Titlebook: Charlotte Mew: Poetics, Bodies, Ecologies; Francesca Bratton,Megan Girdwood,Fraser Riddell Book 2024 The Editor(s) (if applicable) and The

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準則

,Coda: ‘I think it is myself I go to meet’—Charlotte Mew’s Afterlives,and poets responding to her work. This final chapter delves into how biographers and writers have responded to these gaps, silences and omissions, in scholarly biographies (Copus), novelistic biographies (Fitzgerald), essays (Boland), poetry (Clampitt, Warner, Boland, Longley, McGuckian). This chapt

偽造者

喧鬧

Charlotte Mew’s Silenceosophical investments. Mew wrote to both articulate and overcome silence, in particular, what she saw as the empty words and entombing silence of the Christian faith. From the impossibility of speech in her short story ‘Passed,’ through to her bravura essay on Emily Bront?’s poetry and the anguished

palette

Cerumen

Charlotte Mew’s Self-Effacing Celebritys of the early twentieth century, such as Edith Sitwell and Edna St. Vincent Millay, Mew apparently refused to use her image to promote her work, just as she routinely declined to provide personal details for anthologists. This chapter challenges such a narrative, revealing that Mew was in fact more

Cerumen

Equivocal Address in the Poems of Charlotte Mew and being spoken to. Mew’s poems themselves, however, frequently refuse to signify identity in a way that is singular or definitive. While second-person address is a common feature of many lyric poems, Mew’s frequent adoption of personae, combined with her tendency towards the opaque and obscure, a

microscopic

Charlotte Mew and the Unspeakable Sites of Trans Embodimentof Emily Bront?‘, the chapter uncovers a tumult of nonhuman embodiments and affinities, from body transformations at the hands of fairies to magical transitioning in the natural world. In doing so, the chapter argues that Mew‘s work celebrates a transgothic and transecological imaginary, comparing M

牢騷

熔巖