Rachel Cusk: Contemporary Critical Perspectives

Cover
Halftitle page
Contemporary Critical Perspectives
Title page
Copyright page
Contents
Acknowledgements
Series Editors’ Preface
Contributors
Foreword
Introduction
	‘Rachel Cusk Won’t Stay Still’
	It’s All Aftermath
	Life and Writing
	Violence and Silence
	Works Cited
1 Life Style: Rachel Cusk and the Critiqueof Minimalism
	After Maximalism
	Aspirational Austerity
	Minimalist Contraction and the Great Outdoors
	Minimalist Depth
	Conclusion: Raising the Curtain on Minimalism
	Works Cited
2 Mother Courage and Mother Shaming: Rachel Cusk’s Contribution to Maternal Feminism
	Cusk in Context: Parenting Discourse in the Noughties
	The Desperate Housewives of Arlington Park
	Conclusion: Cusk as ‘Feminist Killjoy’
	Works Cited
3 Serial Metaphors: Revising and Rewriting in Rachel Cusk’s Life Narratives
	Memoirs and Metaphors
	Metaphors of the (Narrated) Self
	Inside versus Outside
	Conclusion: Serial Autofiction and Revision
	Works Cited
4 Perceptions of Failure in Rachel Cusk’s Saving Agnes and Second Place
	‘Failure Extraordinaire’: Subjectivity and Authorship in Saving Agnes
	Second Sex: Failure and the Female Artist in Second Place
	Conclusion: The Artist of Failure
	Works Cited
5 ‘Some things are artificial and some are authentic’: Rachel Cusk’s Depth Perception
	Harmonic Exercises: The Bradshaw Variations
	Groundworks: The Outline Trilogy
	Conclusion
	Works Cited
6 Autofictional Experiments and Serial Aesthetics in Rachel Cusk’s Outline Trilogy
	Serial Autofiction
	Repetition and Variation
	Serial Selves and Experiments
	Acknowledgements
	Works Cited
7 Being Sent to Coventry: Silence, Cruelty and Rachel Cusk’s Discrepant Style
	‘Like coldness the silence advances’
	Negative Affects
	Cruelty and Self-criticism
	Conclusion: Embarrassing Fiction
	Works Cited
Afterword: Second Text: Biography, Intertextuality, and Art in Second Place
	Works Cited
An Interview with Rachel Cusk
Index