This book, this Landscape for a Good Woman by Carolyn Steedman…I loved it with a love reserved for few other books really. For its lyricism and beauty, the sharp insights about mothers and daughters, about how we are classed and gendered, about how we just might break free of this yet never break free…the pain of all of it. The complexities of all of it, and the complexities of our own inner lives too often flattened by words like working-class, woman, mother. I loved this book for an ability to share a world with her briefly and watch her theorise so beautifully from there, there, this complex, working class landscape. This place usually only the object of theory, the ‘problem’ for theory.
She manages it so beautifully, you long to try but feel pretty certain this is a high wire act not to be emulated lightly or without years of training. She opens so:
Death of a Good Woman
She died like this. I didn’t witness it. My niece told me this. She’d moved everything down into the kitchen: a single bed, the television, the calor-gas heater. She said it was to save fuel. The rest of the house was dark and shrouded. Through the window was only the fence and the kitchen wall of the house next door. Her quilt was sewn into a piece of pink flannelette. Afterwards, there were bags and bags of washing to do. … She lived alone, she died alone: a working-class life, a working-class death. (1-2)
This conflicted moment of loss is the beginning. Not the lovely quote from John Berger which follows, describing how we carry our biographies with us.
Continue reading Steedman’s Landscape for a Good Woman (part 1)
The present tense of the verb to be refers only to the present: but nevertheless with the first person singular in front of it, it absorbs the past which is inseparable from it. ‘I am’ includes all that has made me so. It is more than a statement of immediate fact: it is already biographical.
(John Berger, About Looking)