By Peter B. High
A survey of the English prose, poetry and drama of the us from Colonial instances to the1980s.
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The degree to which Warren distances himself from or steps inside of these characters' consciousness varies enormously. Moreover, while there is some evidence of a growing awareness of female point of view, Warren's use of female voice does not develop constantly over time, but seems to move into and out of focus. " Into this mix I have added a critique of Warren's book-length poem Brother to Dragons, which, in its dialogue structure and its prosodic tension between lyric and narrative, challenges the conventional strictures of narrative authority itself.
We read into the dresses, not markers of the daughter's availability, "a sort of striptease," as Brooks puts it, but her failed struggle to combine heritage and autonomy. , 1991), 9. 13 Brooks is misreading Miller here. " See Brooks, Reading for the Plot, 330n, and Miller, The Heroine's Text, x. Page 8 look at the story, in other words, from her point of view. " question. Critics of Robert Penn Warren need to undertake just such a new reading and not simply for the reason that any such consideration would consequently broaden our assessment of gender relations beyond the current narrow field constrained by works with a so-called major female character.
But neither of these analyses deals with the daughter's story. Suggesting that "All Kinds of Fur" can be viewed as a "female plot" along the lines suggested by Nancy K. 13 By positing not only a female reader for the folktale, but a female subjectivity, however covert, in its narrative, we may find that the plot concerns, not the king's success, but the choicelessness of the daughterthe cruel pitting of her need to grow into a version of her mother while trying unsuccessfully to evade her father's advances.