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The Interaction of Feminism(S) and Two Strands of Popular American Fiction, 1968-89

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The Interaction of Feminism(S) and Two Strands of Popular American Fiction, 1968-89 ResearchOnline@JCU This file is part of the following reference: Kelso, Sylvia (1996) Singularities : the interaction of feminism(s) and two strands of popular American fiction, 1968-89. PhD thesis, James Cook University of North Queensland. Access to this file is available from: http://researchonline.jcu.edu.au/47036/ If you believe that this work constitutes a copyright infringement, please contact [email protected] and quote http://researchonline.jcu.edu.au/47036/ SINGULARITIES: THE INTERACTION OF FEMINISM(S) AND TWO STRANDS OF POPULAR AMERICAN FICTION, 1968-8'9 Thesis submitted by Sylvia Anne KELSO BA (Hons) (Qld) in August 1996 for the degree of Doctor of Philosophy i.n the Department of English at James. Cook University of North Queensland STATEMENT OF ACCESS I, lhe undersigned. lhe. aulhor of this tllesis, understand lh.at James Cook University of North Queensland will make it available for use within lhe University Library and. by microfilm or other photographic means. allow access to users in otber approved libraries. All users consulting this chesis will have to sign the following statemem: ·rn consulring 1his 1hesis l agree not m copy or closely paraphrase ii in whole or in pan wichout the written consent of the author; and to ma.ke proper wriuen acknowledgemem for any assiscance I have obtained from it.· Beyond chis. l do not wish to place any restriction of access cm lhis thesis. (signature) (d.ace) ABSTRACT The thesis examines how American writers in the popular genres of Female Gothic, Horror, and Science Fiction interact with strands of (mainly) American feminist thought and action, and with the cultural image of feminism(s) during the period 1968-89. The method- ology combines male theorists' work with Marxist, psychoanalytic and other feminist approaches, including gay and lesbian theory and post-colonial perspectives. The thesis frames its genres theoretically: Female Gothic as the shadow of feminist resistance, Horror as an endorsement of masculinist and normative phobias, Science Fiction as a heterogeneous but potentially more subversive genre that explores cultural and intellectual pre- occupations. It then traces individual writers' progress through the synergy, or ongoing interaction of writers, genres, and changing feminism(s) over the period. The argument of the thesis contests the view of popular fiction as a shadow of canonical literature, indicating that within their various generic constraints the popular writers engage feminism(s) without mediation through `high' writers' work. At times they actually anticipate the latter and can share in the construction of feminist ideas. These findings then provide both a literary study and a form of feminist history, which argues that the reception and perception of feminism(s) within the American middle-class habitus during the period was a genuinely interactive process, in which feminists must also assume responsibility. 3 ACKNOWLEDGEMENTS Many intellectual midwives have helped to deliver this thesis. Especial thanks are due: To several running-mates, notably Elaine Croft, Narelle Nicholas, Michelle Gillespie and Peter Daniels, for devotion to listening beyond the aerobic threshold. To local friends and colleagues, especially Tina Langford and Michael Beresford- Plummer, for long-term advice, assistance and support. In the second half of the thesis, to my e-mates Janeen Webb and Russell Blackford, for references, discussions and text loans, and especial gratitude to my fellow postgraduates Justine Larbalestier and Helen Merrick, whose e-mail conversations have been invaluable, both as emotional support and intellectual synergy. To my friend and associate supervisor, Cheryl Taylor, not only for her professional contribution, but because she is the only person who never doubted this thesis would be completed. As Clarissa Pinkola Estes said, every woman needs a Hallelujah Chorus. To my chief supervisor, Robert Dixon, whose lucid lectures first led me into post- humanist theory, who paid me to study academic praxis firsthand as his research assistant, who managed a three-ring circus without losing his aplomb, and who possesses the gift of listening. Finally, to my mother, for her hours of unpaid work that allowed me to study, and for bookshelves where I first encountered both House of Many Shadows and The Feminine Mystique. * * * Part of Section 5: "A Different Drum: Male Gothic and Feminism" was published in Para.Doxa: A Journal of World Literary Genres as "Take Me For A Ride in Your Man-eater: The Constraints of Gynophobia in Stephen King's Christine" 2.2 (1996): 263-275. Elements of Section 7: "Science Fiction: The Spaceship of Dr. Moreau" were incorporated in "And Who Shall Inherit The Earth: Steven Spielberg's Jurassic Park," 4 published in Sirius: Australian Magazine of Fantasy, Science Fiction and the Macabre, January 1994, and in "Both Sides of The