Book contents
- Frontmatter
- Contents
- Acknowledgements
- Series Editor’s Preface
- Notes on Contributors
- Introduction: Rereading Orphanhood
- 1 The Legal Guardian and Ward: Discovering the Orphan’s ‘Best Interests’ in Mansfield Park and Mrs Fitzherbert’s Notorious Adoption Case
- 2 Orphanhoods and Bereavements in the Life and Verse of Charlotte Smith Richardson (1775–1825)
- 3 ‘Like some of the princesses in the fairy stories, only I was not charming’: The Literary Orphan and the Victorian Novel
- 4 Adoptive Reading
- 5 No Place Like Home: The Orphaned Waif in Victorian Narratives of Rescue and Redemption
- 6 Bodily Filth and Disorientation: Navigating Orphan Transformations in the Works of Dr Thomas Barnardo and Charles Dickens
- 7 The Limits of the Human? Exhibiting Colonial Orphans in Victorian Culture
- 8 Getting the Father Back: The Orphan's Oath in Florence Marryat's Her Father's Name and R. D. Blackmore's Erema
- 9 Girlhood and Space in Nineteenth-Century Orphan Literature
- 10 ‘The accumulated and single’: Modernity, Inheritance and Orphan Identity
- 11 ‘Something worse than the past in not being yet over’: Elizabeth Bowen's Orphans, Exile and the Predicaments of Modernity
- 12 Orphans, Money and Marriage in Sensation Novels by Wilkie Collins and Philip Pullman
- Coda: Rereading Orphanhood
- Index
10 - ‘The accumulated and single’: Modernity, Inheritance and Orphan Identity
Published online by Cambridge University Press: 17 October 2020
- Frontmatter
- Contents
- Acknowledgements
- Series Editor’s Preface
- Notes on Contributors
- Introduction: Rereading Orphanhood
- 1 The Legal Guardian and Ward: Discovering the Orphan’s ‘Best Interests’ in Mansfield Park and Mrs Fitzherbert’s Notorious Adoption Case
- 2 Orphanhoods and Bereavements in the Life and Verse of Charlotte Smith Richardson (1775–1825)
- 3 ‘Like some of the princesses in the fairy stories, only I was not charming’: The Literary Orphan and the Victorian Novel
- 4 Adoptive Reading
- 5 No Place Like Home: The Orphaned Waif in Victorian Narratives of Rescue and Redemption
- 6 Bodily Filth and Disorientation: Navigating Orphan Transformations in the Works of Dr Thomas Barnardo and Charles Dickens
- 7 The Limits of the Human? Exhibiting Colonial Orphans in Victorian Culture
- 8 Getting the Father Back: The Orphan's Oath in Florence Marryat's Her Father's Name and R. D. Blackmore's Erema
- 9 Girlhood and Space in Nineteenth-Century Orphan Literature
- 10 ‘The accumulated and single’: Modernity, Inheritance and Orphan Identity
- 11 ‘Something worse than the past in not being yet over’: Elizabeth Bowen's Orphans, Exile and the Predicaments of Modernity
- 12 Orphans, Money and Marriage in Sensation Novels by Wilkie Collins and Philip Pullman
- Coda: Rereading Orphanhood
- Index
Summary
From the mingled passions that made up his past, out of a diversity of bloods, from the crux of a thousand impossible situations, Felix had become the accumulated and single – the embarrassed. (Barnes 9)
This is how the narrator introduces Baron Felix Volkbein, the orphan whose narrative opens Nightwood (Djuna Barnes, 1936). Felix is preoccupied throughout the novel with locating himself in the cultural fabric, via his researches into the ‘great past’ (37) and his attempts to found a dynasty. Yet the narrator's comments position Felix's search for origins as an ever-receding project, which can never be accounted for, as it comprises ‘mingled passions’, ‘a diversity of bloods’ and ‘a thousand impossible situations’, none of which escape the plane of generalisation. The detail of kinship bonds therefore eludes him, remaining just out of reach, much as he thinks of the circus as ‘a loved thing that he could never touch’ (11). Nevertheless, subjectivity forms from these contrasting and conflicting fragments, and Felix becomes the ‘accumulated and single’ (9), in a manner which recalls the identity bricolage seen in Pound's ‘Portrait d’une Femme’:
No! there is nothing! In the whole and all,
Nothing that's quite your own.
Yet this is you. (34)
Felix's predicament: the ‘embarrassment’ caused by the tension between accumulation and singularity, resonates with modernist writers’ tensioned reception of inheritance, and its relationship to originality. Consider, for example, the rival representations of the past seen in Woolf's criticism. The rejection of the conservative and passive inheritance seen in ‘Modern Fiction’ (1919) and ‘Mr Bennett and Mrs Brown’ (1924), contrasts sharply with the dynamic relationship to inheritance, seen in Woolf's analysis that ‘a woman writing thinks back through her mothers’ (A Room of One's Own 88). Since A Room of One's Own begins the process of piecing together a tradition of women's writing, to create literary place, it implies that the woman writer is a species of cultural orphan, and that orphanhood can be ameliorated by awareness of the work of other women writers. Tradition, in this more dynamic sense, offers access to an imaginative home through literary inheritance.
- Type
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- Information
- Rereading OrphanhoodTexts, Inheritance, Kin, pp. 206 - 230Publisher: Edinburgh University PressPrint publication year: 2020