Although Stevie Smith's poetry is in many ways very close to the laconic and less-deceived tone characteristic of Philip Larkin, there is one aspect of her work in which she differs strikingly from him and from the general features of Movement poetry: that is, in her use of what Larkin, in his 1956 statement on poetry', contemptuously called a common myth-kitty'. In this chapter, I attempt to examine the treasures of Stevie's myth-kitty, not merely with the aim of distancing Smith from the Movement, but of reassessing her relationship with modernism and other poets of the generation which came to prominence in the 1930s, in particular, W. H. Auden. Smith's closest connection with modernism has often been seen to be her use of a stream-of-consciousness technique, as deployed in Novel on Yellow Papera technique which is inevitably compared to and dismissed as inferior to that of Virginia Woolf. Instead, I will put forward the claim that Smith's relationship to modernism should also be seen in her use of intertextuality, in the classical and other mythic fragments which, despite considerable differences of tone, place her work in the same tradition as James Joyce, Ezra Pound and T. S Eliot. I attempt to demonstrate how she draws on this myth-kitty', especially n her poetry, focusing on her treatment of female mythical figures, and argue that the key figure in Smith's oeuvrethe counterpart and equivalent of Eliot's Tiresiasis the figure of Persephone on her journey to the underworld.
