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This submission comprises the original novel, All that Remains is True together with a critical supplement, Between Writing and Performance, which provides a critical context for the development of the novel from my earlier theatre work, and in particular the theatre text Beulah Land. The novel is a first person narrative. It describes a journey, both real and imaginary, made by two girls Vera and Eva Hopkins, in 1914 and 1915, from India to Cambridgeshire, and the events they encounter in the Black House. The critical supplement considers the relationship between writing for theatre and fiction, in terms of my own work and in relation to the work of other writers. Chapter 1 argues for creative research as a critical method and proposes an autographic method as a principle of creative research. Chapter 2 situates my own writing autography within the context of performance theatre and suggests that this field, often seen as extra literary or anti text has, been a significant and overlooked site of textual experiment. Chapter 3 explores the relationships of authorship, subjectivity space and location in theatre and fiction. Chapter 4 Discusses my later post-performance theatre writing as a response to the issues of authorship and textuality generated within the context of performance theatre. I then tum to a discussion of borderland and slipstream fiction as places where similar concerns are enacted. I conclude on the threshold of the novel All that Remains is True, which opens up from this writerly enquiry.

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