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Hand-In-Hand with Hélène Cixous: a Re-Vision of the Work of Scottish Writers Willa Muir, Jessie Kesson and Janice Galloway

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Hand-In-Hand with Hélène Cixous: a Re-Vision of the Work of Scottish Writers Willa Muir, Jessie Kesson and Janice Galloway HAND-IN-HAND WITH HÉLÈNE CIXOUS: A RE-VISION OF THE WORK OF SCOTTISH WRITERS WILLA MUIR, JESSIE KESSON AND JANICE GALLOWAY MARÍA DOLORES ARMENTAL ROMERO DOCTORAL THESIS 2015 Hand-in-hand with Hélène Cixous: A re-vision of the work of Scottish writers Willa Muir, Jessie Kesson and Janice Galloway María Dolores Armental Romero Doctoral Thesis 2015 Director: David M. Clark Mitchell Departamento de Filoloxía Inglesa Hand-in-hand with Hélène Cixous: A re-vision of the work of Scottish writers Willa Muir, Jessie Kesson and Janice Galloway CONTENTS Acknowledgements 3 Abstracts (English, Spanish, Galician) 4 Preface 7 Chapter 1- Introduction 1.1- Literary Review 11 1.2- Hélène Cixous 28 1.3- Scottish Renaissance 40 Chapter 2 - Willa Muir 2.1- Introduction 62 2.2- Willa Muir’s Essays: “Women: An Inquiry” “Women in Scotland” 77 “Mrs Grundy in Scotland” 2.3- Imagined Corners 94 2.4- Mrs Ritchie 115 2.5- Willa Muir’s late works: Living with Ballads and Belonging 129 Chapter 3 - Jessie Kesson 3.1- Introduction 138 3.2- The White Bird Passes 150 3.3- Another Time, Another Place 173 Chapter 4 - Janice Galloway 4.1- Introduction 188 4.2- Galloway’s Short Stories: Blood, Where you Find it 203 4.3- The Trick is to Keep Breathing 215 4.4- Clara 247 Chapter 5 - Conclusion 260 Bibliography 270 Summary (Spanish) 294 2 Hand-in-hand with Hélène Cixous: A re-vision of the work of Scottish writers Willa Muir, Jessie Kesson and Janice Galloway ACKNOWLEDGEMENTS First of all, I would like to thank my supervisor Dr. David Clark for having waited patiently in recent years for the completion of this thesis, but mainly for being the originator of it, and for his illuminating references especially to Jessie Kesson, a writer who inspired me to persevere and finish this research. I am indebted to the University of A Coruña for financial support through two grants, one in collaboration with the Department of English Philology, and another with the Department of Galician-Portuguese Philology; a two-year pre-doctoral contract and two research scholarships at the University of St Andrews, Scotland. My warmest thanks to my proof-reader in Scotland Dr. Marie Robinson. Without her work and support this project would not have been possible. I am indebted to her for her invaluable advice and constructive criticism, let alone for our walks with Peter Robinson in the hills of bonnie Scotland. Thank you very much to Professor Nicholas Roe for his kind assistance and advice during my research stays at the University of St Andrews. I’m grateful to Kathleen Gray, of St Andrews, for providing me with literary articles, for amusing me and for our lively literary discussions. Thank you very much to Douglas Dunn and Anna and Julian Crowe, of St Andrews, for their loyal friendship. To all my University lecturers, who initiated in me the love of literature. Finally thank you to my daughters Elena and Blanca, to whom I dedicate this thesis, for giving me life. 3 Hand-in-hand with Hélène Cixous: A re-vision of the work of Scottish writers Willa Muir, Jessie Kesson and Janice Galloway ABSTRACT In the early years of the twentieth century, Willa Muir warned women of their own self-destruction if they aligned themselves with the power of the Self that came to them, which was imposed by the ‘Law of the Father,’ the authority represented by a Calvinist religion based on the coldness of rationality and on the value of human beings measured according to their productivity, and by a Church that regarded the world of emotions as profane, an evil that had to be repressed. In the late twentieth century, Janice Galloway continues to denounce the pernicious effects of the power represented by the Church, and by extension the community, which continues to exercise repression in the unconscious of women in Scotland. From this repression, the three writers examined in this thesis - Willa Muir, Jessie Kesson, and Janice Galloway - offer their heroines a way out, a new voice which Hélène Cixous called ‘sortie,’ a new liberating voice in continuous negotiation between the Self and the Other, without ever leaving the feminine language, the caressing and liberating of the voice of the unrepresented mother which vibrates in women’s minds full of musically and love. 4 Hand-in-hand with Hélène Cixous: A re-vision of the work of Scottish writers Willa Muir, Jessie Kesson and Janice Galloway RESUMEN Ya a principios del siglo XX, Willa Muir advirtió a las mujeres de su propia auto-destrucción si se alienaban con el poder del Self impuesto por la ‘Ley del Padre,’ la autoridad representada por la religión Calvinista en Escocia basada en la frialdad racionalista y en la