Ali Smith and Ovid

Ranger, Holly

doi:10.1007/s12138-019-00511-9

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2019

DOI: 10.1007/s12138-019-00511-9

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Ali Smith and Ovid

Holly Ranger¹

Abstract: d-lectu re-2011d-lectu re- [accessed 17 February 2017. My sincere thanks are extended to Tessa Roynon, who read earlier versions of this manuscript, and whose generosity and critical insight as an editor is acknowledged with gratitude.2 Existing scholarship on Smith and Ovid comprises: F.

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Silence, gender and metamorphosis in Joanna Walsh’s ‘Worlds from the Word’s End’

Fagan

2021

Short Fiction in Theory &Amp; Practice

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This article explores paradoxical silence as a strategy of contemporary feminist short story writing in Joanna Walsh’s ‘Worlds from the Word’s End’ (2017). To draw out the story’s engagements with writing women’s agency beyond the binaries of embodiment and disembodiment, passivity and activity, inner and outer life, it reads Walsh’s text at the nexus of three interrelated traditions. First, it situates the story within a genealogy of women’s ‘non-writing’, which develops new aesthetic strategies through the short story form for both writing and reading the silences of women. Secondly, it explores the significance of women’s speech loss in Ovid’s The Metamorphoses to the transformative drive of Walsh’s poetics of silence, with a specific focus on the figure of Echo. Thirdly, it places Walsh’s epistolary short story into conversation with philosophical debates about the distinct silences of plenitude and vacuum, transcendence and immanence, the human and the nonhuman, by reading it comparatively with Hugo von Hofmannsthal’s ‘Ein Brief’. In conclusion, it is argued that ‘Worlds from the Word’s End’ ironizes the Ovidian topos of the silent figure who nevertheless speaks her desires in order to trouble the binaries that regulate strategies of voluntary silence in the feminist short story.

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Silence, gender and metamorphosis in Joanna Walsh’s ‘Worlds from the Word’s End’

Fagan

2021

Short Fiction in Theory &Amp; Practice

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Of Rainbow and Granite: Androgynous Narrative in Virginia Woolf’s Orlando and Ali Smith’s How to Be Both

De Riso

2023

Le Simplegadi

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L’articolo si propone di delineare un’analisi comparativa tra Orlando (1928) di Virginia Woolf e How to Be Both (2014) di Ali Smith. In particolare, si intende dimostrare come l’opera di Smith rielabori in modo creativo il romanzo di Woolf, andando così ad incarnare e ad esprimere con vividezza il concetto di ‘mente androgina’ teorizzato dalla stessa autrice. Ciò avviene attraverso la rimozione dei confini temporali tra passato e presente, l’ambiguità sessuale delle protagoniste e, soprattutto, attraverso un paradigma letterario capace di indagare la necessità di un’interazione reciproca tra autrici e lettori, e di un più ampio dialogo tra il testo letterario e le altre influenze artistiche e culturali con le quali instaura un imprescindibile rapporto dialettico.

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Covidian Metamorphoses: Art and the Poetics of Transformation in Ali Smith’s Seasonal Quartet

Orosz-Réti

2021

Acta Universitatis Sapientiae, Philologica

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Ali Smith’s Autumn (2016), coined “the first Brexit novel”, relied on a very “time-sensitive” publication schedule: weeks after the manuscript had been submitted, the book was already published, documenting almost in real-time the aftermath of the Brexit referendum. The remaining three volumes of the Seasonal Quartet (Winter, 2017; Spring, 2019; Summer, 2020) also followed a similarly tight schedule; hence the last piece of the collection, published in the summer of 2020, could already reflect on yet another crisis: that of the COVID-19 pandemic and the first lockdown in Britain. The Quartet offers art as a vital coping mechanism for such critical times, but the present paper argues that the function of art in the Quartet is even more pervasive than that. The sequence’s entire poetics of transformation is founded on art as a mediatized means of experiencing the world, which is then turned into a rhetoric of transformation. The paper traces the three main motifs of the Quartet: that of the tree, the stone, and the cloud/sky to look at how their art-based transformations create a sense of connectedness in the four novels.

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Ali Smith and Ovid

Abstract: d-lectu re-2011d-lectu re- [accessed 17 February 2017. My sincere thanks are extended to Tessa Roynon, who read earlier versions of this manuscript, and whose generosity and critical insight as an editor is acknowledged with gratitude.2 Existing scholarship on Smith and Ovid comprises: F.

Cited by 4 publications

References 1 publication

Silence, gender and metamorphosis in Joanna Walsh’s ‘Worlds from the Word’s End’

Silence, gender and metamorphosis in Joanna Walsh’s ‘Worlds from the Word’s End’

Of Rainbow and Granite: Androgynous Narrative in Virginia Woolf’s Orlando and Ali Smith’s How to Be Both

Covidian Metamorphoses: Art and the Poetics of Transformation in Ali Smith’s Seasonal Quartet

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