Elizabeth Bowen`s war-time story, “The Happy Autumn Fields” (1944), is a mysterious and ironic story of a waking dream in a bomb-out London flat. In this blitz-story where the wall between the living and the dead, the real and the fictional is broken down and blurred, the protagonist Mary returns in hallucination and telepathy to a Victorian family house and estate. In the dislocated, psychic London of the war time populated by the ‘unknown dead’, any solid idea of identity and materiality is dissolved into the telepathic and uncanny closeness between women. In the story Mary`s unspeakable desire for the same sex affinity is uncanny and spectral, and repeated in an occult manner. Mary finds an escape for her hidden desire of homoeroticism in the Sarah-Henrietta relationship, and in her hypnotic identification with them betrays a criticism of a Victorian patriarchal family and its values which express themselves later in the masculine violence of war. Mary`s blown-out London flat is emblematic of the collapse of the apparently solid patriarchal system, which is still held up by a Travis. This Henry-Jamesian ghost story offers Elizabeth Bowen her writing space for a female identification and illicit desire of subversion. In the titular ‘happy autumn fields’, Mary experiences the prelapsarian time and place of innocence and of no sexual difference. In her dreaming hallucination Mary undergoes a telepathic communion and spiritual closeness between women, which is common to modernist women writers, as is evident in Virginia Woolf. In this dream story Mary is the alter ego for Elizabeth Bowen, who tries to express her subversive desire of female spiritual contacts as a kind of challenge to the masculine values and their negative effects. Mary`s unstable and borderless identity offers an alternative to the solid material world of logic and instrumental reason initiated and dominated by the imperialistic and belligerent male world.