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Approaches to the Woman Artist in Australian Women's Fiction

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Approaches to the Woman Artist in Australian Women's Fiction Astonishing Tricks: Approaches to the Woman Artist In Australian Women’s Fiction Elizabeth Mary Bissell Bachelor of Arts (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of Communication and Arts 1 Abstract This thesis argues that Miles Franklin’s My Brilliant Career, Thea Astley’s An Item from the Late News and Drylands, Elizabeth Jolley’s Miss Peabody’s Inheritance and “Woman in a Lampshade,” Gail Jones’s Black Mirror, Kristel Thornell’s Night Street, and Krissy Kneen’s Steeplechase subvert literary and gender conventions as an expression of revolutionary sentiment, showing how the revolt against gender norms and standards in these texts is shown in their employment and transgression of generic, stylistic, and narrative conventions, and the representation of the woman artist. The ‘artist’ as discussed in this thesis is defined as a figure engaged with writing or the visual arts. This discussion allows an examination of what I call the ‘astonishing tricks’ used in the representation of the woman artist in experimental and innovative Australian women’s writing, tricks being the literary games, loops, and paradoxes each text plays with language, genre, or style. In reading these texts, I refer to Julia Kristeva’s work on the ways in which poetic discourse can enact a metaphoric revolution through transgressive practices. I also draw upon Judith Butler’s theories of performance and some ideas about women, representation, and language. A broad methodological approach is necessary, in my view, as the texts discussed in this thesis engage with different issues related to the hegemonic masculinism experienced by the woman artist in the historical period in which each text is set. I consider the idea of literary play—being the use of irony, humour, unusual language, surprising metaphors, and subversion of genre—as a form of feminist revolt or subversion. These authors, I argue, offer political interpretations of women’s relationship to art. In some cases, these statements are made in subtle, elegant ways, for example, Franklin’s subversion of the romance and realist genres. In others, the feminist sentiment in the text is vigorous and powerful, such as Astley’s 2 scathing irony or Jones’s references to feminist theory. Franklin, Astley, Jones, and Thornell explore women’s relationship to art in the Australian context. Jolley and Kneen, however, investigate wider notions of art in relation to women’s sexuality and desire. The texts discussed in the thesis enact the transformative potential of transgressive strategies in writing. In each text, the woman artist inhabits a linguistic landscape designed, owned, and protected primarily by men. She is marginalised in the masculine symbolic order, marginalised not only socially but also in and through language. However, this marginality allows the woman artist to claim a space of her own. Franklin, Astley, Jolley, Jones, Thornell, and Kneen’s methods for narrating the woman artist’s subjectivity both question and revise pre-existing traditions. This also allows them to explore the feminist concerns that are, I argue, so central to these texts. The use of strategies such as humour, irony, ambiguity, paradox, and inversion keep the writing open-ended, heterogeneous, and dynamic, enabling alternative playful interpretations, alternative ways of seeing and being. The interiority of the woman artist is foregrounded in each text, alongside an interest in feminine subjectivity. Just as the author may play with or abandon formal features often found in novels, the women artist protagonists resist the framing devices that influence female subjectivity, desire, and aesthetics. I discuss how these texts engage with the question of the woman artist in relation to literary tradition and value; women, creativity and creative production; and the representation of love and experience of self and other, showing how they can be read as political analyses, from the perspective of women, of Australian culture in the period, as well as examples of experimental fiction. I examine the astonishing tricks performed by the women artists in these texts, and the astonishing tricks Franklin, Astley, Jolley, Jones, Thornell, and Kneen employ in representing her. 3 Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the General Award Rules of The University of Queensland, immediately made available for research and study in accordance with the Copyright Act 1968. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. 4 Publications during candidature No publications Publications included in this thesis No publications included 5 Contributions by others to the thesis No contributions by others Statement of parts of the thesis submitted to qualify for the award of another degree None 6 Acknowledgements Thank you to my friends and family, especially Patrick, Poldi, Andy, Sarah, Ross, and Matty. Thanks too to my associate supervisor, Carole Ferrier, and to the staff of the School of English, Media Studies and Art History. And finally, special thanks to my supervisor, Bronwen Levy, for both her academic and non-academic advice and support. 7 Keywords Australian, literature, artist, writers, feminism, experimental, women, fiction Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 200502 Australian Literature (excl. Aboriginal and Torres Strait Islander Literature), 80% ANZSRC code: 200525 Literary Theory, 20% Fields of Research (FoR) Classification FoR code: 2005, Literary Studies, 100% 8 Table of Contents Chapter One Introduction: The Woman Artist in Australian Women’s 10 Fiction Chapter Two Intellectual Games: Literary Play As Feminist Revolt 49 Chapter Three Genre Games: Feminist and Artistic Subversion in Miles 70 Franklin’s My Brilliant Career Chapter Four The Woman Artist, Irony, and Humour in Thea Astley’s 95 An Item from the Late News and Drylands Chapter Five Ambiguity and Desire in Elizabeth Jolley’s Miss 125 Peabody’s Inheritance and “Woman in a Lampshade” Chapter Six The Woman Artist and Surrealism in Gail Jones’s 150 Black Mirror Chapter Seven Two Recent Approaches to the Woman Artist: Kristel 176 Thornell’s Night Street and Krissy Kneen’s Steeplechase Conclusion The Trouble with the Woman Artist 214 List of Works Consulted 226 9 Chapter One Introduction: The Woman Artist and Australian Women’s Experimental Fiction This thesis examines the representation of the woman artist in texts by Australian women writing at different times in the twentieth century and beyond. The authors and texts are: Miles Franklin’s My Brilliant Career; Thea Astley’s An Item from the Late News and Drylands; Elizabeth Jolley’s Miss Peabody’s Inheritance and “Woman in a Lampshade”; Gail Jones’s Black Mirror; Kristel Thornell’s Night Street; and Krissy Kneen’s Steeplechase. The ‘artist’ as discussed in this thesis is defined as a figure engaged with writing or the visual arts. I consider these texts in relation to the idea of literary play—play being the use of irony, humour, unusual language, surprising metaphors, and subversion of genre—as a form of feminist subversion or revolt. I use the terms 'subvert,' 'subversion,' and 'subversive' throughout this thesis to describe the activity of feminist literature as, in Toril Moi's terms, "textual practice that disrupts patriarchal ideology and symbolic structures" (Moi, Sexual 6) in order to undermine, overthrow, or render ineffective the power and authority of hegemony as an established system. These authors, I argue, employ literary play to make political statements about women’s relationship to art. In some cases, these statements are made in subtle, elegant ways. In others, the feminist sentiment in the text is vigorous and powerful. Franklin, Astley, Jones, and Thornell make statements about women’s relationship to art in the Australian context. Jolley and Kneen, however, explore wider notions of art in relation to women’s sexuality and desire. There has been, throughout the twentieth century, a number of books with a woman artist protagonist. In the first half of the twentieth century, Henry Handel 10 Richardson’s The Getting of Wisdom and Christina Stead’s For Love Alone depict the young artist’s withdrawal into inner life which leads to the discovery of artistic vocation. Like Franklin’s My Brilliant Career, these novels employ the narrative of the isolated artist figure who must seek exile often found in modernist fiction; however they adapt this model so that it is the stifling Australian cultural environment from which the artist must flee. The complex demands of women’s political commitments, domestic and family duties, and intellectual and creative pursuits were explored in much women’s fiction published in the interwar period. Carole Ferrier has noted the way in which the theme of creativity as an issue emerges in the depiction of the woman artist in texts by Katharine Susannah Prichard, Jean Devanny, Eleanor Dark, and M.
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