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The Spatial Eld of Plots

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The Spatial Eld of Plots The spatial !eld of plots Space, time and plot in Joseph Furphy’s Such is Life; and winter, the trees, a novel SUE PARKER A thesis submitted in ful!lment of the requirements for the degree of Doctor of Philosophy The University of New South Wales, Australia School of the Arts and Media Faculty of Arts and Social Sciences August, 2014 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Parker First name: Sue Other name/s: Abbreviation for degree as given in the University calendar: PhD School: School of the Arts and Media Faculty: Faculty of Arts and Social Sciences Title: The Spatial Field of Plots: ‘Space, time and plot in Joseph Furphy’s Such is Life’ and a novel winter, the trees Abstract This dissertation investigates the enigma of Joseph Furphy’s iconic Australian novel Such is Life (1903) which hides a romance inside its realist portrayal of life in the Riverina at the end of the nineteenth century, and also hides a woman in a male character. An examination of the fragmentary plots in the novel reveals that this enigma can be mapped through the spatial field. It argues that in Such is Life the spatial field, as an isolated motif, and in its continual dialogue with the temporal field, is an active element in, and not a passive background to, the way stories are plotted and to ways we recognise these plots. The spatial field not only delivers the narratives embedded in the novel but is central to the novel’s design. An analysis of the spatial field shows the function of that field in the action of plotting. Using Bakhtin’s theory of the chronotope (the fusion of time and space) we can understand that Furphy plays the spatial field of the novel against the temporal in a number of similarly structured plots. Joseph Furphy’s experimentation with our expectations of genre, and of plots and their outcomes provides evidence for a reading of the novel as a parody of literary genres. The operations of the spatial field of the novel, as distinct from the temporal field, allow readers to observe that Furphy infects realism with romance, and romance with realism in his journey to the emotional core of a woman. The structure of my novel, winter, the trees, is organised spatially, as a first-person narrative framed by a flight from Zurich to Sydney via Singapore. Through this frame, stories embedded in past temporal and spatial fields tell the back story of the struggle faced by the unnamed narrator after the birth to her stillborn baby. The death of the baby causes her to reject her partner, to reject her society and to flee first to a hotel room in Brisbane, then to her mother’s home also in Brisbane in the naive belief that the past can answer questions that she can’t. From Brisbane the narrator travels to Europe and Egypt for her employer, a film director, who sends her to photograph locations for a film script he is writing. After losing her way in the desert in Fayoum, Egypt, the narrator chooses to return to Sydney to face the reality of her childlessness, her grief and the state of her marriage. The novel consciously explores the relevance of the spatial field to the structural integrity of the plots of the many stories embedded in my novel. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). 1 December, 2014 …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. 1 December, 2014 Date …………………………………………….............. i Acknowledgements I would like to acknowledge the University of New South Wales for the grant of an Australian Postgraduate Award which enabled my study and to thank Associate Professor Roslyn Jolly and Associate Professor Anne Brewster for their supervision. Many friends and members of my family supported this work. I am grateful for their assistance, and humbled by their unwavering loyalty and their love. ii Abstract - This dissertation investigates the enigma of Joseph Furphy’s iconic Australian novel Such is Life (1903) which hides a romance inside its realist portrayal of life in the Riverina at the end of the nineteenth century, and also hides a woman in a male character. An examination of the fragmentary plots in the novel reveals that this enigma can be mapped through the spatial field. It argues that in Such is Life the spatial field, as an isolated motif, and in its continual dialogue with the temporal field, is an active element in, and not a passive background to, the way stories are plotted and to ways we recognise these plots. The spatial field not only delivers the narratives embedded in the novel but is central to the novel’s design. An analysis of the spatial field shows the function of that field in the action of plotting. Using Bakhtin’s theory of the chronotope (the fusion of time and space) we can understand that Furphy plays the spatial field of the novel against the temporal in a number of similarly structured plots. Joseph Furphy’s experimentation with our expectations of genre, and of plots and their outcomes provides evidence for a reading of the novel as a parody of literary genres. The operations of the spatial field of the novel, as distinct from the temporal field, allow readers to observe that Furphy infects realism with romance, and romance with realism in his journey to the emotional core of a woman. The structure of my novel, winter, the trees, is organised spatially, as a first-person narrative framed by a flight from Zurich to Sydney via Singapore. Through this frame, stories embedded in past temporal and spatial fields tell the back story of the struggle faced by the unnamed narrator after the birth to her stillborn baby. The death of the baby causes her to reject her partner, to reject her society and to flee first to a hotel room in Brisbane, then to her mother’s home also in Brisbane in the naive belief that the past can answer questions that she can’t. From Brisbane the narrator travels to Europe and Egypt for her employer, a film director, who sends her to photograph locations for a film script he is writing. After losing her way in the desert in Fayoum, Egypt, the narrator chooses to return to Sydney to face the reality of her childlessness, her grief and the state of her marriage. The novel consciously explores the relevance of the spatial field to the structural integrity of the plots of the many stories embedded in my novel. Table of Contents Page Acknowledgements i Abstract ii ‘Space, time and plot in Joseph Furphy’s Such is Life’ Introduction 1 Part 1 Space, time and parody 1.1 The dual agenda of Such is Life 11 1.2 Literary realism 15 1.3 Motifs of romance in the novel 25 1.4 Parody 36 1.5 The plot of Such is Life 39 1.6 The spatial field in narrative theory 47 1.7 Literary time 51 1.8 Classing narrative events 57 1.9 The action of plotting 61 Part 2 Observations of the spatial field in Such is Life Introduction 62 2.1 The structuring principal of binary operations 63 2.2 Real and imagined: the road as thread 66 2.3 Runnymede, the place of romance 75 2.4 Two (h)Alfs make a whole 77 2.5 Mirror narratives 87 2.6 Double space: the spatial field and the stories of the lost children 94 2.7 The story of Mary O’Halloran 101 2.8 Space within space 108 Conclusion 112 Works cited 123 Novel winter, the trees 130 1 ‘Space, time and plot in Joseph Furphy’s Such is Life’ Introduction Joseph Furphy’s iconic Australian novel, Such is Life, published in 1903, contains a curious dual agenda of romance and realism.
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