Lilac Tractors : a Novel ; And, Critical Essay: Intersections Among Psychiatry, Madness, Sexuality and Feminism in 'Lilac Tractors'
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Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2012 Lilac tractors : a novel ; and, Critical essay: intersections among psychiatry, madness, sexuality and feminism in 'Lilac tractors' Anna Bennetts Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Fiction Commons, and the Psychology Commons Recommended Citation Bennetts, A. (2012). Lilac tractors : a novel ; and, Critical essay: intersections among psychiatry, madness, sexuality and feminism in 'Lilac tractors'. https://ro.ecu.edu.au/theses/550 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/550 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. 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Lilac Tractors A novel & Critical essay Intersections among psychiatry, madness, sexuality and feminism in ‘Lilac Tractors’ A thesis submitted for PhD in writing, Faculty of Education and Arts Edith Cowan University 23 November, 2012 Anna Bennetts Master of Public Health, University of Sydney Bachelor of Arts (Hons Psychol), University of Western Australia ii Abstract This thesis comprises a novel, ‘Lilac Tractors’ and an essay, ‘Intersections among psychiatry, madness, sexuality and feminism in ‘Lilac Tractors’’. The novel focuses on the relationship of a married couple, Gary, a fly-in, fly-out rig worker, and Sharon, a mature-age university student studying psychology. They live together in Perth’s north at the turn of the twenty-first century, as the outer suburbs are beginning to sprawl. Gary has Obsessive Compulsive Disorder (OCD) and Sharon finds that her growing knowledge of the condition increases her annoyance with him, rather than her compassion. But mostly she is unhappy because Gary is too gentle and the relationship doesn’t provide the power differentiation she requires to feel sexually fulfilled. The novel explores the intersection between his psychiatric condition and their domestic lives while also investigating intergenerational relationships of mothers, fathers, sons and daughters, and complicated forms of inheritance. Various themes are explored in the novel, including the overarching idea that, in patriarchal societies, there is a common tendency towards control of that which is different or perceived as threatening: women, the mentally ill and the land. This is explored through the juxtaposition of masochistic sexual desire, psychosurgical treatment and the tractors that clear the land next door to Sharon and Gary’s house. The tractors provide a visual reminder of one way that humankind controls the environment. The critical essay discusses the inspiration for and genesis of ’Lilac Tractors’, which was developed first as a film script and progressed through many versions to become a novel. I discuss my stylistic choices and why I chose to write a work of general fiction that draws on and also violates some key conventions of ‘chick lit’. The essay also refers to relevant feminist theory and criticism to support a discussion on pornography and female sexuality, providing an explanation and rationale for the novel’s depiction of a masochistic relationship. ‘Lilac Tractors’ depicts ‘aberrant sexuality’ within a conventional suburban milieu, which some readers may find challenging or even iii troubling; however, fictional treatments of this kind are important and might potentially open space for frank and serious examination of power in relation to sexual desire. A key concern of the novel is psychiatry. The essay also discusses two aspects of psychiatry, with a focus in particular on the history and practice of psychosurgery and diagnostic and literary depictions of Obsessive Compulsive Disorder. iv Declaration I certify that this thesis does not, to the best of my knowledge and belief: i. incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher education ii contain any material previously published or written by another person except where due reference is made in the text of this thesis; or iii contain defamatory materials. Signed ________________________________ Anna Bennetts Date ________________________________ v Acknowledgements Sincere thanks to my supervisor Dr Ffion Murphy for her sensitivity, infinite patience and detailed feedback. Thanks also to Associate Professor Richard Rossiter for providing comments on the first draft of the novel. I am extremely grateful to Edith Cowan University for this opportunity and for providing me with a scholarship. I would also like to express my gratitude to the Drug and Alcohol Office, in particular, Sue Helfgott, for being a great friend and enabling a really supportive work environment. For information that enabled me to write Darlene’s stroke and hospital scenes I would like to thank Dr Jay Bruce. Thanks also to Dr Zbigniew Kotowicz and Dr Jock McLaren who shared inspirational discussions and emails with me at the start of this process, and Dr Richard White, who recently helped clear up some information about psychosurgery in Australia. Thanks to James Cron who provided one of the initial stories and other inspiration for ‘Lilac Tractors’. Thank you to Dan Costello and Summer Williams for their support throughout my studies. Many thanks to Steve Havercroft. Heartfelt thanks to my sister, Lydia Bennetts, and champions/friends, Richard Hyde and Nikki Jecks for their generous reading of my work. vi Contents Declaration ......................................................................................................................... v Acknowledgements .......................................................................................................... vi Lilac Tractors .................................................................................................................... 1 Autumn, March 1972 ...................................................................................................... 1 Winter, June 1975 ........................................................................................................... 3 Spring, October 2000 ...................................................................................................... 5 Summer, December 2000 ............................................................................................ 206 Intersections among psychiatry, madness, sexuality and feminism in ‘Lilac Tractors’ ........................................................................................................................ 208 Introduction ................................................................................................................. 210 The novel: Background and stylistic considerations ................................................. 214 Form and genre ....................................................................................................... 216 My Generation ........................................................................................................ 220 Choice of Setting: Perth, Western Australia ........................................................... 223 Northern suburbs ..................................................................................................... 226 Male and Female Voices ......................................................................................... 229 Story within a story ................................................................................................. 230 Lady Oracle by Margaret Atwood .......................................................................... 230 Rock Ravel .............................................................................................................. 234 Women’s Sexuality ..................................................................................................... 236 History of feminism ................................................................................................ 236 Pornographic generations ........................................................................................ 239 Erotica versus Pornography .................................................................................... 242 Pornography evidence ............................................................................................. 244 Concerns ................................................................................................................