This paper discusses the work of the Australian writer and historian Drusilla
Modjeska through a focus on the intersections between women‟s lives, love and art,
which constitute the central triptych of Modjeska‟s writing. It argues that Modjeska's oeuvre unfolds a connective feminine discourse through a development of what the paper calls hinging tropes, discursive connectors that join life, love and art, such as weaving, folding and talking. That connective feminine discourse is indeed central to Modjeska‟s personal and sometimes idiosyncratic feminism