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Robert Assaye
Robert Assaye is a writer and critic living in London.

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Issy Wood, When You I Feel

Art Review

December 2017

Robert Assaye

Art Review

December 2017

At the centre of Issy Wood’s solo exhibition at Carlos/Ishikawa is a room-within-a room. The division of the gallery into two viewing spaces –...

Art

April 2017

'Learning from Athens'

Robert Assaye

Art

April 2017

The history of Documenta, a quinquennial contemporary art exhibition founded in the German city of Kassel in 1955, is...

The last poem in Holly Pester’s first collection COMIC TIMING (Granta, 2021) is called ‘Villette’; it shares its title with Charlotte Brontë’s 1853 novel about Lucy Snowe, an impoverished and extremely truculent governess Pester’s book is divided into four theatrical acts, and this poem closes Act 4: although, strictly speaking, the collection ends with the coda ‘Heavy ending’, ‘Villette’ is the last thing that happens before the actors make their bow In it, the voice of the speaker and the actions of Brontë’s protagonist are unified, like two film reels playing simultaneously: ‘In the novel Villette,’ it begins, ‘either I or Lucy Snowe live and work in a girls’ school that either she or I found in a small French town’ The poem continues, explaining that I / Lucy have recently suffered a romantic disappointment with Dr Graham, their ‘heavy and imaginative crush’, and resolve to bury his letters, which they have invested with a ‘devotional adoration’ The poem ends in an ecstasy of submission:   In this gesture / in my gesture, Lucy Snowe rejects the possibility of possessing the letter She applies / I apply a fantastical value to the letter The letter passes into an earthed state of absence I use / Lucy uses burial as a way to disown the letter and to refuse being privately subjected by the letter She instead / I instead ecstatically ritualise her poverty / my poverty, and her otherness / my otherness to ownership of objects, and evacuate the self into love   VILLETTE, although well received at the time of its publication, disappeared from the mainstream literary consciousness soon after, and remained mostly ignored for the best part of a century In 1970, Kate Millett offered a radical reading of the novel in SEXUAL POLITICS that drew on earlier understandings (notably Virginia Woolf’s) of it as a proto-feminist text Lucy, for Millett, is a study in the effects of a ‘male-supremacist society’ upon a woman’s psyche: ‘She is bitter and she is honest; a neurotic revolutionary full of conflict, back-sliding, anger, terrible self-doubt, and an unconquerable determination to win through’   Later

Contributor

August 2014

Robert Assaye

Contributor

August 2014

Robert Assaye is a writer and critic living in London.

New Communities

Art

January 2017

Robert Assaye

Art

January 2017

DeviantArt is the world’s ‘largest online community of artists and art-lovers’ and its thirteenth largest social network. Its forty million members contribute to a...
The Land Art of Julie Brook

Art

Issue No. 4

Robert Assaye

Art

Issue No. 4

Julie Brook works with the land. Over the past twenty years she has lived and worked in a succession of inhospitable locations, creating sculptures...

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feature

May 2011

Short Cuts

Charles Boyle

feature

May 2011

1.. Whatever it is that the literature department of Arts Council England (ACE) is for, it can’t be for...

Prize Entry

April 2017

The Critic of Tombs

Ethan Davison

Prize Entry

April 2017

Emilia came to Tombs [1] in the twelfth year of the interregnum. It was the first time in history...

poetry

October 2012

Bacon’s Friends

Stephen Devereux

poetry

October 2012

Always got caught out by their shadows: Stuck to their soles like monkeys on trapezes, Cellophane fortune tellers curling...

 

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