Sex, Sin, and Our Selves. Anna Fisk

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Sex, Sin, and Our Selves - Anna Fisk


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“who build in a rhetoric of self-abnegation . . . end up writing autobiographically.”101 Maitland’s love of silence has led her to consider deeply the nature of language and narrative—these things that structure human experience and yet are opposite to the silence she finds so profoundly fulfilling. Novels (at least the kind of novels that Maitland once wrote) involve “narrative, plot and resolution or closure, all of which are linear or time-bound and therefore deeply alien to silence.”102 Maitland’s account of silence, repeatedly retold in articles, interviews and speaking engagements, is both a narrative she has constructed, and a way of being that is resistant to narrative, especially narrative closure. This is something that comes to the fore in the final paragraph of A Book of Silence:

      Michèle Roberts’s Life Story

      If Sara Maitland’s writing of her self comes to be defined by silence, Michèle Roberts’s is in some ways the very opposite: being a writer is absolutely essential to her sense of self, and is a theme of nearly all her fiction. Roberts is a particularly interesting writer to consider in terms of autobiography, because her self-writing is entwined with her theorization of the process of doing so. The self that Michèle Roberts discloses—or narrates—in her writing and interviews is projected clearly, and in bright colors. This autobiographical fiction is not stable, and flickers in and out of her novels, taking a different guise when read in the light of her memoirs, but it is indisputably there, throughout all her work.


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