Textual Seductions: Women's Reading and Writing in Margaret Oliphant's “The Library Window”

1997 ◽  
Vol 25 (1) ◽  
pp. 23-37 ◽  
Author(s):  
Tamar Heller

Margaret oliphants ghost story “The Library Window” (1896) — one of the last works of its author's prolific career — is haunted by images of reading and writing. Visiting her aunt, the young narrator (never named) reads obsessively, perched in the window seat where she witnesses another scene of textuality. Some claim that a window in the college library across the street is only “fictitious panes marked on the wall” (296), yet in a series of increasingly vivid tableaux the girl sees through those panes a young man seated in a study “writing, writing always” (305). So entranced is she by this vision of scholarship, so convinced of its reality, that she is devastated to learn the window is indeed a fake and the young man a ghost who appears to her because of a curse on the female members of her family: he was killed by the brothers of another young girl — the narrator's ancestor — when they mistakenly assumed he was responding to her flirtatious overtures as she waved to him across the street.

Author(s):  
Mary Shelley

In her introduction to the 1831 “Standard Novels” edition of Frankenstein, Mary Shelley accedes to the ongoing requests that she explain how she “then a young girl, came to think of, and to dilate upon, so very hideous an idea?” After describing a bit about her childhood, Mary then describes the gathering of her, Percy Bysshe Shelley, and their friends in the cold, wet summer of 1816 and the challenge issued by Lord Byron to “each write a ghost story.” After suffering from “that blank incapability of invention which is the greatest misery of authorship,” Mary finally conceives of the central image of the revivification of the creature and its abandonment by his creator. Mary also describes the contributions that Percy made to the original work and describes as merely stylistic the alterations she made between the original and the 1831 edition.


2018 ◽  
Vol 8 (2) ◽  
Author(s):  
Arwen Thysse

Magras, Diane. The Mad Wolf’s Daughter. Kathy Dawson Books, 2018. The Mad Wolf’s Daughter is a children’s novel set in thirteenth-century Scotland that tells the story of Drest, a young girl who goes on an adventure to save her father and brothers after they are captured by invading forces. Diane Magras tells an engaging adventure story that sweeps you along with Drest as she tries to navigate a frightening world without her family—learning whom she can and cannot trust, and coming into her own as a young girl who can best adults through both her strength and her intelligence. Written for children, particularly girls of around the same age as Drest (12 years old), this story provides many insights into life, family, and friendship that both children and adults might find extremely powerful. For example, over the course of the story, Drest comes to understand that “you can’t always control your legend”—an important lesson in our modern world where rumour can spread so fast. The story emphasizes that you have to be true to yourself despite what people may be saying around you, and that it is this belief in one’s own self that can guide you through the roughest of times. As details around the lives of Drest’s family and the families of Drest’s friends are revealed in the story, Magras builds another powerful message about how it is ok to differ from and, indeed, disagree with people you love. Magras, aware that certain aspects of the medieval world in which she places her story may be unfamiliar to her audience, includes a glossary of terms as well as an author’s note that discusses the historical setting in greater detail. In particular, Magras does a good job of indicating that gender roles were not as fixed in the Middle Ages as is often assumed, and introduces the reader to the great variety of roles and indeed agency that women could have in the medieval period. Despite these positive traits, Magras’ story does seem to lack some depth to its world and only scratches the surface of the medieval context that she researched for the story. However, the exciting plot and vivacious characters satisfactorily carry the novel’s interest. Overall, this is a good adventure book which also offers a point of departure for readers to explore the medieval world in more detail. Therefore, this book would be a good addition to school and public libraries. Recommended: 3 out of 4 starsReviewer:  Arwen Thysse Arwen Thysse is a graduate of the University of Alberta Bachelor of Arts program and graduate of the University of Toronto’s Master of Medieval Studies program. She is also an avid musician, and enjoys children’s books.


Author(s):  
Maria Jolanta Olszewska

Two dramas by Lucjan Rydel 'Na marne' (1895) and 'Z dobrego serca' (1897) were created during the poet’s stay in Western Europe. These pieces are a testimony to changes in his worldview and attitude to life. He left in them his youthful fascination with symbolic and mood drama modeled on Maurice Maeterlinck’s plays. The attempts to transpose these patterns were heavily criticized by his youthful works 'Matka' and 'Dies irae'. Rydel turned to realism in art. In this case, the patterns were provided by Gerhart Hauptmann and Leo Tolstoy. Na marne is based on the confrontation of two life attitudes. The Major, a former insurgent, symbolizes patriotic tradition and deed, and his grandson Adam is a decadent who has lost faith in the meaning of life. It pushes him to suicide. This drama is a warning against passivity and fatalism. 'Z dobrego serca' treats about the sacrifice of a young girl who, after her sister’s death, decides to marry a much older brother-in-law to save her family. It becomes the personification of love of human being. For Rydel, the foundation on which we should build our life is Christian values. The choice made by the poet confirms his subsequent dramas mainly written for the folk theatre of which he was the initiator and creator.


Signs ◽  
1992 ◽  
Vol 17 (2) ◽  
pp. 455-466 ◽  
Author(s):  
Michèle Barrett

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