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Dark Emotions

Jenny Turner: The Women’s Liberation Movement, 24 September 2020

Misbehaviour 
directed by Philippa Lowthorpe.
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Nightcleaners 
directed by the Berwick Street Film Collective.
Lux/Koenig/Raven Row, £24, July 2019
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Sisterhood and After: An Oral History of the UK Women's Liberation Movement, 1968-present 
by Margaretta Jolly.
Oxford, 334 pp., £22.99, November 2019, 978 0 19 065884 7
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... book Alexander calls CR the WLM’s ‘signature practice’.‘The pattern of development,’ Michelene Wandor wrote in the early 1970s, ‘is that the more you discuss and analyse, the more appears to be discussed. Gradually a complex and comprehensive picture of social and political structures builds up, in which, as you constantly refer back to ...

The New Narrative

John Kerrigan, 16 February 1984

The Oxford Book of Narrative Verse 
edited by Iona Opie and Peter Opie.
Oxford, 407 pp., £8.95, September 1983, 0 19 214131 7
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Time’s Oriel 
by Kevin Crossley-Holland.
Hutchinson, 61 pp., £4.95, August 1983, 0 09 153291 4
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On Gender and Writing 
edited by Michelene Wandor.
Pandora, 166 pp., £3.95, September 1983, 0 86358 021 1
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Stone, Paper, Knife 
by Marge Piercy.
Pandora, 144 pp., £3.95, September 1983, 9780863580222
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The Achievement of Ted Hughes 
edited by Keith Sagar.
Manchester, 377 pp., £27.50, March 1983, 0 7190 0939 1
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Ted Hughes and Paul Muldoon 
Faber, £6.95, June 1983, 0 571 13090 9Show More
River 
by Ted Hughes and Peter Keen.
Faber, 128 pp., £10, September 1983, 0 571 13088 7
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Quoof 
by Paul Muldoon.
Faber, 64 pp., £4, September 1983, 0 571 13117 4
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... When We talk of narrative poetry today,’ James Fenton asks in the September issue of Poetry Review, ‘are we referring to the kind of story in which, you want to know what happens next? I think not. I think that kind of story is deliberately excluded from consideration.’ It’s a well-timed question, with Blake Morrison and Andrew Motion’s advocacy of narrative in The Penguin Book of Contemporary British Poetry being so widely and respectfully read, and well-directed too, since it clarifies what’s confused in the Penguin introduction by the editors’ simultaneous recommendation of Post-Modernist ‘secrecy’ and the Keatsian ‘long poem ...

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