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Alias Grace by Margaret Atwood Is There a Woman Behind the Veil? The Use of Clothing, Textiles, and Accessories in Lady Oracle and Alias Grace by Margaret Atwood Marte Storbråten Ytterbøe A Thesis Presented to The Department of Literature, Area Studies and European Languages University of Oslo In Partial Fulfilment of the Requirements for the MA Degree Spring Term 2010 Supervisor: Rebecca Scherr 2 Acknowledgements Writing my master‟s thesis has been an interesting journey and a great learning experience. It has been a privilege to dedicate a year of my life to research and write about two novels by my favourite author, Margaret Atwood. Since Margaret Atwood is a Canadian author, I seized the chance to revisit Canada in September 2009. I have never regretted my research trip to Vancouver and The University of British Columbia. Reference Librarian, Kimberley Hintz, helped me to figure out the library and to find articles which I have later used in this thesis. My parents read for me from an early age, and I owe my interest in literature to them. When I was sixteen, my mother recommended a Canadian novel called Alias Grace. I was as old as Grace was when she was convicted for murder when I read her story, and I fell in love with both Grace and Margaret Atwood at that moment. Professor Jeannette Lynes, writer in residence at Queen‟s University in Kingston, Canada, later inspired me to take a second look at Alias Grace and she helped me develop the early ideas for this thesis. I would like to thank my supervisor Associate Professor Rebecca Scherr for her interest in this project, her help, her ideas, and her patience. Rebecca Scherr also suggested Lady Oracle, which was perfect for my thesis. Scherr‟s guidance has been of the utmost importance for my work. I would also like to thank my friends for their support, especially Hanne Amalie, Ida, Kari Lise, and Kjersti. Ingela helped me with getting new perspectives on my thesis. My fellow students Ida, Karine, and Karoline have not only made this year a year to remember, but their advice and our coffee breaks have been extremely valuable. They have given me moral support, solved my computer problems, and we have shared many laughs. 3 4 Table of Contents Introduction................................................................................................................................. 7 Chapter 1: Clothing .............................................................................................................. 17 Borrow, Lend, Steal, and Destroy ...................................................................................... 18 Class ......................................................................................................................................... 23 Femininity and Performativity .............................................................................................. 26 Fashion and Costumes ......................................................................................................... 35 The Theme of Clothing ......................................................................................................... 39 Chapter 2: Textiles ............................................................................................................... 41 The Quilt and the Maze ......................................................................................................... 42 Scrapbooks and Photographs ............................................................................................. 45 The Tree of Paradise ............................................................................................................. 47 Protective Textiles .................................................................................................................. 50 Grace as a Quilt ...................................................................................................................... 53 Seamstresses and Storytellers............................................................................................ 57 The Theme of Textiles .......................................................................................................... 62 Chapter 3: Accessories ...................................................................................................... 64 Gloves ....................................................................................................................................... 65 Capes and Cloaks .................................................................................................................. 68 Veils and Sheets..................................................................................................................... 70 Shoes ........................................................................................................................................ 74 Names....................................................................................................................................... 76 Hair ............................................................................................................................................ 81 Makeup ..................................................................................................................................... 83 The Theme of Accessories .................................................................................................. 86 Conclusion ................................................................................................................................ 88 Bibliography ............................................................................................................................. 93 5 6 Introduction The basic Female Body comes with the following accessories: garter-belt, panty-girdle, crinoline, camisole, bustle, brassiere, stomacher, chemise, virgin zone, spike heels, nose-ring, veil, kid gloves, fishnet stockings, fichu, bandeau, Merry Widow, weepers, chokers, barrettes, bangles, beads, lorgnette, feather boa, basic black, compact, Lycra strech one piece with modesty panel, designer peignoir, flannel nightie, lace teddy, bed, head. (Margaret Atwood, Good Bones) When asked to write about the subject of the female body, this quote was part of Margaret Atwood‟s answer. Atwood observes how the female body is shaped by a variety of garments and accessories, and how these accessories shape the female identity. The way we dress is undeniably a way of expressing ourselves. We can either reveal or withhold information about ourselves through clothing. We are able to communicate our individuality with the help of fashion, to stand out from the crowd, or quite the opposite. Dressing in a certain way also helps us escape from unwanted attention. To be accepted in a particular society, one dresses according to the other members. Uniforms are used in several professions, including a wide range from the military to shop assistants. A uniform often signifies authority and power. The teenage daughter rebels against her parents by dressing in black, painting her eyes and coloring her hair pink. Political views have for centuries been expressed by wearing certain accessories. “Bluestocking” refers to politically active women from the mid Eighteenth century, an expression which has resulted in the term “redstocking”, which is associated with feminists from the 1970s and is still associated with feminism. An actor often wears a costume on stage when playing another character. When removing the makeup after the night is over, the actor removes the character he or she has been playing. Clothing is powerful. Clothing is both liberating and restricting. Clothing is also one way of forming the body, and is used to underline and exaggerate the physical differences between the genders. The female body in particular has been the victim of the fashion industry, constantly being forced to change according to the various trends. For example, during the Nineteenth century, a woman of some significance had to dress decently, which meant wearing a corset and crinoline, in addition to the right accessories such as gloves and hats. Her body did not only have to be covered up, it also had to be laced tightly to meet the standards of the time. By restricting her movements, she became a passive prisoner inside her cage of garments, not only physically but also mentally passive. Today as well, women shape their bodies with the help of clothing, making 7 themselves more feminine, enlarging certain body parts and minimizing others. Clothing does not only fashion the body, it is also part of forming the mind. Regarding femininity, Mary Ann Doane claims that “[w]omanliness is a mask which can be worn or removed” (“Film and the Masquerade” 185). In other words, femininity is like an attribute or a garment which one can dress oneself in. As the actor‟s costume is part of the performance, a woman‟s clothes help women perform their roles as women and as sexual objects. Concerning literature, clothes often express and symbolize a character‟s state of mind. Clothes are also used as an effective time marker, and by describing the fashion of a particular time period, the author is able to reflect not only a character‟s identity, but also a society‟s values. Fashion varies from country to country; each part of the world has its own specific rules and norms when it comes to clothing. Cynthia G. Kuhn states in Self-Fashioning in Margaret Atwood’s Fiction that “[c]lothing communicates, but not as a system of direct correspondences.
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