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Now and Then: Traces of the Present in Medievalist Fantasy Fiction Narelle Campbell University of Wollongong

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Now and Then: Traces of the Present in Medievalist Fantasy Fiction Narelle Campbell University of Wollongong University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Now and then: traces of the present in medievalist fantasy fiction Narelle Campbell University of Wollongong Recommended Citation Campbell, Narelle, Now and then: traces of the present in medievalist fantasy fiction, Dcotor of Philosophy thesis, School of Arts, English and Media, University of Wollongong, 2013. http://ro.uow.edu.au/theses/3910 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Now and Then: Traces of the Present in Medievalist Fantasy Fiction Narelle Campbell Abstract This thesis examines two medievalist fantasy series by authors from former British settler cultures – The Old Kingdom Chronicles (1995- 2003) by Australian writer Garth Nix, and The Fionavar Tapestry (1985-1986) by Canadian author Guy Gavriel Kay. I argue that although these texts are firmly situated in the realm of the imaginary, they are far from being culturally irrelevant. They are inescapably contemporary cultural products, strongly informed by the moments and places of their production, and revelatory of present aspirations and anxieties. I discuss the British and, more broadly, Western inflections at the centre of medievalist genre fantasy and examine how these impact on representations of ethnicity, gender and class within my chosen texts. This entails a consideration of how colonial legacies continue to inform the ways in which postcolonial settler cultures construct their own identities and view other cultures. I argue that the medieval temporal and spatial settings utilised by Nix and Kay create a privileged space, imbued with a sense of greater power, authority and authenticity than the present. Moreover, I argue that the power available to imaginings of the Middle Ages is appropriated by the authors as these fantasy texts engage discursively with debates of contemporary ideological significance. Page | i Completed at the University of Wollongong. I certify that this thesis is my own work except for where I have given full documented references to the work of others, and that the material contained in this thesis has not been submitted for formal assessment in any formal course. Narelle Campbell 26 March 2013. Page | ii Acknowledgements A page seems inadequate to express my thanks and to acknowledge the encouragement, patience and support of others during the process of writing a thesis. I will begin by thanking my ever supportive husband, Colin, and my offspring (during the time of my writing they have grown too old to be called children) – Raewyn, Shannyn, Rhys and Dael – all of whom have at various times both facilitated and frustrated my thesis progress; but I wouldn’t have it any other way. Thanks, too, to my extended family for continued interest and encouragement. Thanks to Professor Brian Martin who, through his writing group, generously teaches, supports and encourages productive and consistent writing practices. Thanks also to other members of the writing group for feedback and the sharing of ideas, and thanks to my fellow HDR students in the Wollongong Faculty of Arts. A community of peers is invaluable. Particular thanks go to Trevor Kettlewell for feedback on early drafts of my Nix chapters, and to Anne Melano and Colin Campbell for reading and providing feedback on a number of completed chapters. Special thanks to Dr Helen Kilpatrick, my secondary supervisor, for feedback on early drafts of Nix, for all the helpful chats and encouragement along the way, and for reading and giving feedback on final drafts of a number of chapters. Finally, I cannot thank my primary supervisor, Assoc. Professor Louise D’Arcens, enough for her unerring support, patience, encouragement, astute direction and practical guidance. As the thesis has unfolded I have come to appreciate more and more not only her knowledge, scholarly expertise and work ethic, but also the consistency and strength of her feedback, the wisdom of her advice, her generosity with both time and information, and her kindness in practice. Louise, I feel incredibly fortunate to have had you as my supervisor. Page | iii Contents Abstract i Certification ii Acknowledgements iii Introduction: Popularity and Pertinence 1 Chapter 1: Fantasy and Medievalism 23 Chapter 2: North and South 67 Chapter 3: Blood, Identity and Class 108 Chapter 4: Refugees, Humanitarianism and Naturalised Western Power 147 Chapter 5: Heroines and Heroes 165 Chapter 6: East and West 201 Chapter 7: Dwarfmen and Indians 234 Chapter 8: Archetypes and Myth 273 Chapter 9: Romance, Seduction and the Other 310 Conclusion 339 Works Cited 348 Page | iv Introduction: Popularity and Pertinence Medievalist fantasy novels discursively engage with contemporary issues of cultural and political significance. These include the areas of national identity, class, ethnicity and gender. Despite