dc.contributor.author | Walker, Victoria Carborne | |
dc.date.accessioned | 2015-09-14T14:33:26Z | |
dc.date.available | 2015-09-14T14:33:26Z | |
dc.date.issued | 2012-03 | |
dc.identifier.citation | Walker, V.C. 2012. The Fiction of Anna Kavan (1901-1968). Queen Mary University of London. | en_US |
dc.identifier.uri | http://qmro.qmul.ac.uk/xmlui/handle/123456789/8627 | |
dc.description | PhD | en_US |
dc.description.abstract | This thesis is a study of the British writer Anna Kavan (1901-1968). It begins by
tracing Kavan’s life and examining the mythologies around her radical selfreinvention
(in adopting the name of her own fictional character), madness and
drug addiction. It attempts to map a place for her previously neglected work in
twentieth-century women’s writing and criticism. Close reading of Kavan’s fiction
attends to her uses of narrative voice in representing a divided self. Given Kavan’s
treatment by the Swiss existential psychiatrist Ludwig Binswanger, the thesis
explores connections between her writing and the British anti-psychiatry
movement, especially R D Laing. Focussing primarily on the Modernist and
Postmodern aspects of Kavan’s work, it also notes Gothic and Romantic inflections
in her writing, establishing thematic continuity with her early Helen Ferguson
novels. The first chapter looks at Kavan’s first collection of stories, Asylum Piece
(1940) and her experimental novel, Sleep Has His House (1947). It reads her portrait
of institutionalization as a nascent critique of asylum treatment, and considers
Anaïs Nin’s longstanding interest in her work. Chapter Two draws on research into
Kavan’s experiences during the Second World War, particularly her time working
with soldiers in a military psychiatric hospital. Reading her second collection of
stories I Am Lazarus (1945) as Blitz writing, it connects her fiction with her Horizon
article ‘The Case of Bill Williams’ (1944) and explores the pacifist and anarchistic
views in her writing. The third chapter, a reading of the novel Who Are You? (1963),
argues that Kavan engages with existential philosophy in this text and explores
parallels with Jean Rhys’ Wide Sargasso Sea. The final chapter looks at Kavan’s last
and best known work, Ice (1967). Following Doris Lessing, this chapter reads the
novel’s sadism as a political response to the Second World War. Contesting critical
interpretations which have pathologized Kavan’s fiction as solipsistic
representations of her own experiences, this thesis aims to resituate her as a
politically-engaged writer of her time. | en_US |
dc.description.sponsorship | Queen Mary, University of London University of London Central Research Fund;the Queen Mary Research Fund | en_US |
dc.language.iso | en | en_US |
dc.publisher | Queen Mary University of London | en_US |
dc.subject | English | en_US |
dc.subject | Women writers | en_US |
dc.title | The Fiction of Anna Kavan (1901-1968). | en_US |
dc.type | Thesis | en_US |
dc.rights.holder | The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author | |