Sylvia (Claire Rushbrook) is in hospital suffering from memory loss. She cannot remember anything... more Sylvia (Claire Rushbrook) is in hospital suffering from memory loss. She cannot remember anything about her life. The treatment she is undergoing is radical - she is suspended above the floor, hanging by her neck. Medical staff assure her that this way 'everything will fall into place'. As she hangs, Sylvia is visited by a series of figures, including her husband (Philip Jackson), her daughter (Emerald O'Hanrahan) and a man (Carl Prekopp), calling himself her friend, whom she cannot recognize. But are these people real or phantoms? It soon becomes apparent that part of the space of the play is Sylvia's unconscious, the land of her memory. As she comes to understand this, she slowly starts to remember the appalling events that have occurred....
Any person who does any unauthorized act in relation to this publication may be liable to crimina... more Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
When 11-year-old Indigo and her older brother Robin arrive in South Africa to stay with their fat... more When 11-year-old Indigo and her older brother Robin arrive in South Africa to stay with their father, they find a luxury lifestyle that is a world away from their modest existence back in England. But Indigo is uneasy in the foreign landscape and confused by the family’s silence surrounding her mother’s recent death
Practice-based journal article exploring via mixed modes of writing (prose, poetry, drama) the po... more Practice-based journal article exploring via mixed modes of writing (prose, poetry, drama) the possibilities of a play written not-for-performance
Sylvia (Claire Rushbrook) is in hospital suffering from memory loss. She cannot remember anything... more Sylvia (Claire Rushbrook) is in hospital suffering from memory loss. She cannot remember anything about her life. The treatment she is undergoing is radical - she is suspended above the floor, hanging by her neck. Medical staff assure her that this way 'everything will fall into place'. As she hangs, Sylvia is visited by a series of figures, including her husband (Philip Jackson), her daughter (Emerald O'Hanrahan) and a man (Carl Prekopp), calling himself her friend, whom she cannot recognize. But are these people real or phantoms? It soon becomes apparent that part of the space of the play is Sylvia's unconscious, the land of her memory. As she comes to understand this, she slowly starts to remember the appalling events that have occurred....
My research identifies an emerging trend among writers working on the borders of fiction and non-... more My research identifies an emerging trend among writers working on the borders of fiction and non-fiction for novels that function as aesthetic autobiographies. These works articulate ways in which the lived experience of the writer intersects with the artistic expression of these experiences. I examine novels by Rachel Cusk, Elena Ferrante, Sheila Heti, Jhumpa Lahiri and Deborah Levy as well as non-fiction texts by these authors. I argue that works by these women writers form a conversation of the kind Helene Cixous urges in her essay ‘The Laugh of the Medusa’ and I view the resulting work as a female countercanon. Further, I argue that these works constitute a canon of motherhood, to which my own novel The Weaning might belong. As a way of furthering my understanding of my own creative practice I consider the exchange that occurs between writer and proxy, writer and text, writer and reader, reader and text as a process of literary weaning.
Sylvia (Claire Rushbrook) is in hospital suffering from memory loss. She cannot remember anything... more Sylvia (Claire Rushbrook) is in hospital suffering from memory loss. She cannot remember anything about her life. The treatment she is undergoing is radical - she is suspended above the floor, hanging by her neck. Medical staff assure her that this way 'everything will fall into place'. As she hangs, Sylvia is visited by a series of figures, including her husband (Philip Jackson), her daughter (Emerald O'Hanrahan) and a man (Carl Prekopp), calling himself her friend, whom she cannot recognize. But are these people real or phantoms? It soon becomes apparent that part of the space of the play is Sylvia's unconscious, the land of her memory. As she comes to understand this, she slowly starts to remember the appalling events that have occurred....
Any person who does any unauthorized act in relation to this publication may be liable to crimina... more Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
When 11-year-old Indigo and her older brother Robin arrive in South Africa to stay with their fat... more When 11-year-old Indigo and her older brother Robin arrive in South Africa to stay with their father, they find a luxury lifestyle that is a world away from their modest existence back in England. But Indigo is uneasy in the foreign landscape and confused by the family’s silence surrounding her mother’s recent death
Practice-based journal article exploring via mixed modes of writing (prose, poetry, drama) the po... more Practice-based journal article exploring via mixed modes of writing (prose, poetry, drama) the possibilities of a play written not-for-performance
Sylvia (Claire Rushbrook) is in hospital suffering from memory loss. She cannot remember anything... more Sylvia (Claire Rushbrook) is in hospital suffering from memory loss. She cannot remember anything about her life. The treatment she is undergoing is radical - she is suspended above the floor, hanging by her neck. Medical staff assure her that this way 'everything will fall into place'. As she hangs, Sylvia is visited by a series of figures, including her husband (Philip Jackson), her daughter (Emerald O'Hanrahan) and a man (Carl Prekopp), calling himself her friend, whom she cannot recognize. But are these people real or phantoms? It soon becomes apparent that part of the space of the play is Sylvia's unconscious, the land of her memory. As she comes to understand this, she slowly starts to remember the appalling events that have occurred....
My research identifies an emerging trend among writers working on the borders of fiction and non-... more My research identifies an emerging trend among writers working on the borders of fiction and non-fiction for novels that function as aesthetic autobiographies. These works articulate ways in which the lived experience of the writer intersects with the artistic expression of these experiences. I examine novels by Rachel Cusk, Elena Ferrante, Sheila Heti, Jhumpa Lahiri and Deborah Levy as well as non-fiction texts by these authors. I argue that works by these women writers form a conversation of the kind Helene Cixous urges in her essay ‘The Laugh of the Medusa’ and I view the resulting work as a female countercanon. Further, I argue that these works constitute a canon of motherhood, to which my own novel The Weaning might belong. As a way of furthering my understanding of my own creative practice I consider the exchange that occurs between writer and proxy, writer and text, writer and reader, reader and text as a process of literary weaning.
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