Moon: Female/Feminine Images in Patricia McKillip's The Changeling Sea," published in Sirius: Australian Magazine of Fantasy, Science Fiction and the Macabre, August 1994. Part of Section 9: "Ursula Le Guin and Joanna Russ:`When It Changed'" was published as "Breaking Frames: The Elusive Science Fiction of Joanna Russ," in Colloquy 1, 1996, 56-66. Part of Section 10: "John Varley and Samuel R. Delany: The Gate to Women's Country" will be published in Science-Fiction Studies as "`Across Never': Postmodern Theory and Narrative Praxis in Samuel R. Delany's Neveryon Cycle," forthcoming, 1996. Elements of Section 12: "William Gibson and Lois McMaster Bujold: `The Gernsback Continuum'" were published in "Speaking of Heroes: A Review of Lois Bujold's The Spirit Ring, Barbara Hambly's Dog Wizard and Holly Lisle's Bones of the Past" in Sirius: Australian Magazine of Fantasy, Science Fiction and the Macabre November, 1993. Others were published in "The Silver Metal Imagination: Blueprints for Changing Technology in Women's Science Fiction," Proceedings of the Australian Women's Studies Association Conference, Geelong, December, 1994, Eds. Kerry Erler and Joanne Driscoll, March 1996. Others will appear in "Monster Marks: Sliding Significations of the Grotesque in Popular Fiction," in essays from the Proceedings of the Twelfth International Conference of the Mythopoeic Literature Society of Australia, Darwin, July 1995, Eds. Alice Mills and Mark Davies, in press. 5 TABLE OF CONTENTS 2 - Statement of Access 3 - Abstract 4 - Acknowlegements 6 - Table of Contents 7 - Declaration 8 - Section 1 - An Outline of the Project and Methodology 21 - Section 2 - A Story 27 - Section 3 - Modern Gothic: The Call of the House 56 - Section 4 - Shadowdance: Female Gothic Writers and Feminism 86 - Section 5 - A Different Drum: Male Gothic Writers and Feminism 129 - Section 6 - A Program 138 - Section 7 - Science Fiction: The Spaceship of Doctor Moreau 164 - Section 8 - Marion Zimmer Bradley and Robert A. Heinlein: "The Day Before the Revolution" 195 - Section 9 - Joanna Russ and Ursula Le Guin: "When It Changed" 230 - Section 10 - John Varley and Samuel R. Delany: The Gate To Women's Country 268 - Section 11 - A Letter: Dark Star/Diamond Mask 272 - Section 12 - Larry Niven and C.J. Cherryh: The Descent of Anansi 306 - Section 13 - William Gibson and Lois McMaster Bujold: "The Gernsback Continuum" 331 - Section 14 - (A) Closure 340 - Works Cited 386 - Selected Works Consulted 399 - Selected Works Consulted - Fiction 6 - Section 1 - AN OUTLINE OF THE PROJECT AND METHODOLOGY One is too few, and two is only one possibility. (Donna Haraway, "A Cyborg Manifesto" 180) Fredric Jameson once called popular fiction "a way of reasoning" about "experience and society" (qtd. Pawling 5). This study began with the rejoinder, How does such literature reason about feminism? With the implicit and interested rider, Does it say feminism worked? These queries have mutated into something like, How does the social/ textual dialogue record the cultural impact of feminism(s)? and the answer has become an attempt, not so much to "capture," which is falsely masterful, nor to "record," which is too mechanical, but rather to share in an ongoing interaction - in science fiction terms, a synergy - between feminist thought, praxis and cultural image, the process of popular genres, the evolution of individual writers' oeuvres, and (other) socio-historical events. For this project, the model of popular fiction as a passive reflector of social trends soon proved inadequate: in fact, the popular writers proved to "reason" as part of the social process, at times exercising real historical agency. But the strategy of deducing, from a group of synchronic but unrelated texts, that feminism had affected X genre in such-and-such a way, could not draw out this interaction's delicate, diachronic specificities. Instead I found myself building a group of metanarratives where, from the fossils of specific oeuvres, I could trace out the interactive synergy's path. Inevitably such a narrative imposes its own form, or in Derrida's terms, does violence not only to the word but to the texts, the oeuvres and the living process of the synergy. But as Tania Modleski points out ("Feminism" 128), any reading exerts power over the text. Katie King goes on to shift the Derridean paradigm; for her, to write/theorise is to make an object of knowledge (xv-xvi): to do violence, but also to produce. So as the writers produce objects of knowledge secreted at certain moments in a certain vision of the synergy, I produce mine by re- processing their work. The study's approach is also of its time. In earlier decades feminist thinking was often synchronically focussed, concerned to generate discourse, to valorise and critique: the watchwords were, Attack, and, Assert. In the '90s, feminists are realising that they have a past; 9 that they can, and indeed must factor it into their thinking. So this study is another turning to feminist history, though not an orthodox historical account of feminism, the genres, the period, or the writers per se.
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