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Postmodernist Narrative Strategies in the Novels of John Fowles

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Postmodernist Narrative Strategies in the Novels of John Fowles Postmodernist Narrative Strategies in the Novels of John Fowles Dissertationsarbeit von Jens Pollheide zur Erlangung des Grades eines Dr. phil. Erstgutachter: Prof. Dr. Manfred Smuda Zweitgutachter: Prof. Dr. Werner Kummer Bielefeld, im Juni 2003 1 Contents 0. Introduction 4 1. Defining the Undefinable: What is Postmodernism? 1. 1. What is Postmodernism 7 1. 1. 1. The Critique of Modern Epistemology 9 1. 1. 2. The Critique of Representation 1. 1. 2. 1. Baudrillard and the Simulacrum 11 1. 1. 2. 2. Questioning Representationality 12 1. 1. 3. Lyotard’s Critique of Metanarratives 13 1. 2. Postmodern Literature – Literary Postmodernism? 16 1. 2. 1. Historiographic Metafiction 17 1. 2. 2. Narrative Strategies 19 1. 2. 3. Critical Voices 21 2. The Collector 2. 1. Introduction 24 2. 2. Narrative Technique 25 2. 2. 1. Clegg 27 2. 2. 2. Miranda 31 2. 2. 3. Reason, Power, and the Politics of Representation 34 2. 2. 4. Intertextuality and the Critique of Metanarratives 38 3. The Magus 3. 1. Introduction 42 3. 2. The Politics of Autobiography 43 3. 3. We Shall Not Cease From Exploration … 46 3. 4. Intertextuality and the Politics of Interpretation 51 3. 4. 1. Intertextuality – Case 1 3. 4. 1. 1. Prospero’s Books 52 3. 4. 1. 2. Other Texts 56 3. 4. 2. Intertextuality – Case 2 57 3. 4. 3. Conclusion 62 2 3. 4. 4. Prospero’s Tales 63 4. The French Lieutenant’s Woman 4. 1. Introduction 67 4. 2. The Problem of Represetation in Historiographic Metafiction 4. 2. 1. Historiographic Metafiction and Intertextuality 68 4. 2. 2. Historiographic Metafiction and the Critique of Representation 73 4. 3. The Intrusive Author and the Critique of Metanarratives 4. 3. 1. The Intrusive Author and the Metafictional Elements in FLW 77 4. 3. 2. The Critique of Metanarratives 4. 3. 2. 1. Rationality and the Marginalization and Reification of Women 81 4. 3. 2. 2. The Critique of the Concept of Progress 89 4. 3. 3. FLW – High Art or Popular Culture? 90 5. A Maggot 5. 1. Introduction 91 5. 2. Problems of Realism in A Maggot 5. 2. 1. Intertextuality as a Means of Creating and Subverting Realism 94 5. 2. 2. More Clues to the Past 96 5. 2. 3. Diachronistic Narration in A Maggot 98 5. 2. 4. Point of View in A Maggot 100 5. 2. 5. The Critique of Metanarratives 5. 2. 5. 1. The Deconstruction of Rationalism and Positivism 102 5. 2. 5. 2. Power Revealed: The Marginalization of Women and the Politically Progressive 107 5. 2. 6. The Ambiguity of Meaning 112 6. The Ebony Tower 6. 1. The Ebony Tower 115 6. 1. 1. Intertextuality 116 6. 1. 2. Metanarratives: Representational vs. Non-Representational Art 119 6. 2. Eliduc 123 6. 3. Poor Koko 126 6. 3. 1. The Critique of Metanarratives 126 3 6. 3. 2. The Critique of Representation 128 6. 4. The Enigma 130 6. 4. 1. The Critique of Metanarratives 130 6. 4. 2. Narrative Technique and the Metanarratives of Literature 131 6. 5. The Cloud 135 6. 5. 1. The Critique of Representation 136 6. 5. 2. Self-Referential Writing, Intertextuality and the Relationship of Author and Reader 139 6. 6. The Metafictional Development of The Ebony Tower 142 7. Daniel Martin 7. 1. Introduction 143 7. 2. Narrative Technique 144 7. 2. 1. Who’s the Author 144 7. 3. Metafiction 146 7. 3. 1. Metafictional Statements/Metanarratives 147 7. 3. 2. Reader Involvement 149 7. 4. The Critique of Metanarratives 150 7. 5. The Critique of Representation 155 7. 6. Intertextuality 158 7. 7. Conclusion 159 8. Mantissa 8. 1. Introduction 160 8. 2. Literature as a Mental Disorder: The Politics of Representation as a Symptomof an Illness 161 8. 3. Mantissa as a Self-Reflexive Novel 167 8. 4. Metafiction 169 9. Conclusion 172 References 175 4 0. Introduction In the 1990s, I became fascinated by the novels of John Fowles, which were then read in a seminar at Bielefeld University. What first fascinated me was, of course, Fowles' ability to write 'page-turners', i.e. his novels are hard to put down once you start reading them. Gradually, however, I also became aware of the fact that other than in existentialist terms, his novels have a multiplicity of other, sometimes related, meanings and elements. Since the secondary literature about Fowles abounds in the exploration of existentialist meanings, this area of research is already covered. The novels of Fowles, though, can also be considered as postmodernist literature. This possibility was first hinted at in the works of Hutcheon. Since Hutcheon (1989) considers historiographic metafiction to be one of the para- digmatic forms of a postmodernist literature, she naturally analysed the two novels of Fowles that can be categorised as such, viz. The French Lieutenant's Woman and A Maggot. Her