valía de los seres humanos según su productividad, y por una Iglesia que consideraba profano el mundo de las emociones, y por tanto un mal que debía ser reprimido. A finales del siglo XX, Janice Galloway, sigue denunciando los efectos perniciosos del poder representado por la Iglesia y por extensión de la comunidad, que continúa reprimiendo el inconsciente de las mujeres en Escocia. Para combatir esta represión, las tres escritoras estudiadas en esta tesis - Willa Muir, Jessie Kesson y Janice Galloway - ofrecen a sus heroínas una salida, una nueva voz que Hélène Cixous llamó ‘sortie,’ una nueva voz liberadora en continua negociación entre el Self y el Otro, sin abandonar nunca la escritura femenina, la voz acariciadora y liberadora de la madre que resuena en la mente de las mujeres llena de musicalidad y de vida. 5 Hand-in-hand with Hélène Cixous: A re-vision of the work of Scottish writers Willa Muir, Jessie Kesson and Janice Galloway RESUMO Xa a principios do século XX, Willa Muir advertiu ás mulleres da súa propia auto-destrución se se alienaban co poder do Self imposto pola ‘Lei do Pai,’ a autoridade representada pola relixión Calvinista en Escocia baseada na frialdade racionalista e na valía dos seres humanos segundo a súa produtividade, e por unha Igrexa que consideraba profano o mundo das emocións, e por tanto un mal que debía ser reprimido. A finais do século XX, Janice Galloway segue denunciando os efectos perniciosos do poder representado pola Igrexa e por extensión da comunidade, que continúa reprimindo o inconsciente das mulleres en Escocia. Para combater esta represión, as tres escritoras estudadas nesta tese - Willa Muir, Jessie Kesson e Janice Galloway - ofrecen ás súas heroínas unha saída, unha nova voz que Hélène Cixous chamou ‘sortie,’ unha nova voz liberadora en continua negociación entre o Self e o Outro, sen abandonar nunca a escritura feminina, a voz acariciadora e liberadora da nai que resoa na mente das mulleres chea de musicalidad e de vida. 6 Hand-in-hand with Hélène Cixous: A re-vision of the work of Scottish writers Willa Muir, Jessie Kesson and Janice Galloway PREFACE The aim of this thesis is to show that very strong links exist within a specific group of women writers belonging to the Scottish literary tradition of twentieth-century Scotland. The great success that Janice Galloway has achieved since she wrote her debut novel The Trick is to Keep Breathing (1989) can be seen as part of the achievements of a literature written by women in Scotland in the twentieth century wishing to escape from and struggle against strong Scottish patriarchal structures of power which repressed them. My research focuses on the work of Willa Muir, Jessie Kesson and Janice Galloway, who wrote in different historical periods of twentieth- century Scotland: Willa Muir wrote during the interwar period - the so-called Scottish literary Renaissance; Jessie Kesson wrote at long intervals during the post-Second- World-War period; and the contemporary Janice Galloway who started writing in the 1980s, and has recently published the second part of her memoirs entitled All Made Up (2011), which won the Scottish Book of the Year Award in 2012. Jellyfish is her latest book of short stories, published in the summer of 2015. This thesis attempts to build bridges between these three generations of women writers against the theoretical background of French Feminism, in particular the work of Hélène Cixous. With reference to Cixous’s literary views on écriture feminine , or feminine language, I shall try to analyse how these three Scottish women writers subverted and destabilised a conventionally accepted tradition in the context of the lived experiences of women in Scotland during the twentieth century. My main purpose is to 7 Hand-in-hand with Hélène Cixous: A re-vision of the work of Scottish writers Willa Muir, Jessie Kesson and Janice Galloway review their work using a different approach which has not been specifically considered so far - French feminism -, an approach which involves writing as re-vision, a term which I quote from Adrianne Rich’s “When We Dead Awaken. Writing as Re-vision,” included in her illuminating book On Lies, Secrets, and Silence. Selected Prose 1966- 1978 : Re-vision - the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction - is for women more than a chapter in cultural history: it is an act of survival. Until we can understand the assumptions in which we are drenched we cannot know ourselves. And this drive to self-knowledge, for women, is more than a search for identity: it is part of our refusal of the self-destructiveness of male-dominated society. A radical critique of literature, feminist in its impulse, would take the work first of all as a clue to know how we live, how we have been living, how we have been led to imagine ourselves, how our language has trapped as well as liberated us; and how we can begin to see - and therefore live - afresh.
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