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Magical Realism and the Posthuman Other

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Magical Realism and the Posthuman Other CORE Metadata, citation and similar papers at core.ac.uk Provided by UC Research Repository Animal Writing: Magical Realism and the Posthuman Other ___________________________________________________________ A Thesis Submitted in Fulfilment Of the Requirements for the Degree Of Doctor of Philosophy In the University of Canterbury __________________________________________________________ Tanja Schwalm University of Canterbury July 2009 Contents Acknowledgements Abstract Introduction 1 Chapter One Animal Acts: Visibility, Ferality and the Circus in One Hundred Years of Solitude and The House of the Spirits 18 Invisible Animals 19 Animal Space 27 Animal Acts 30 Stray Circus 36 Monstrous Vermin Part I: Cockroaches and “Others” 51 Monstrous Vermin Part II: Controlling Pests 54 Stray Culture 61 “No Man‟s Land”: Subalternity and Animality 66 Conclusion 74 Chapter Two True Australians: Animals and Identity in Gould’s Book of Fish and Illywhacker 76 “Advance Australian Fair”: Histories and Circuses 79 “MAN”S MASTERY COMPLETE”: Carceral Systems and Hybrid Resistance 96 Animal Products: Pastoral Myths and the Naturalisation of Settlement 109 Animal Writing: Empathy and the Unsettlement of the Nation 127 Conclusion 151 Chapter Three Animal Country: Maban Realism in Master of the Ghost Dreaming and The Kadaitcha Sung 153 Strange Beast: Maban Realism as the Expression of a Multicultural Country 156 Farming Country: Pastoralism and the Master Text 172 Dreaming Country: Human-Animal Companions, Anthropomorphism, and Hunting Stories 182 Slaughtering Country: The Cattle Empire 198 “A Couple of Choice Courses”: The Meat of the Story 208 “That Last Chop”: The Story of Meat 214 Conclusion 227 Chapter Four Categorically Tricky: Useful Pests, Cowboy Circuses, and Convergence in Green Grass, Running Water and Kiss of the Fur Queen 233 Coyote Circus and Manitoba Magic 236 “But I can be very useful”: Wild West Pests and Pastoralisation 251 The Greatest Dog and Pony Show on Earth: Consumerism, Cowboys, and Conquering Circuses 258 Categorising Trickiness: Magical Realism or Contemporary Trickster Narrative? 267 Convergence 272 Conclusion 275 Chapter Five Dances with Cows: Domestication and Settlement in What the Crow Said, The Invention of the World, and The Resurrection of Joseph Bourne 278 Local Flavour, Global Appeal: Canadian Mythologies and Multicultural Magic 280 Domesticating Narratives: Ferality, Fables and Figures of Speech 302 “A real cat”: Irreplaceability and Singularity 326 A Taste of Rodeo: The Agricultural Circus 333 Conclusion 342 Chapter Six Paperzoo: Life of Pi 344 Selling Animals 346 Captivating Cockroaches 353 Arresting Animals 368 Conclusion 384 Conclusion: Animal Writing 386 Notes 391 Works Cited 438 Acknowledgements I am deeply grateful to Senior Supervisor Associate Professor Philip Armstrong for his unwavering support. His knowledge and encouragement were inspiring, his guidance and comments immensely helpful, and his humanity humbling. I am lucky to have had a supervisor whose dedication to his students is known to be above and beyond the call of duty, and I could not have had a better one. I am also very grateful to the following, who have successively co-supervised: Dr Erin Mackie, for helpful comments on early drafts and chapters; Dr John Newton, for the gentlest whip-cracking ever; and Professor Patrick Evans, Rescuer of Damsels in Distress, for listening, being there and giving good advice on matters inside and outside of academia when it was most needed. I am indebted to Bettina Kaiser, Douglas Reid, Hamish Win, Sharon McIver, Karyn Stewart, Karyn Saunders, Sally Provan, Sarah Forgan, Sally Borrell, Annie Finnie, Nicholas Wright and Nichola Kriek for inspiring discussions and/or comments on chapter drafts; Dr Bill Rollins for encouraging and enabling my first venture into animal studies (when neither he nor I knew it actually existed). I am grateful to Bettina Kaiser, APECS Council (Association of Polar Early Career Scientists), for informing me of the media presence at the International Polar Year launch versus the media circus surrounding Knut (discussed in Chapter Six); and to South Island beekeeper pav (as he wishes to be known) of www.badassbees.com for sharing his knowledge of and enthusiasm for bees, which gave me a better understanding of What the Crow Said. For making life much easier, I am grateful to Jennifer Middendorf (English Programme administrator), Professor Steve Weaver, and scholarships office Adrian Carpinter, as well as StudyLink officer Kim Ashmore. I thank the University of Canterbury and the New Zealand Federation of Graduate Women (Canterbury Branch) for financial support. Thanks to my parents Irmgard and Uwe, for