Dos mujeres: sobre «Kew Gardens y otros cuentos», de Virginia Woolf, y «Tres mujeres», de Sylvia Plath

Reseña de Kew Gardens y otros cuentos de Virginia Woolf (Madrid: Nórdica, 2016) y de Tres mujeres de Sylvia Plath (Madrid: Nórdica, 2013) que salió en la diaria el 23 de noviembre de 2016.

Virginia Woolf (1882-1941) y Sylvia Plath (1932-1963), además de su lugar principal en los movimientos o estilos literarios con los que se las identifica (el modernismo inglés y la poesía confesional, respectivamente), de su estatus de emblemas feministas, de haber estado casadas con artistas (el teórico político y narrador Leonard Woolf, el poeta Ted Hughes) y de la luctuosa sombra de sus suicidios (por agua, por aires), comparten lugar en uno de los catálogos editoriales más interesantes del mundo hispano. Me refiero al de la editorial española Nórdica, que cumple ya diez años pero acaba de llegar a Uruguay. A ella pertenecen Kew Gardens y otros cuentos, que reúne tres piezas de acaso la mayor novelista inglesa; y Tres mujeres, un desgarrador poema a tres voces de una de las poetas más influyentes de la segunda mitad del siglo XX.

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Some marriage of opposites has to be consummated

Even so, the very first sentence that I would write here, I said, crossing over to the writing-table and taking up the page headed Women and Fiction, is that it is fatal for anyone who writes to think of their sex. It is fatal to be a man or woman pure and simple; one must be woman-manly or man-womanly. It is fatal for a woman to lay the least stress on any grievance; to plead even with justice any cause; in any way to speak consciously as a woman. And fatal is no figure of speech; for anything written with that conscious bias is doomed to death. It ceases to be fertilized. Brilliant and effective, powerful and masterly, as it may appear for a day or two, it must wither at nightfall; it cannot grow in the minds of others. Some collaboration has to take place in the mind between the woman and the man before the art of creation can be accomplished. Some marriage of opposites has to be consummated. The whole of the mind must lie wide open if we are to get the sense that the writer is communicating his experience with perfect fullness. There must be freedom and there must be peace. Not a wheel must grate, not a light glimmer. The curtains must be close drawn. The writer, I thought, once his experience is over, must lie back and let his mind celebrate its nuptials in darkness. He must not look or question what is being done. Rather, he must pluck the petals from a rose or watch the swans float calmly down the river. And I saw again the current which took the boat and the under-graduate and the dead leaves; and the taxi took the man and the woman, I thought, seeing them come together across the street, and the current swept them away, I thought, hearing far off the roar of London’s traffic, into that tremendous stream.

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We think back through our mothers

But how impossible it must have been for them not to budge either to the right or to the left. What genius, what integrity it must have required in face of all that criticism, in the midst of that purely patriarchal society, to hold fast to the thing as they saw it without shrinking. Only Jane Austen did it and Emily Brontë. It is another feather, perhaps the finest, in their caps. They wrote as women write, not as men write. Of all the thousand women who wrote novels then, they alone entirely ignored the perpetual admonitions of the eternal pedagogue — write this, think that. They alone were deaf to that persistent voice, now grumbling, now patronizing, now domineering, now grieved, now shocked, now angry, now avuncular, that voice which cannot let women alone, but must be at them, like some too-conscientious governess, adjuring them, like Sir Egerton Brydges, to be refined; dragging even into the criticism of poetry criticism of sex;* admonishing them, if they would be good and win, as I suppose, some shiny prize, to keep within certain limits which the gentleman in question thinks suitable —’ . . . female novelists should only aspire to excellence by courageously acknowledging the limitations of their sex’.* That puts the matter in a nutshell, and when I tell you, rather to your surprise, that this sentence was written not in August 1828 but in August 1928, you will agree, I think, that however delightful it is to us now, it represents a vast body of opinion — I am not going to stir those old pools; I take only what chance has floated to my feet — that was far more vigorous and far more vocal a century ago. It would have needed a very stalwart young woman in 1828 to disregard all those snubs and chidings and promises of prizes. One must have been something of a firebrand to say to oneself, Oh, but they can’t buy literature too. Literature is open to everybody. I refuse to allow you, Beadle though you are, to turn me off the grass. Lock up your libraries if you like; but there is no gate, no lock, no bolt, that you can set upon the freedom of my mind.
But whatever effect discouragement and criticism had upon their writing — and I believe that they had a very great effect — that was unimportant compared with the other difficulty which faced them (I was still considering those early nineteenth-century novelists) when they came to set their thoughts on paper — that is that they had no tradition behind them, or one so short and partial that it was of little help. For we think back through our mothers if we are women.

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