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Abstract the Work of Ian Mcewan Is Immensely Relevant to the Problematics of Masculinity

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Abstract the Work of Ian Mcewan Is Immensely Relevant to the Problematics of Masculinity “FILIARCHY” AND MASCULINITY IN THE EARLY NOVELS OF IAN MCEWAN FATEMEH HOSSEINI Abstract The work of Ian McEwan is immensely relevant to the problematics of masculinity. The ambivalent quality of his fiction, which was first de- nounced as being misogynist and later acknowledged as being femi- nist, points to the challenging nature of his work with regard to gen- der issues. This transformation is, in fact, the effect of an obsessional, steady sketching and re-sketching of masculinities that have appeared as “resultants” of man-woman and child-parents relationships in his novels. This contribution deals with the portrayal of masculinity in a post-patriarchal era and the significant way it is inextricably inter- twined with the recurrent motif of death in McEwan’s work. Demon- strating the emergence of a new socio-cultural era in regard to gender identities, this article proposes a new term for the post patriarchal world (of his fiction), that is “filiarchy” – as distinct from its socio- economic meaning. This term is meant to stand for the way modern men position themselves in relation to each other and to women. Gender issues and relationships between the sexes have been of great significance in the context of Ian McEwan’s fiction.1 His novels, es- pecially the first four, depict a post patriarchal condition in which the concepts of gender identity, and therefore traditional gender roles, are greatly challenged. There is an agreement that McEwan’s work has undergone a process of maturation and sophistication, which is also 1 See Angela Roger, “Ian McEwan’s Portrayal of Women”, Forum for Modern Lan- guage Studies, XXXII/1 (1996), 11-26. © Fatemeh Hosseini, 2015 | doi 10.1163/9789004299009_011 This is an open access chapter distributed under the terms of the CC BY-NC 4.0 license.Fatemeh Hosseini - 9789004299009 Downloaded from Brill.com09/26/2021 09:20:48PM via free access 192 Fatemeh Hosseini evident in the representation of gender identity in his fiction.2 This process of maturation is especially recognizable in his first four nov- els, which reflect an obsession with sketching and re-sketching of gender identities, especially masculinities. What this process of matu- ration and evolution suggests is a passage from patriarchy to a new condition. As patriarchy has been challenged and questioned for at least a century by feminists, it is justifiable if we expect to see the outcome of feminist struggle in our time. If we believe that a limited patriarchal vision and its fixed and inflexible gender roles are still prevalent, we would have to admit that whatever has been done to remove sexual discrimination and injustice has been futile. However, we know that this is not true and changes that have taken place in gender relations in society are too prominent to be ignored. On the other hand, given the changing notion of masculinity in McEwan’s fiction, the transfor- mation of gender relations and the way they define and are defined by the social, historical, cultural and economic conditions of the sexes is undeniable. That is why the current condition of the world (within his fiction) should be considered as post patriarchal rather than patriar- chal. In fact, what has added to the significance of his novels is envi- sioning the emergence of a new condition in regard to gender issues, which is distinct enough to need a more specific term than post patri- archy. In other words, although this term embraces all diversities ex- isting within feminist discourse, its inclusiveness has been achieved only at the expense of clarity. It is necessary to narrow down this meaning in order to avoid its ambiguities and different connotations, and to designate its peculiarities in the context of the novels. There- fore, I propose the term “filiarchy” as a term that has the capacity to better clarify the standpoints of McEwan’s novels as far as gender issues are concerned. It should be noted here that “filiarchy”, as used in this article, is distinct from “filiarchy” in its socio-economic sense – a term first coined by James McNeal to refer to the crucial role of children in con- sumerist society.3 In my understanding, it literally means the reign of 2 See ibid. and Jack Slay, “Vandalizing Time: Ian McEwan’s The Child in Time”, Critique, XXXV/4 (Summer 1994), 205. 