By Jennifer Kloester
Georgette Heyer is still an everlasting overseas bestseller, learn and enjoyed by means of generations of readers and extolled by way of bestselling authors. regardless of her huge, immense recognition she by no means gave an interview or seemed in public.
Jennifer Kloester, Heyer's legit biographer, spent ten years learning Georgette Heyer, within which time she had limitless entry to Heyer's notebooks, inner most papers and family members files. attractive and authoritative, this entire, reputable biography bargains new insights into the existence and writing of a striking and ferociously inner most lady.
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Georgette Heyer is still a permanent overseas bestseller, learn and enjoyed by means of generations of readers and extolled by means of bestselling authors. regardless of her huge, immense reputation she by no means gave an interview or seemed in public.
Jennifer Kloester, Heyer's authentic biographer, spent ten years studying Georgette Heyer, in which time she had limitless entry to Heyer's notebooks, deepest papers and kinfolk documents. attractive and authoritative, this finished, legit biography deals new insights into the existence and writing of a awesome and ferociously deepest girl.
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Extra resources for Georgette Heyer
In the discussion that follows, I show how Cardinal’s texts return repeatedly to the sexed female body that Freudian psychoanalysis ignores and thus may be read to bring out the gaps and blind spots in Freud’s writings on hysteria. Cardinal develops a very different kind of “case history”, told from the woman’s perspective and focusing on female embodiment and sexuality. 3 The patient Freud called “Dora” was in fact named Ida Bauer; as my analysis deals with the character of the patient as presented in Freud’s narrative, rather than a “reallife” woman, I retain the name “Dora”.
Yet where Cixous sees writing and blood as similarly regenerative, Cardinal describes a different relation between bleeding and self-expression. Cardinal suggests that excessive bleeding may “nous épuiser”, may be physically weakening and render self-expression impossible. To write, Cixous implies, is impossible for a “femme bien réglée”, yet Les Mots pour le dire seems to suggest that it is equally impossible for a woman who is not “bien réglée”, whose blood flows irregularly and excessively: menstrual bleeding is not necessarily a source of creativity, of (re)production.
At first she writes in secret, but she eventually shows her husband Jean-Pierre the pages that she has written. Fearful of his reaction, she tells herself that allowing him to read and analyse her writing is a proof of her madness (“C’était de la folie” (217)), because she has come to depend on writing as an outlet of selfexpression. Yet it is precisely when he reads her written words that Jean-Pierre stops treating her as “quelqu’un de malade” (217) and they can be reconciled. Her writing, one might adduce, is evidence not of madness, but of her continued recovery in analysis.