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MONTHLY BLOG 130, MEANINGS OF BEING PENELOPE

If citing, please kindly acknowledge copyright © Penelope J. Corfield (2021)

Fig.1 A swatch of weaving,
illustrating the metaphor for History as ‘Penelope’s Web’
being constantly woven and unwoven by Penelope in Greek myth.

It’s a great name, Penelope. English. Greek. And very international. Recognised everywhere. Can be used in long majestic form. Or abbreviated into Penny, Pen, or P. It’s not too commonly used. Yet it’s very far from unknown, either.

In Greek myth, the foundational Penelope is the wife of the travelling Odysseus (Ulysses). She remains at home, weaving and waiting. And rejecting the many suitors for her hand. So the name has connotations of a woman of sexy desirability, who has great patience and perseverance while sticking at her own work, allied to a good knowledge of her own mind, and a degree of cunning in eventually getting what she wants. For me, a most attractive mix.

Perhaps British wives, waiting at home for their husbands to return from the Second World War, had visions of themselves as Penelope? Certainly a considerable number of baby daughters were then given that name. For instance, in 1940 the celebrated actor Penelope Keith was born in Sutton, to the wife of a serving army officer; and in 1946 her fellow actor, the admirable Penelope Wilton, was born in Scarborough, North Yorkshire. Whereas the name has become comparatively less common since then. The much-lauded Spanish film actor Penelope Cruz (b.1974) is a notable exception. And, of course, there are others, especially in Greece. Nonetheless, when I meet fellow Penelopes these days, there is a strong chance that we will all be post-WW2 baby boomers.

Interestingly, in Britain after the First World War, numerous baby girls were named ‘Irene’ – meaning peace. My mother (b.1919) was one of them. So it obviously seemed natural to her, after yet another grinding war, to reach for an expressive Greek name. During the fighting, she worked on the home front, deciphering captured letters for Military Intelligence, and dodging incendiary bombs on London. But her memories were chiefly of the anxiety of waiting for my father to return from active service in North Africa and Italy. So Penelope!

As a youngster, I was invariably known as Penny – and was happy enough to be teased about turning up like a ‘bad penny’; or, when I was naughty, being called ‘penny dreadful’. Such usages are broadly affectionate. And, with a long name in reserve, I never felt purely defined by the diminutive form.

Moreover, as I began to teach and then to publish, I realised the great advantage of having a public persona, which I can use alongside my private identity. These days I use Penelope daily – and some people address me only by that name. I positively enjoy it, though I would not have done when younger.

Furthermore, there is one metaphorical usage, which I do especially relish. The term ‘Penelope’s web’ refers originally to the shroud that the mythic Penelope weaves daily and unpicks secretly by night – thereby delaying a decision as to which of her suitors to choose. (They were not very bright and failed to see through her ruse, which she sustained for years). Penelope’s web can therefore simply refer to a major work which is always in progress and never done. (Ouch! Too many authors know that syndrome). Yet it is also used metaphorically for global history. That is a colossal work, which is always in progress, always being unpicked by critical historians, and then rewoven by others. As one of that tribe, I am proud to contribute to Penelope’s web.

By the way, I don’t feel any proprietorial interest over any other aspects of the mythology, though I admire both the academic deliberations1 and the contemporary retellings.2 Did Penelope secretly have sex with all 108 of the faithful suitors, giving birth to an illegitimate son Pan? (as some versions suggest). I don’t know and don’t mind one way or the other. Did Penelope look on with blood-thirsty glee when Odysseus/Ulysses returned and slaughtered all the importunate suitors and her twelve loyal handmaids as well?3 I never knew about such details as a child, so had no idea that there were moral complexities in the story (as in global history, of course). To me, Penelope was/is simply a name of serenity and potency.

But I did discover, with time, one complexity of my own. From childhood, I was trained to write my short name as ‘Pene’: literally one half of Penelope. I view ‘Penny’ as a close variant, but not actually referring to me. However, then I met some Spaniards. They were highly excited to meet a woman named ‘Penis’. For a while, I simply laughed. After all, plenty of men manage with the penile nick-names: ‘Dick’, ‘John Thomas, or ‘Johnson’, without exciting wild mirth. However, in my case the cross-gender dimension seemed to be too much. Soon I got bored with the kerfuffle, especially as my range of international contacts grew. Now I try to keep ‘Pene’ strictly for use between very old friends and family. I sign emails with the initial: P. And to the wider world, I’m very happily known as Penelope – a lovely Greek name with hidden depths.

ENDNOTES:

1 See e.g. M.A. Katz, Penelope’s Renown: Meaning and Indeterminacy in the Odyssey (Princeton, NJ, 1991); M. Janda, Odysseus und Penelope: Mythos und Namen (Innsbruck, 2015).

2 See esp. M. Atwood, The Penelopiad (2007).

3 Christopher Rush’s novel Penelope’s Web (Edinburgh, 2015) confronts the dramas and moral dilemmas both of her husband’s twenty-year absence and of his homecoming.

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MONTHLY BLOG 60, WRITING THROUGH A BIG RESEARCH PROJECT, NOT WRITING UP

If citing, please kindly acknowledge copyright © Penelope J. Corfield (2015)

My heart sinks when I hear someone declare gaily: ‘I’ve done all the research; now all I have to do is write it up’.1 So what’s so wrong with that? It sounds so straightforward. First research, then sit down and write. Then, bingo, big party with lots of happy friends and relieved research supervisor.

