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Diplomarbeit DIPLOMARBEIT Titel der Diplomarbeit „Narrative and the self in British author-autobiography: Kingsley Amis, Martin Amis, Elizabeth Jane Howard“ Verfasserin Verena Gappmaier angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Diplomstudium Anglistik und Amerikanistik Betreuer: Ao.Univ.-Prof. Dr. Rudolf Weiss To my parents Hans and Marianne Gappmaier with love There are various people I would like to thank: my supervisor Ao.Univ.-Prof. Dr. Rudolf Weiss – for his invaluable support, encouragement and expertise, my family – for everything, Tom – for sharing all the joys and frustrations associated with this thesis, Theresa, Ursula and Verena – for being great friends and supporting me emotionally, Prof. Mag. Dr. Richard Lechner – for sparking my interest in English literature, and again Verena – for proofreading the final draft. Our lives with all their miracles and wonders are merely a discontinuous string of incidents – until we create the narrative that gives them meaning. (Arlene Goldbard) TABLE OF CONTENTS Introduction ………………………………………………………. 1 Theory 1. Theorising autobiography as a genre………………………... 4 1.1. Genre as a working hypothesis…………………………………….. 4 1.2. Structuralism…………………………………….………………...... 6 1.2.1. Before structuralism: Georges Gusdorf’s ‘Conditions and Limits of Autobiography’…...……………………………….. 6 1.2.2. Philippe Lejeune’s ‘The Autobiographical Pact’…………….. 7 1.3. Poststructuralism……………………………………………….…... 10 1.3.1. Philippe Lejeune’s ‘The Autobiographical Pact (Bis)’............. 10 1.3.2. Paul de Man’s ‘Autobiography as De-facement’...................... 11 1.3.3. Michael Sprinker’s ‘Fictions of the Self: The End of Autobiography’......................................................................... 11 1.4. Emerging from poststructuralist cynicism………………………... 12 1.4.1. Philippe Lejeune’s ‘Bis’ revisited……………………………. 12 1.4.2. Paul John Eakin and Tonya Blowers………………………… 13 1.5. Arriving at a working definition…………………………………… 15 1.5.1. Lejeune’s definition in ‘The Autobiographical Pact’................ 15 1.5.2. Contracting the scope: British author-autobiography .............. 16 1.5.3. Expanding the scope: memoir and the relational life ……...… 16 2. Concepts of the self in autobiography……………………….. 20 2.1. Dimension 1: the self as autonomous vs. the self as relational …... 21 2.1.1.Georges Gusdorf: the autonomous self………………….……. 21 2.1.2. Susan Stanford Friedman: a feminist critique of Gusdorf’s approach………...………………………………… 22 2.1.3. Paul John Eakin: the relational self……..……………………. 23 2.2. Dimension 2: the self as accessible, constant, and unitary vs. the self as evasive, changing, and multiple……………………….... 25 2.2.1. The self as accessible vs. the self as evasive…………………. 25 2.2.2. The self as constant vs. the self as changing…………………. 25 2.2.3. The self as unitary vs. the self as multiple…………………… 27 2.3. The self as a representational fiction vs. the self as narratively constructed…………………………………………………………... 29 2.3.1. The self as representational fiction………………………..…. 29 2.3.2. The self as narratively constructed…………………………… 30 3. The role of narrative in autobiography……………………… 35 3.1. The ubiquity of narrative…………………………………………... 35 3.2. Narrative and temporality………………………………………….. 36 3.3. The past, memory and fictionality in the autobiographical process……………………………………………………………….. 39 3.3.1. The inaccessibility of the past………………………………... 39 3.3.2. Memory and fictionality…………………………………….... 41 3.4. Analysing autobiography as a type of narrative………………….. 43 3.4.1. Justifying the narrative approach…………………………….. 43 3.4.2. Narrative theory: the toolkit………………………………….. 44 3.4.2.1. Narrative distance: the two selves……………………. 45 3.4.2.2. Motivation and ‘embodiment’………………………... 46 Analysis 4. Kingsley Amis’s Memoirs (1991)…………………………..…. 48 4.1. Macrostructure: narrative approach and structural design…...… 48 4.2. From macrostructure to microstructure………………………….. 54 4.2.1. The essays……………………………………………………. 55 4.2.1.1. ‘Family’……………………………………………… 55 4.2.1.2. ‘Philip Larkin’……………………………………...… 61 4.2.2. The sketches…………………………………………...…...… 66 4.2.2.1. ‘Cambridge’………………………………………...… 66 4.3. From microstructure back to macrostructure: narrative situations and narrative rhythm…………………………………… 71 4.4. Reception and personal reflection…………………………………. 74 5. Martin Amis’s Experience: A Memoir (2000)………………... 77 5.1. Macrostructure: narrative approach and structural design……... 77 5.1.1. Narrative motivation and approach…………………………... 77 5.1.2. Themes, overall structure and structural principles………….. 80 5.2. From macrostructure to microstructure …………………………. 83 5.2.1. Oppositionality……………………………………………….. 83 5.2.1.1. Innocence vs. experience…………………………….. 