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Flannery O'connor, Tennessee Williams, And FLANNERY O’CONNOR, TENNESSEE WILLIAMS, AND SHIRLEY JACKSON: CRAFTING POSTWAR MATERNITY AS CULTURAL NIGHTMARE by Lynne Ann Evans Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at Dalhousie University Halifax, Nova Scotia November 2015 © Copyright by Lynne Ann Evans, 2015 DEDICATION This work is dedicated to the many amazing women in my life, most especially my daughter, Kathleen, and, of course, my mother, Winnie. It is also dedicated to my partner, Clyde, for holding my hand and heart through every step of this adventure. ii TABLE OF CONTENTS ABSTRACT ....................................................................................................................... v . ACKNOWLEDGEMENTS .............................................................................................. vi CHAPTER ONE: INTRODUCTION:................................................................................ 1 Freud’s Gothic Mother. …………………….……………………………….………….... 5 The “Good Enough” Mother: Maternity in a World Divided ……………….……..……. 9 O’Connor, Williams, and Jackson: Psychoanalysis and the Gothic Mother…………..... 20 Spectral Maternity as Cultural Nightmare ……………..……………….………………. 34 Notes ………………………………………………………...………………………...... 36 SECTION ONE: Flannery O’Connor’s Catholic Nightmare: The Psychoanalytic Spectral Mother ……………………………………………………………………….... 42 CHAPTER TWO: “Call me Momma now”: The Counterfeit Mothers of Flannery O’Connor’s Wise Blood ……………………………………………………………..….. 42 “watching him through the trees”: The Seeing Mother ……………………………...…. 43 “Momma don’t mind if you aint’s a preacher”: Wise Blood’s Counterfeit Maternity..… 62 “something she couldn’t begin”: The Limits of Freudian-Inspired Maternity…….……. 80 Notes …………………………………..………………………………………….…….. 88 CHAPTER THREE: “Riding Low Above the Field Beside Him”: The Maternal Archetype of Flannery O’Connor’s The Violent Bear It Away ………………...………100 Jungian Discourse and Catholicism ………………………………..……………….… 102 “Out of the womb of a whore”: O’Connor’s Jungian-inspired Maternity…………...…108 “Something is going on here that counts”: Jungian and Catholic Maternal Mediation . 118 “GO WARN THE CHILDREN”: Maternally Determined Annihilation . ………….…130 Notes ………………………………………….……….……………………….…….…141 iii SECTION TWO: Tennessee Williams and the Spectral Mother of Queer Desire ….... 146 CHAPTER FOUR: “A long, long rope of blood”: The Kleinian Haunting of Tennessee Williams’ The Glass Menagerie ………………………………….…….…. 146 The Queered Gothic Maternal of Kleinian Discourse …………….…………….….…. 157 Ties that Break: Filial Neurosis and Maternal Erasure ……………….………………..171 Notes ………………………….………………………………………………….….… 179 CHAPTER FIVE: “We all devour each other”: The Spectral Mother and Child in Tennessee Williams’ Suddenly Last Summer ……………………………….………… 187 The Sadomasochistic Mother ……………………..………………………….……….. 188 The Annihilation of Mother and Son in a Kleinian Script ………………………..…... 203 We All Devour Each Other ……………………..…………………….………………. 221 Notes ………………………….……………………………………….…………….… 228 CHAPTER SIX: “Killing off all the wispy, willowy women”: The Ecstasy of Annihilation in Tennessee Williams’ Kingdom of Earth ……………………….…….. 233 Notes ……………….……………………………………………………………..…… 253 SECTION THREE: Shirley Jackson and the Spectral Mother of Annihilation ……..... 258 CHAPTER SEVEN: CONCLUSION ………….…………………………………...… 258 A “vice-ridden beast”: Maternity as Mental Disorder in The Bird’s Nest ……………. 259 “the gingerbread man”: Freud’s Matricidal Script ……………………….…..….……. 273 Monstrous Maternity in Jackson’s The Haunting of Hill House ……………………… 280 The Spectral Mother as Cultural Nightmare …………………..………………….…... 299 Notes…………………………………………………………………………………… 303 WORKS CITED……….................................................................................................. 309 iv ABSTRACT This dissertation argues that Flannery O’Connor, Tennessee Williams, and Shirley Jackson all employ gothic representations of maternity, what Madelon Sprengnether calls “the spectral mother,” in their gothic works. Through this figure, each author challenges normative concepts of motherhood in the period following World War II, specifically by using the “spectral mother” to analyze critically different psychoanalytic schools of thought. In Wise Blood and The Violent Bear It Away, respectively, O’Connor employs Freudian and Jungian conceptions of maternity in order to critique the theological efficacy of psychoanalytic definitions of motherhood, highlighting the psychoanalytically crafted mother as a site of spiritual annihilation. Williams’ The Glass Menagerie, Suddenly Last Summer, and Kingdom of Earth emphasize how the Kleinian mother, which attempts to enforce normative gender and sexual roles, actually encodes