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The Mother/Artist in Fiction by Parton, Phelps, Chopin, Woolf, Drabble, and Walker Nancy Hoyt Lecourt University of New Hampshire, Durham

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The Mother/Artist in Fiction by Parton, Phelps, Chopin, Woolf, Drabble, and Walker Nancy Hoyt Lecourt University of New Hampshire, Durham University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1999 Motherwork, artwork: The mother/artist in fiction by Parton, Phelps, Chopin, Woolf, Drabble, and Walker Nancy Hoyt Lecourt University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Lecourt, Nancy Hoyt, "Motherwork, artwork: The mother/artist in fiction by Parton, Phelps, Chopin, Woolf, Drabble, and Walker" (1999). Doctoral Dissertations. 2077. https://scholars.unh.edu/dissertation/2077 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from die original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS The original manuscript received by UMI contains pages with indistinct and/or slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. MOTHERWORK, ARTWORK; THE MOTHER/ARTIST IN FICTION BY PARTON, PHELPS, CHOPIN, WOOLF, DRABBLE, AND WALKER BY NANCY HOYT LECOURT BA, Loma Linda University, 1973 MA, Loma Linda University, 1974 DISSERTATION Submitted to the University of New H am pshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English May, 1999 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9926026 UMI Microform 9926026 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This dissertation has been examined and approved. — ^ — Sarah Way Shemudif Associate Professor of English ------ Jean E. Kennard, Professor of English (Ul\_______________ Elizabeth Jan^ Bellamy, j Associate Professor of English ^ C ^ r-urt lil Rachel Trubowhz, > Associate Professor of English Ph I^rfciaM. Blum, Assistant Professor of Sociology Date Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT..............................................................................................................iv INTRODUCTION: THE “GAUGIN POSE” ......................................................... 1 I. “THE MOTHER CAN—THE MOTHER WILL: FANNY FERN AND RUTH HALL (1855)............................................................................................................16 n. “A DIVISION OF LABOR”: ELIZABETH STUART PHELPS AND THE STORY OF AVIS (1&T7) ......................................................................................... 47 m . “THINK OF THE CHILDREN”: KATE CHOPIN AND THE AWAKENING (1899).................................................................................................................... 78 IV. “ALMOST LIKE A WORK OF ART”: VIRGINIA WOOLF AND TO THE LIGHTHOUSE (1927) ...........................................................................................105 V. “LET’S ALL WRITE A BOOK ABOUT IT”: MARGARET DRABBLE AND THE MILLSTONE (1965) .................................................................................... 130 CONCLUSION: AN AESTHETIC OF “EVERYDAY USE”............................. 157 WORKS CITED.................................................................................................. 165 in Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT MOTHERWORK, ARTWORK: THE MOTHER/ARTIST IN FICTION BY PARTON, PHELPS, CHOPIN, WOOLF, DRABBLE, AND WALKER by Nancy Hoyt Lecourt University of New Hampshire, May, 1999 This study asks the question, What happens to a practicing (fictional) mother who also tries to be a practicing artist? How do literary texts represent such people? How do they represent the relationship between material and artistic work? The primary works studied are Sarah Parton’s Ruth Hall, (1855), Elizabeth Stuart Phelps’ The Story o f A vis (1877), Kate Chopin’s The Awakening (1899), Virginia Woolf sTo the Lighthouse (1927), and Margaret Drabble’s The Millstone (1965). The conclusion focuses on Alice Walker’s short story, “Everyday Use.” Mother-arti sts finds themselves on the “wrong” side of the nature/culture binary, where ideologies about “true womanhood” and good mothering, as well as the role of the “artist,” play out in a variety o f ways. The study finds striking similarities between the first and last novels studied: both Parton’s Ruth and Drabble’s Rosamund work successfully at their writing because they need to support their children. Rather than being a hindrance, the children are a motivation for these mothers to produce their writing. By working for the children, they can remain “good mothers.” However, neither mother claims to be an “artist.” The middle three novels focus on painters, iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. who must deal wrath ideologies surrounding die artist: Sacred Fount and Ivory Tower, competing needs in a zero-sum game. This art/life binary defeats Pheip’s Avis, who can only hope life will be better for her daughter. Chopin’s Edna is even more thoroughly defeated: she drowns when she finds can be neither “mother-woman” nor “artist.” Finally, Woolf overcomes the art/life dilemma by dividing it between her two characters, lily Bricoe (artist) and Mrs. Ramsay (mother and “almost artist”). Significantly, this gap is healed, not by the middle-class White woman who “gets her act together” but by the Black woman who has been below the radar screen of ideologies about “true womanhood” or the “artist.” Edna’s Pontellier’s unnamed Black nursemaid, who actually does Edna’s mothering for her, seems to be resurrected in the mid-twentieth century as Alice Walker, whose quilting and gardening mothers can unite art and life in an aesthetic which values both community and immanence. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INTRODUCTION THE “GAUGIN POSE” “That women should have babies rather them books is the considered opinion o f Western civilization. That women should have books rather than babies is a variation on that theme. Is it possible, or desirable, fo r a woman to have both? ” —Alicia Ostriker What happens when a practicing mother also tries to be a practicing artist? How do literary texts represent such people? And how do they represent the relationship between maternal and artistic work? These are the questions I have tried to ask and to answer in this study. I have chosen novels written in English whose protagonists were actively engaged in mothering children, and also doing some kind of creative work generally thought of as “art”—writing or painting, as it happens, though music or another medium would have been acceptable for my purposes. Having set up these parameters, I quickly discovered a telling fact: there are very few such novels—I have found five: Fanny Fem/Sarah Parton’sRuth H all (1855), Elizabeth Stuart Phelps’ The Story o f Avis (1877), Kate Chopin’s The Awakening (1899), Virginia WoolfsTo the Lighthouse (1927), and Margaret Drabble’s The Millstone (1965). Even so, I had to “fudge” a bit, since Chopin’s Edna Pontellier is not very actively engaged in childcare (though she probably thinks she is), and Woolf
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