Victorian Women Poets

Victorian Women Poets Heather Bozant Witcher (bio) A. Mary F. Robinson was best known, to her English audience, for her poetry and, to her French audience, as a woman of letters. So begins the introduction to Robinson's "Anglo-French" life in Patricia Rigg's A. Mary F. Robinson (Montreal: McGill-Queen's Univ. Press, 2021). Rigg seeks to reconcile these dual identities in this comprehensive and engaging biographical study. Rigg's book offers a nuanced look at an international poet: the unorthodoxy of Robinson's life, the integration of various literary styles (poetics, historical, biographical), and her Anglo-French identity. Highlighting Anglo-French literary communities and the social components of Robinson's life, Rigg's biography sets the tone for this year's scholarship on Victorian women poets. Its rich, layered approach—bringing together extensive archival material with personal and familial relationships (Rigg details her time in the Robinson family home and her relationship with Robinson's great-granddaughter by marriage)—offers a methodology that foregrounds materiality, affect, and form. Similarly, James Diedrick's edited edition for the MHRA Jewelled Tortoise Series, Mathilde Blind: Selected Fin-de-Siècle Poetry and Prose (Cambridge, U.K.: Modern Humanities Research Association, 2021) foregrounds Blind's contributions as a transnational and displaced (or expatriate) writer. His scholarly edition of Blind's late poetry brings three volumes (published between 1889 and 1895) together, alongside selections of her reviews and literary essays, to foreground Blind's experimental verse forms and affiliations with leading Decadent communities. The scholarship, then, of 2021 predominantly interrogates an intersectional approach to Victorian women poets: from exploring the ecological impact of Decadent poets to the intersections of poetry with a wide range of nineteenth-century sciences, transnational and cosmopolitan outlooks, and various modes of being. In this way, Victorian poetry becomes a site of curiosity, exchange, and engagement—in all senses of the word—with the world. In "Haptic Ekphrasis" (Victorian Studies 64, no. 1 [2021]: 88–114), Jill R. Ehnenn reconsiders the ekphrastic text, usually defined as a technology of vision: the relationship between word and image. In the Victorian period—and more broadly—ekphrasis involves not only vision but a technology of feeling, "both touch and emotion" (p. 89). In what Ehnenn calls "haptic ekphrasis," she identifies the centrality of affect and the sensing body as a method of [End Page 418] phenomenological interpretation and poetic encounter, or poetry's ability to do something, to move our bodies and brains into reconsiderations of the self/ object within the world (in both the nineteenth century and our world today). She makes three central claims. Focusing on haptics alongside vision enables reconsiderations of poetic form that foreground the "visceral register of experience" (p. 92). New ways of analyzing poetry emerge when we consider the tactility of the ekphrastic text or the arousal of emotion when we are attuned to meter and metrical variance. Rather than viewing ekphrasis as a description of an art object, haptic ekphrasis documents the poet's encounter with the art object. When reading poems like Elizabeth Barrett Browning's "Hiram Powers' Greek Slave" (1850) or Julia Margaret Cameron's "On a Portrait" (1876), with priority given to haptics, formal readings encourage sympathy for the object and what it represents. The language of sympathy here foregrounds another of Ehnenn's claims: that haptic ekphrasis resonates with the nineteenth-century discursive shift from sympathy to empathy (Einfühlung). Most intriguingly, perhaps, Ehnenn identifies haptic ekphrasis as a strategic technique for "minoritarian" (women and queer) writers (p. 100). Through insightful close readings of poetry by John Gray, Olive Custance, Julia Margaret Cameron, Graham R. Tomson, and the Bengali poet Sarojini Naidu, Ehnenn showcases how haptic readings communicate the complexities of lived experiences as a woman or queer poet. Not only, then, does haptic ekphrasis permit realistic detail and transportation of feeling, but "ekphrasis built on the haptic . . . permits the author to safely articulate the ineffable, the non-canonical, and the private" (p. 105). In providing a new framework from which to understand ekphrasis, Ehnenn points toward the phenomenological and epistemological potentials of poetic experience and poetic encounter—for both the Victorians and the twenty-first-century reader. Sight and...

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