Women in Dark Times

by Jacqueline Rose

  The author and publishers acknowledge the following permissions to reprint copyright material:

  Extracts from On Not Being Able to Paint by Marion Milner, Copyright © Routledge, 2010, used by permission of Taylor & Francis Books UK

  Extracts from After the Fall by Arthur Miller, Copyright © Arthur Miller, 1964, copyright renewed 1992, used by permission of The Wylie Agency (UK) Limited

  Extracts from The Misfits by Arthur Miller, Copyright © Arthur Miller, 1957, 1961 used by permission of The Wylie Agency (UK) Limited

  Extracts from My Name Is Salma by Fadia Faqir, Copyright © Fadia Faqir, 2007, used by permission of Penguin Random House and the author

  Extracts from In Honor of Fadime: Murder and Shame by Unni Wikan, translated by Anna Paterson, Copyright © The University of Chicago, 2008, used by permission of Chicago University Press

  Extracts from Anna Christie by Eugene O’Neill, Copyright © Eugene O’Neill, 1921, reprinted by permission of ICM Partners

  Extracts from Fragments: Poems, Intimate Notes, Letters by Marilyn Monroe, edited by Stanley Buchthal and Bernard Comment, Copyright © LSAS International, Inc, 2010, reprinted by permission of HarperCollins Publishers Ltd

  Extracts from Thomas Mann, Doctor Faustus by Thomas Mann, Copyright © Thomas Mann, 1947. All rights reserved by S. Fischer Verlag GmbH, Frankfurt am Main

  Extracts from Maps for Lost Lovers by Nadeem Aslam, Copyright © Nadeem Aslam, 2004, used by permission of Faber and Faber Ltd and A.M. Heath & Co Ltd

  Extracts from ‘Fantasia sopra Carmen’, Quasi una Fantasia: Essays on Modern Music by Theodor W. Ardono, translated by Rodney Livingstone, Copyright © Theodor W. Ardono, 1955, used by permission of Verso

  Extracts from Shame by Jasvinder Sanghera, Copyright © Jasvinder Sanghera, 2007, used by permission of Hodder and Stoughton and the author

  Extracts from Honour by Elif Shafak, Copyright © Elif Shafak, 2012, used by permission of Penguin Random House

  Extracts from Murder in the Name of Honour by Rana Husseini, Copyright © Rana Husseini, 2009, used by permission of Oneworld Publications

  Every effort has been made to trace all copyright holders, but if any have been overlooked, the publishers will be pleased to make the necessary arrangements at the earliest opportunity.

  PLATE SECTION

  The following five paintings are taken from Charlotte Salomon’s Life? or Theatre?

  The tri-coloured play with music begins

  The cast is as follows: Dr and Mrs Knarre a married couple, Franziska and Charlotte, their daughters, Dr Kann, a physician, Charlotte Kann, his daughter, Paulinka Bimbam, a singer, Dr Singsong, a versatile person, Professor Klingklang, a famous conductor, an Art teacher, Professor and Students at an art academy and Chorus

  The following appear in the Main Section: Amadeus Daberlohn, a voice teacher, his fiancée, a sculptor, Paulinka Bimbam, Charlotte Kann, subsidiary persons

  The following appear in the Epilogue: Mrs Knarre, Mr Knarre, Charlotte Kann and Others

  The action takes place during the years 1913 to 1940 in Germany, later in Nice, France

  Act two

  The swastika – a symbol bright of hope—

  The day for freedom and for bread now dawns—

  Just at this time, many Jews – who, with all their often undesirable efficiency, are perhaps a pushy and insistent race, happened to be occupying government and other senior positions. After the Nazi takeover of power they were all dismissed without notice. Here you see how this affected a number of different souls that were both human and Jewish!

