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Humans, Animals and Biopolitics in Contemporary Australian Fiction

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Humans, Animals and Biopolitics in Contemporary Australian Fiction Volume One: Dissertation The Imagined Border: Humans, Animals and Biopolitics in Contemporary Australian Fiction Lucy Neave Candidate for a Doctorate of Creative Arts (DCA) Western Sydney University, 2017 1 Acknowledgements I wish to express my sincere thanks to Professor Gail Jones. Her insights into the novel and dissertation, and her generosity in reading and rereading sections of the thesis went far beyond my expectations. I am sincerely grateful for her support throughout my candidature. Thanks are also due to my colleagues at the Australian National University for their feedback on sections of exegesis, especially to Dr Shameem Black, Dr Kate Mitchell and Dr Julieanne Lamond. Anonymous reviewers and Dr Lou Jillett provided useful comments on articles and a chapter that ultimately became chapters of the exegesis. Amanda Lohrey, Michelle Wildgen and Alistair Ong read and commented on the novel manuscript. At different points in the novel’s composition, their responses were revelatory. Thanks to Professor Ivor Indyk for his feedback on early drafts, and to Associate Professor Paul Magee for lending me a bible. I am grateful to James, Grace and Tom for helping me to focus on the world beyond the thesis. 2 Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution Sections from the Introduction have appeared in draft form in: Neave, Lucy. ‘Creatureliness and Justice in Cormac McCarthy's All the Pretty Horses.’ In Cormac McCarthy's Borders and Landscapes. Edited by Louise Jillett, 19- 28. New York: Bloomsbury Academic, 2016 Draft versions of Chapters One and Two were published as: Neave, Lucy. ‘The “unimaginable border” and bare life in Eva Hornung's Dog Boy.’ Journal of Commonwealth Literature (2017): 1-14 http://journals.sagepub.com/doi/full/10.1177/0021989417692389 Neave, Lucy. “‘The Distance between Them”: Sheep, Women, and Violence in Evie Wyld's All the Birds, Singing and Barbara Baynton's Bush Studies.’ Antipodes 30.1 (June 2016): 125-136 3 TABLE OF CONTENTS VOLUME ONE: Abstract…………………………………………………………5 Dissertation Introduction The Imagined Border: Humans, Animals and Biopolitics in Contemporary Australian Fiction…..……………...…………….6 Chapter One: The ‘unimaginable border’ and bare life in Eva Hornung’s Dog Boy (2009)……………………………………………………………38 Chapter Two: Gender, Violence and Resistance in Barbara Baynton’s Bush Studies (1902) and Evie Wyld’s All the Birds, Singing (2013) ……………………………………………………………….......64 Conclusion………………………………………………………89 Bibliography for Dissertation and Novel……………………...97 VOLUME TWO: Novel The Flood is the Flawless Mirror for the Sky 4 Abstract The Imagined Border: Humans, Animals and Biopolitics in Contemporary Australian Fiction This thesis examines the representation of animality in Australian literature by a close analysis of Eva Hornung’s Dog Boy (2009) and Evie Wyld’s All the Birds, Singing (2013). In these novels, the protagonists are exposed to violence because of their age, gender and circumstances, yet experience moments of connection with animals and the natural world that ameliorate their suffering and enable them to gain insight into animals’ worlds. Giorgio Agamben’s conception of ‘bare life’ and his monographs Homo Sacer: Sovereign Power and Bare Life and The Open: Man and Animal provide a frame for thinking about the biopolitical lives of contemporary citizens. I also read moments during which humans feel embodied empathy for the creatures under their care. I argue that the act of empathy presents a form of resistance to ‘biopower’. The Flood is the Flawless Mirror for the Sky: A Novel The novel takes up questions of animal-human relations in the narrative of a mother and daughter, Sarah and Bethany Francis, whose relationship is shaped by the ways in which they care for domestic and native animals. In the opening pages of the novel, Sarah’s life changes course because she diverges from the expectations of her religious family, and because she falls pregnant. Questions about sovereign authority and legal abandonment are treated obliquely; the plot moves from America to Australia and back again. Sarah nurses injured Australian wildlife at the expense of her bond with her daughter Bethany, whom she abandons for several months in an attempt to repair the relationship with her own mother. In the second half of the novel, Beth, a newly- graduated veterinarian, deals with news of her mother’s mysterious death and discovers that birds, animals and the natural world ameliorate her grief and her unresolved relationship with her grandmother. While Sarah’s care of animals is instinctive and builds on knowledge she has obtained from experience, Beth’s is influenced by her professional training. This contrast forms the centre of a plot based on complicated intimacies. 