psychoanalytic discourse with its own non-normative undoing. While Kleinian-inspired maternity opens up a space for queerness, Williams’ plays reveal that motherhood as imagined by Klein renders subjectivity, for mother and son, an impossibility. Jackson’s The Bird’s Nest and The Haunting of Hill House reveal that the sexualized maternal figure of Freudian theory, far from describing “normal” psychological development, is instead an origin of filial and maternal psychosis. Crafted as enactments of psychoanalytic discourse, the spectral mothers in O’Connor’s, Williams’, and Jackson’s narratives reflect upon the monstrous underpinning of a Freudian and post-Freudian world. v ACKNOWLEDGEMENTS Any and all positive aspects of this thesis are attributable to the encouragement, wisdom, and wit of my family and colleagues. This thesis, and my entire academic career, would never have existed without the support of the wonderful man I married, Clyde. Along the way, both my work and I were energized by the love and encouragement I received from my awe-inspiring daughter, Kathleen. My interest in the subject position of mother is the foundation of my work, and that interest stems in large measure from hearing my own mother’s strong and supportive voice throughout my life. I have also been extremely fortunate in regards to my academic family. Though a number of my colleagues have taken up the role of mentor and friend in my life, three of those people are especially noteworthy. Dr. Reina Green provided me with a model of excellence in academic research and collegiality for which I will be forever grateful. I was extremely lucky to have met Dr. Steven Bruhm early in my academic career. His intellectual brilliance and wry humour directed me down the academic path that has led to this thesis. Dr. Jason Haslam’s contribution to my work goes beyond my ability to fully articulate. Acting as both my thesis supervisor and dear friend, his intellectual rigour and generosity of spirit is nothing short of amazing. I would also like to thank the other members of my thesis supervisory committee for their thoughtful and generous comments, and for helping to make my work better: Dr. Karen Macfarlane, Dr. Leonard Diepeveen, and Dr. Jodey Castricano. Finally, I wish to acknowledge the financial support of the Social Sciences and Humanities Research Council of Canada. vi Chapter One: Introduction Mothers haunt mid-century America. More specifically, the figure of the mother in the period’s post-Freudian cultural landscape is a ghostly being of both nightmare and nostalgia, nurture and necrophilia. “Flannery O’Connor, Tennessee Williams, and Shirley Jackson: Crafting Postwar Maternity as Cultural Nightmare” examines the psychoanalytically informed spectral mothers in the post World War II gothic fiction of these authors. The spectral mother, as Madelon Sprengnether contends, operates as an “object of fear or dread” who persistently “appears in the interstices” of Freud’s theories of psychosexual development (5; 2). Sprengnether offers the following definition of the spectral mother in terms of the figure’s “effect” on Freud’s discourse: Her effect is what I call “spectral,” in the full etymological sense of the word. Derived from the latin verb specere, to see, to look at, “specter” is related to “spectacle,” “speculation,” and “suspicion,” while its immediate source is the Latin spectrum, meaning simply, an appearance. In English a specter is a ghost, a phantom, any object of fear or dread. Freud’s representations of the preoedipal mother evoke all of these associations. She is the object of his fascinated and horrified gaze, at the same time that she elicits a desire to possess and to know. (5; emphasis in original) In the works I study, mothers are “spectral” in the ways Sprengnether discusses and in so far as they rarely appear directly in the text. Spectral mothers in O’Connor’s, Williams, and Jackson’s works “appear” only as absences: as imperfect memories; as sensations; 1 and as ghostly figures of terror. And yet, absent though they may be, these spectral mothers are the driving force or limiting boundary that defines the central concerns of each text. On the one hand, these mothers are often represented as submissive figures who act as a support for white, masculinist heteronormativity, which itself is an imbricated subject position that forms a base of mid-century social and political ideologies. On the other hand, mothers frequently appear to wield power from their disenfranchised space by deploying an erotic of subjugation that undermines attempts to naturalize heterosexuality and conservatively determined familial roles. Simply stated, spectral mothers in O’Connor’s, Williams’, and Jackson’s works operate as sites of cultural contest
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