being commonly set in an imagined past, fantasy stories are contemporary products that say much more about the moments and contexts of their creation than they do of historical times. Although genre fantasy has been proportionately under-represented in scholarship, I assert that its extreme popularity in Western societies attests to its affective appeal and cultural relevance. This makes it a pertinent area for greater critical attention. This chapter will introduce The Old Kingdom Chronicles by Australian author Garth Nix, and The Fionavar Tapestry by Canadian author Guy Gavriel Kay. It will address the quintessential ‘Britishness’ that I contend underlies much of popular medievalist fantasy, and consider possible post-colonial and cultural implications of fantasy produced in former British settler cultures. Page | 1 The 2010 Booklover’s Best Top 101 List compiled by Australian bookseller Dymocks is but one source that immediately demonstrates the appeal of genre fantasy. With Stephanie Meyer’s Twilight Saga in the number one position, J.K. Rowling’s Harry Potter Books in second position, and J.R.R. Tolkien’s The Lord of the Rings in position number five, both the commercial value and wide readership of fantasy are evident. The remainder of the list also contains a liberal smattering of books that qualify, if not always as genre fantasy, at least as fantastic. There are novels such as: Audrey Niffenegger’s The Time Traveller’s Wife (4)1 where the protagonist has a gene that causes spontaneous time travel; Tim Winton’s Cloudstreet (19) with its hauntings and visions; Paulo Coelho’s The Alchemist (50) focusing on an exotic dream- inspired quest; Donna Tartt’s The Secret History (94) with its mix of classical myth and mystery; and Jasper Fforde’s The Eyre Affair (36) with its (literally) novel-hopping book detectives. Science fiction such as Douglas Adams’s Hitchhikers Guide to the Galaxy (31) and Frank Herbert’s Dune (80) sit alongside more conventional fantasy such as Tolkien’s The Hobbit (23), C.S. Lewis’s The Chronicles of Narnia (87) and Kristin Cashore’s Graceling (92). There are fond satires of the genre such as William Goldman’s The Princess Bride (70) and Gregory Maguire’s Wicked (72), time-slips in Diana Gabaldon’s Cross Stitch (26) and a number of books with ‘Vampire’ in the title. This survey confirms the popularity of fantasy seen in the Australian Broadcasting Corporation’s (ABC) 2004 poll which sought to discover Australia’s “favourite books” (My Favourite Book, online). With more than 15000 respondents the result included numerous fantasy novels. Moreover, the vote was won by J.R.R. Tolkien’s The Lord of the Rings. 1 These numbers indicate the titles’ position in the 2010 Booklover’s Best Top 101 List. Page | 2 More recently, 12 July 2011, the ABC’s national television programme First Tuesday Book Club (FTBC) hosted a discussion of the fantasy genre. The panel, mediated by Jennifer Byrne, consisted of four bestselling authors, each of whom has works published both within and outside the fantasy genre. Panellists were: Australian writer Emily Rodda (Jennifer Rowe), best known for her children’s fantasy; British-born Australian writer, Fiona McIntosh, who writes in the genres of crime, fantasy and historical fiction; Australian Matthew Reilly, known for his action thrillers, many of which include overt fantasy elements; and American author Lev Grossman, who is also a book critic for Time Magazine. Pointing to the clear commercial dominance of fantasy fiction, Grossman challenged a comment made by McIntosh which marked a distinction between ‘fantasy’ and ‘mainstream’ readers. “What mainstreamers are you talking about?” Grossman questioned, “We’re the mainstream” (FTBC 10:08). McIntosh responded with qualified agreement, providing an example of how the distinction between fantasy and mainstream literature is situated more in reader perception than in actual practice: I'm talking in front of 500 people and say, 'Do you read? Does anybody here read fantasy?' And they sort of get that lemon sour look on their face, and yet if I say, 'Have you read The Time Traveller's Wife?' and hands go up, and, 'Oh, it's the best book I've ever read,' and you think, 'OK, so, you're not reading fantasy, then'. (10:12) This exchange encapsulates the paradox that surrounds the fantasy genre. Despite the fact that within Western culture fantasy dominates in bestseller lists and in ‘favourite’ polls, somehow it remains discursively pigeonholed as Page | 3 sub-literature, being perceived as lacking in aesthetic value and in its engagement with reality. The issue was reprised later in the First Tuesday Book Club discussion as Byrne spoke of fantasy’s “inability, to date, to really cross into the mainstream” (19:53). The panellists’ responses drew attention to the constructed and abstract nature of this perceived difference between ‘fantasy’ and ‘mainstream’ literatures. Reilly asserted that, rather than being informed by consumers’ purchasing and reading practices, the perception is reinforced by artificial book store categorisations (20:00).
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