Titlebook: Gender and Ventriloquism in Victorian and Neo-Victorian Fiction; Passionate Puppets Helen Davies Book 2012 Palgrave Macmillan, a division o

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Sirens and Svengalis: , and ,e are moments when the narrative self-consciously acknowledges the process of the textual construction of ‘voice’. Verena has been invited to speak on the topic of women’s rights at the home of Mrs Burrage and although we are party to a brief example of her rhetoric, her performance is abruptly interrupted by the narrator:

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,Sexual Re-scripting: Ventriloquial Repetitions and Transformations in Sarah Waters’ ,ly expressed concern about her sense of indebtedness to prior authorial voices. In an interview with John O’Connell for . magazine, she remarks: ‘I’ve got a slight anxiety that all I can do as a writer is ventriloquize, that I haven’t got a voice of my own’ (O’Connell, 2006, p. 18). Interestingly, W

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Afterword: Voices Beyond the Victorian Era? Wesley Stace and Ventriloquism,dummy stage performance in Chapter 1 explained, it is really never the ‘dummy’ speaking, but a knowing illusion on the part of the ventriloquist and a willing self-deception on the part of the audience. An attempt to have ‘the last word’ on any topic, particularly on such elusive matters as gender c

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https://doi.org/10.1007/978-1-349-11727-7ventriloquism and ‘copying’ in the context of neo-Victorianism. For instance, Catherine Bernard argues that the ‘pervading presence’ of ventriloquism in contemporary fiction suggests: ‘The very concept of creativeness seems to have become depleted and replaced with a weaker version of invention that