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Feminist Themes in Sevim Burak and Ursula K. Le Guin's Worlds

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Feminist Themes in Sevim Burak and Ursula K. Le Guin's Worlds Feminist Themes in Sevim Burak and Ursula K. Le Guin’s Worlds Feminist Themes in Sevim Burak and Ursula K. Le Guin’s Worlds: From “Boxes” to “Cages” By Sultan Komut Bakınç Feminist Themes in Sevim Burak and Ursula K. Le Guin’s Worlds: From “Boxes” to “Cages” By Sultan Komut Bakınç This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Sultan Komut Bakınç All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6453-3 ISBN (13): 978-1-5275-6453-4 to my mother “It is our suffering that brings us together.” The Dispossessed, Ursula K. Le Guin BEN BU HAYATI DİŞİMLE TIRNAĞIMLA KAZANDIM SOKAKTA BULMADIM YÜZ GÜN MÜCADELE ETTİM SİZ BİR ERKEKSİNİZ İSTEDİĞİNİZ YERDE YATABİLİRSİNİZ BENSE BEN BİR CANAVAR DEĞİLİM BİR KADINIM dedi. Yanık Saraylar, Sevim Burak TABLE OF CONTENTS Acknowledgements ................................................................................. viii Introduction ................................................................................................ 1 Chapter 1 .................................................................................................... 7 Historical and Theoretical Background Chapter 2 .................................................................................................. 22 Difference Makes “No Difference” Chapter 3 .................................................................................................. 39 Otherness Chapter 4 .................................................................................................. 82 Oppression Chapter 5 ................................................................................................ 127 Internalized Submission References .............................................................................................. 166 Index ....................................................................................................... 174 ACKNOWLEDGEMENTS I would like to express my deepest appreciation and gratitude to my supervisor Prof. Dr. Mary Lou O’Neil for her endless guidance, support and help. Without her encouragement and guidance, I wouldn’t have achieved this. I owe thanks to Dr. Jeffrey Howlett, to Dr. Şehnaz Şişmanoğlu Şimşek and Dr. Sırma Soran Gumpert for their valuable contribution to my doctoral thesis, on which this book is based. Finally, special thanks to Bilgin Bakınç, who supported me all the way through to the completion of this project. INTRODUCTION As a comparative literature study, this book aims to analyze the works of Sevim Burak and Ursula K. Le Guin to uncover the similar feminist themes they explore in their works and indicate how the two authors differ in exploring them. While Sevim Burak explores these feminist themes in creating worlds that resemble our own with an unconventional writing style, Ursula K. Le Guin creates unusual worlds and characters with a traditional writing style. While creating their works they both aim to destroy phallogocentric language in different ways, which makes them representative of feminist writing. Sevim Burak was born in İstanbul, in 1931. Her Jewish mother changed her name from Anne-Marie Mandil to Aysel Kudret. Her religious background made life difficult for Anne-Marie and "she was only accepted into her husband's family after the birth of their first daughter Nezahat in 1921" (Güngörmüş, 2013, 144). Her Jewish descent, as well as the Jewishness of the neighborhood all, influenced Burak deeply, and she made use of this experience in her writings. Ursula K. Le Guin, on the other hand, was born in Berkeley, California in 1929. She was the daughter of Alfred and Theodora Kroeber. Because her father was an archeologist, she moved to different locations in her childhood years. Like Burak, Le Guin was also influenced by the neighborhoods and people around her. As a child, she spent all her summers in Napa Valley, where her father would meet local people and they would spend a lot of time together. She describes having these people from other cultures around her 2 Introduction as a 'tremendous gift', and when asked about the nature of that gift she has said that it may simply have been "the experience of the "other"? A lot of people never have it, or don't take the chance when offered" (Le Guin "The Paris Review"). Despite being two authors from very contrasting societies, religions, and backgrounds, they shared the same experience, that of being a woman. This experience was enough for them to explore very similar feminist themes despite the fact that they used very different genres and writing styles. My aim is to show that although women have different lives, they experience similar difficulties and overcome them in similar ways; one of which is writing. For the purpose of this analysis, Sevim Burak’s early stories, which were later compiled by Bedia Koçakoğlu in The Big Sin, and the stories in her first published book of stories, Burnt Palaces, and Ursula K. Le Guin's novels The Dispossessed, The Left Hand of Darkness, Tehanu and her novella The Wild Girls were found to be most relevant. In these selected works of Burak and Le Guin, both authors dealt with feminist themes although the works are not in themselves considered feminist. Among others, themes related to assumed gender roles, patriarchy, oppression, power relations, and the body are embedded in the major plots. The characters the authors create are not always heroes or victims, yet we can see both in their works. Although Burak and Le Guin had different backgrounds, personal experiences, and religions and traditions surrounding them since they both struggled in a male-dominated world, they have similar feminist themes, and as they both applied the unique characteristics of their writing to attempt to dismantle phallocentric thinking and phallogocentric language, they can both be counted as representatives of feminist writing. Their inclusion of certain themes as opposed to others shows that in their Feminist Themes in Sevim Burak and Ursula K. Le Guin’s Worlds: 3 From “Boxes” to “Cages” respective cultures some themes carry more significant weight, shaping both their experiences and their writing. Their language is formulated very differently, in order to achieve apparently similar purposes: Burak to force the reader to look for deeper insight, Le Guin to enchant the reader. Yet, both ultimately demand contemplation of the “protest” uncovered. By demanding of the reader an engagement with the experiences of women, both embed their challenge to norms in their texts and therefore can be considered feminist writers. Sevim Burak tried to break from conventional writing with her unusual syntax, punctuation, and capitalization; as a consequence, her works can be considered a manifesto about what she does not like about traditional forms. She created a unique writing style that included repetition, broken sentences, inverted sentences and her use of punctuation marks; that is, using them in a manner that can only be understood by the reader if they engage with the text at a deeper level. The use of capital letters emphasizes some words and not others to show that these parts differ in perspective to others is also a characteristic of her complex style. Her writing is rarely linear; instead, she appears to consistently produce non-linear forms. As a consequence, the meaning is embedded in the texts in a way that the reader cannot immediately grasp. Only when a reader finishes the texts, do the words and sentences reveal their meanings and become clear. The meaning is never direct. It is always deferred and with each reading potentially different. As a result, her writing was beyond immediate comprehension or easy consumption and received little appreciation in her time. On the other hand, Le Guin employs a comparatively conventional style to realize unconventional themes. As science fiction was once thought to be a "man's genre", hers was considered revolutionary at the time. One distinguishing trait of her work 4 Introduction is that it not only pleases the reader with the curiosities of the fictional worlds she creates but also encourages the reader to contemplate them. As a result of the analysis of the selected works of the authors, I argue that both Burak and Le Guin are representatives of feminist writing. Sevim Burak, in particular, with her unique writing style, creates an example of Écriture Féminine. On the whole, despite all the differences in the language they use in their works, difference makes 'no difference'; both authors explore very similar themes. In the selected works of Burak and Le Guin, three principal themes are analyzed by means of context, character, and discourse analyses; with special attention to representations of women and womanized characters, forms of oppression women are subjected to, and internalized submission of women. It is argued that women are viewed through a patriarchal 'male' gaze and considered to be the other both in mind and in space. Otherness in mind is explored as mental devaluation and otherness in space is explored as the tangible results of being considered the other. Some characters who are 'womanized' through
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