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10 Mar 14
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through self-conscious acts of writing against received tradition.
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My argument is not that the print authors I d iscuss here would be better served by the hypertext medium, but that their writing is in many respects hypertextual in principle and bears relation to discourses of many women writers now working in hypertext.
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One frequent mark of this new writing is the introduction of silence, partly as a memorial to the historical silencing of women's voices, but also as a means of establishing a textual space for the entrance of those "others" chronically exclud ed from the closed texts of dogmatists and power interests.
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For Ava, thinking and feeling go together, and reading is sensuous, rendering literal the definition of influence, so that whole passages of her text -- still unmistakably her own -- are washed in the colors of an admired author: Woolf, García Lorca, Beckett, and others.
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She argues that, because we no longer believe that the traditional stories are true, we can no longer write tidy, beginning-middle-end fiction, even if this means t hat we must "write notebooks rather than masterpieces," as Woolf once suggested.
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While denying a turn toward essentialism, she argues that the historical situation of women now provides a particularly fertile "cons truction site" for new writing, one important feature of which is its invitation to the active participation of others in an ongoing textual process:
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<!--_/paranumbering--> In all of the works I have been discussing, the conscious feminism of the writer animates her determination not simply to write but to intervene in the structure of discourse, to interrupt reiterations of what has been written, to redirect the streams of narrative and to clear space for the construction of new textual forms more congenial to women's subjectivity.
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06 Feb 08
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Like other postmodernist writers, also, many of these women experimentalists are strikingly self-reflexive, and write about their texts in the text
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One frequent mark of this new writing is the introduction of silence, partly as a memorial to the historical silencing of women's voices, but also as a means of establishing a textual space for the entrance of those "others" chronically exclud ed from the closed texts of dogmatists and power interests.
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never more alive than on the day of her dying:
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