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Autobiographies by Australian Women Born in the 1920S

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Autobiographies by Australian Women Born in the 1920S UISIX/E I L I IMG THE EEM/\EE " I » = Autobiographies by Australian Women Born in the i920s by V'alarie Holzer, B.A. tHons;, Dip. Ed. in the Department of English submitted in fulfilment or the requirements for the degree of Doctor of Philosophy- University of Tasmania February, 1991 This thesis contains no material which has been accepted for the award of any other higher degree or graduate diploma in any tertiary institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person, except when due reference is made in the text or in the footnotes. I ^ i 1 i ABSTRACT This study tultils the need for research into autobiographies of writers who have a number ot common traits which will provide specific conclusions about the art of autobiography. Unveiling the Fema1e ' 1' ; Autobiographies by Australian Women Born in the 19203 looks at works by fourteen writers who share the same nationality, gender and decade of birth. The Introduction documents the elusiveness of women's autobiographies and briefly surveys the critical situation to date, noting the lack of consensus in just what an autobiography is. Criteria have been established for extracting women's autobiographies from the large range ot remale autobiographical writings and the validity of the linguistic devices used to examine these works is justified. Working from the proposition by Chodorow that women are defined through process and by "other". Chapter i looks at character and style in four- autobiographies of childhood to establish how this forms the identity ot Australian women born in the 1920s. Chapter 2 discusses two autobiographies of childhood which focus on other aspects of personal development: Spence's Another October Child presents a portrait of the development of a writer and Lindsay's i V Port1-alt ot Pa is argued to be an autot!iograpby of Jane rather- tnan a biogr-aphv or Norman Lindsay. The lite stories of adults treated in Chapter 3 demonstrate the raliacy of the "quest" metaphor tor- female writers and offer other life metaphors as more appropriate for conveying their truths of identity. The position of women in Australian society has received close attention in recent years, and the autobiographies by migrant and Aboriginal women which are the topic of Chapter 4 illustrate their alienation through their lack of cultural experience. Place becomes•cuitura1 as well as physical for these women. Dorothy Hewett's recently published Wild Card both confirms and confounds the pattern of Australian women's autobiography depicting the same period in a highly and elaborately patterned way. Chapter 5 examines its statement about the role of truth in autob i o g raphy. Chapter 6 continues this direction and breaks new ground by looking at the implications of "naming" and photographs in both the structural and metaphoric strands of the re-creation of identity. The Conclusion considers how Australian women born in the 1920s see their world and their values in comparison with the male view of history. The study draws together the threads of identity, world and truth as represented in these se1f- 1ife-writings. Acknow1edgements 1 wish to express my gratitude to my supervisor Dr John W. Wall ror his enthusiasm and assistance; to the staff at the Morris Miller Library tor their cheerful perseverence; and to all at Jundabah - Thank you. Contents Abstract iii Acknowledgements v Chapter I INTRODUCTION 1 Chapter II THE GOLDEN AGE - with tinges of lead 31 Chapter III CHILDHOODS WITH A DIFFERENCE 66 Chapter lU THE BOOK OF THE ADULT -the metaphor of gender 96 Chapter V ETHNIC WOMEN - the double invisibility 127 Chapter VI THE WILDCARD IN THE PACK - the exposed M' 161 Chapter VII ACCOMPANYING IMAGES OF SELF - name and icon 176 Chapter VIII CONCLUSION Past directions and future connections 206 BIBLIOGRAPHY 228 INTRODUCTI ON In the last three decades works tor, about and by women have proliferated, and yet editors and writers still feel the need to justify their focus, albeit grudgingly- The editors of The Penguin Book or Women Poets note that the Preface of an anthology of women's poetry published in 1755 was "an elaborate apologia for producing such a book ... and yet in 1977 it sti11 seems necessary to ofter explanation and justification for an anthology of work by women."' The absence of women's voices and serious investigation of their works by the academic establishment is well documented. Dale Spender's Man Made Language demonstrates convincingly the silence of women in the male-dominated society,^ while her sister Lynne in Intruders on the Rights of Men vindicates the premise that words equal power and reveals how publishers, who are generally male, have ensured the maintenance of this silence.' 