believing that I could do anything I put my mind to, for never putting pressure on me, for celebrating my successes and being there when things did not go as expected. Also, thanks to my brother Frank for his inspiring readiness to put words into action. It takes a village to write a thesis, especially for students who are also parents. For helping out with the girls, I am grateful to the Steinegg family—especially Sabine, and Felicity Hattrell. Thanks also to good neighbours Norazlina Binti Haji Sisa (Ayong) and Enoy, and Chigusa Kusaka, who did not hesitate to offer help to a stranger without expecting anything in return. “Thanks” is neither deep nor big enough to express my heartfelt gratitude for the support of my friends: Special thanks to Nichola Kriek, Sabine Steinegg, Bettina Kaiser, Sharon McIver, and also to Philip Armstrong, Patrick Evans and Irvine Forgan. You gave me strength, encouragement, good advice, and practical help when I needed it most, and I will never forget it. My gratitude also to Hans Kriek; Sarah Forgan; Mariann Matay; Neil Stockbridge; Dieter, Sarah and Maicalia Steinegg; Sacha Dowell; Karen Saunders; Karyn Steward; Sally Provan; Rosie Smythe; Yolanda Soryl; Anthony Terry; everyone at SAFE; Felicity and Jonathan Hattrell; Doug Reid; Hamish Win; Kate Montgomery; Kaori Okubo and Rebecca Carnivale. Thanks also to my feline friend Darcy for keeping me company during the darkest hours. He went to sleep on top of the stacked pages of my final draft, and I have had to delete the numerous spaces (animal spaces!) he insisted on inserting into my chapters. No thanks for biting my thumb while I was typing. I have lovingly ignored all of his catty comments on my work. Finally, I thank my daughters Ingrid Anna and Kerstin for their endless patience and support. Those years of study and research undoubtedly seemed much longer to them than they did to me. It was a lot to ask, but they have never complained. This is for you two, with much love. Parts of this thesis have been published elsewhere. Particularly Chapters One and Two include arguments published as “„Relax and Enjoy the Show‟: Circensian Animal Spaces in Australian and Latin American Magical Realist Fiction.” Journal of Commonwealth Literature 41.3, and in “„No Circus without Animals?‟: Animal Acts and Ideology in the Virtual Circus.” Knowing Animals. Eds. Laurence Simmons and Philip Armstrong. Leiden: Brill, 2007. 79-104. Abstract Magical realist fiction is marked by a striking abundance of animals. Analysing magical realist novels from Australia and Canada, as well as exploring the influence of two seminal Latin American magical realist narratives, this thesis focuses on representations of animals and animality. Examining human-animal relationships in the postcolonial context reveals that magical realism embodies and represents an idea of feral animality that critically engages with an inherently imperialist and Cartesian humanism, and that, moreover, accounts for magical realism‟s elusiveness within systems of genre categorisation and labelling. It is this embodiment and presence of animal agency that animates magical realism and injects it with life and vibrancy. The magical realist writers discussed in this dissertation make use of animal practices inextricably intertwined with imperialism, such as pastoral farming, natural historical collections, the circus, the rodeo, the Wild West show, and the zoo, as well as alternative animal practices inherently incompatible with European ideologies, such as the Aboriginal Dreaming, Native North American animist beliefs, and subsistence hunting, as different ways of positioning themselves in relation to the Cartesian human subject. The circus is a particular influence on the form and style of many magical realist texts, whereby oxymoronically structured circensian spaces form the basis of the narratives‟ realities, and hierarchical imperial structures and hegemonic discourses that are portrayed as natural through Cartesian science and Linnaean taxonomies are revealed as deceptive illusions that perpetuate the self-interests of the powerful. To Kerstin and Ingrid Anna Also, to Good Friends “In Pliny’s observations I discovered that man, far from being central in this life, lived in a parlous world beyond his knowledge, . a world in which man is lost & less but lost & less amidst the marvellous, the extraordinary, the gorgeously inexplicable wonder of a universe only limited by one’s own imagining of it.” — Richard Flanagan, Gould’s Book of Fish Schwalm 1 Introduction Literary animals, in magical realism and elsewhere, are conventionally regarded as cyphers, symbols or props, whose importance lies in the meaning they give to others, the values they represent, or the role they play as part of the setting or landscape. Through their transformation into figures of
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