3 According to McNeal, children have become and should be regarded “as a market of influencers” whose decisions about their needs control their parents’ decisions about Fatemeh Hosseini - 9789004299009 Downloaded from Brill.com09/26/2021 09:20:48PM via free access “Filiarchy” and Masculinity in Ian McEwan 193 sons, thus suggesting the end of patriarchy or the reign of the father. I should emphasize here that the reign of sons should not be confused with Freud’s (and Darwin’s) account of the evolution of human socie- ty from a primal herd in which the expelled sons killed their father and ended his tyranny in order to gain the right of mating with females.4 Even the startling similarity of the plots of The Cement Garden and The Comfort of Strangers to the primal horde and primal patricide should not be assumed as evidence of the sameness of “filiarchy” and Freud’s hypothesis about the origin of human society. The primal patricide, as described by Freud in Totem and Taboo, the subsequent institution of matriarchy and the desperate need of the remorseful sons to have a father with whom they can identify are the first steps in giv- ing the father his idealized image in Western culture, suggesting inde- pendence, self-sufficiency and authority. And it is “filiarchy” that, as introduced here, makes a stand against this very image and underlines the sons’ determination to stop worshipping the father. In fact, in spite of his minor role, if any at all, the father is not re- placed by the mother in the filiarchal condition. In contrast with the two extremes of matriarchy and patriarchy, “filiarchy” enjoys a spe- cial balanced relationship with women, which proceeds from the childlike traits of sons and their interdependence with women. As neither dominant nor subordinate, women appear as sources of wis- dom and affection, and contribute to this new condition exclusively in a maternal way. The filiarchal condition implies an inherent plurality and polyphony that patriarchy lacks: one can have only one father but several sons. Thus, it allows for the diversity of masculinities. It suc- ceeds patriarchy and is affected by the feminist movement and its call for gender equality. Therefore, it is a reaction against patriarchal atti- tudes and order. Unlike patriarchy, “filiarchy” is not a repressive heg- emonic condition, but is open to negotiation. However, “filiarchy”, speaking for itself, also says that men, being in control of conceptual and social structures, are still the dominating class in society. Yet, their domination is only a legacy of patriarchy and its coercive tactics, which is in the process of being undermined by anti-totalitarian voices and forces that call for more inclusion and power-sharing. how to spend their money (James McNeal, Kids as Customers: A Handbook of Mar- keting to Children, New York: Lexington Books, 1992, 73). 4 See Sigmund Freud, Totem and Taboo (1913), trans. James Strachey, London: Routledge, 1990, 141-60. Fatemeh Hosseini - 9789004299009 Downloaded from Brill.com09/26/2021 09:20:48PM via free access 194 Fatemeh Hosseini It seems that what has led to the advent of “filiarchy” in McEwan’s fiction is the change that has taken place in its conception of masculin- ity, hence the transformation of power relations based on the superior- ity of men over women in the context of his novels. In fact, the crucial difference between patriarchy and “filiarchy” lies in their differing, even opposing, notions of masculinity. While hegemonic masculinity, as defined by R.W. Connell, is the bedrock of patriarchy, non- hegemonic masculinities construct “filiarchy”. In the following, I at- tempt to trace the slow but steady formation of “filiarchy” by examin- ing different types of masculinity in McEwan’s first four novels – The Cement Garden (1978), The Comfort of Strangers (1981), The Child in Time (1987) and The Innocent (1990). Those falling men The first chapter of McEwan’s 1997 novel, Enduring Love, ends with this sentence: “I have never seen such a terrible thing as that falling man.”5 This sentence refers to the fatal fall of a man in a ballooning accident that serves as the central incident in the novel. Apart from the crucial role of the accident in the novel, the significance of this sen- tence extends to McEwan’s other novels as well. In fact, at a symbolic level, it can be read as a brilliant condensation of the representation of masculinity and its association with death, murder and regression or with whatever can be called terrible. All the horrific things that are present in his fiction can be seen as inevitable consequences of the fall of a certain type of masculinity. It seems that this terrible fall is the essential first stage of the emergence of the new condition of “fili- archy”. In McEwan’s novels, this fall has taken three different forms: death, regression and murder. The first form of the fall depicted in McEwan’s early novels is death. Its recurrence along with the distinct way of its representation in McEwan’s writing has given it a pivotal role in his fiction. It is the significance and functional presence of death that have been mainly responsible for the nightmarish effect of his fiction, as well as its mul- ti-layered meaning.
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