Emily Dickinson, a woman artist whose own carefully sewn together "packets" of poetry were — ironically enough — to be fragmented by male editors and female heirs, projected her yearning for this lost female home into the figure of a caged (and female) leopard. Her visionary nostalgia demonstrates that at times the memory of this Atlantis could be as painful for women writers as amnesia about it often was.

Sayfa 100

The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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The Parables of the Cave

Detached from herself, silenced, subdued, this woman artist tried in the beginning, as we shall see, to write like an angel in the house of fiction: with Jane Austen and Maria Edgeworth, she concealed her own truth behind a decorous and ladylike facade, scattering her real wishes to the winds or translating them into incomprehensible hieroglyphics. But as time passed and her cave-prison became more constricted, more claustrophobic, she "fell" into the gothic/Satanic mode and, with the Brontes and Mary Shelley, she planned mad or monstrous escapes, then dizzily withdrew — with George Eliot and Emily Dickinson — from those open spaces where the scorching presence of the patriarchal sun, whom Dickinson called "the man of noon," emphasized her vulnerability. Since "Creation seemed a mighty Crack" to make her "visible," she took refuge again in the safety of the "dim hypaethric cavern" where she could be alone with herself, with a truth that was hers even in its fragmentation.

Sayfa 101

The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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Infection in the Sentence : The Woman Writer and the Anxiety of Authorship

I stand in the ring in the dead city and tie on the red shoes They are not mine, they are my mother's, her mother's before, handed down like an heirloom but hidden like shameful letters.

Sayfa 45 - Anne Sexton

The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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The Queen's Looking Glass

Similarly, Mary Elizabeth Coleridge, staring into a mirror where her own mouth appears as a "hideous wound" bleeding "in silence and in secret," strives for a "voice to speak her dread."

Sayfa 44

The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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Shut Up in Prose: Gender and Genre in Austen's Juvenilia

For, as Gaston Bachelard explains, the miniature "allows us to be world conscious at slight risk." While the creators of satirically conceived diminutive landscapes seem to see everything as small because they are themselves so grand, Austen's analogy for her art — her "little bit (two Inches wide) of Ivory" — suggests a fragility that reminds us of the risk and instability outside the fictional space.

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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