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Originally published in 1991. The style of this startlingly
original appraisal of a broad range of women's writing suggests a
new direction for feminist criticism, combining as it does
challenging, intellectual debate and fresh textual analysis with
fictional example and autobiographical detail to make a wholly new
invention in the field. In addressing the need for the critic to
say 'I' and to own judgments and statements instead of attributing
these to an apparently impersonal third person, the author here
points up some of the shortcomings of much prevailing 'feminist'
analysis, challenging the very foundations of the Anglo-American
feminist idea. Purposely avoiding the 'totalising' effect of much
academic criticism, the writer/critic finds a new format and a new
methodology for her insights and observations on a range of
writers, from Doris Lessing to Helene Cixious. Her unique analysis
of the links between criticism and autobiography enable her to
highlight the absurdity of attempting to write in the light of
recent critical and scientific knowledge as if the self were a
stable, unified construct, introducing instead a new, creative
understanding of the methods and modes of women's writing. This
sparkling collection presents an exciting and original new voice in
literary criticism. It tackles issues fundamental to literary
theory, feminist criticism, psychoanalysis and cultural studies,
offering new critical insights and providing a significant and
wholly original feminist contribution to these key fields.
The Semi-Transparent Envelope three acclaimed literary critics
examine issues not only as theoretical aspects of the feminist
agenda but within the evolution of their own works of fiction.
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