'Carol Gosman, Joan Keefe & Kathleen Weaver, ed.. The Penguin Book of Women Poets (Harmondsworth: Penguin, 1985), p. 29. 'Dale Spender, Man Made Language (London; Routledge & Kegan Paul, 1985). 'Lynne Spender, Intruders on the Rights of" Men; Women's Unpublished Heritage (London: Pandora Press, 1983). 2 Classics of teminist analysis in English published in the seventies, Moers's L i t e i a r-v Women. Showa1ter's A Llteratuie of Their Own, and Spacks's The Female Imagination have provided the tulcrums tor subsequent literary criticisms ot women's writing and as such have received microscopic attention;' hence there is little need to repeat the process. Still sound it now somewhat outdated, all accept the validity ot considering women's writing in a category of its own, in order to redress some of the inequities of the past. The reclamation of the place of women in literary tradition and the public recognition of their considerable contribution are being rapidly consolidated. In Mothers of the Novel Dale Spender convincingly argues that "the history of English letters is primarily the history of the writing ot men."' Moreover, she establishes that, at all periods of time, comparable numbers of women and men were writing and being published, notwithstanding the lack of education for females and the expectations that they would perform, or be responsible for, all domestic tasks. The research she provides demonstrates that if Defoe, Richardson and Fielding can be called the 'Ellen Moers, Literary Women (.London: The Women's Press, 1986). Elaine Showalter, A Literature of Their Own; British Women Novelists from Bronte to Leasing (New Jersey: Princeton Univ. Press, 1977). Patricia Meyer Spacks, The Female Imagination: A Literary and Psychological Investigation of Women's Writing (London: Allen & Unwin, 1976). 'Dale Spender, Mothers of the Novel: 100 Good Women Writers Before Jane Austen (London: Pandora Press, 1986), p. aS. j fathers tor inventor sJ of the novel, then Behn, t-lan 1 ey and Hav'wood have equal tor better; claim to parent status. Her purpose for rewriting the accepted imale) literary tradition is not only to ensure literary and literal truth, but to establish a female literary tradition. No longer can what Spender (drawing on Showalter) calls "the myth of isolated achievement" be maintained; writers like Austen and Bronte are not the brilliant exceptions in a starless void, but are a part of "a collective of women writers ... " interconnected in the fabric of a strong but ignored female literary trad i t ion. The need to uncover the female tradition in autobiography is equally as urgent although even more fraught with problems. On the whole, the critics (mostly male) are not too sure just what an autobiography is, and what criteria are required to evaluate the good or the bad. Fiction is fiction, a poem is recognizable to most readers, and there is very little argument about what a novel is - but just what is an autobiography? The terminology within the genre seems to imply specific sub-genres - autobiography, memoir, reminiscence, recollections, autobiographical sketches and novels and yet they are used interchangeably. The subject "1" is no guarantee, for some novels have a first person persona while some autobiographies have been written in the third person. Roy Pascal recognizes that "no clear line can be 4 drawn" between memoir and autobiograpby as each contains the other, but suggests that the ditfer-ence lies in the focus. He further comments that the difference between memoir and reminiscence is one of content - that the former covers public events whilst the latter concentrates on private re 1ationships,« Avrom Fleishman refines this definition by positing what he calls a double focus, since "in memoirs the focus is almost always on the 1-past whereas autobiography derives much of its interest from the complications generated by the interplay of I-past and 1-present."' Paul John Eakin on one hand argues that the self portrayed is "necessarily a fictive structure,"B while Paul Jay suggests that "the ostensibly 'factual' referentia1ity of an autobiographical work" is the perfect vehicle for the concerns and procedures of post-structuralism.' He surveys a wide range of major critics commencing with Pascal, and discusses the manner in which they attempt to categorize or "anatomize" the forms of autobiography. Indeed he concludes that autobiography is the perfect vehicle for all literary analysts, whatever their viewpoint - structuralist or 'Roy Pascal, Design and Truth in Autobiography (London; Routledge & Kegan Paul, 1960), p. 5. 'Avrom Fleishman, Figures of Autobiography; The Language o_f Self Writing in Victorian and Modern Eng1 and (Berkeley; Univ. of California Press, 19831, p 192. Paul John
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