Cross-Gendered Literary Voices

Acknowledgements Notes on Contributors Introduction: Cross-Gendered Literary Voices PART I: EMPOWERING OR EFFACING THE VICTORIAN OTHER? Female Narrative Energy in the Writings of Dead White Males: Dickens, Collins and Freud Women Writing Women Writers 'Everything depend[s] on the fashion of narration': Women Writing Women Writers in Short Stories of the Fin-de-siècle PART II: RESISTING AND EMBRACING THE OTHER VIA THE ABJECT ENTITY 'These heavy sands are language tide and wind have silted here': Tidal Voicing and the Poetics of Home in James Joyce's Ulysses What Happens When a Transvestite Gynaecologist Usurps the Narrator?: Cross-Gendered Ventriloquism in Djuna Barnes's Nightwood 'Her speech a purely buccal phenomenon': Voice as a Lost Object in Samuel Beckett's Works The Engendered and Dis-engendered Other in Iris Murdoch's Early Fiction PART III: GENDER AS PERFORMANCE AND THE VOCALIZATION OF TRANSGENDERED BODIES 'His almost vanished voice': Gendering and Trans-Gendering Bodily Signification and the Power of the Voice in Angela Carter's The Passion of New Eve Transvestic Voices and Gendered Performance in Patrick McCabe's Breakfast on Pluto Transgendered Bodies and Voices in Jeffrey Eugenides's Middlesex and Rose Tremain's Sacred Country PART IV: AUTHORITY AND ANXIETIES OF APPROPRIATION IN HISTORICAL NARRATIVES Authenticity, Authority and the Author: The Sugared Voice of the Neo-Victorian Prostitute in The Crimson Petal and the White 'Queering' the Stuttering in Sarah Waters' The Little Stranger Conclusion: Crossings and Re-crossings Bibliography Index