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Abstract
In his essay ‘The “Uncanny”’, Sigmund Freud claims that ‘the double was originally an insurance against the extinction of the self’. The author suggests that literary writing, particularly memoir, can perform a kind of doubling, enacting this ‘self-preservation’ through ‘self-observation’. In her memoir Why Be Happy When You Can Be Normal?, Jeannette Winterson seeks to convey a ‘doubleness at the heart of things’. The author argues that this ‘doubleness’ functions on two levels, both of narrative and of politics—Winterson’s preoccupation with her subjectivity is informed by politics and her politics are structured around her subjectivity. In order to think through the text’s focus on what the author deems maternal melancholy and ambivalence, the author considers how political melancholy works through and against Winterson’s desires for self-creation. Attending to the themes of writing, loss, adoption and depression throughout, the author sustains a class analysis that is motivated by a queer feminist approach. The author argues that the text works to recall the poor/working-class body into the narrative of the bourgeois subject in order to legitimate the present self—the double—both as exceptional and as different from the other.
Acknowledgements
The author would like to thank the anonymous reviewer at Women: A Cultural Review and Dr Sarah Brophy for comments on an earlier draft of this article.
Disclosure Statement
No potential conflict of interest was reported by the author.