Written and researched as part of a series of public presentations about feminist rewriting, the title of this paper is likely to raise questions about the relevance of a seemingly male author who was either reincarnated or who suffered from schizophrenia. The plural form lives and its appropriateness only becomes self-explanatory when a key feature about our subject is revealed: The playwright, poet and diarist discussed in this essay was in fact not a man, but the invention of two women. Michael Field was the shared pseudonym of Katharine Harris Bradley (1846-1914) and her niece Edith Emma Cooper (1862-1913), who lived together in Southern England for over forty years and collaborated in publishing 27 tragedies, 8 volumes of lyrics, and a masque. Moreover, they began co-writing a journal under the name of Michael Field in 1888, which they updated for the rest of their lives, eventually filling 28 volumes. These diaries are nowadays a valuable artefact of fin-de-siecle culture and society due to the detailed documentation of events and their public reception. They furthermore provide insight into the unconventional relationship these two women led, with its focus shifting from literary collaboration to one of romantic love.
Table of Contents
Introduction
The Works: Themes, Aims and Influences
The Relationship
Political and Social Activity
The Identity of Michael Field
Research Objectives and Core Themes
This paper aims to explore the literary and personal lives of Katharine Harris Bradley and Edith Emma Cooper, who co-authored works under the shared pseudonym "Michael Field." The research investigates how this joint identity functioned as a professional strategy, a personal expression of their intimate relationship, and a subtle challenge to gender constructs in fin-de-siècle society.
- The strategic use of a male pseudonym to overcome literary gender bias.
- The intersection of personal grief, mysticism, and religious conversion in their creative process.
- The analysis of their intimate, lifelong romantic relationship and its influence on their collaborative work.
- The sociopolitical engagement of the authors within the women's rights movement and aesthetic circles.
- The critical discourse on whether their work constitutes feminist "rewriting" or an imitation of masculine norms.
Excerpt from the Book
The Works: Themes, Aims and Influences
The couple’s decision to take on the identity of Michael Field was initially a professional one: Bradley had formerly published her writings as Arran Leigh, but without success. Using a male pseudonym was an attempt of positioning themselves among successful literary contemporaries, most of which were male. Bradley explained in a letter to their associate John Ruskin that they had “[…] many things to say that the world will not tolerate from a woman’s lips”. This proves to be true when looking at the reception of their work before and after their identity was revealed:
They developed as the intelligent reviewers had predicted, and became highly accomplished dramatic poets. But in the mean time the critics learned that Michael Field was not a man, and work much finer than Callirhoe [their first joint production] passed unnoticed or was reviled; while on the other hand Borgia, published anonymously, was noticed and appreciated.
Fortunately, they had inherited enough to be financially independent, allowing them to write about the topics they chose, rather than writing about what society considered appropriate for women. Thus, one of their central themes became a typical one for Victorian (male) literature: death. In their works, Cooper and Bradley explore reactions to deaths of public and private figures, reaching from Queen Victoria over Browning and Whitman to their favourite dogs. Especially in their diaries, these are recorded through writing and supplemented by newspaper clippings which create multiple perspectives and layers in their narrative.
Summary of Chapters
Introduction: Provides the historical context of Katharine Harris Bradley and Edith Emma Cooper, revealing their shared pseudonym "Michael Field" and the significance of their extensive collaborative diaries.
The Works: Themes, Aims and Influences: Examines the professional necessity behind the pseudonym and analyzes how the authors utilized common Victorian themes, such as death and religious mystery, to assert their creative voice.
The Relationship: Explores the evolution of the bond between aunt and niece, tracing their shift from literary collaborators to a romantic partnership that defied contemporary norms.
Political and Social Activity: Details the authors' involvement in the suffrage movement, the Aesthetic Dress Movement, and their complex relationship with the charitable projects of John Ruskin.
The Identity of Michael Field: Discusses the broader implications of the pseudonym as both a public mask and a private reality, questioning whether their work represents feminist subversion or an adaptation to patriarchal structures.
Keywords
Michael Field, Katharine Harris Bradley, Edith Emma Cooper, fin-de-siècle, literary pseudonym, feminist rewriting, Victorian literature, romantic love, gender constructs, aestheticism, women's rights, collaborative writing, diary literature, identity, patriarchal society.
Frequently Asked Questions
What is the primary subject of this research paper?
The paper focuses on the life and literary output of two women, Katharine Harris Bradley and Edith Emma Cooper, who published extensively under the male pseudonym "Michael Field."
What are the main thematic areas explored in the text?
The research examines the authors' professional strategies, their personal relationship, their engagement with social movements like the suffrage struggle, and the philosophical implications of their gender-bending pseudonym.
What is the core research objective of this work?
The objective is to reveal the story behind the name "Michael Field" and to analyze how these two women negotiated their identities as writers and lovers in the late 19th and early 20th centuries.
What methodology is used to conduct this research?
The paper employs a biographical and literary analysis approach, drawing upon published scholarly notes, personal diaries of the authors, and correspondence with literary contemporaries.
What topics are covered in the main body of the paper?
The main body covers the authors' professional challenges, the themes of their literary works (such as death and mystery), the nature of their romantic relationship, and their sociopolitical participation in movements of their time.
Which keywords best describe this study?
Key terms include Michael Field, feminist rewriting, fin-de-siècle, pseudonym, gender constructs, and collaborative authorship.
Why did Bradley and Cooper choose to use a male pseudonym?
The pseudonym was initially adopted as a professional strategy to gain credibility among male critics and to bypass the societal limitations placed upon women's voices in literature.
How did the reception of their work change after their identity was revealed?
Once critics realized "Michael Field" was not a man, the quality of their work was often overlooked or reviled, whereas their anonymously published pieces had previously received praise.
In what way did the authors' diaries serve as a historical artifact?
Their diaries, spanning 28 volumes, provide a detailed, multi-layered documentation of daily life, personal grief, and the social culture of the fin-de-siècle period.
What is the significance of the authors' conversion to Roman Catholicism?
Their conversion in 1907 serves as a focal point for much of their late-career work, which became increasingly influenced by religious themes and spiritual mystery.
- Quote paper
- Swantje Tönnies (Author), 2006, The Lives of Michael Field, Munich, GRIN Verlag, https://www.grin.com/document/92535
