Dorothy Richardson discussion

For discussion of Pointed Roofs, London: Duckworth, 1915.

Nice article on the first in the sequence here, with a photo of a handwritten manuscript page to brighten your day.

http://modernism.research.yale.edu/wi...

So what is different, what is unique in the style of writing here? Most noticeable, I think, are some of the typographic eccentricities - particularly her use of ellipses to show the shifting thought patters of Miriam. Additionally, and I think most interestingly if we think of later developments in the novel, is her rejection of the omniscient narrator and her subsequent withholding of key pieces of information - allowing the reader to be as unsure of him or herself as Miriam is at the time.

And then there is the exacting detail of the interior movement of a young woman's mind. Unparalleled in its attention to detail and its desire of accuracy. This quote, of instance, gives an indication of both the style and the willingness to let often mundane thoughts flow where they will (all ellipses DR's own):

" Funny German dresses, thought Miriam, funny . . . and old. Her mind hovered and wondered over these German dresses--did she like them or not--something about them--she glanced at Elsa, sitting opposite in the dull faint electric blue with black lace sleeves she had worn since the warm weather set in. Even Ulrica, thin and straight now . . . like a pole . . . in a tight flat dress of saffron muslin sprigged with brown leaves, seemed to be included in something that made all these German dresses utterly different from anything the English girls could have worn. What was it? It was crowned by the Bergmanns' dresses. It had begun in a summer dress of Minna's, black with a tiny sky-blue spot and a heavy ruche round the hem. She thought she liked it. It seemed to set the full tide of summer round the table more than the things of the English girls--and yet the dresses were ugly--and the English girls' dresses were not that . . . they were nothing . . . plain cottons and zephyrs with lace tuckers-- no ruches. It was something somehow in the ruches--the ruches and the little peaks of neck."

I think that it may be possible to determine whether or not you will like DR by your interest in reading such things. Personally I find the exploration of a mind other than my own fascinating and would by lying if I tried to argue that I had never had thoughts about the clothing of another person...So why should this not be allowed to form part of such a novel?

Jonathan wrote: "Personally I find the exploration of a mind other than my own fascinating and would by lying if I tried to argue that I had never had thoughts about the clothing of another person...So why should this not be allowed to form part of such a novel?..."

Certainly it should be allowed, and certainly Virginia Woolf believed it should be. Contrast your quoted passage above with some of Lily Briscoe's contemplations of Mrs. Ramsay in To the Lighthouse. I think it's safe to say that Ms. Woolf owes much to Ms. Richardson...

Jim wrote: "Jonathan wrote: "Personally I find the exploration of a mind other than my own fascinating and would by lying if I tried to argue that I had never had thoughts about the clothing of another person...."

agreed - I hear her influence on Woolf already...Would be curious to know if Marguerite Young ever read her actually, as there are certain similarities in some of the sentences...

Having become interested in the crisis of faith in England in the nineteenth century, sparked by Robert Elsmere I found strident atheist Miriam's consternation at being required to attend evening prayers, followed in short order by her contradictory horror at the use of the revival-tent Evangelist hymnal of Moody and Sankey, very funny. Rather like a vegetarian sneering at an omnivore hostess serving bangers and mash instead of a good roast to the other guests.

Re the extensive commentary on clothing. In one way it illustrates that Miriam can't escape the imprint of a female middle class (if intellectual) upbringing. I can't tell yet whether it also indicates that Richardson has some remnants she can't escape. I think it more likely that she is content to embrace this very female way of communicating in both the choices one makes in choosing (or accepting) a wardrobe and selecting what to wear every day, and in how others read/interpret those choices. While it may be that Richardson is using clothing to suggest the limited range of expression and action allowed to women, it could also be an affirmation of the esthetics and complexity of this as an art.

I think all of your suggestions are correct - there is a complex network of things at play with all of these types of comments

Yep. Can you imagine what work it would have been, pre Google, to look up all those clothing items? I don't know if the effect of all these details would have been the same for contemporary readers, but for me they put the trap in feminine trappings and contributed to Miriam's claustrophobic irritation at a world stuffed full with superficial inanities.

For more exquisitely perspicuous observations, my sensitive and moving review is here:

https://www.goodreads.com/review/show...

Reading Pointed Roofs over at The Neglected Books page ::
http://neglectedbooks.com/?p=3922

Pilgrimage is my long read for 2021, and I'll be starting this section, as part of the first of four volumes, in a couple of days. I'll see if I can remember to post worthwhile thoughts here, as smaller increments of thoughtful mediation than what reviews at the end of each volume can offer will probably smooth out the journey.

I'm planning to re-read the cycle soon so I'll look forward to hearing about your reactions.

Fantastic Aubrey - I very much look forward to reading your comments.

First fifty pages or so of reading and I'm getting into the flow of things. My edition's so cheap that both the back and the front covers have fallen off already, but it wouldn't be the first time a book fell apart as I read it.

Ah do you have that weird paperback that makes it look like some sort of soft-porn erotic novel? I love those covers because they are not only hilarious but so completely misrepresent the text inside...

Indeed I do, Jonathan. It was probably the only way I was able to get my hands on a full quartet for less than five USD. I had to upload pictures of them for my editions myself, and now you too can see them in all their glory. I'll only post the one of the first volume here so as to stay on topic and not clog up the board too much.

Oh man. That is just amazing. From the tag line about the “female revolution” to that 70s haircut... I love Richardson so much I have been trying to collect cool copies of all her books over the years, and you are seriously tempting me to add these ones to the shelves too...I hope you enjoy the text inside and that the binding lasts your reading!

Haha, good luck finding them if you decide to do so. Despite owning physical copies, I'm still not clear on the ISBN business (the number on the spine has too many digits), and a quick perusal on the 'net came up with either nothing at all or some obscene pricing (no surprise this was on the site of the devil, aka Amazon). And yes, I hope my copy lasts the read as well. Or, at the very least, I'll acquire some tape in the next week or so.