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Margaret Atwood's Alias Grace and the Construction of a Trial Narrative

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Margaret Atwood's Alias Grace and the Construction of a Trial Narrative Margaret Atwood’s Alias Grace and the Construction of a Trial Narrative Marie-Thérèse Blanc Dawson College on Margaret Atwood’s Alias Grace Msince the late s reveal a measure of discomfort with what appears to be the novel’s incompatible aims, namely those of providing a postmodernist critique of history within the framework of nineteenth-century literary conventions. I argue that these two aims are reconcilable when the novel is understood as a trial novel that questions the construction of a teleological courtroom narrative¹ deliberately based upon nineteenth-century novel- writing strategies and delivered in large part by a fictional Grace Marks, who acts throughout the novel as her own defence attorney. Critics have noticed contradictory currents in Atwood’s writing yet have failed to harmonize them. Hilary Mantel, Burkhard Niederhoff, Alice Palumbo, Barbara Hill Rigney, and Margaret Rogerson, for example, acknowledge the postmodernist sensibility and techniques at play within Alias Grace. Mantel lays emphasis on the novel’s fragmentation (); Nie- derhoff classifies the novel as an example of historiographic metafiction and concedes that such a genre is “fundamentally sceptical, eroding the For the purposes of this study, I define the term narrative as the recounting (by a narrator to at least one narratee) of one or several real or fictional events. ESC . (December ): – Blanc.indd 101 4/27/2008, 11:15 AM distinction between fact and fiction as well as undermining all claims to truth and knowledge” (); Palumbo characterizes Atwood’s work as one which makes it clear that “it is nearly impossible to expect one single ‘true story’ to emerge from the wealth of alternatives” (); Rigney similarly states that Atwood’s major thesis is “the inherent ambiguity of the nature of truth” (); and Rogerson recognizes the novel’s function as process rather than mere product when she refers to its central quilting metaphor and suggests that in the act of reading and interpretation, the reader him- or herself becomes a quilt maker (). e same scholars, however, give voice to a certain anxiety when they attempt to make sense of Alias Grace’s outcome. Despite the work’s skeptical stance toward truth, the matter of whether the character of Grace Marks is guilty or innocent, a temptress or a victim, a liar or a paragon of integrity is one which these critics are unwilling to abandon. Mantel raises the question: “[W]ith her background of deprivation, how likely is it that she had retained any innocence at all? Grace is a deceiver” (). Niederhoff, in turn, concludes that Atwood is after all less interested in the truth value of historical reconstruction “than in its effects on people’s lives” (). In his reading of the novel, he accepts unequivocally that Grace was involved in the murders as Mary Whitney (). Among Atwood scholars, Magali Cornier Michael is perhaps the one who is most persuasive in her attempt at resolving the dichotomy between Atwood’s postmodernist approach and her love of nineteenth-century nar- ratives. Michael does indeed see in Alias Grace a feminist, postmodern approach to the recovery of the past that deals a clear blow to the scientific positivism that continues to dominate Western thought (). e novel, she argues, insists on the validity and importance of women’s oral history. Grace’s quilting itself stands as a metaphor for alternative forms of think- ing about and narrating the past (). Narrative, however, is offered both as the key to times gone by and as a fallible tool because, as Atwood herself puts it in “In Search of Alias Grace,” “[H]uman beings […] are subject to error, intentional or not, and to the very human desire to magnify a scan- dal, and to their own biases” (). Michael also briefly looks at the role of trial narratives within her reading of the novel. She asserts that Alias Grace presents a legal case and a convicted murderess as its focal point and claims that although “the legal process presents itself as an objective, positivist enterprise in its aim to uncover the ‘truth,’ its thoroughly dis- cursive nature highlights the impossibility of accessing the past outside of narrative.” us, for Michael, the novel’s references to the law become one more way to stress both the importance and the relative value and | Blanc Blanc.indd 102 4/27/2008, 11:15 AM impact of narrative, generally (). Unfortunately, Michael hints at but stops short of developing the ways in which Alias Grace can be viewed as a legal case or as a kind of narrative-based trial. Yet the interdisciplinary study of law and literature to which Michael eludes in her study does in fact allow for a reconciliation of the novel’s postmodernist form and of its more traditional narrative impulse insofar as it provides a trial-like narrative atmosphere with which readers must