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From the Trade Paperback edition.
To exemplify the "silent creative underground" of diary keepers, Johnson, who teaches writing at Harvard, gives a capsule sketch of Marjory Fleming, who died a month before her ninth birthday in 1811 and whose diary extracts, embellished with "a sentimental and utterly false story" of her life, made her the posthumous toast of childhood- and death- adoring Victorians. Alice James is seen turning thwarted ambition and intelligence into long- term invalidism, finally, at age 40, embarking on a diary that begins as a record of loneliness but becomes a vehicle for observation and introspection. Katherine Mansfield and Virginia Woolf, friends and rivals, entrust a part of their ongoing conversation on creativity not to each other but to their respective journals. As a "professionally private writer," Anaïs Nin explores the differences between truth and accuracy in her infamous multivolume, multiversion "Liary." Although Johnson says her object is "showing how a creative mind makes its passage into and through the world," she appeals at least as much to the emotions as to the intellect, as when she determinedly elicits sympathy for the hard-working and embattled Sonya Tolstoy, while also making it clear that such a simple response is inadequate for the complex, forceful woman who was scribe, editor, publisher, wife, estate manager, and diarist. Even crusty May Sarton, depicted as as a woman observing "the bittersweet autumn of the body, the wintry silences of old age," takes on a mildly sentimental sheen.
An elegant introduction to some interesting women, although the revealing voices of the diarists themselves are filtered through the studied, self-conscious voice of the academic.
|Prologue: From Eye to I||1|
|Ch. 1||The Shadow Writers||19|
|Ch. 2||The Married Muse||51|
|Ch. 3||The Hidden Writer in a Writing Family||87|
|Ch. 4||A Public of Two||123|
|Ch. 5||The Professionally Private Writer||161|
|Ch. 6||A Writer in the Uncertain Seasons||193|
|Epilogue: First Person Singular||225|
|Diaries and Autobiographical Writings||265|
1. If writing, as Kafka notes in his journal, is "the ax that breaks the frozen sea within, " how do diaries help further the creative process?
2. To what extent do we, as journal writers, invent a self to "perform" in our diaries?
3. Whom do we tell, in Virginia Woolf's words, when we tell "a blank page?" Who is the audience--ourselves, others, or our future selves?
4. What are you looking for when you read a published diary? Discuss which of the seven writers in The Hidden Writer most fulfills your notion of what a diary can best illuminate.
5. What are the most common obstacles to a writing life that each diarist explores? Discuss the different solutions the seven writers found to overcoming stumbling blocks ranging from self-censorship to professional envy.
6. How do the diarists in The Hidden Writer manage to use their journals as far more than a dumping ground for anger or depression? How did they transform raw emotion into actual stories or novels?
7. How did the Tolstoys' "open" diary policy--letting each other read their diaries--affect both their marriage and their subsequent diary writing?
8. What do you think prompted Leo Tolstoy's gift of his bachelor diaries to his future wife?
9. Katherine Mansfield struck out on her own at 19; Virginia Woolf broke free of family constraints at
10. Was rebellion a necessary spur to their creative lives? To creative lives generally?
11. Privacy and solitude were apparently indispensable conditions for both Mansfield and Woolf as writers. How did they balance this need with other demands on their time and energy?
12. How did each woman's marriage affect hercreativity?
13. Although close friends, Mansfield and Woolf often felt they were competing with each other. Did their unspoken rivalry stimulate or hinder their imaginative productivity as writers?
14. Eventually Mansfield and Woolf each found her own voice. How did they help each other in their individual quests?
15. Alice James used her diary as a way to compete within a creative family. In what ways did the diary serve her ambition; in what ways did it limit her artistic range?
16. What circumstances allowed writers such as Louisa May Alcott or Charlotte Brontë to authorize themselves to earn a living through writing?
17. The 19th-century "cure" for a woman's "creative split in mind and body" was often bed rest and the removal of all intellectual stimulation. What are some of the sources of that creative split in modern writers or diarists?
18. Had they both lived, what might have been the creative fate of Marjory Fleming or Anne Frank? What is the shift in how a child's creativity is now fostered by diary keeping?
19. May Sarton kept her diaries with publication in mind. How might this affect the diary? Discuss the merits and drawbacks of such a practice.
20. For many readers, May Sarton's journals continue to provide important life lessons around solitude, illness, fame, and creativity. Who are other "elders" who inspire by passing on their lived insights?
21. Can a diary lie, as in the case of Anaïs Nin, and still have a larger life truth about it?
22. What psychological forces were at work within Nin so she felt it necessary to hide her original diaries and invent decoy ones? Is Nin an isolated case of the untruthful diarist?
23. Discuss how diaries serve as a refuge of privacy in a world wired for global connection. How, if any, will diaries change in an age of e-mail and the Internet?
Posted August 15, 2010
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