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Hens Lay, People Lie: a Novel and an Exegesis

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Hens Lay, People Lie: a Novel and an Exegesis HENS LAY, PEOPLE LIE A Novel and an Exegesis Beyond Epistolarity: The Warp, the Weft and the Loom Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Glenice Joy Whitting Swinburne University of Technology Faculty of Higher Education, Lilydale 2012 Abstract This thesis is comprised of two components: 'Hens Lay, People Lie', a novel, and an exegesis, Beyond Epistolarity the Warp, the Weft and the Loom. Together they propose that 'creative epistolarity', namely imaginative writing with factual material, including personal letters, emails and journals, provides women with a safe space where knowledge can be intuited, articulated or performed. In this space, women find their own creative voice, write their stories and in turn, understand themselves. 'Hens Lay, People Lie' draws heavily on the epistolary genre but aims to move beyond that genre by using an auto/biographical and creative epistolary style better suited to reveal emotion and character. The novel illustrates that creative epistolarity intersects with feminism and postmodernism and is uniquely placed to empower women to write their stories. The exegesis discusses theories, methodologies, fictional techniques and creative decisions made during the writing of the novel. Key writerly choices are examined: the choice of an epistolary novel and the importance of creative epistolarity as a way of knowing the self as well as production of knowledge. The research process is practice-led research informed by personal correspondence and personal history in the autoethnographic mode. The exegesis presents a reflective examination of existing works in the genre of epistolary fiction and calls on the practices of exponents of the epistolary form such as Elizabeth Jolley, Nancy Turner and Lionel Shriver. It also provides an evaluation of the relationship between the artefact and diverse critical theories ranging from Hélène Cixous’ écriture féminine, Carolyn Ellis' concept of autoethnography, and Margaretta Jolly’s discussions on epistolarity. The thesis demonstrates that narratives of women's experience have the capacity to challenge metanarratives and instigate social, cultural and political change. Keywords: Auto/biography, autoethnography, epistolarity, writing practice. ii Acknowledgements I would like to thank the following people for their support in the completion of this project and PhD submission. First and foremost, my principal supervisor, Associate Professor Dominique Hecq for her academic wisdom, poetic inspiration, constant encouragement and her unfailing belief that this dream would come true. I am also deeply appreciative of my associate supervisor, Dr. Christine Sinclair, for her professional insight and guidance. Both are dedicated supervisors who were always willing to accept, and comment on the next draft. At Swinburne University of Technology, I would also like to thank: Carol Anne Croker, colleague and friend, for thoughtful critique and a myriad of professional and personal reasons; the inspirational and professional Mairi Neil; Dr. Elizabeth Colbert; Dr. Carolyn Beasley; Dr. Mark Carthew; Nadine White; and fellow PhD candidates, Wendy Dunn; Nerina Jones; Rachel LeRossignol, Diane Murray and Barbara Malpass Edwards. My heartfelt and deepest thanks to Paul and Marian Whitting for personal support and professional assistance, not only for this PhD, but throughout my entire academic and literary journey; Julie Wentworth, Cindy Vallar, Brenda Addie, Margaret Scott, Postgraduate Writing Group, Glitterati Group, Mordialloc Writer's Group and friends and colleagues too numerous to mention. You know who you are and I thank you. Throughout this project I have been indebted to the love and support of my family; especially my husband, Alan, for being my anchor and for constant encouragement; Paul and Marian, Jason and Karen, and Tahlia and Caxton. Without their understanding and support this PhD would not have been possible. Completion of this PhD has also been made achievable thanks to an Australian Postgraduate Award Scholarship, a privilege for which I am most grateful. iii Declaration This thesis contains no material which has been accepted for the award to the candidate of any other degree or diploma, except where due reference is made in the text of the examinable outcome. To the best of my knowledge and belief, it contains no material previously published or written by another person, except where due reference has been made in the text of the examinable outcome. Photos used are under the creative common licence. Document formatting and proofreading was conducted by Marian and Paul Whitting and editing by Dr. Elizabeth Colbert, and Cindy Vallar in accordance with the Australian Standards for Editing Practice (ASEP) for research students' theses and dissertations. Signed: Glenice Joy Whitting September 2012 iv Dedication For Mickey and my family. For their love, support and encouragement. v Table of Contents Abstract ....................................................................................................................... ii Acknowledgements .................................................................................................... iii Declaration ................................................................................................................. iv Dedication .................................................................................................................. v Preface ..................................................................................................................... viii HENS LAY, PEOPLE LIE ................................................................................................ 1 One. 1975: Outback Australia .................................................................................... 4 Two. 1980: Santa Fe ................................................................................................ 51 Three. 1985: Kubunji Beach ..................................................................................... 98 Four. 1997: Floral Waters ....................................................................................... 144 Five. 2000: Portal ................................................................................................... 174 Six. 2009: Portal ..................................................................................................... 212 Seven. 2010: Kubunji Beach .................................................................................. 244 BEYOND EPISTOLARITY ..................................................................................... 253 THE WARP, THE WEFT AND THE LOOM ............................................................ 253 Introduction ............................................................................................................ 254 Chapter One: An epistolary novel .......................................................................... 259 Letters, journals and emails ................................................................................ 259 Chapter Two: Gathering the threads ...................................................................... 271 Feminisms and écriture féminine ........................................................................ 271 Chapter Three: Weaving the threads ..................................................................... 280 vi Between fact and fiction ...................................................................................... 280 Chapter Four: Building the loom ............................................................................. 287 Autobiography to autoethnography ..................................................................... 287 Chapter Five: The experienced weaver .................................................................. 298 Informal and formal mentoring ............................................................................ 298 Chapter Six: Sound working practice ..................................................................... 308 Ethic of care and ethic of justice: ........................................................................ 308 Chapter Seven: Writing within the 'shed' ................................................................ 317 Writing from mourning ........................................................................................ 317 Concluding the journey ........................................................................................... 330 References ............................................................................................................. 333 List of Publications ................................................................................................. 353 Conference Presentations ...................................................................................... 353 vii Preface Those who work with their hands are labourers, those who work with their hands and heads are craftsmen; and those who work with their hands, heads and hearts are artists. (Anderson 2004 :73) The interior of the Trades Hall looked cool and inviting. On a whim, and to escape the hot north wind dust devils swirling down the busy city street, I stepped inside. A kaleidoscope of multi-coloured silks, mohair and cottons, on and off looms, dazzled the senses. A small elderly weaver clad in hand-spun garments was sitting in front of an old-fashioned loom. Her eyes conveyed the wisdom of her life and the joy of creation. She
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