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Margins, Crossings and Monstrous Women in Selected Works of Bharati

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Margins, Crossings and Monstrous Women in Selected Works of Bharati University of Cape Town Department of English Language and Literature Power and Transgression: Margins, Crossings and Monstrous Women in Selected Works of Bharati Mukherjee and Angela Carter CORINNE SHELLY ABEL University of Cape Town Supervisor: Professor Meg Samuelson A Thesis submitted in fulfillment of the requirements for a Degree in Doctor of Philosophy August 2016 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ii ABSTRACT This study focuses on power and transgression in selected works of two disparate authors, Bharati Mukherjee and Angela Carter. Despite their differences of origins, cultures and styles, both writers articulate a vision of transgressive, unruly women, often situated at society’s edges, who dare to challenge boundaries and who are capable of monstrous, larger-than-life acts. Setting these two authors side by side illuminates how the margins can unleash an energetic potency and reveals how transgression produces a liberatory effect that both unsettles power and provides a necessary advantage for those who wish to inhabit the space of power. Three main areas of investigation are covered. The initial section addresses people at the ‘Margins’ in terms of Carter’s use of the carnivalesque and Mukherjee’s application of chaos theory; unexpected confluences emerge which paradoxically speak to the symbolic force of those cast to the side or consigned to the edges, suggesting that the margins themselves can become places of power. The section on ‘Crossings’ looks at transgression both literally, as a crossing over from one space to another, and metaphorically, as a violation of normative codes of behaviour. For both authors, crossings of one kind or another, whether metaphoric, literal, or textual, foreground a transgressive edge. An analysis of the texts reveals how, in very different ways, Mukherjee and Carter articulate transgression as contesting established authority and creating space for a divergent form of ascendancy. The final section on ‘Monstrous Women’ deals with how women and foreigners are framed as ‘freaks’ or monsters in order to devalue their significance within hegemonic patriarchal structures. Ironically, this framing can be recuperated so that it simultaneously subverts power through parody, excess and violence, and creates a gap for accessing it. iii Borders, gaps and crossings underpin this entire study and drive the rationale for reading these two authors together, revealing the spaces between them, and how they criss-cross, meet, collide or fail to align. The journey of this thesis has travelled a counterpath: it has demanded openness to the encounter with the unexpected, resulting in the discovery of insights, and being surprised and enlightened by unsuspected alliances and evocative mismatches. iv ACKNOWLEDGEMENTS My deepest gratitude goes to the following people: Meg Samuelson, my supervisor, for her detailed, meticulous and generous supervision over many years, for her capacity to remember so much of what she had read, and for tolerating the interminable interruptions to this process. Bharati Mukherjee, for her gracious and warm willingness to grant me interviews on two separate occasions and for taking the time to share her ideas and thoughts so openly and freely. Dorothy Driver, for her early, critical reading of a piece of my work and for insisting on tighter arguments and finer structure; her feedback represented a tough but significant watershed moment. My son, Jarad Zimbler, a great teacher, who time and again helped me to cross over seemingly intractable impasses by asking astute seminal questions at the critical moments. My work colleagues at HCI Foundation for having to go it alone for long periods in the last two years and for enabling me to take time off to complete my research. My good friend, Anne Seba, for her sustained belief that I could complete this thesis and for her warm friendship. My mom, Esther Schwartz, for always being there for me, no matter what. My partner, John Copelyn, who pushed me relentlessly to finish, and is now delighted at the possibility of a life ‘without a thesis’. And all our children, for their love, motivation, support, and encouragement, and for keeping me on track through all the vicissitudes of this very lengthy study. They are the best of my life. v DECLARATION I, Corinne Abel, hereby declare that the work on which this thesis is based is my original work (except where acknowledgements indicate otherwise) and that neither the whole work nor any part of it has been, is being, or is to be submitted for another degree in this or any other university. vi CONTENTS ABSTRACT ................................................................................................................................................ ii ACKNOWLEDGEMENTS .......................................................................................................................... iv DECLARATION ......................................................................................................................................... v PREFACE .................................................................................................................................................. 1 1. INTRODUCTION ................................................................................................................................... 5 1.1 The Authors ............................................................................................................................. 6 1.2 Rationale of the Thesis ............................................................................................................ 8 1.3 Theoretical Background .............................................................................................................. 10 1.3.1 Power ................................................................................................................................... 10 1.3.2 Transgression ....................................................................................................................... 12 1.3.3 Thresholds, Danger and the Abject: the Monstrous Woman .............................................. 13 1.3.4 The Low-Other: Turning the Margin into an Edge ............................................................... 16 1.4 Power and Transgression in the Oeuvres of Carter and Mukherjee .......................................... 17 1.4.1 Power and Sovereignty ........................................................................................................ 17 1.4.2 Crossings and Breaking Boundaries ..................................................................................... 19 1.4.3 Violence, Sexuality and Resistance ...................................................................................... 20 1.5 Edgy Writers/ Writers at the Edge .............................................................................................. 22 1.6 Thesis Structure .......................................................................................................................... 28 2. MARGINS ........................................................................................................................................... 31 2.1 Introduction: Margins and Interstitial Spaces ............................................................................. 31 2.2 Carnival and Chaos: The Low Domains and the Grotesque ........................................................ 36 2.2.1 Fairs and Foreigners: Places and Figures on the Margins .................................................... 44 2.2.2 Carnival: High Culture, Low Class ......................................................................................... 68 2.2.3 Chaos Theory: Women at the Edge ..................................................................................... 72 2.2.4 Carnival and Chaos: A Conclusion ........................................................................................ 76 3. CROSSINGS ........................................................................................................................................ 80 3.1. Introduction ............................................................................................................................... 80 3.2 Crossings as Textual: Transcribing and Transforming ................................................................. 82 3.2.1 Fairy Tales and Myths .......................................................................................................... 85 3.2.2 Other Worlds/Other Lives .................................................................................................... 93 3.3 Errant Travellers ........................................................................................................................ 113 vii 4. MONSTROUS WOMEN .................................................................................................................... 130 4.1 Monstrosity and Power ............................................................................................................. 130 4.2 Stranger, Freak, Woman ..........................................................................................................
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