Titlebook: Charlotte Mew: Poetics, Bodies, Ecologies; Francesca Bratton,Megan Girdwood,Fraser Riddell Book 2024 The Editor(s) (if applicable) and The

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Charlotte Mew’s Travel Poeticss the Channel registered intensely, prompting Mew to reflect on the psycho-affective makeup of what she called her ‘queer uncertain mind.’ Following that introspective impulse, this chapter explores how Mew’s work engages with the defamiliarizing themes and genres of travel literature—what I refer t

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‘A Queer Uncertain Mind’: Charlotte Mew, Female Vocations, and the Ethics of Care her relationships with the Chick sisters, one of the most remarkable group of siblings born in the later decades of the nineteenth century. Six of the seven sisters benefited from higher education, and most of them went on to establish successful careers in a wide range of academic disciplines, inc

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G. Cioni,A. Colagrossi,A. Miolamsbury, London, which she shared with her mother and sister Anne. Mew used to alarm those in her company by periodically withdrawing sheets of paper and rolling them up to light her cigarettes or by feeding small pieces to the family parrot Wek. ‘I’m burning up my work. I don’t know what else to do

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https://doi.org/10.1007/978-3-031-06413-5osophical investments. Mew wrote to both articulate and overcome silence, in particular, what she saw as the empty words and entombing silence of the Christian faith. From the impossibility of speech in her short story ‘Passed,’ through to her bravura essay on Emily Brontë’s poetry and the anguished

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Rachel M. McCleary,Robert J. Barro and being spoken to. Mew’s poems themselves, however, frequently refuse to signify identity in a way that is singular or definitive. While second-person address is a common feature of many lyric poems, Mew’s frequent adoption of personae, combined with her tendency towards the opaque and obscure, a

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Laura C. Anderson,Cheryl A. Kieliszewskiof Emily Brontë‘, the chapter uncovers a tumult of nonhuman embodiments and affinities, from body transformations at the hands of fairies to magical transitioning in the natural world. In doing so, the chapter argues that Mew‘s work celebrates a transgothic and transecological imaginary, comparing M