wrestle at the end of the novel as if they were judges. It allows above all for an understanding of the novel as a jurisprudential tool that forces careful readers to ponder the construction, content, and possible dangers of narrativity in courtroom trials. In , James Boyd White published a textbook for his law students entitled e Legal Imagination, which transformed the interdisciplinary study of law and literature into a field of scholarly inquiry in its own right. White asked students to exercise literary creativity in imagining what prompted their future clients to act as they did and what arguments would best serve their legal needs. Literary excerpts were included and helped illustrate White’s pedagogical points and empathetic exercises. Aside from perhaps making a generation of attorneys more inventive in the practise of the law, White’s work launched a movement. In the United States, in particular, other legal scholars soon began to examine the similarities between legal and literary processes. e next step was predictable enough. Whereas the law-and-literature movement was meant initially to instil a certain sensitivity into the legal profession, literary scholars too became interested in the movement, in part because the law’s authoritative dis- courses are of interest to the literary community’s own attempt to theorize authority and in part because readers are, after all, citizens ruled by law. e literary community thus followed suit and began publishing on the subject as well.² Among law-and-literature scholars, Ian Ward is perhaps the most articulate and impassioned in his plea for the greater integration of the disciplines. As Ward explains in his Law and Literature: Possibilities and Perspectives, the “stronger defences” for the law-and-literature move- ment justify the merging of the disciplines “by asserting [this comparison’s] value as a form of jurisprudence in its own right.” Ward bases his views on See, for instance, Fish, Doing What Comes Naturally: Change, Rhetoric, and the Practice of eory in Literature and Legal Studies (); Nussbaum, Poetic Jus- tice: e Literary Imagination and Public Life (); Swain, ed., “Legal Fictions,” New Formations (), –; Freeman and Lewis, eds., Law and Literature: Current Legal Issues (); Dolin, Fiction and the Law: Legal Discourse in Vic- torian and Modernist Literature (); Brooks, Troubling Confessions: Speaking Guilt in Law and Literature (); and Moddelmog, Reconstituting Authority: American Fiction in the Province of the Law, – (). Margaret Atwood’s Alias Grace | Blanc.indd 103 4/27/2008, 11:15 AM the belief that the law is not merely rule oriented. Legal principles are also indicative of larger societal debates about ethics and the social contract. Ward values what he calls society’s “participatory dialogue” in its own self-recognition and organization,³ and he sees literature and the work of the law-and-literature movement as jurisprudence that relates to what a given society wants for its members and for itself (). Like Ward, I see works that emerge from the law-and-literature move- ment as “jurisprudential” in that they foster a dialogue between a given community’s history and present and ask the members of that community to reflect upon judicial and juridical matters for themselves and their gen- eration. Like him, too, I submit that literary texts and studies belong to this expanded definition of jurisprudence. As it enters the realm of juris- prudence, literature and literary criticism acquire some of the normativity of law, in that their lessons can be of use to jurists as well as to lay readers. is normativity is as limited as that of any form of jurisprudence. It may well influence the law, but it lacks the force of the law because it is not legitimated by the state. Specifically, I argue here that Margaret Atwood negotiates her way between the poles of skeptical postmodernism and the intended objectivity of various quests for certainty precisely because she ventures into the realm of law or, more precisely, that of courtroom narratives. e historical Grace Marks was arrested in Lewiston, New York, in July (the month of her sixteenth birthday) in connection with the violent homicides of her employer, omas Kinnear, and of his housekeeper, Nancy Montgomery, in their Richmond Hill home. e twenty-one- year-old James McDermott, who had also been a servant at the Kinnear household, was arrested along with Grace. Both were tried in Toronto on and November . ere are no trial transcripts of the Marks and McDermott trials; transcripts did not exist in Canada before the s. In the interest of justice, however, the presiding judge at both events, Chief Justice Beverley Robinson, a well-respected Tory jurist, ordered that a summary of the trials be put together by coroner George Walton and be published. e same summary was later published independently by the Toronto Star and Transcript as a fifteen-page document that includes the two convicts’ post-trial confessions and their etched portraits.
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