Rewriting Working-Class Women’s History in Landscape for a Good Woman: A Story of Two Lives
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This paper examines how Carolyn K. Steedman’s Landscape for a Good Woman: A Story of Two Lives (1987) embodies the formal and epistemological characteristics of the scholarly personal narrative (SPN), a genre that integrates personal experience with critical analysis. It begins by exploring how Steedman challenges traditional, male-dominated working-class historiography by centering gendered subjectivity, emotional complexity, and affect—dimensions frequently marginalized in dominant class narratives. Expanding on this foundation, this paper investigates Steedman’s strategic reappropriation of fairy tale motifs, analyzing how she employs these narrative forms to illuminate the psychic and emotional contours of working-class women’s lives. In other words, this paper examines how, by interweaving autobiographical memory with culturally familiar storytelling structures, Steedman not only destabilizes the ideological foundations of conventional fairy tales but also reconfigures them to advance feminist and class-conscious critiques. Ultimately, this study argues that Landscape for a Good Woman transcends the conventions of personal memoir, offering a politically engaged and formally innovative reimagining of working-class history through the intersecting lenses of feminist theory, narrative experimentation, and affective expression.
Abstract
This paper examines how Carolyn K. Steedman’s Landscape for a Good Woman: A Story of Two Lives (1987) embodies the formal and epistemological characteristics of the scholarly personal narrative (SPN), a genre that integrates personal experience with critical analysis. It begins by exploring how Steedman challenges traditional, male-dominated working-class historiography by centering gendered subjectivity, emotional complexity, and affect—dimensions frequently marginalized in dominant class narratives. Expanding on this foundation, this paper investigates Steedman’s strategic reappropriation of fairy tale motifs, analyzing how she employs these narrative forms to illuminate the psychic and emotional contours of working-class women’s lives. In other words, this paper examines how, by interweaving autobiographical memory with culturally familiar storytelling structures, Steedman not only destabilizes the ideological foundations of conventional fairy tales but also reconfigures them to advance feminist and class-conscious critiques. Ultimately, this study argues that Landscape for a Good Woman transcends the conventions of personal memoir, offering a politically engaged and formally innovative reimagining of working-class history through the intersecting lenses of feminist theory, narrative experimentation, and affective expression.