83 5.2.1.2. Narrative distance: Osric vs. Martin…………………. 84 5.2.1.3. Comedy vs. tragedy…………………………………... 88 5.2.1.4. Lucy Partington vs. Frederick West………………….. 93 5.2.2. Parallelism………………………………………………………….. 97 5.2.2.1. Parallel lives: father and son…………………………. 98 5.2.2.2. Repetition in other contexts………………………….. 104 5.3. From microstructure back to macrostructure……………………. 105 5.3.1. The role of the narrator………………………………………. 105 5.3.2. Generic hybridity…………………………………………...... 111 5.4. Reception and personal reflection…………………………………. 113 6. Elizabeth Jane Howard’s Slipstream: A Memoir (2002)…….. 115 6.1. Macrostructure: narrative approach and structural design….….. 115 6.2. From macrostructure to microstructure: the turning points……. 120 6.2.1. Leaving Peter Scott and becoming a writer………………….. 121 6.2.2. Meeting Kingsley Amis……………………………………… 123 6.2.3. Leaving Kingsley Amis……………………………………… 125 6.3. From microstructure back to macrostructure: women’s Autobiography……………………………….………………………… 127 6.3.1. The writing life and struggles of a woman writer……………. 128 6.3.2. The mother-daughter relationship……………………….…… 129 6.3.3. The narrative form………………………………………..….. 131 6.4. Reception and personal reflection…………………………………. 132 Conclusion ………………………………………………………... 134 Appendix I – Photograph of the primary authors ………...……... 136 Appendix II – The title covers ……………………………..……... 137 1. Kingsley Amis’s Memoirs (1991)………………………………..……. 137 2. Martin Amis’s Experience: A Memoir (2000)………………….……. 137 3. Elizabeth Jane Howard’s Slipstream: A Memoir (2002)……………. 138 Bibliography ……………………………………………………… 139 1. Books and articles……………………………………………………. 139 2. Internet resources…………………………………………………….. 151 Index ……………………………………………………………… 158 German summary – Deutsche Zusammenfassung ……………… 163 Curriculum Vitae …………………………………………………. 165 Introduction Over the last three decades, autobiography has become the most popular literary genre of our contemporary culture (cf. Miller, 1). In a way, this is not surprising, for autobiography captures a range of contemporary concerns, such as the status of the subject, issues of gender, and – perhaps most importantly – the individual’s relationship with his or her past (cf. Gudmundsdóttir, 1). Who am I? What distinguishes me from other people? These are the kinds of questions addressed in autobiography, and everybody can relate to them, because – as one autobiographer observes – ‘[t]here is nothing more important than one’s identity’ (Keenan, 141). Our ever-present desire to investigate our sense of self and to communicate it to other people is part of what makes us human. Most of us will probably never get round to putting down our lives on paper, but this does not mean that we are not familiar with the autobiographical process. In fact, we all engage in the art of self-storytelling on a daily basis. Through interacting with other human beings, telling them how we feel and what we have done recently, we do exactly the same as autobiographers do, albeit on a non-literary level: we embark on a journey of self-discovery, reflect on and reshape our identities. Remembering and sharing stories is a universal human need. Even though ‘[w]e know perfectly well that life certainly isn’t a story, at least not in any simple […] sense, and we also know that a person isn’t a book’ (Eakin, How Our Lives Become Stories , 99), we use stories to make sense of the flux of experiences that our lives present us with. Reading other people’s stories gives us the opportunity to accompany them on their journey to their inner beings and identify with their feelings and experiences. Despite the high chance that our lives may be very different from the autobiographers’, we read ourselves into their stories. Perhaps it is ‘precisely [this] process of [] identification that sends readers to the biography section (which is where you find autobiography) in such large numbers’ (Miller, 3). As Martin Amis observes in his autobiography, Experience , which will be discussed in this thesis, ‘[e]xperience is the only thing we share equally, and everyone senses this.’ (Amis, Martin, Experience , 6) In the preface to his novel The Picture of Dorian Gray (1891), Oscar Wilde famously declares that ‘[i]t is the spectator, and not life, that art really mirrors.’ (Wilde, 6) This statement is interesting, for it affirms the very notion that audiences 1 tend to recognise themselves in autobiographers’ experiences and their narrative search for the self. Since autobiography deals with true events and real people, however, Wilde’s dictum has to be adapted in this context: In an attempt to account for the genre’s referential claims, autobiography can thus be said to be a special form of art which mirrors both the spectator (or the reader) and life.
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