefully in this territory.

Looking at the authors I really love in a way which goes beyond "this is a good and thought-provoking read" or whatever and into the territory of starry-eyed admiration, I don't think this should be very surprising. Virginia Woolf? Experimental stylist fond of stream-of-consciousness and writing people more than writing stories. Tove Jansson? Penchant for constructing novels out of short stories in a way which works mysteriously well to create a sense of who people are; very little happens but a lot is communicated; not really a progression along a line so much as a collection of snapshots that could be rearranged and played around with. Murakami? Books full of signs which signify... well, what, exactly? A lot about creating a sense that there's a pattern and not providing any kind of key to it, and having this actually be satisfying. His endings resolve nothing and I like it.

I'm also more in love with magical realism and making the ordinary otherwise threatening or unsettling or strange than I am with just writing the ordinary or with writing the outright extraordinary. I think there is a space there for subtle wrongness and a sense of disconnection from the day-to-day, and though that genre doesn't necessarily do that and things which do that aren't necessarily of that genre I think it's an area which would be fun to play in. Any sort of lense which produces strangeness would work, because, well, that's how the world feels to me. I guess I am about the sense that things don't quite fit and that the supposedly ordinary can be the most disconcerting thing, because it often is to me.

This realisation brought to you partly by a conversation in which I got frustrated with Alice Munro's stories for being beautifully crafted and all about women's daily lives (OK, resoundingly straight women's daily lives with heavy emphasis on the men therein whether as a presence or an absence, which may just have been a part of the problem for me when it came to identifying with them) and absolutely boring to me because they feel like a part of a legendary Normal World I have never actually set foot in and wouldn't really enjoy if I got there. I simply can't connect to them, though they are probably really pretty good if you can.


3.

A couple of links.

a. I've decided I really like the community [community profile] queering_holmes. I decided this largely because they seem to like Graham Robb's Strangers over there and because this could just be the place I'm looking for with Queer Victorian Stuff and an interest in Holmes as linked in to that context. Maybe I can air my theories about Irene Adler. Sometime when I'm feeling confident enough to be sociable. For now I'll sit and watch and feel a tiny bit gleeful.

b. I'm not actually any good at Japanese history - I've studied the bits that could reasonably be covered by a course about indigenous cultures worldwide from an archaeological perspective, which is to say, groups like the Ainu, and I've read a bunch of books about homosexuality among Samurai and monks, and I've absorbed various other information in a completely haphazard way so that the end result is a bit surreal - but here is a post about Samurai Champloo from someone who seems rather better at it. I love Samurai Champloo, for the record, and I love it as a fun and gloriously irreverent series and as a piece of commentary and also for its amazingly choreographed fight scenes. But in this case we're talking about it as a series taking a good kick at the Samurai drama genre as a whole even while theoretically playing within its borders.

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