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When Fathers Murder Sons: Male Melancholy in Dostoevsky, Mailer and Murakami

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When Fathers Murder Sons: Male Melancholy in Dostoevsky, Mailer and Murakami When Fathers Murder Sons: Male Melancholy in Dostoevsky, Mailer and Murakami by LeslLH Hartley BEd; BLitt (Hons); MEd Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Deakin University October, 2014 Abstract This thesis strives to identify what is unique and specific about male melancholia. It asks: Can one identify causes, and can one see in selected literary texts presentations of melancholia that embody not only its expression but suggests its causes? Taking a Freudian perspective, this thesis has upheld the view that novelists across time have implicated childhood experience as a determinant in adult behaviour. This work argues that male melancholia is written into Western civilisation and sustained as a necessity for social order, and that it involves male violence towards its male offspring by the father. When Freud spoke of civilisation causing neurosis, in that it repressed man’s libido, he also had the insight that it would be at a huge cost. One of the ramifications has been an intergeneration of fathers at best withholding approval from their sons, and at worst destroying their psychological well being – indeed creating the deepest and darkest of depressions. Whether this is an experiential, factual state of affairs in our lives may be debatable. This thesis, however, analyses literary texts by Dostoyevsky, Mailer and Murakami from three different times and places that argue that it is so. i Introduction..........................................................................................................1 Part I: Theoretical Overview..........................................................................12 Section One: The Freudian Context......................................................................13 Section Two: Masculinities through Wounding: Cultural Contexts and Critiques.................................................................................................................23 Part II: Essential Dialogues and the Polyphonic Novel in Dostoevsky’s The Brothers Karamazov......................................................42 Section One: Dualities in Fiction and Life...........................................................43 Section Two: Fathers and Sons: Unresolvable Tension........................................53 Section Three: Melancholy and the Possibility of Survival.................................66 Part III: Masculinity and Depression in Norman Mailer’s The Naked and the Dead.......................................................................................................81 Section One: History and Its Traumas: External Forces.......................................82 Section Two: Personal Histories and Interior Damage: Fathers Who Thwart......87 Part IV: Murakami and Melancholia in the Twenty-First Century....105 Section One: Failure Before Words: Seeking the Source of Melancholia in the Unconscious ........................................................................................................106 Section Two: The Double and the Uncanny: Searching for the Source..............118 Conclusion........................................................................................................136 Bibliography.....................................................................................................139 1 Introduction Some people view their situation as being pursued by a “malignant fate” or “daemonic” power but their fate is determined by their “early infantile influences” (Freud 1920, 1995:604). The title of this thesis (When Fathers Murder Sons: Male Melancholy in Dostoevsky, Mailer and Murakami) may provoke a skeptical reaction. The use of the term “murder” in the title is metaphorical, but it does indicate that sons are vulnerable to the father figure; fathers and sons are, on the surface, supposed to be bound by a relationship of mutual love. However, this thesis will query the nature of this bond, which is often an unhappy or destructive one. The word “melancholia” used in the title comes to us from antiquity with imprecise understandings that include concepts of sadness, physical malaise, infection from outside sources and the balance of “humours” in the body. In The Anatomy of Melancholy, his 1638 treatise on the causes of melancholia (many of which described are external to the sufferer), the seventeenth century philosopher Robert Burton says of melancholia: Now the chiefest causes proceed from the heart, humours, spirits: as they are purer, or impurer, so is the mind . I must needs conclude with Lemnius . spirits and humours do most harm in troubling the soul. How should a man choose but be choleric and angry, that hath his body so clogged with abundance of gross humours? Or melancholy, that is so inwardly disposed? (226) Paradoxically the contemporary and more familiar term “depression” evokes an internalised, mental and sometimes neurobiological process that may be diagnosed according to a specific range of reported and observed symptoms. The American Psychological Association’s DSM V, the diagnostic manual that sets the international standard for mental health professionals, states on its website that major depression may be diagnosed according to the following set of symptoms: depressed mood for more than two weeks; a mood that is a significant change from the sufferer’s normal functioning; and impaired social, professional, and cognitive ability. At least five of the following nine symptoms must also be present: depressed mood or irritability; decreased interest in activities that once gave pleasure; 5% or more weight change, or significant loss or gain in appetite; change in sleep patterns; change in level of activity; fatigue; feelings of guilt or worthlessness; diminished ability to concentrate; and suicidal ideation (2014). An attempt to derive a common understanding of melancholia/depression from literature, philosophy and theory outside of recent diagnostic contexts is difficult. This thesis will deal with the exchanges between theorists and between discourses from which one can discern the degree to which opinions vary. The meanings of the two terms “depression” and “melancholia” vary according to the discourse in which they are employed. Nevertheless, the ambiguity of definitions on melancholia and depression is not the core of this investigation and is merely signalled here to account for a general tendancy to use the terms interchangeably. This thesis is informed by the belief that melancholia refers to a lifelong condition, based primarily on self-criticism and ambivalent love. However, 2 following theoretical practices, the two terms will be used interchangeably throughout according to the research material. Where research materials from which I quote use the term “depression”, I will follow suit. It is important to note here that the scope of this thesis is specifically to explore and critique how melancholia in men has been represented and dealt with in literature. It does not seek to analyse, critique, draw from, nor to be directly applicable to, live subjects or to social contexts in the wider community (although it does draw from Freudian theorists, such as Jonathan Flatley and John Munder Ross, who deal in a broader context with male melancholia). The thesis is investigating the extent to which literary texts selected from the nineteeth, twentieth and twenty-first centuries enact the states of melancholia in men. The focus is on literary representations of fathers and sons, and the ways in which the father-son relationships therein present a perpetual cycle of male melancholia that is endemic in the societies portrayed in the texts. Father/son relationships are complex, and it might even be argued that sons seeking approval from fathers who withhold approval is a psychological inheritance of masculine cultures across time. However, this thesis argues that literary texts represent this relationship as pathology. It becomes evident in this exploration that the male melancholic character as represented in literary texts is rarely healed via social interaction or medical intervention. For example, the characters in Anton Chekhov’s play Ivanov (1970) mirror the way in which laypeople often think they are experts when it comes to diagnosing depression and how it might be cured. Chekhov’s characters diagnose the depressed man, identify his symptoms and offer him a solution. However, as the play highlights, none of this prevents the depressed Ivanov’s suicide. Similarly in society itself awareness of a condition and availability of possible healing mechanisms does not necessarily prevent suicide. This is because, as this thesis will argue, the masculine wound that I will focus on has been internalised to such a degree that it is not easily identified and understood. This thesis looks at melancholia/depression in adult males. Throughout the thesis, the terms “man” and “boy” can be understood to mean any person who self- identifies and experiences the world as a male, regardless of biological sex. Therefore, for example, the biologically female but transgendered male character Oshima in Haruki Murakami’s novel Kafka on the Shore (2003, 2005) is considered by this thesis to be a man. Of significance, Judith Butler argues that gender identity and sexuality are formed before the resolution of the Oedipus complex (Butler 1997: 135). This thesis concurs that the formation of gender identity and sexuality may be as much experiential as biological, and therefore it does not seek to differentiate between
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