Abridged: A Review of Rachel Cusk’s Outline, Women’s Writing, and the Rise of Autofiction.
Rachel Cusk’s novel Outline is a deep exploration of the world of autofiction, a genre that blends autobiography and fiction to offer a raw, personal truth. Published in 2014, Outline follows the character of Faye, as she meets people along the sultry summer streets of Athens. Through the autofictional, the novel presents a series of conversations that challenge the conventions of storytelling, and the traditional portrayal of womanhood.
The Allure and Rise of Autofiction
Autofiction, a term coined by Sergei Doubrovsky in 1977, is a blur between the real and the imagined. For Cusk, the genre offers a place to explore the truth, without the constraints of the traditional aspects of autobiography or fiction. Consequently, she finds autofiction a more truthful medium, allowing her to reveal deeper personal insights, while shielding herself from scrutiny. There has been a massive rise in the popularity of the genre recently, dominating current literature. Its popularity seems to stem from giving writers the freedom to experiment with narrative forms, thus enabling a more intimate exploration of the self.
Outline isn’t a typical narrative with a clear beginning, middle, and end. Instead, it’s an amalgamation of ten distinct conversations, each revealing as much about the interlocutors as it does about the silent observer, Faye. This narrative structure is as much about what is left unsaid as what is spoken, creating an "autofictional effect" that leaves readers contemplating the nature of identity and reality. Cusk’s work stands at the forefront of this literary movement, illustrating how autofiction can transform our understanding of personal and collective narratives.
Redefining Women’s Writing
Cusk’s work is pivotal within the sub-genre of women’s writing, a concept that’s as elusive as it is powerful. French writer Hélène Cixous’s notion of écriture féminine, or feminine writing, defines the power of women’s writing; she encourages women to write themselves into existence, to reclaim their bodies and voices from the masculine literary canon. Outline embodies this ethos, subtly yet powerfully challenging genre norms that have consistently dominated literature.
In A Room of One’s Own, Virginia Woolf argued that the values of women’s writing are often different from those of men’s, and these values are deemed as trivial. Cusk embraces this distinction, suggesting that women’s writing should express its unique perspective, rather than “seek equivalence”. The autofiction genre itself embodies this, and as it rises in popularity, it provides a new avenue for women’s voices to be heard and celebrated, free from traditional constraints.
Narration
In the novel, Cusk introduces us to Faye, a narrator who remains largely in the background, allowing the stories of others to take centre stage. Faye’s presence is so understated, that her name is mentioned only once in the entire novel. This narrative choice reflects a reality many women face: being silent listeners in a world that often talks over them.
Faye’s absence of a direct voice and physical description is a deliberate artistic choice. It’s a powerful statement on how women’s identities are often defined by others, rather than themselves. Cusk turns this narrative interiority inside out, letting Faye’s character emerge through the stories of those she encounters. This not only subverts traditional notions of authorship but also mirrors the societal tendency to overlook women’s voices. Cusk’s approach amplifies the silent spaces women often inhabit, making their stories more visible and impactful.
Conversations and Plot
Cusk’s disdain for conventional plots is evident in Outline. She believes that plot structures are a “masculine construct”, relying on authority and control. Instead, she focuses on conversations, using them as the primary vehicle for storytelling. This narrative approach aligns with Woolf’s modernist ideals, where the “tyranny of plot” gives way to the fluidity of human experience.
One standout scene involves a conversation between Faye and another writer, Angeliki. They discuss the complexities of marriage and creativity, weaving a narrative that’s both deeply personal, and universally relatable. These layered stories within stories reflect the interconnectedness of women’s experiences, creating a rich, textured narrative that defies traditional storytelling norms. By prioritising dialogue over plot, Cusk’s work challenges the reader to find meaning in the exchanges that shape our lives, echoing the rise of autofiction as a medium for deeper, more authentic storytelling.
Rachel Cusk’s Outline is more than just a novel; it’s a radical reimagining of what literature can be. By embracing the form of autofiction, Cusk offers a fresh perspective on identity, womanhood, and the art of storytelling. Her narrative choices challenge conventional norms, creating a space where women’s voices are not only heard, but celebrated.
Outline exemplifies feminine narratives; it’s a must-read for anyone interested in the evolving landscape of women's writing and the endless possibilities of autofiction. Rachel Cusk doesn’t just write a novel; she crafts an experience that lingers long after the final page is turned, highlighting the significance of autofiction in contemporary literature and its potential to reshape our understanding of personal and collective truths.