Abstract

There are, of course, many important differences between the deployment of cultural authority in the social context of second-century Christianity and that of twentieth-century academia. The editors of the Norton Anthology, for example, do not actively seek to suppress those voices which they exclude, nor are their principles for inclusion so narrowly defined as were the church fathers’. But the literary academy and its institutions developed from those of the Church and continue to wield a derivative, secular version of its social and cultural authority. Since Matthew Arnold, the instutition of literature has been described in terms which liken its authority to that of religion, not only by outsiders—Woolf’s woman “divining the priest”—but by insiders who continue to employ the stances and language of religious authority; see, for instance, J. Hillis Miller’s credo in a recent issue of the ADE Bulletin: “I believe in the established canon of English and American literature and in the validity of the concept of privileged texts. I think it is more important to read Spenser, Shakespeare, or Milton than to read Borges in translation, or even, to say the truth, to read Virginia Woolf.”9 Such rhetoric suggests that the religious resonances in literary texts are not entirely figurative, a point brought out strikingly by revisionary religious figures in feminist texts. In her recent essay “ ‘The Blank Page’ and the Issues of Female Creativity,” Susan Gubar cites as some of the “many parables in an ongoing revisionary female theology” Florence Nightingale’s tentative prophecy that “the next Christ will perhaps be a female Christ,” H. D.’s blessed Lady carrying a “Bible of blank pages,” and Gertrude Stein’s celebration of The Mother of Us All.10 The revisionary female theology promoted in literary writing by women implicitly counters the patriarchal theology which is already inscribed in literature. The prophesied female Christ, blank Bible, and female Creator revise images familiar in the literary tradition, and, in contrast to earlier appropriations of religious imagery by Metaphysical, Pre-Raphaelite, and other poets, make visible the patriarchal preoccupations of literary “theology.” These voices, like the Gnostic voices recovered at Nag Hammadi, are only now being heard in chorus; and Pagels’ study of “the gnostic feminism” helps to illuminate some aspects of a cultural authority predicated on the suppression or domination of other voices. Christine Froula, associate professor of English at Yale University, is the author of A Guide to Ezra Pound’s “Selected Poems” and of the forthcoming “To Write Paradise”: Syle and Error in Pound’s Cantos. She is currently working on a book about literary authority in James Joyce and Virginia Woolf