Jacqueline Rose

Ever since the fall of Baghdad, when looters went rampaging through the city, a centuries-old assumption about ‘the people’ has lurked, barely spoken, beneath the ghastly aftermath of the war. It is that the people, meaning ‘people en masse’, are incapable of restraining themselves. In the case of Iraq, two further assumptions are in play. First, people freed from the...

In David Grossman’s 1998 novel, Be My Knife, an antiquarian book-dealer starts a passionate correspondence with a woman whom he has barely caught sight of across a room. The unlikely circumstances of their relationship, its unusual fusion of intimacy and distance, allow them to say, or rather write, things which neither of them has ever admitted before. Lost to each other and...

Biography loves Sylvia Plath. When I ask students what they know of Plath, they almost invariably reply that she killed herself and was married to Ted Hughes. Occasionally they run these two snippets together as if the second were, in some mysterious and not wholly formulated way, related to the first; as if together they add up to something that leaves nothing more to be said. I watch this story shut down around her, clamping her writing into its hollow wooden frame. Death and marriage may have fed and fuelled her writing, but – posthumously at least – they cramp her style.

The language of survival has always been fundamental to feminism. Germaine Greer seems to be convinced that the species is heading for extinction. (Some time ago, in an article in the Observer, she envisaged a time ‘when, far in the future, the human race has exterminated itself.’) For a time, Adrienne Rich believed that what was destroying itself was patriarchy: ‘The creative energy of patriarchy is fast running out,’ she wrote in 1971, ‘what remains is its self-generating energy for destruction’ (‘When We Dead Awaken’). Women’s task in advancing its end was simple, brutal and clear: ‘As women, we have our work cut out for us.’‘