analysis mentions only a few of the postmodernist elements in these two novels, and understandably so, given the aim and the scope of her study. Upon re-reading the other novels of Fowles, I thought that an analysis of the postmodernist elements would be both a rewarding and interesting topic for research, not least because of the fact that his other fiction gave me the idea that there is a change of thematic orientation. My initial idea was that each of the novels exhibits one particular postmodernist element. The two historiographic novels, of course, are preoccupied with the problem of how to know something about the past from a contemporary perspective. The background of such a proble- matizing is a critique of representation. With the concept of a critique of represen- tation as a background, other postmodernist elements in Fowles' fiction have been identified, such as the critique of interpretation. If we start from the assumption that representational naiveté (denoting a 1:1- correspondence between sign and signified) is no longer an option for us, any representation or interpretation neces- sarily reflects not only the objective state of affairs, but as well the preferences, predilections, and even prejudices of those engaged in the process. This in turn 5 means that writers, who present us with constructs and induce us to form interpre- tative hypotheses, cannot help to let there own interests influence what they write. Now since to date there is no coherent study that analyses the postmodernist elements in all of Fowles' fiction from this perspective, I decided to do some re- search on my own, and the paper you are reading is the result of this research. As you will see, there is a kind of development as far as the postmodernist elements in the fiction of Fowles are concerned. While his first novels (The Collector and The Magus) highlight the particularity of representation and interpretation, stating the particularity of each character as a constructor of meanings, the two historio- graphic novels are obsessed with the epistemological status of past events for contemporary representative strategies. Fowles' other novels, as we will see, are more concerned with the role the writer plays in all of this, and ask whether or not sometimes he is guilty of propagating, if indirectly, the very stereotypes that come under attack in the written texts. If such an ambiguity is realised in a self-conscious manner, the resulting attitude is one of both complicity and critique, which can be seen as the postmodernist attitude per se. Other postmodernist elements will be identified in order to arrive at these points. The novels of Fowles are referred to as follows: The Collector as C plus number of page; The Magus as M plus number of page; The French Lieutenant's Woman as FLW plus number of page; A Maggot as AM plus number of page; The Ebony Tower as ET plus number of page; Daniel Martin as DM plus number of page; and finally Mantissa as Mt plus number of page. I would like to thank Manfred Smuda for both his encouragement and his invaluable help during the preparations of this paper. Thanks also to my parents, Gertrud and Friedhelm Pollheide, for their support and love. I am grateful to Torsten Voß for pointing out some very interesting details about the role of the evil in modernist literature; and I am indebted to Lawrence Raw of Baskent Uni- versity, Ankara, for sending me his paper on the story 'The Enigma' (from ET). 6 1. Defining The Undefinable: What Is Postmodernism? 1. 1. What is Postmodernism? Before outlining the conception of postmodernism used in the present discussion, some terminological definitions are in order. When looking at the use of the words 'postmodernity', 'postmodernism', 'postmodernist' or 'postmodern', it is striking that the meaning of these words seems to change according to what book you are reading. This is not only due to the sometimes exaggerated caprice of some authors, but is closely linked to the respective contexts in which they occur. The three most important contexts for this study are the historical, the philosophical, and the literary context. Within the historical (or historico-sociological, if you prefer) context, the adjective 'postmodern' describes the period which follows modernity, in much of the same way that modernity followed the Middle Ages (cf. Best 1991; 2). One of the first to coin the term 'postmodernity' was the British historian Toynbee, for whom postmodernity begins at the end of the 19th century and is a period characterised by war, social upheaval and change. [Toynbee] characterized the previous modern period as a middle- class bourgeois era marked by social stability, rationalism, and progress - a typical bourgeois middle-class conception of an era marked by cycles of crisis, war and revolution.
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