  Epilogue

  High on a cliff grow pepper trees – softly the wind stirs the small silvery leaves. Far below, foam eddies and melts in the infinite span of the sea. Foam, dreams – my dreams on a blue surface. What makes you shape and reshape yourselves so brightly from so much pain and suffering? Who gave you the right? Dream, speak to me – whose lackey are you? Why are you rescuing me? High up on a cliff grow pepper trees. Softly the wind stirs the small silvery leaves

  ‘Dear God, only please don’t let me go mad’

  The following four paintings are taken from Thérèse Oulton’s work

  Speechless, 2005, in Lines of Flight, Thérèse Oulton

  211 x 173 cm

  Untitled No.14, 2008, in Territory, Thérèse Oulton

  42.5 x 60.3 cm

  Camera Obscura, 2005, in Lines of Flight, Thérèse Oulton

  173 x 203 cm

  Transparence No. 8, 1991, in Abstract with Memories, Thérèse Oulton

  195.6 x 177.5 cm

  A Note on the Author

  Jacqueline Rose is internationally acclaimed as a public intellectual for her writing on feminism, literature and psychoanalysis. She is Professor of English at Queen Mary, University of London. In the autumn term of 2014 she takes up the Diane Middlebrook/Carl Djerassi Chair in Gender Studies at Cambridge. From January 2015, she will be Professor of the Humanities at the Institute for the Humanities, Birkbeck, University of London. Her many books include The Haunting of Sylvia Plath and On Not Being Able to Sleep, and a novel, Albertine. She is a ­regular contributor to the London Review of Books. She lives in London.

  By the Same Author

  Non-fiction

  Feminine Sexuality – Jacques Lacan and the école freudienne

  (edited with Juliet Mitchell, and translated by Jacqueline Rose)

  Sexuality in the Field of Vision

  The Case of Peter Pan or The Impossibility of Children’s Fiction

  The Haunting of Sylvia Plath

  Why War? – Psychoanalysis, politics and the return to Melanie Klein

  States of Fantasy

  On Not Being Able to Sleep – Psychoanalysis and the Modern World

  The Question of Zion

  The Last Resistance

  Conversations with Jacqueline Rose

  The Jacqueline Rose Reader

  Proust Among the Nations – from Dreyfus to the Middle East

  Fiction

  Albertine

  First published in Great Britain 2014

  This electronic edition published in 2014 by Bloomsbury Publishing Plc

  Copyright © Jacqueline Rose 2014

  The moral right of the author has been asserted

  Chapters 1, 3 and 4 have appeared in earlier forms in the London Review of Books

  (Nos. 33:12, June 16, 2011, 34:8, April 26, 2012, 31:21, November 5, 2009)

  and Chapter 6 is based on a catalogue entry for Yael Bartana’s

  exhibition . . . And Europe Will Be Stunned, London: Artangel, 2012

  All rights reserved

  You may not copy, distribute, transmit, reproduce or otherwise

  make available this publication (or any part of it) in any form, or by any means

  (including without limitation electronic, digital, optical, mechanical, photocopying,

  printing, recording or otherwise), without the prior written permission of the

  publisher. Any person who does any unauthorised act in relation to this publication

  may be liable to criminal prosecution and civil claims for damages

  Every reasonable effort has been made to trace copyright holders of material

  reproduced in this book, but if any have been inadvertently overlooked the

  publishers would be glad to hear from them. For legal purposes the

  acknowledgements constitute an extension of the copyright page

  Gouache from Life? or Theatre? by Charlotte Salomon. Reproduced by

  permission of Collection Jewish Historical Museum, Amsterdam. JHM, 4859.

  © Charlotte Salomon Foundation. Charlotte Salomon ®. Illustration from On Not Being Able to Paint by Marion Milner, Copyright © 2010, Routledge.

  Reproduced by permission of Taylor & Francis Books UK

  Bloomsbury Publishing Plc

  50 Bedford Square

  London WC1B 3DP

  www.bloomsbury.com

  Bloomsbury is a trademar
k of Bloomsbury Publishing Plc

  Bloomsbury Publishing, London, New Delhi, New York and Sydney

  A CIP catalogue record for this book is available from the British Library

  eISBN 978 1 4088 4539 4

  To find out more about our authors and their books please visit

  www.bloomsbury.com where you will find extracts, author interviews

  and details of forthcoming events, and to be the first to hear about latest

  releases and special offers, sign up for our newsletters here.