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Peters examines the passions of Shaw's life—everything from vegetarianism and boxing to socialism and feminism—and pieces them together in a new configuration, offering a fresh interpretation of his life and works. Striving unceasingly to ascend, possessed of monumental energy, Shaw was in many ways a dazzling example of his idealized superman. But, says Peters, this superman was also a man haunted by phantoms, a man of gender ambivalences and romantic yearnings, and a man who championed will even while believing that his erotic inclinations were the secret mark of the "born artist." Throughout, he was braced by a resilient comic vision as he transformed his life into enduring art.
Examining Shaw's literary ambitions, his passionate yet finally celibate romanticism, and his ostentatiously ascetic lifestyle, Peters (a visiting scholar at Wesleyan Univ.) ostensibly disavows Freudianism but nonetheless takes up its assumptions of suppressed meanings and motives—which only a critic can decipher. Suspicious of the mercurial Shaw, Peters is rightly skeptical about his evasions concerning his shabby-genteel childhood and drunken father, and his protestations of his mother's virtue despite her affair with a Dublin musical impresario. Peters finds in Shaw an ambitious personality given early on to self-deception and dissimulation: a pathologically deluding figure as an embryonic artistic genius in need of a corroborative ideology. The author scrutinizes Shaw's interest in evolution and eugenics in his formulation of his theory of the Life Force and the Superman. She claims the influence on him of sexologists of the period—such as Krafft-Ebing and Havelock Ellis—trying to trap Shaw in the paradox that he could not be either artist or degenerate without being both; thus he had to write in code and to adopt eccentrically austere habits, such as vegetarianism and celibacy, to keep himself in check. Although Peters selectively cites Shaw's diaries and correspondence as reflections of his interior struggle, she renders her argument in either windy rhetoric—Shaw's "ethereal" vs. his "fiery" natures, his masculine/dynamic vs. his feminine/passive aspects—or gender-criticism jargon, e.g., her critique of his epistolary love affair with Ellen Terry.
Riding the current academic hobbyhorses, including gender reversal and "the gaze," Peters offers a rhetorically overloaded version of Shaw's life and work.
Posted May 28, 2002
If Bernard Shaw were not the second greatest playwright in the English language, this biography would not have such significance; and were it not for Shaw¿s multidimensional personality, this book would not possess so many fascinating dimensions. Sally Peters acknowledges her debt, and gives us a work without self-conscious authorship. It is a book that invites reading and rereading. Much has been made of Shaw¿s homosexuality; but Dr. Peters¿ focus is broader and deeper than that. A story, which often reads like the most engrossing fiction, 'Bernard Shaw: The Accent of the Superman,' is a rewarding resource for any serious student of modern drama.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.