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Happily Ever After? Ambiguous Closure in Modernist Children's Literature Marcie Panutsos Rovan

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Happily Ever After? Ambiguous Closure in Modernist Children's Literature Marcie Panutsos Rovan Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2016 Happily Ever After? Ambiguous Closure in Modernist Children's Literature Marcie Panutsos Rovan Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Rovan, M. (2016). Happily Ever After? Ambiguous Closure in Modernist Children's Literature (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1125 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. HAPPILY EVER AFTER? AMBIGUOUS CLOSURE IN MODERNIST CHILDREN'S LITERATURE A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Marcie Panutsos Rovan May 2016 Copyright by Marcie Panutsos Rovan 2016 HAPPILY EVER AFTER? AMBIGUOUS CLOSURE IN MODERNIST CHILDREN'S LITERATURE By Marcie Panutsos Rovan Approved February 23, 2016 ________________________________ ________________________________ Dr. Linda Kinnahan Dr. Judy Suh Professor of English Associate Professor of English (Committee Chair) (Committee Member) ________________________________ Dr. Marah Gubar Associate Professor of English (Committee Member) ________________________________ ________________________________ Dr. James C. Swindal Dr. Greg Barnhisel Dean, McAnulty College of Liberal Arts Chair, Department of English Professor of Philosophy Professor of English iii ABSTRACT HAPPILY EVER AFTER? AMBIGUOUS CLOSURE IN MODERNIST CHILDREN'S LITERATURE By Marcie Panutsos Rovan May 2016 Dissertation supervised by Dr. Linda Kinnahan This study explores the fruitful interchanges between modernist literary technique, the culture of modernity, and children’s literature. While some recent scholarship has examined works that modernist authors like Eliot, Joyce, Woolf, and Cummings produced for child readers, modernist children’s literature remains a largely neglected field. Examining texts by A.A. Milne, Gertrude Stein, and J.M. Barrie through the lens of literary modernism, this project explicates how these authors adapt modernist techniques, ideologies, and preoccupations in their writing for children. Focusing on themes of alienation, disillusionment, memory, imagination, gender construction, child development, and the disruption of Arcadian myths, I argue that these texts adopt modernist techniques to explore, uphold, or challenge modernity’s construction of the child. Embracing modernist indeterminacy and ambiguity, these texts directly engage iv with constructions of childhood as a mode of modernist experimentation. Recontextualizing these children’s works in the context of literary modernism reveals how the two genres are symbiotically related, thereby broadening our understanding of literary culture and discourses of childhood in the early twentieth century. v DEDICATION To Aaron James Rovan, my partner, best friend, inspiration, emotional support, and unofficial editor. I could not have done this without you. vi ACKNOWLEDGEMENT This project would not have been possible without the support of many people. I would like to take this opportunity to thank my parents for inspiring me to never stop learning, my Nana for always having faith in me, and my friends and sisters for their emotional support and for pressuring me to keep on working. I would like to thank Dr. Anne Brannen for helping me to explore my interests in this fascinating new area of literary study. I would like to thank the members of my committee for their encouragement, their insightful feedback, and their patience and support. I would like to thank my graduate student colleagues, especially Melissa Wehler and Amy Criniti Phillips for showing me there is a light at the end of the tunnel and offering emotional support. I would especially like to thank Aaron Rovan and Jessica Blissit for helping me to work through some of the rough patches and clean things up before subjecting my committee members to certain chapters. And a final thank you to the countless friends, colleagues, family members, and mentors who have helped me to reach this point. vii TABLE OF CONTENTS Page Abstract .............................................................................................................................. iv Dedication ............................................................................................................................v Acknowledgement ............................................................................................................. vi List of Illustrations ............................................................................................................ vii Introduction .........................................................................................................................1 Chapter One: In Which We Learn that Fantasies Cannot Last and Children Must Outgrow Them: Winnie-the-Pooh and The House at Pooh Corner ................................................23 Chapter Two: “And the world just went on being round”: Gertrude Stein’s Subversion of Genre Expectations .........................................................................................................101 Chapter Three: “Truth is Best,” But What Is Truth?: J.M. Barrie’s Peter and Wendy....160 Epilogue ...........................................................................................................................232 Works Cited .....................................................................................................................239 viii LIST OF ILLUSTRATIONS Page Image 1: Christopher Robin and Winnie ..........................................................................91 Image 2: Piglet ..................................................................................................................92 Image 3: Piglet Digging ....................................................................................................92 Image 4: Piglet Wriggling .................................................................................................93 Image 5: Piglet in Letterbox .............................................................................................94 Image 6: Christopher Robin and Winnie-the-Pooh ..........................................................95 Image 7: Winnie-the-Pooh in the Forest ............................................................................95 Image 8: Animal Signatures...............................................................................................96 Image 9: Winnie-the-Pooh Climbing .................................................................................97 Image 10: Jumping Words .................................................................................................98 Image 11: Christopher Robin Reading ..............................................................................98 Image 12: Footprints ..........................................................................................................99 Image 13: Door Knocker ...................................................................................................99 Image 14: Towel Rack .....................................................................................................100 ix Introduction Historically, critics have taken for granted that a clear separation exists between the fields of children’s literature and modernist literature. Although the temporal boundaries of literary modernism and the “golden age” of children’s literature overlap, many scholars regard the two fields as diametrically opposed responses to the same set of historical circumstances. And yet, both genres respond to cultural changes resulting from the industrialization, urbanization, immigration, commodification, and mass production of the late 19th and early 20th centuries. Both also react to the unimaginable violence of World War I and the increased emphasis on the unconscious brought about by the revolutionary work of Sigmund Freud and others in the field of psychoanalysis. The same cultural forces helped to shape developments in both literary modernism and golden age children's literature. Some work has been done to examine the intersections of these fields; however, the bulk of literary criticism to date insists that while modernist literature directly engages with the changes and uncertainties of modern society, children’s literature of this era reflects a desire to escape from the modern world and retreat to an innocent and idyllic Arcadia.1 Children’s literature is considered regressive, whereas modernist literature is thought to be progressive. Recently, there has been a notable shift towards an integration of these two fields. Scholars have begun to identify overlaps and parallels between children’s literature and modernist literature. Children’s Literature Association Quarterly even dedicated a special 2007 issue to an investigation of the productive intersections between the two fields. In "Modernism," Kimberley Reynolds outlines many of the specific correlations 1 Humphrey Carpenter’s Secret Gardens: The Golden Age in Children’s Literature offers a clear articulation of this escapist view of children’s literature. 1 between literary modernism
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