But undertaking a big project in the Humanities or Social Sciences doesn’t and shouldn’t work like that.2 So my heart sinks on behalf of any researcher who declares ‘All I have to do is write it up’, because he or she has been wasting a lot of time, under the impression that they have been working hard. Far from being close to the end of a big project, they have hardly begun.

Why so? There are both practical and intellectual reasons for ‘writing through’ a big research project, rather than ‘writing up’ at the end. For a start, stringing words and paragraphs together to construct a book-length study takes a lot of time. The exercise entails ordering a miscellany of thoughts into a satisfactory sequence, marshalling a huge amount of documented detail to expound the sustained argument, and then punching home a set of original conclusions. It’s an arduous art, not an automatic procedure.
2015-12 No1 Hogarth's distressed_poet

Hogarth’s Distrest Poet (1741) expresses the agonies of composition, as he sits in a poky garret, poor and dishevelled, with abandoned drafts at his feet.

Writing and research in the Humanities and Social Sciences should thus proceed in tandem. These tasks between them provide the necessary legs which enable a project to advance. No supervised researcher should be without a target deadline for a forthcoming report or interim paper, which collectively function as prototype chapters. That rule applies from the onset, starting with a written review of the research questions, or bibliographical overview, or primary source search – or however the project is launched. Without ‘writing through’, researchers do not really appreciate what they have found or what they are arguing. Certainly there will be much redrafting and revision, as the research progresses. That’s all part of the process.

But grappling with ideas to turn them into a sustained account in written words is not just a medium for communication. It’s a mechanism for cogitation itself. Just as spoken language crystallises instinctive feelings into expressed thoughts, so the process of turning thoughts into written form advances, clarifies and extends their meaning to form a considered analysis. A book can say much more than a speech, because it’s longer and more complexly structured than even the longest speech. Writing through continually means thinking through properly.

Incidentally, what about prose style? The answer is: suit yourself. Match your personality. Obviously, suit the subject-matter too. Snappy dictums are good value. I enjoy them myself. They punch an argument home. But non-stop bullet-points are wearing. Ideas are unduly compressed. Readers can be stunned. The big argument goes missing. Writing short sentences is fun. Brevity challenges the mind. I could go on. And on. One gets a second wind. But content is also required. Otherwise, vacuity is revealed. And exhaustion threatens. So arguments need building. One point after another. There may be an exception. Sometimes they prove the rule. Sometimes, however, not. It depends upon the evidence. Everything needs evaluation. Points are sometimes obvious. Yet there’s room for subtlety. Don’t succumb to the obvious. Meanings multiply. Take your time. Think things through. Test arguments against data. There’s always a rival case. But what’s the final conclusion? Surely, it’s clear enough. Think kindly of your readers. Employ authorial diversity. Meaning what exactly? [162 words in 39 sentences, none longer than five words]

Alternatively, the full and unmitigated case for long, intricate, sinuous, thoughtful yet controlled sentences, winding their way gracefully and inexorably across vast tracts of crisp, white paper can be made not only in terms of academic pretentiousness – always the last resort of the petty-minded – but also in terms of intellectual expansiveness and mental ‘stretch’, with a capacity to reflect and inflect even the most subtle nuances of thought, although it should certainly be remembered that, without some authorial control or indeed domination in the form of a final full-stop, the impatient reader – eager to follow the by-ways yet equally anxious to seize the cardinal point – can find a numbing, not to say crushing, sense of boredom beginning to overtake the responsive mind, as it struggles to remember the opening gambit, let alone the many intermediate staging posts, as the overall argument staggers and reels towards what I can only describe, with some difficulty, as the ultimate conclusion or final verdict: The End! [162 words in one sentence, also fun to write].3

In other words, my stylistic advice is to vary the mix of sentence lengths. A combination of an Ernest-Hemingway-style brevity with an Edward Gibbonian luxuriance allows points to be fully developed, but also summarised pithily.

Thus, in order to develop a sustained case within a major research project, my organisational advice is to ‘write through’ throughout. That’s the only real way to germinate, sustain, develop, understand innerly and simultaneously communicate a big overarching picture, complete with supporting arguments and data. Oh, and my final point? Let’s banish the dreadful phrase ‘writing up’. It means bodging.
2015-12 No2 Writing

A snappy dictum from the American journalist and writer William Zinsser (1922-2015).

1 This BLOG is a companion-piece to PJC BLOG/59, ‘Supervising a Big Research Project to Finish Well and on Time: Three Framework Rules’ (Nov. 2015). Also relevant is PJC BLOG/34 ‘Coping with Writer’s Block’ (Oct. 2013).

2 In the Sciences, the model is somewhat different, according to the differential weight given to experimental research processes/outcomes and to written output.

3 My puny effort barely registers in the smallest foothills of lengthy sentences in the English language, one celebrated example being Molly Bloom’s soliloquy as finale to James Joyce’s Ulysses (1922), reportedly in a sentence of over 4,000 words.

4 Hemingway is commonly cited as the maestro of pithiness. Yet the playwright Samuel Beckett also shares the honours in the brevity stakes, writing in sharp contradistinction to his friend and fellow-Irishman James Joyce.

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