![]() ![]() Several of the writers went to pieces and turned to drugs when their men left them. Plath commented that one of Hughes’s female characters “should delight to be raped on the floor”. De Beauvoir said there had been “one undoubted success” in her life: her relationship with Sartre. Discovering De Beauvoir’s casual cruelty to some of her lovers, she declares, “I wanted my heroine back.”Īnd it’s hard not to be shocked by the chasm between some of these women and contemporary feminist values. ![]() ![]() Biggs has chosen women who put their own lives into their writing – as has sheĪt first, she seems disappointed – in “Eliot’s reluctance to speak up” in Hurston, for not writing about race. ![]() But what Biggs is really seeking is a template for a different kind of living evidence that women can break the domestic mould and tell the tale – even if they might not always live. It may seem strange to look to Plath, who took her own life at the age of 30, or Hurston, who died unappreciated and poor. “I needed to remind myself that starting out on my own again halfway through life is possible, has been possible for others – and that this sort of life can have beauty in it,” she writes. One of Biggs’s reasons for writing the book, as its subtitle implies, is to convince herself that the false start of her marriage doesn’t mean it’s the end. ![]()
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