5 Introduction The Imagined Border: Humans, Animals and Biopolitics in Contemporary Australian Fiction The dogs’ lair was in the basement. They entered through a hole in the floor and clambered down a pile of rubble along a narrow, much-used path. Inside was dark. Somewhere puppies yelped and yabbered. And so it was, trotting with three dogs through ordinary lanes, past ordinary tenements, past ordinary lives, a lone boy crossed a border that is, usually, impassable—not even imaginable.1 Kelly doesn’t like me. She’s not like a dog really; she’s more disapproving than a dog. She sees things differently to the way most dogs do – she’s not into pats on the head, she won’t take food from my hand. I offer her the meat from my sandwich one time and she stands, looking through me until I feel embarrassed and put it back in the bread…She watches me in a way I recognize, but not from a dog.2 Eva Hornung’s Dog Boy (2009) and Evie Wyld’s All the Birds, Singing (2013), novels that won major Australian literary awards,3 represent close relationships between humans and animals, dramatizing and blurring the posited boundaries separating them. In Dog Boy, the main character Romochka—the ‘lone boy’ of the quotation above— leaves the freezing apartment where he has been abandoned by his ‘uncle’ and finds his way onto the streets, following a feral dog he comes to call Mamochka—little mother. In joining Mamochka’s pack, Romochka becomes a ‘dog boy’, ‘cross[ing]’ the line delineating dogs from humans. The rhythmic repetition of the word ‘ordinary’ in this passage stresses the fact that Romochka’s metaphorical and psychological 1 Eva Hornung, Dog Boy (Melbourne: Text Publishing, 2009), 15 2 Evie Wyld, All the Birds, Singing (Sydney: Random House, 2013), 136 3 Eva Hornung’s Dog Boy won the Prime Minister’s Literary Award in 2010: ‘Prime Minister’s Literary Award’, Australian Government Department of Communications and the Arts, https://www.arts.gov.au/pm-literary-awards; All the Birds, Singing was awarded the Miles Franklin Literary Award in 2014 ‘Miles Franklin Literary Award’, Perpetual Trustees, https://www.perpetual.com.au/MilesFranklin 6 departure from the human world of tenements and lanes occurs as a result of ordinary circumstances in post-perestroika Russia: the probable death of his mother and his abandonment by her partner. Romochka is an ordinary child up until this point. What is remarkable is the traversal of the human-animal ‘border’, which is spanned when Romochka enters the dogs’ den. A significant part of the novel’s project is an attempt to depict what is on the other side of the boundary: the dogs’ world. The novel is the means by which this passing from one world into another is both imagined, and made imaginable to a reader. The posited ‘border’ between humans and animals is not explored as explicitly in All the Birds, Singing; the novel is more concerned with the position of women in the Australian bush. Nonetheless, in the excerpt given above, Kelly’s apparent ability to use human ways of looking and behaving is registered by the first person female protagonist of the novel, Jake. If Romochka becomes dog-like, Kelly, while never entirely shedding her canine nature, is ‘not like a dog really’: she’s ‘disapproving’ and refuses the bribe offered by Jake.4 Kelly’s strangeness as a dog contributes to the atmosphere in this section of the novel, in which Jake is being held against her will by an older man, Otto, on a remote outback property. Kelly’s refusal to be bought and her lack of affection for Jake heighten her isolation: not even the dog will be her friend. Kelly is portrayed as a participant in (human) strategies for exerting authority. All the Birds, Singing is notable not only for its representation of Kelly; the novel draws attention to the problematic metaphorical conflation of women with animals— especially sheep—in narratives set in the Australian bush by representing Jake’s care for flocks of sheep, and her treatment by Otto. Both novels address the question of 4 Wyld, All the Birds, Singing, 136 7 human-animal distinctions, are anxious about this border, and portray relationships between people and creatures that blur or contest it. The debate about the distinctions between humans and animals and the consequences of these differences has engaged continental philosophy from René Descartes to Martin Heidegger to Jacques Derrida to Giorgio Agamben, as well as scholars in the fields of biology and anthropology. Derrida’s essay, ‘The Animal that Therefore I Am (more to follow)’ critiques what he terms the ‘supposed discontinuity, rupture, or even abyss between those who call themselves men and what so-called men…call the animal’.5 These differences are listed by Derrida as: ‘speech or reason, the logos, history, laughing, mourning, burial, the gift and so on.’6 While many of these differences between humans and animals have been questioned in research into animal communication and discussed in articles for scholarly and general audiences,7 as Derrida acknowledges, his objection to the abyss between humanity and animality stems from a long tradition in philosophical thought about the distinctiveness of humanity.
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