Abstract
Renown for her engagement with feminist and environmental themes embedded in the landscapes of the UK, Sarah Hall (b. 1974) has become one of the most promising contemporary British authors. While critics have explored various aspects of her work, less attention has been paid to how her fiction intersects with Astrida Neimanis’ concept of hydrofeminism, as discussed in Bodies of Water (2017). Hydrofeminism, an increasingly influential theoretical framework, emphasizes the water-based interconnectedness of all organisms, showcasing fluidity as a fundamental force that shapes connections within nature. This analysis examines the role of water and fluidity in Hall’s novels by tracing the development of hydrofeminist ideas through Haweswater (2002), How to Paint a Dead Man (2009), and Burntcoat (2021).
Presenters
Anita ChmielewskaAssistant Professor, School of Humanities and Fine Arts, University of Economics and Human Sciences in Warsaw (UEHS), Mazowieckie, Poland
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Hydrofeminism, Environmental humanities, British fiction, Sarah Hall
