Bypassing Literary Boundaries; Displacing the Reader: Olive Moore’s The Apple is Bitten Again (1934)
The Apple Is Bitten Again (Self Portrait) was the last book published by Olive Moore, an obscure modernist writer, whose work was retrieved from oblivion some twenty years ago. In spite of her misogynistic and essentialist views on women, one of Olive Moore’s aims—as a creative artist—was to undermi...
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| izdano v: | URI:https://journals.openedition.org/ebc, |
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| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
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Études britanniques contemporaines
2025
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| Online dostop: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Izvleček: | The Apple Is Bitten Again (Self Portrait) was the last book published by Olive Moore, an obscure modernist writer, whose work was retrieved from oblivion some twenty years ago. In spite of her misogynistic and essentialist views on women, one of Olive Moore’s aims—as a creative artist—was to undermine the social and cultural boundaries that stifled life in London, and to transcend the sense of limitation weighing on people in general and on women in particular. She did not, however, simply speak of transgressing boundaries; she applied this rallying cry to her writing practice. Thus, she produced a text in which the porosity of general boundaries is put forward. She mixed lowbrow and highbrow culture, several languages, several genres, and crossed borders between texts. She mostly relied on aphorisms. In the wake of Nietzsche’s use of aphorisms, the aphoristic form has been analysed as a form that crosses boundaries, encourages the expression of subjectivity, and avoids fixed categories and value systems. This is not without consequences for the reader, whose apathy is indirectly taken to task and whose certainties are shaken, at least momentarily. |
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